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World News

Remote-Mixing an Event 1,400 Miles Away

Posted on May 10, 2021 by ProSoundNetwork Editorial Staff

Wellington, New Zealand (May 10, 2021)—New Zealand has one of the lowest incidences of COVID-19 in the world, with only 2,644 cases to date. As a result, large-scale events have resumed in the island nation, including the recent annual Passionate Women’s Conference—the country’s largest event for Christian women. Australian sound engineer Rich Bryant usually travels to Wellington to mix the event broadcast, but due to travel restrictions, he wound up mixing a broadcast feed from his studio in Sydney just over 1,400 miles away.

The event, held in the Michael Fowler Centre in Wellington, included music, worship and spoken word presentations, so Bryant had his hands full. Conferring with Andrew Crawford at Australian A&H distributor TAG about how to approach a remote mix, he opted to work with Wellington-based Lampros Sound, which provided an Allen & Heath dLive DM64 MixRack at the venue that Bryant could control remotely from his Sydney studio. The DM64 was fitted with a Dante card for interfacing with the onsite AV network, plus a Waves card for virtual soundcheck and additional output processing.

The DM64 was connected to a dLive S7000 control surface in Sydney via a secure VPN connection, managed by Riverbed’s SD-WAN service, using the integrated network ports on both units. Luke Sheaves of Riverbed was on hand to provide IT and network support in Sydney, with Alistair Lambie of Lampros Sound monitoring the connection on the New Zealand end.

Australian sound engineer Rich Bryant used an Allen & Heath dLive S7000 in his Sydney studio (seen here) to mix the event 1,400 miles away.

Audio and video monitoring of the broadcast feed in Sydney was provided via an SRT stream to Bryant’s iPad, arriving with under 150 ms of latency. Another tool put to use was Audiomovers software, fed by the Waves card in the DM64, which was used to monitor the Solo/PAFL bus with a latency of 200ms. The Intercom Unity app, running on a second iPad, was used to handle comms between Bryant and the technical team in the venue.

Back onsite in Wellington, another DM64 – configured for multi-surface operation – was used to handle both FOH and MON duties, with a pair of S7000 control surfaces deployed for engineers Andrew Forde (MON) and Simon Faisandier (FOH). Two DX168 expanders were added to feed performer IEMs and provide additional AV I/O, with Waves and Dante cards utilized for audio transport and additional processing.

“What started as an ambitious endeavor ended as a resounding success” reflects Rich. “It was a truly ground-breaking weekend, and we couldn’t have done it without the dLive, and the support provided by TAG, Lampros Sound and Riverbed.”

Allen & Heath • www.allen-heath.com

World News

Rolling Live Celebrates Bowie with a Landmark Livestream

Posted on May 10, 2021 by Steve Harvey

Grammy-winning vocalist Catherine Russell (left), performing “Conversation Piece” on the A Bowie Celebration livestream Alyssa Lopez

Studio City, CA (May 10, 2021)—At the end of last year, barely six months after launching Rolling Live Studios, Kerry Brown found himself producing one of the most ambitious livestreamed events of the past year. Organized by pianist Mike Garson, A Bowie Celebration: Just for One Day! aired for 24 hours on Jan. 9 and featured live performances by dozens of Bowie band alumni and guests.

A music producer and musician with a credit list that includes the likes of Billy Corgan, Miley Cyrus and Jessica Simpson, Brown opened a studio and record store in Studio City at the beginning of 2020, shortly before COVID-19 arrived. “Having a record store was my childhood dream, and I built it just in time for the world to shut down,” he laughs.

Brown, a livestreaming pioneer, launched Rolling Live Studios in June to provide musicians sidelined by the pandemic with a concert platform. When Garson, an old friend and Bowie’s longest serving collaborator, asked Brown to help produce January’s three-hour-long event, he jumped at the chance to kick things up a notch.

