The Future of Audio
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Live Venue Sound System Installation
CASE STUDIES Live Venue Installations Unite Your Audience The Martin Audio Experience LIVE VENUE INSTALLATIONS Martin Audio At Martin Audio we believe that uniting audiences with modelling and software engineering, to deliver dynamic, exciting sound creates shared memories that sear into the full-frequency sound right across the audience. consciousness delivering more successful tours, events and repeatedly packed venues. With over forty years of live sound and installation expertise to our name, Martin Audio offers a wide range of premium We achieve this by an obsessive attention to detail on professional loudspeakers so customers can be assured the professional sound system’s acoustic performance, of selecting the right system for their chosen application, frequently challenging convention and involving a whether it’s a small scale installation or a festival for over sophisticated mix of design, research, mathematical 150,000 people. Live Venue Installations With our heritage in live production it’s no surprise that this has transferred into the realms of permanent audio installation within live venues. More often than not, live venues are combined with bar and club areas so our portfolio offering has frequently meant and integrated system design approach. As with many other applications, our solutions focus upon appropriate sound level performance, coverage, consistency and control to unite audiences night after night. 2 LIVE VENUE INSTALLATIONS Cabo Wabo Cantina Upgrades With Martin Audio WPC Cabo Wabo Cantina Cabo San Lucas, MX––Sammy -
OCMP Technical Rider
Table of Contents Standard Operating Procedures …..….......................…….……. 2 Contacts ………………………………………………………………….......................……….……… 3 Directions ………………………………………………………………......................……….……… 4 Audio ....................................................................................................................... 5 House Imposed Sound Limit ...................................................... 8 Lighting ................................................................................................................. 9 Video ....................................................................................................................... 11 Video Requirements & Recommendations …......... 12 Local Rental Houses .......................................................................... 13 Load-in .................................................................................................................. 14 Dressing Rooms ........................................................................................ 15 Venue Specs .................................................................................................. 16 The Music Pier dates back to 1928 when construction began to create a new concert hall for the community that had just lost a large portion of the boardwalk to a fire in 1927. The Music Pier that you see today was dedicated on July 4, 1929 with much fanfare. The Music Pier lived up to its name with the Municipal Orchestra entertaining crowds twice a day, seven days a week. It was -
Audio Systems for Music Education
AUDIO SYSTEMS GUIDE MUSIC EDUCATORS By Gino Sigismondi A Shure Educational Publication Audio Systems Guide for Table of Contents MUSIC EDUCATORS Introduction . 4 Recording . 5 The Parts of a Recording System . 5 Microphones . 5 Recording Devices . 10 Mixers . 11 Hooking it up . 12 Sound Reinforcement for Music . 12 A Basic Sound System . 12 Microphones . 13 Mixers, Amplifiers and Loudspeakers . 17 Signal Processors . 19 Hooking it up . 22 Sound Reinforcement for Theater . 23 The Realities of Theater Sound . 23 Lavalier Microphone Techniques for Theater . 25 Summary . 27 Recommended Shure Microphone Models . 28 Appendix . 29 About the Author . 29 Glossary . 30 Music Educators 3 Audio Systems Guide for MUSIC EDUCATORS Introduction An often overlooked yet vital part of modern musical performances is the sound reinforcement (PA) system. In a perfect world, a trained professional would always be available to purchase, setup, and operate the sound system. In reality, the funds are not always available for such a luxury. The responsibility then falls to the next most likely person available to run the sound system, the music director. After all, you just need a few microphones and a couple of loudspeakers, and it’s time to go on tour! And we want it recorded as well! Unfortunately, sound system setup is not quite that simple. It doesn’t, however, need to be overly complicated. While the extreme quantity of choices available at your local music shop may seem daunting (Cardioid? Dynamic? Low Impedance! Help!), with a few basic guidelines, you can learn what you need, how to connect it, and even how to make it sound good. -
13924 Inners 7/8/01 2:56 Pm Page 2
