The Best Place To Put Subwoofers Is......?

I read the following article on where the best place to put subwoofers is: http://www.prosoundweb.com/article/the_best_place_to_put_subwoofers_is/

Where would the best place to put subwoofers be? Hmmm... This article really got me to think about this question about what really would ultimately be the best solution for this question?


Although I have never had the chance to run a system with rigged and flown subwoofers, this article definitely gives a great argument as to why I would try this technique, especially after seeing the graphical information that they had shown. From my experiences of using subs at an on the ground position and having gone to many many concerts in my short life-time, that have also used the on the ground position for the subs, I can really understand a few reasons as to why they would place them at an on the ground position in the first place rather than flying them with the rest of the PA.

One good reason would be the fact that the reflections off the ground from the subwoofer help to make you feel the power of the low end throughout your body. And typically, from what I've encountered and noticed so far for the most part is that subwoofers are usually a lot bulkier and heavier than most high/mid/low loudspeaker cabinets, so keeping the subs on the ground makes it easier for the crew setting up their gear for show by not having to rig and fly the subwoofers along with the rest of the loudspeaker cabinets. Another reason would be the cost effectiveness. You don't need as many subwoofers on the ground as you do when you fly the subs due to the reflective coupling off of the ground from the subwoofers low end.

Now that I've said what I have said above, my argument for why flying the subs would be better would be that the frequency, polarity and crossover point response problems are near zero as compared to having the subs on the ground. So better frequency, polarity and crossover response would make for a better sounding show for most everyone that is in the arena, venue, or fairgrounds for a show.

So in conclusion, although I would still like to try and compare each system setup my self, I believe that having the subs still on the ground would make for a better and more cost effective way to use your subs in your mix.

LSI: U2 In The Round: Gargantuan Sound System

I read the following article for this weeks blog: http://www.livesound-digital.com/livesound/201108?sub_id=O3qJNluGb6bN&folio=12#pg14

First of all, I would like to start out by asking why? Even if you could, why would you need three consoles for running monitors? I don't care if you're the Queen of England or Jesus, nobody or no band should need more than one console to run monitors for the tour. That's disgusting to see people wasting their money on things like that when they could be taking it and putting it to better use.

On another note, I would love, love, love to be able to get the chance to hear this sound system in person!

Like the author of this article wrote early on, this system is a very gargantuantly large and massive PA system. Having that big of a system must have been a dream(or nightmare, lol!) for Joe O'Herlihy, the front of house engineer and sound designer for this tour and previous U2 tours throughout the last 30 years.

Reading that the tour was planned in only over a duration of a few years, I can only imagine how much time and man power went into the designing, pre-production and final construction of this system. Between lighting design and sound design, this is the most insane show production I have ever read about. Even in comparison to all of the shows I've been to in my young life, the colossal size of this production is almost ridiculous when I think about it sometimes. But it's so ridiculous that I feel the need to want to have a chance to be apart of this production, even after the fact that I don't care for or really enjoy any of U2's music.

The use of the SD7s at front of house is probably one of the best applications I've seen this beast of a console being used in. And I really liked the fact that Joe O'Herlihy still used a lot of analog outboard gear in conjunction with the digital SD7. I imagine that the capabilities of the SD7 in conjunction with some analog technology would produce an amazingly incredible sound, especially hearing it through the immensely huge line array system that was used through the duration of this tour.

Clair definitely had to step it up in order to match the needs of this tour, and it sounds like they pulled it off sevenfold. Being able to provide a system of this size is mind blowingly impressive and definitely gives Clair Global a name to not be underestimated within the live production realm of the industry.

The Two Pound, 72-channel Wireless console

I read the following article: http://www.prosoundweb.com/article/going_mobile_the_2_pound_72_channel_wireless_console/

I found this article to be very interesting. Coming from a background of running sound for my previous metal band, as well as for other small bars, clubs and venues back home in North Dakota, I found that this new sound system technology would be very useful in just about every live situation imaginable. 

First off, the cost effectiveness of having to deal with less gear without the sacrifice of sound quality makes this system worth making the switch to. Having the capability to be more mobile around the venue by using a tablet as the main control surface for the entire system would make it much easier to deal with smaller venues that have badly placed, "pre-installed" FOH locations. It would make the FOH area in bigger touring acts quite smaller as well, allowing for more seating to be available, which would make for more ticket sales.

Being able to do live tracking is a very cool and useful feature of this system. This would allow for the ability to be able to have live recorded tracks for live DVDs or live CDs as well as just being able to have live recordings of your very own band, if you so happen to be in one.

I also like the idea of the monitor engineer being able to dial in a monitor wedge mix with the talent right on the stage during line checks. This makes for a better and closer relationship with the talent as well as giving the monitor engineer the ability to more accurately dial in a monitor wedge mix for the talent because of being able to be in front of the different monitor mix areas on stage.

Another thing that intrigued me about this system was the fact that you will still be able to control it with a physical controller rather than just having the touch sensitive controllers as the only option. This will make it a better and easier transition for those whom rather have physical faders, knobs, buttons and switches within their consoles, like me.

Although the digital consoles of today are now becoming the standard in today's loud speaker systems, I find that this system is where the next generation of digital consoles will be journeying to within the next five to ten years from now. Until then, I look forward to hearing more about this system as it further progresses.