Livestream Production: From Emerging Format to Industry Cornerstone

Partnering with Logitech’s Streamlabs company, Brown built out his service to also include a live chat stream and additional ticketing capabilities for the event. Patterned after Bowie’s 50th birthday bash at Madison Square Garden in 1997, the celebration featured an all-star cast covering over 40 career-spanning songs. With participants scattered around the globe, it was never going to be a live performance, but the concept, says Brown, was for everyone to record their parts and film them live so that he and his team could seamlessly stitch them together.

Duran Duran, for example, contributed “Five Years,” with Garson guesting on piano. “The core band went into a studio in London and shot separately, but on the same day, in front of a green screen. They composited it and sent it to me. I had [bassist] John Taylor, who was in L.A., come to my place and I shot him on green screen. Then I had Mike come in and play,” says Brown, whose production facility features a vintage API desk and Otari tape machine.

Kerry Brown went from opening a record store/studio at the start of 2020, to producing an all-star livestream honoring David Bowie by the end of the year. Kristin Burns

Collaborating with some of his Hollywood connections, Brown says, he ensured that all the camera perspectives matched. A virtual artist used Google Tilt Brush to create the video’s unique look.

John Crawford, creative director for Nine Inch Nails, shot and edited video of Trent Reznor, his wife Mariqueen Maandig and Atticus Ross performing “Fashion.” “We have some old TVs lying around in this space,” says Brown, “so I talked to my AV guy and got some converters, stacked them and played the video through them. For the livestream, Mike played piano live with Trent on the video wall, but after the show, we spent some time to post the video, adding additional TVs and putting more alumni members in, and released that.”

Backing tracks for most of the songs were provided by two core Bowie bands. “In L.A., we had guitarist Charlie Sexton, who came in from Austin, Alan Childs on drums, Carmine Rojas on bass and Mike Garson on piano. They came into my studio and had a COVID test every day.”

Guitarist Gerry Leonard recorded himself and bassist Mark Plati, drummer Sterling Campbell and guitarist Earl Slick at his New York studio, along with various local-area vocalists. “We shot them in the studio as they were recording, so it was as live as it could be,” says Brown.

Other vocalists added their parts to the backing tracks at their own studios or local facilities. Def Leppard’s Joe Elliott, covering “Ziggy Stardust,” literally phoned his vocals in. “He needed some work on his knee and said, ‘If you send me the track right now, I can do it on my iPhone before I go in’ [to surgery]. And he crushed it.”

U.K.-based Yungblud covered “Life on Mars” from London. Brown, invited by a friend to a Zoom event with the JPL and NASA engineers behind the Perseverance rover, pitched them on the idea of playing the song during the then-upcoming historic Mars landing. “It closed the NASA stream,” he says.

Yungblud’s label, Interscope, released the cover as a single in March. “It proves the power of this space,” says Brown.

Rolling Live Studios • www.rollinglivestudios.com

World News

Floating the Audio of the World Rowing Championships

Posted on November 30, 2020 by ProSoundNetwork Editorial Staff

The audio needs at this year’s World Rowing Championships included live and streaming sound, eight commentary channels in multiple languages, wireless mics for the medal ceremonies and music playback—all handled on one console.

Poznan, Poland (November 30, 2020)—There are nautical enthusiasts who may row, row, row their boat gently down the stream—but they are nowhere to be found at the World Rowing Championships. The word “gently” doesn’t appear either, because the event draws the best athletic rowers from around the world and the competition is fierce. The three-day rowing regatta is the annual culmination of the sport, bringing with it all the drama and excitement that one might expect as boats tear their way across aquatic expanses in record time. Ensuring that all in-person spectators at this year’s edition, held on Lake Malta in Poznan, Poland in October, could hear the commentary and become immersed in the experience was audio engineer Marcin Baran of MTS Studio, who mixed the event on an Allen & Heath SQ-5 console.