THE SOUNDCRAFT GUIDE TO MIXING Soundcraft Registered Community Trade Mark / RTM No. 000557827 SOUNDCRAFT HARMAN INTERNATIONAL INDUSTRIES LTD. CRANBORNE HOUSE, CRANBORNE ROAD, POTTERS BAR, HERTS, EN6 3JN, UK. TEL: +44 (0)1707 665000 FAX: +44 (0)1707 660742 EMAIL: [email protected] SOUNDCRAFT USA 1449 DONELSON PIKE, NASHVILLE TN 37217, USA TEL: 1-615-360-0471 FAX: 1-615-360-0273 EMAIL: [email protected] www.soundcraft.com Soundcraft reserves the right to improve or otherwise alter any information supplied in this document or any other documentation supplied hereafter. E&OE 08/01 Part No. ZL0439 13924 Inners 7/8/01 2:56 pm Page 2 THE SOUNDCRAFT GUIDE TO MIXING – CONTENTS SECTION 1: STARTING OUT SECTION 4: PA MIXING A What does a Mixer do? 3 A Introduction, A Typical Live Performance; Microphones, B Guidelines in Choosing a Mixer. 3 Cables and Connections, Connecting External Effects and Processors, Setting Up, Ringing Out: Nulling Room C The Controls - A Description. 3 Acoustics, Setting the Mix, Avoiding Feedback. 17 Mono Inputs, Stereo Inputs, Subgroups, the Master Section. B Larger Performances; Medium Venues, Large Sized Venues. 20 D Signal Flow. 7 C Recording Live. 22 SECTION 2: CONNECTING SECTION 5: CONTENTS EQUIPMENT TO YOUR MIXER OTHER APPLICATIONS A Input Devices. 8 B Equipment requiring Inputs and Outputs. 9 A Monitor mixing. 23 C Output Devices. 9 B Submixing. 24 SECTION 3: SECTION 6: IN THE STUDIO MIXING TECHNIQUES A Essentials and Ergonomics. 25 A Choosing the Right Microphone; 10 B Tape Machines and Recording media. 25 Microphone types, Condenser, Dynamic, C The Console. -
Amplifier Application Guide
1 Amplifi er Application Guide © 2006 by Crown Audio® Inc., 1718 W. Mishawaka Rd., Elkhart, IN 46517-9439 U.S.A. Telephone: 574-294-8000. Fax: 574-294-8329. www.crownaudio.com Trademark Notice: Amcron®, BCA®, and Crown®, Crown Audio, IOC®, IQ System®, ODEP® and VZ® are registered trademarks and Grounded Bridge™, PIP™ and PIP2™ are trademarks of Crown Audio, Inc. Other trademarks are the property of their respective owners. 133472-1A Amplifi er Application Guide 1/06 2 The information furnished in this manual does not include all of the details of design, production, or variations of the equipment. Nor does it cover every possible situation which may arise during installa- tion, operation or maintenance. If you need special assistance beyond the scope of this manual, please contact our Technical Support Group. Crown Technical Support Group 1718 W. Mishawaka Rd., Elkhart, Indiana 46517 U.S.A. DANGER: This amplifi er can produce lethal levels of output power! Be very careful when making connections. Do not attempt to change the output wiring unless AC power has been removed from the amplifi er for at least WARNING: This unit is capable of producing very high sound pressure levels. Continuous exposure to high sound pressure levels can cause permanent hearing impairment or loss. Caution is advised and ear protection recom- mended when playing at high volumes. Important Safety Instructions 1) Read these instructions. 2) Keep these instructions. 3) Heed all warnings. TO PREVENT ELECTRIC SHOCK DO 4) Follow all instructions. NOT REMOVE TOP OR BOTTOM COVERS. 5) Do not use this apparatus near water. -
Loudspeaker Basics
Loudspeaker Basics © 2012 Bosch Security Systems Table of Contents Introduction 3 Types of Loudspeakers 4 How Does a Loudspeaker Work? 5 How Does a Loudspeaker Fit into an Audio System? 9 Considerations for Choosing a Loudspeaker 11 Words of Wisdom 15 Wrap-up 16 © 2012 Bosch Security Systems 2 Introduction Tell Me About Loudspeakers If you need to know the basics of loudspeakers – how they work, the options available, and what type is best for your needs – you’ve come to the right place. Loudspeaker Basics gives you just enough information to help you make smart decisions (or at least sound smart)…but not enough of the technical stuff to bore you. You’ll learn the difference between loudspeaker types, see how a loudspeaker fits into a complete audio system, figure out the best loudspeaker for your needs, and learn how to get the best possible results from the loudspeakers you choose. What makes EV the expert? Experience. Dedication. Passion. Electro-Voice has been in the audio equipment business since 1930. Recognized the world over as a leader in audio technology, EV is ubiquitous in performing arts centers, sports facilities, houses of worship, cinemas, dance clubs, transportation centers, theaters, and, of course, live music. EV’s reputation for providing superior audio products and dedication to innovation continues today. Whether EV microphones, loudspeaker systems, amplifiers, signal processors, the EV solution is always a step up in performance and reliability. © 2012 Bosch Security Systems 3 Types of Loudspeakers Loudspeakers come in many different shapes, sizes, and configurations, but they all do the same thing: they convert audio signals into sound waves. -
ALESIS Nanoverb
