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Got Blues?

Got Blues?

The major misconception about blues is that it is sad, simple music for the downtrodden masses.

Likewise, many FOH engineers toil under the misconception that mixing blues is "easy and simple"–perhaps even "boring"–as compared to doing sound work for artists in other genres.

Imagine having to mix 12 bands, of varying blues styles, for a scheduled 10-hour show, doing only a line check (blues fest schedules rarely allow for soundchecks), under a hot sun (or in inclement weather), without attracting the attention of or ticking off the local decibel police, and making sure the plug is pulled in time to meet the town curfew. And let us not forget–since a blues festival is a once-a-year event, there's no room for inadequacy. Event organizers are extra critical of the mix. In some cases, these events are integral to a town or city's tourist trade. If you can't achieve a good crisp, clear sound that doesn't offend the audience (which is normally composed of anyone from ages one to 90), or if too many festivalgoers are complaining that they "can't hear the vocals," chances are you won't be invited back. Now that's pressure.

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Babysitting the Sound Guy

Being an audio provider requires that one read the band rider to ensure that the necessary equipment is present for the show. Another part of the audio provider's job is to be in contact with the venue in regard to power requirements, load-in and load-out access, and schedule. The audio company must then transport the system, set it up, tune it, ring it out and then, as the system tech, make sure that the comps and gates are properly inserted, effects are returned correctly, all speakers are in phase, there are no ground loops and that every piece of equipment is operating at its optimum capacity. Once this is achieved, the audio provider can then sit back and relax as the visiting engineer takes over and has all the fun of mixing the show.

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Paul Allshouse

Under the name of the Alvin Ailey American Dance Theater, Alvin Ailey's mission and vision of American dance has been thriving for more than 46 years. The AAADT brings a wide variety of Ailey's 79 ballets and more than 190 works by more than 71 choreographers to audiences across America and around the world. Under the ubiquitous title of "Sound Engineer," Paul Allshouse is master of all things audio for AAADT. While he believes deeply in the values and goals of the company and each performance, at the end of the day, he has a job to do, and doing that job means battling some very familiar demons. Having started with the company in September of 2003, Allshouse tells us a little about audio design on the fly, life on the road and abroad, and the oldest battle in the book–fiscal responsibility while delivering the best show possible.

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Rocking with Church Unusual

Set in Arlington, Texas on more than 50 beautifully landscaped acres, at the heart of the Dallas/Fort Worth Metroplex, is High Point Church (www.churchunusual.com), one of the fastest growing ministries in the country. Known as "Church Unusual," HPC's worship style has obviously struck a major chord with the public; from modest beginnings in 1999 among friends and relatives who gathered at the home of Pastor Gary Simons and his wife April, it has grown to encompass a 5,000-seat auditorium within a 423,000-square-foot complex that services 20 different ministries. And–according to Pastor Gary's master plan–this is only the beginning.

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Who Do You Need to Know to Get Hired?

Recently I was privileged to sit on a panel at Pro Production 2005 that was moderated by Glenn Goodwin of the Spark Agency, and sat in the company of fellow panelists Sandra Bartsch, Ken Freeman and Pam Scrape. The panel was poised with the question frequently asked by vendors trying to break in to the event production market. "Who do I need to know?" This was an easy topic for me, as I have used a basic philosophy for years.

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Friendly Fire

As the technical manager of a mid-sized community theatre, one of my duties is to review all proposed special effects for safety. About a year ago I was presented with a situation that reminded me to expect the unexpected.

A local organization that provides an educational alternative for "at-risk" high school students rented our theatre to present an anti-gang themed play created by their students for presentation to other local high school students. The director of the group called me to ask permission to use a pistol in a fight scene. After a brief conversation about rules regarding firearms, I asked him to drop by with the gun so I could check it out.

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Alicia Keys

Alicia Keys is out in style, with a tour whose vibe is '30s with a modern twist. With her band all dressed in white, the stage draped in curtains and Alicia's vocals smooth yet vibrant, her theater/arena tour is selling out everywhere. We spoke with FOH and monitor engineers Tony Blanc (pictured) and Chris Schutz about the show.

Tony Blanc: For Alicia's tour, we are out using Showco/Clair Bros. and their propriety cabinets, the Prism system. The venues have varied from theaters to arenas; hence the P.A. size has constantly varied in size. The basis of the system comes with sub-bass, and the "Gray" nearfill boxes.

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Community DXP4800 and M12, MIPRO MI-808, PAS SW-2.2P

Community DXP4800 Processor and M12 Monitor

By Mark Amundson

Community Professional Loudspeakers has a long history of creating innovative products for touring and install audio applications. In this latest era, both the DXP4800 Digital System Controller and M12 tour-grade stage monitor are proof that innovation is not the exclusive province of large multi-brand corporations. I received both the DXP4800 and the M12 for this road test review.

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Get to the Source

So many times we have discussed the evil trinity of church sound: incorrect speaker placement, stage wedges and live drum kits. These always seem to be a dark and persistently integral part of the learning curve when it comes to getting great sound to the congregation. There are many reasons why this is the case, but there are only two general reasons why this destroys the faith of the FOH volunteer and his ability to do a great job. First, the person can only mix what he gets, and second… he can only mix what he gets!

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I Need More Power, Captain!

As we head into the outdoor gig season, there's always a lot of concern about the subject of scrounging for power for the show. Now, the big shows can demand genny trailers and venue/city electricians for hookups, but many of the smaller performances are left to people who think any electrical access is enough to get the job done. In the past, I have written about power distribution and load balancing; but let's think about not having enough power and what to do about it.

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Keeping Those Dirty Rotten Scoundrels Sounding Squeaky Clean

Set on the French Riviera and inspired by the movie with Michael Caine and Steve Martin, Dirty Rotten Scoundrels tells the tale of a professional trickster, his cohort in crime (a chief of police) and the young charlatan who wants to learn more about the art of the con, particularly as it applies to rich single women. Co-starring John Lithgow and Norbert Leo Butz as the con man and his protégé, both of whom compete to swindle a young heiress out of $50,000, this Broadway musical is wittier and more fun than you might think, and it features some catchy musical numbers to boot.

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Mini Me, Mini You

I remember once being invited to a manufacturer's demonstration of a digital microphone in Nashville. I had been truly looking forward to it–the notion that one of the last two pieces of the pro audio puzzle that had evaded digitization was about to be brought into the fold was exciting.

When I arrived, the microphone was set up on a stand for the throngs to marvel at. But cynic that I am, I began to sense that the Emperor's New Clothes might be hanging on this rack as well. Chatting up the sales rep, I kept asking how the "digital microphone" worked, and kept getting elusive answers. However, each question brought us closer to the core of the matter, which was that this was a perfectly normal powered transducer that, like all microphones, turned the energy of moving air into a variable pulse palpated by the diaphragm and turned that into (very analog) electrical impulses. The digital part had to do with an A/D converter that was mounted in the rear of the microphone casing. This was a digital microphone in the same way I'm a pilot because I sit in the first row behind the cockpit on an MD-80.

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