Baran chose the SQ-5 to handle all live and streaming sound, including eight commentary channels in multiple languages, wireless mics for the medal ceremonies and music playback. The SQ-5 was fitted with an SLink card, giving Baran the extra SLink port needed to deploy independent GX4816 and DX168 I/O expanders. One expander fed the various zones of the lakeside complex, while the second fed the main PA in the medals area as well as multiple speaker zones in the stands, with help from the built-in delays on the SQ’s busses. Further mixes were sent to commentators’ headphones, to two separate livestreams and to an OB van.

MixOne Sound Livestreams with A&H dLive

As heats started on the far side of the lake and ended 2 km from the spectators, a key challenge was to give fans in the grandstands and viewers at home a sense of immersion in the races. A submix of ambient mics captured the waterside sounds and starting signal from the start line, sent via old analog cables laid under the lakebed many years ago. The signal proved quite noisy, so Marcin connected a laptop running Waves X-Noise Native via the SQ’s USB port to identify and tackle the problem frequencies. Once the boats were underway, feeds from ambient mics from cameras mounted on a boat that followed the athletes, keeping the audience in contact with the action on the lake.

With so many different elements to stay across, automation and streamlining of workflows were essential, as Baran noted, “I created one group for all commentators that didn’t feed into any of the mixes, but triggered the duckers on all music inputs. I used an analog Bettermaker mastering limiter for the streaming and I used eight instances of SQ’s DynEQ4 dynamic EQ on all the commentator channels. With the mixer set up in this way, everything practically mixed itself, leaving my hands free to look after the music. For me, the SQ is a small, handy mixer with enormous possibilities. I love using this mixer on tour with bands, also SQ-5 is the heart of my mobile recording studio setup.”

Allen & Heath • www.allen-heath.com

Rowing World Championship • www.worldrowing.com

World News

Unlimited Fire Conference Streams with Waves

Posted on September 23, 2020 by ProSoundNetwork Editorial Staff

Audio provider ASIIS Indonesia used the Waves eMotion LV1 Live Mixer and Waves plug-ins for the broadcast streaming of the recent Unlimited Fire Conference – Power 2020.

Surakarta, Indonesia (September 22, 2020)—Audio provider ASIIS Indonesia used the Waves eMotion LV1 Live Mixer and Waves plug-ins for the broadcast streaming of the recent Unlimited Fire Conference – Power 2020.

The Unlimited Fire Conference, an interdenominational youth network, was based this year in Solo City (Surakarta), Indonesia and featured the Unlimited Fire band, consisting of five vocalists, four musicians a pastor and two hosts. ASIIS (Acoustic, Sound, Image, Integrated, Solution), based in Indonesia, provided the internet system, broadcast system, tracking and mixing for the Unlimited Fire band’s main worship sessions.

“Our setup’s function is centered on direct-from-stage to the eMotion LV1 Stageboxes,” says Andy Mulya Sutikno, production director/mixing engineer and owner and director of PT. ASIIS Indonesia. “We used two SoundStudio STG 2412 Stageboxes for the stage, and one STG-1608 for monitor mixing and an additional one for broadcast mixing, feeding our nearfield Amphion One18 monitors. When working with the SoundStudio Stageboxes, we are able to get very clean and controlled high frequencies, solid and tight low frequencies, and warm yet articulated mid and mid-low to get the hi-fi feel of a live mix. We supported the venue’s existing backline via a Waves SoundGrid network that connects the broadcast mixer with the monitor mixer — with gain sharing from the various Stageboxes in the SoundGrid network.”

Waves Ships Kaleidoscopes Plug-in

He continues, “The whole conference was broken down into nine sessions that involved a chat, a music video, hosts, worship and sermon. The chat was recorded elsewhere, and I recorded and mixed the worship and sermon. The music video was shot separately by the church.