ALESIS NanoVerb Reference Manual Introduction Thank you for purchasing the Alesis NanoVerb Effects Processor. To take full advantage of the NanoVerb’s functions, and to enjoy long and trouble-free use, please read this user’s manual carefully. How To Use This Manual This manual is divided into the following sections describing the various modes of the NanoVerb. Though we recommend you take time to read through the entire manual once carefully, those having general knowledge about effects devices should use the table of contents to reference specific functions. Chapter 1: Your First Session with the NanoVerb. A basic introduction on operating the NanoVerb, auditioning the factory programs, and adjusting levels. Chapter 2: Connections. This chapter explains how to connect the NanoVerb to an instrument, mixing console or an amplifier. Chapter 3: Overview of Programs. A summary of the 16 programs in the NanoVerb, including the function of the Adjust knob. Chapter 4: Description of Controls. An explanation of all connectors and knobs on the NanoVerb. Use this chapter as a quick reference guide when searching for specific information. Chapter 5: Troubleshooting. This chapter contains troubleshooting tips and service information should problems occur. Conventions The knobs and rear panel connectors are referred to in this manual just as their names appear on the NanoVerb, using all capital letters and in brackets (Example: [INPUT] Knob, [ADJUST] Knob, etc.). When something important appears in the manual, an icon (like the one on the left) J will appear in the left margin. This symbol indicates that this information is vital when operating the NanoVerb. -
Line 6 POD Farm™ 2 Advanced User Guide (Rev. B, English)
® VERSION 2 - ADvaNCED USER GUIDE Getting Started With Your Hardware GX UX1 UX2 KB37 UX8 Guitar POD X3 PODXT DI Port Family Family POD Farm™ 2 Basics iLok POD Farm 2 Elements Standalone Plug-In Plug-Ins Operation Online Resources POD Farm Line 6 Online Support Online Store Table of Contents Start Here ................................................................................................1•1 About Line 6 Hardware & Software .............................................................................. 1•1 System Requirements - POD Farm 2 Plug-In & Standalone Operation ....................... 1•1 Updating & Registering with Line 6 Monkey™ ............................................................ 1•2 Product Activation & Authorization ............................................................................. 1•3 Transferring Activation to Another Computer ............................................................. 1•5 Transferring POD Farm 2 & Add-On Licenses ............................................................. 1•6 POD Farm 2 Plug-In for iLok ......................................................................................... 1•7 Using Your Line 6 Hardware ...................................................................2•1 MIDI Controller Hardware ............................................................................................ 2•1 Making the Connection ................................................................................................. 2•1 GX .................................................................................................................................. -
Line 6 POD Farm 1.01 User Guide
VERSION 1.01 USER GU IDE Getting Started With Your Hardware GX UX1 UX2 KB37 UX8 Guitar POD X3 PODXT DI Port Family Family POD Farm Basics iLok POD Farm Standalone Plug-In Operation Online Resources POD Farm Line 6 Online Support Online Store Table of Contents Start Here ................................................................................................1•1 About Line 6 Hardware & Software .............................................................................. 1•1 System Requirements - POD Farm Plug-In & Standalone Operation .......................... 1•1 Updating & Registering with Line 6 Monkey ................................................................ 1•2 Product Activation & Authorization ............................................................................. 1•4 Transferring Activations ................................................................................................. 1•5 POD Farm Plug-In for iLok ............................................................................................ 1•6 Using Your Line 6 Hardware ...................................................................2•1 Making the Connection ................................................................................................. 2•1 GX (POD Studio & TonePort) ...................................................................................... 2•2 UX1 (POD Studio & TonePort) .................................................................................... 2•3 UX2 (POD Studio & TonePort) ................................................................................... -
Live Range Brochure Live Mixing Consoles Beyond Live
