Ad info:http:// foh.hotims.com News Rock, Pop and Retro Folk Concerts Tour This Summer with Heil Sound FAIRVIEW HEIGHTS, IL — As Billy Gibbons said recently, “Yep, we’re the same three guys and the same three chords.” That little old band from Texas, ZZ Top, has been touring this summer with Heil Sound PR 30 and PR 40s used by drummer Frank Beards. A pair of PR 30s is being used on Gibbon’s guitar cabinets, and a pair of PR 40s on Dusty Rhodes bass rig. Also along on this tour are the Stray Cats with Brian Setzer, who is using PR 30s on his guitar cabs. Clair Brothers is providing the production for the tour. Also on the road this summer is the American Idol Live! tour, which traveled with a package of Heil Sound microphones. Ten finalists from the latest installment of American Idol, including winner Jordin Sparks, are performing arenas and state fairs throughout the U.S. Drummer Gromyko Collins is using PR 30s on overheads, a PR 40 on kick and PR 20s on snare and toms. The band also uses PR 40s for the backup singers and PR 30s on guitars. OCTOBER 2007 www.fohonline.com Joan Baez spent much of the summer playing at festivals and theatres throughout Germany, Spain, France and the U.K. Monitor Engineer Jason Rabion, working with Heil Sound, provided Baez with a prototype PR 35 mic. Joe Walsh wrapped up his summer tour at the Mahaffey Theater in St. Petersburg, Fla. Walsh’s tour used 40 Heil Sound microphones for his band, which consists of two drummers, bass, keyboard, additional guitar player and three backup singers. No Rest During Summer Break WEST CHESTER, PA — Acoustical consulting firm SIA Acoustics employed an Aviom Pro64 digital snake — featuring the new 6416dio Digital I/O Module — during the 10week MAD SQ MUSIC concert series featuring jazz and R&B performers this summer in New York City’s Madison Square Park. Aviom gear was also used on Taylor Hicks’ tour, as drummer Felix “D-Kat” Pollard used a Pro16 personal monitor mixing system. Chicago drummer Danny Seraphine has been using his Aviom monitor rig on the road in support of the new band’s debut CD, California Transit Authority. ZZ Top has the same three chords and new Heil mics. Mom & Company Celebrates in Montreal <strong>FOH</strong> at Mom & Company in the Theatre St-Denis MONTREAL, QUE- BEC — Allen & Heath’s iLive digital mixing system was recently employed to manage a sold-out event, entitled Mom & Company, held in Montreal’s 2,200-capacity performance venue, Theatre St-Denis 1. The variety show was themed as a celebration of parenthood, featuring 2 MCs and live entertainment. An iLive system comprised of an iDR10 stage rack and an iLive-144 control surface was used for <strong>FOH</strong> sound. The show used 56 mic inputs, 16 digital inputs and eight digital outputs. In addition to the 54 mics, digital inputs included two CD players, three additional effects processors and three VTRs. Head of sound for the event was Robert Grimard, who was responsible for programming iLive and mixed the main comedy show. Technical Designer Gil Perron from Reno Productions specified the system for the event. Grimard commented, “It’s hard to say which feature of this mixing system impresses me the most, but I must say that if I had to name a few of the things that really DON’T FORGET TO VOTE ONLINE FOR 7 TH Annual Parnelli Awards at www.parnelliawards. com/vote blow me away it would definitely start with audio quality — iLive is the most analogsounding digital system I have ever tried.” Dany Bedar’s engineer, Dan Meir added, “After a couple of minutes, I felt very comfortable with the basic operations of the iLive system. Even though I’ve had plenty of experience in the digital domain, I was surprised by iLive’s simple, straight-tothe-point, analog-like feel. The EQ section sounded very transparent — no digital harshness of any kind — and I am very impressed with the smoothness of the high ends. It’s great to be able to mix instead of just compensate, as I am used to doing on other digital consoles.” Oregon Jamboree Jams Out PORTLAND, OR — Horne Audio Inc. used a combination of compact Electro-Voice line arrays to keep sound focused and sightlines open at the recent Oregon Jamboree country music festival. “Our client asked that we try an alternative to ground-stacked subs to keep the low end from overwhelming the seating areas directly in front of the stage,” says J. Peter Horne. “So, we decided to fly two side-by-side arrays of six XLC215 subs per side, keeping the low end off the ground alongside our main hangs of twelve XLC-DVX per side and side fill arrays of eight XLD281 per side.” The company flew down-fill hangs of two XLD281 boxes under each main XLC array and flew a delay tower array of XLC-DVX. “The coupling effect with the sub arrays worked very well, as it gave us the low-end output we needed for this deep venue without blocking the view — six-deep sub arrays meant we were well clear of the deck — or focusing too much energy on the front rows,” Horne says. “Using this combination of compact XLC and XLD arrays allows us to provide full coverage and plenty of power handling without the clumsy footprint or crowded sightlines. We upgraded our XLC127 boxes to the new DVX woofers for this season, so now the whole EV rig is loaded with DVX woofers.” Taking place over the first weekend in August, this year’s Oregon Jamboree featured headliners Dierks Bentley, Trisha Yearwood and Jo Dee Messina. For the past five years, Horne Audio Inc. (Portland, Oregon) has used EV line array systems at the festival.
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