“The church’s media team took the worship and pastor sessions that I mixed and then combined it with the other bits and streamed it. We used the eMotion LV1 for tracking and direct mastering for sermons that go direct to a multimedia team for video editing. So, we had materials that were recorded at the moment, together with materials to be sent direct, mixed and mastered, minus sound editing.”

He goes on: “The sessions were recorded beforehand with the Waves eMotion LV1 live mixer, and we then supplied the band’s six sessions for the playback tracks using a Waves SoundGrid Driver to send data over a Cat 6 Ethernet cable. We received their prerecorded tracks and prerecorded multitracks which included bass synths, 808s, claps, pads, synths, brass, strings, backing vocals, effects, clicks and guiding vocals — less than 20 hours before they are supposed to be on air! There were about 30-plus channel sequencer tracks that we had to manually arrange in time, together with the existing tracks that we already recorded.”

Waves • www.waves.com

World News

12Stone Church Turns to Royer

Posted on September 23, 2020 by ProSoundNetwork Editorial Staff

(left to right): Dennis Frazier and Russell Allen of 12Stone Church.

Northeast, GA (September 22, 2020)—12Stone Church may have eight locations across three counties in Georgia, but it also reaches more than 20,000 people through its digital ministry. With the pandemic making streamed services more popular (and necessary) than ever before, the church recently integrated some of its studio gear into its streaming setup, resulting in a number of Royer microphones being employed to ensure everything was captured properly.

The church has been using a variety of Royer microphones for over 10 years, originally for studio and live event production. Russell Allen, worship development pastor/music director and audio director Dennis Frazier oversee the various aspects of the church’s audio production. They’ve acquired R-121s, R-10s, R-122s, and an SF-24 Stereo Ribbon microphone over time.

Choir Connects with Royer Ribbons

According to Allen, “We’ve had these mics for a good 10 years or so, but we really zoned into the R-121s and R-10s on the guitar cabs as recently as four years ago. Services are very contemporary in nature. We have eight campuses with a full 8-10 person live band/vocal team. There are typically three to five front line vocalists and a five-person backline (drums, bass, keys, and two guitars). We typically program a three-song set list (same songs at each campus) per weekend.”

When the pandemic came along, Frazier noted, “We had so much success in the studio with the R-121s on our stereo guitar rigs that we decided to go completely stereo for our live broadcast using all R-121s as well. Think about it, with COVID moving every church 100% online – now every person’s listening experience was immediately put under the microscope of a more ‘studio’ and ‘unforgiving’ environment. You must manufacture space, and reverb, and delay, and EQ to fill frequency space that otherwise gets lost in the room depending on the size and treatment of the space. We were so pleased with the real and raw sounds from our guitar world with the R-121s that it really helped shape our mix philosophy for our online expression. We are a guitar-forward modern rock worship culture and the R-121s help us capture the uniqueness of our sources in the purest and truest way.”

12Stone Church • https://12stone.com

Royer Labs • www.royerlabs.com.

World News

Hellooo TV Streams Live with DiGiCo

Posted on July 29, 2020 by ProSoundNetwork Editorial Staff

Hellooo TV, the brainchild of live sound engineer Erik Rogers and producer and documentary photographer Paris Visone, is delivering weekly streamed music performances using touring gear from DiGiCo

Nashville, TN (July 29, 2020) — Hellooo TV, the brainchild of live sound engineer Erik Rogers and producer and documentary photographer Paris Visone, is delivering weekly streamed music performances using touring gear from DiGiCo

Performances are shot live at a soundstage at Special Events Services’ (SES) facility in Nashville, with each live audio mix streamed as a set with only minimal editing and color correction while using the same audio platforms these artists used when they were on the road: a DiGiCo Quantum7 console for front-of-house and DiGiCo SD10 for monitors, both supplied by Clair Global. In addition, Hellooo TV employs a KLANG:fabrik monitoring solution in an innovative manner, using its 3D capability as the front end of the final show mix, providing those listening over headphones with a truly immersive listening experience.