Live Brochure COVER.qxd 6/12/02 11:05 am Page 1 BEYOND LIVE... LIVE MIXING CONSOLES 324 LIVE Soundcraft’s Spirit range of live and powered mixing consoles are SPIRIT 8 32 Input Live Digital just part of their extensive range Mixing Console of Professional Audio Equipment. DIGITAL 328XD In the studio as well as on stage, Soundcraft’s designs have become synonymous with versatility, innovation and sonic excellence. 8-Bus Professional Mixing Console 32 Channel Digital MONITOR 2 Mixing Console On the Since the launch of the original Spirit Folio in 1992, the Folio Range of mixers has STUDIO ROAD set the standards in the field of compact mixers. Ideal for both studio and live and in the applications, FX16, FX8, SX, F1 and Notepad still represent the pinnacle in compact STUDIO mixers for usability, sound quality and value for money. Spirit Studio, a design that has remained virtually unchanged since its introduction 12-Bus Stage Monitor/ in 1991, has become a recording classic used by the likes of Portishead, M:People Professional Multitrack FOH/Theatre Mixer Recording Mixing and Radiohead. Consoles Since its launch in 1998, the multi-award-winning Digital 328 console, with its LIVE 42 ABSOLUTE ground breaking easy-to-use interface, has revolutionized low cost digital mixing in studios and live applications. Soundcraft’s award-winning range of nearfield studio monitors – Absolute Zero, Absolute 2 and Absolute 4P – have taken the Soundcraft name into top studios such as The Roundhouse and Ridge Farm, and won many friends in the production A Range of world. -
Digital Effects Module Owner's Manual
DIGITAL EFFECTS MODULE OWNER'S MANUAL Introduction . Thank you for purchasing the DEP (Abbrev For: Digital Effects Processor). To take full advantageof the DEP 's functions, and to enjoy long and trouble-free use, please read this user's manual carefully. How To Use This Manual . This manual is divided into the following sections describing the various modes of the DEP. Though we recommend you take time to read through the entire manual once carefully, those having general knowledge about effects devices should use the table of contents to reference specific functions. Chapter 1: Your First Session with theDEP . A basic introduction on operating the DEP, auditioning the factory programs, and adjusting levels. Chapter 2: Connections. This chapter explains how to connect the DEP to an instrument, mixing console or an amplifier. Chapter 3: Overview of Programs. A summary of the 16 programs in the DEP, including the function of the Adjust knob. Chapter 4: Description of Controls. An explanation of all connectors and knobs on the DEP. Use this chapter as a quick reference guide when searching for specific information. Chapter 5: Troubleshooting. This chapter contains troubleshooting tips and service information should problems occur. Conventions . The knobs and rear panel connectors are referred to this manual just as their names appear on the DEP, using all capital letters and in brackets ( Example:[INPUT] Knob, [VARIATIONS] Knob, etc.) . When something important appears in the manual, an icon (like the one on the left) will appear in the left margin. This symbol indicates that this information is vital when operating the DEP. -
Dme64n / Dme24n
DIGITAL MIXING ENGINE DME64N / DME24N Programmabilityogrammability ProcessingProcessing PowerPow Intuitivelyively configuredconfigured usingusing CustomCustom cchipsethipset sspeciallypec Totally reliable yet utterly flexible, in the fields of is … PPCC softwarsoftwaree devedevelopedloped by YamahaYama Integrating a chipset specifically developed for the processing of digital signals, the broadcasting and music production, Yamaha's digital mixing engines of the Yamaha DME Series constitute DSP boxes with Network I/O/O SoundSou Quality exceptional processing power. Using a dedicated PC application, systems can be Compatible with CobraNetaNet and Excellent ssound quality inherited EtherSound digital aaudioudio from YaYamaham digital consoles DME Series is second to none. intuitively and flexibly assembled from a myriad of components such as mixers, networks equalizers, and compressors in addition to the delays, limiters, de-essers, matrix mixers,, While it goes without saying that mixing solutions for broadcasting stations and professional music-production studios must deliver routers, and other processors that are indispensable in the fields of broadcasting and excellent sound and performance, total reliability is the true mark of quality. The digital mixing engines of the Yamaha DME Series comfort- music production. Components may also be combined as powerful functional blocks, ScalabilityScalability EconomyEconomy Supportort for all systemsystem sizessizes,, which can then be arranged to create innovative solutions for downmixing, bass DramaticDramatic reductionreduction from the comcompactpact ably and efficiently satisfy this need. To achieve steadfast reliability, functional components are freely and flexibly assembled using a iin cablingbli costst management, and other critical processes in surround sound systems. Of course, these to the massive dedicated PC application in order to create systems where physical connections and wiring are reduced to the absolute minimum.