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John Dory: Containing Shockheaded Peter

John Dory: Containing Shockheaded Peter

While its location at the Little Shubert Theatre on West 42nd Street makes it an off-Broadway production, Shockheaded Peter is more original than most of what is going on at the Great White Way lately. Inspired by the dark children's stories of late 19th-century German author Dr. Heinrich Hoffmann, the show is hosted by a ghoulishly funny emcee (Julian Bleach) and musically accompanied by the gothic cabaret of The Tiger Lillies – accordionist/singer Martyn Jacques, bassist/backup singer Adrian Stout and drummer Adrian Huge. Told here through monologues, song, puppeteering and dramatic re-enactments, Hoffmann's stories tell of the grim fatalities that befall naughty children who suck their thumbs, fidget at the dinner table, torture animals and play with matches. And it has a killer rabbit that turns the tables on its hunter. Edward Gorey would have loved it.

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A LOUD Sound in the Market

Recently, LOUD Technologies–parent brand of Mackie, Tapco and EAW, among others–announced that it had acquired St. Louis Music in a deal valued at more than $30 million, according to an 8-K filing. The move reflects an inexorable truth in the pro audio business in general, and for live sound in particular: the large will get larger and the not-so-large had better start looking for partners. Because when the winds of Wall Street blow, it's like no SPL you've ever encountered.

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Getting Into Installations

Dear Anklebiters,

I was recently hired to install a sound system in a local school. I have done install work over the last few years but always as a hired sub. I would like to incorporate this kind of work into my sound company, but I really don't know how to go about it. Can you give me some suggestions?

Thanks,

Richard Hughes, Los Angeles, CA

Jamie: Well, Richard, I have a lot of suggestions for you. I also get solicited on occasion to do sound system installs. And if the money is good, I'll do it. However, I got my own first installation contract at a local club. The club had a system, but I was providing sound for an R&B band and they wanted better sound than the club could offer. (In fact, it was Rev. Bill and the Soul Believers, the same band that has hosted the Industry Jam at Pro Production for the past three years.)

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Breathing Room?

On one hand, I (and the entire FOH/PLSN staff) finally get a chance to take a deep breath, but I have to admit it has been a pretty exhilarating time, and I may actually miss the challenge and the adrenaline rush. I am talking about the past 10 weeks, which saw us dealing with two major holidays, a total of six issues of the mags, the fifth edition of the EPD (our annual directory to all things production oriented) and the now completed Pro Production 2005.

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Pro Production 2005

Maybe I've got our old friend Hunter Thompson on the brain, but that phrase kept popping into my head throughout the proceedings of Pro Production 2005. Between economics of scale, changing client demands, technology advances and the creeping corporatization of the live event production world, the going has indeed gotten weird. But while those outside of our world certainly see us all as a bit on the weird side, we have all gone pro and it showed.

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Thinking Ahead on Permanent Installs

For a person coming from the field of live performance, the change from daily one-offs to the world of permanently installed audio systems can be a true challenge. With a traveling system, one can always make allowances for last-minute changes and additions without necessarily ruining the master plan or design of the system, whereas with an installed system one must ensure that the design is correct and the plan carefully followed. Not to say that one should be cavalier in regard to the design and installation of a road-ready system, but in the event of any needed changes, it is always less expensive to bring in the flown speakers with a traveling rig than it is to open a wall and change a speaker or cable run.

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John Ward and Crew

It's happened many times since I started writing for FOH–a seemingly simple story assignment turned out to be much cooler than I originally anticipated. This one started as a detour on a trip to Vegas, where my primary task was to check out a Cirque du Soleil premiere. Sure, I've heard of Tim McGraw, and his latest hit, "Live Like You Were Dyin'," is one of my current faves. And all the women in the office love his…um… tight jeans. What I found when I got to the McGraw camp was a great sound crew who've worked together long enough to really be a team, and who know exactly what they're doing–even when they're improvising, turning last night's dinner leftovers into gear components.

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The Best of Both Worlds

In the early days, members of Daphne, Alabama's Eastern Shore Baptist Church worshipped in an old motel where the swimming pool did double duty for baptisms. But times have changed; in 2004 the congregation christened a brand new, built-from-the-ground-up 1,600-seat facility where a blend of both traditional and contemporary forms of worship is offered–complete with a 100-voice choir and full orchestra.

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Cutting-Edge Technology and Talented Personnel

"Next to offering the very best in equipment, the key to our continuing success lies in the experience and professionalism of our engineering and production talent," states Lane Rickard. "Quality and success can only come from the 'been there, done that' staff that makes up Power Plus."

Rickard founded Power Plus in Salt Lake City in 1984. The business was later moved to San Diego County, where it remained in operation until February 1998. After a five-year hiatus, during which time Rickard worked for another San Diego-based event production company, Power Plus incorporated and reopened in January 2003 as a full-service entertainment production company under its new name, "Power Plus Sound & Lighting, Inc.," with the goal of providing the best equipment and personnel at an affordable price for virtually any type of event. Today, Power Plus Sound & Lighting not only houses an impressive inventory of top-notch gear, but also a full range of technical, production design and management staff.

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From the Boardroom to the Bathroom

I was working in Austin, Texas for a company called Media Event Concepts doing mostly corporate AV support. It was the one job in my life that I can comfortably say I hated; however, at the time I merely had the wrong attitude. I now know that God put me there to ultimately learn a few things about life (mostly humility), but he also put me there to learn a thing or two about AV. Almost 10 years later, I'm employing much of the stuff I picked up way back when. Thank you, Gordon.

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Crest XRM X-Rack, Powersoft DIGAM Q4004, Soundcraft GB4

Crest Audio XRM X-Rack Mixer

By Jamie Rio

A lot of small to mid-sized sound companies avoid the jump to a monitor board because they fear the perceived cost and complexity of a second board and splitter snake. Of course, there is some investment required to take such a step, but Crest Audio has made setting up your own monitor world less expensive and easier than ever.

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