Mixing Mariah at the Colosseum: Live Sound Showcase

Rogers, whose touring CV ranges from Godsmack, Avenged Sevenfold, Apocalyptica and Testament to Dustin Lynch and Hunter Hayes, realized that, after the global touring shut down in March, the Zoom shows and other online-from-our-basement performances that sprang up weren’t enough to fill the void left by the end of professionally produced concerts that deploy touring-grade technology. So he and Visone created Hellooo TV, working first within a space at Soundcheck in Nashville, then at SES, where they built their own soundstage for the concerts.

“There is no fixing in the mix, no punch-ins, no edits — each performance is a live show, just time shifted for streaming,” says Rogers. “The artists understand that they prepare for our shows as they would any actual live performance — the energy, the tension, it’s all there — and it comes across in a way that ‘home and basement’ shows don’t. That’s why we needed to use the same equipment we use on tour, which is DiGiCo.”

At FOH, Rogers mixes the live sets from the Quantum7. He says it fits the workflow for Hellooo TV’s format perfectly: “The flexibility of the Quantum7 is endless; I can put anything, anywhere.”

Rogers routes his subgroups through the KLANG:fabrik during the mix. “When you listen over headphones or earbuds, the effect is incredible, and it really does translate over the stream,” he says. “It accurately emulates that immersive sound of an arena when you’re standing in front of the stage.”

According to Hellooo TV monitor engineer Mike Babcock, who has worked with Lamb of God, Coheed and Cambria, and Tanya Tucker, “Whether it’s wedges or IEMs or a mixture of both, the SD10 is a console that gives me the flexibility to create a layout and workflow that allows me to quickly fill the variety of needs for any size act.”

DiGiCo • www.digico.biz

World News

BNY Makes Waves with At-Home Setup

Posted on July 23, 2020 by ProSoundNetwork Editorial Staff

Ben Kristijanto (left) and Bill Kristijanto (right), owners of BNY Productions

Knoxville, TN (July 23, 2020) — BNY Productions, which provides production services for U.S. political rallies and speeches, is using the Waves eMotion LV1 Live Mixer and Waves plug-ins as part of an at-home broadcast production workflow for a notable client.

“We were out on the road with a client, using the Waves eMotion LV1 mixer and also supplying video, lighting, staging, and room accessories such as stanchion, flags, pipe and drape, and more,” recalls Bill Kristijanto, co-owner of BNY Productions, which is headquartered in Sioux City, IA. “However, due to COVID-19, the client had to stop doing all live events. They came to us for a solution to be able to do broadcast, without a crew in the room. Subsequently, we needed to build a TV/broadcast studio that was able to handle the client’s needs, such as phone interviews, podcast, video conferencing, direct-to-camera recording, live network TV interviews and live virtual events, while being controlled/produced off site.”

Newhope Church Livestreams with Waves

He adds, “To clarify, the only person accompanying the client is his personal assistant, so everyone else — the audio engineer, lighting engineer, video engineer, shader, producers, and everything in-between — is off-site and in a different state. To make things a little more complicated, the client has a team of people who are involved in producing/directing the events who are scattered in different states, and they too need to monitor the feed at near-zero latency.”

He continues, “Little did we know that our decision to move to the eMotion LV1 in 2016 was the best choice we could have made for a situation such as this, and today we own 10 Waves eMotion LV1 mixers. We are now able to easily remote into the mixer from states away. This is definitely a feature that wouldn’t be as easy to do with any other console on the market. The LV1’s strengths and capabilities continue to reaffirm that we made the right decision four years ago.”

The Control Studio at BNY’s headquarters includes two SoundGrid Extreme Server-Cs and an Apogee Symphony I/O Mk II 8×8+8MP. The client’s Remote Studio includes two SoundGrid Extreme Server-Cs and 3 DiGiGrid IOX I/O interfaces. The Remote Studio audio signal chain starts with either a DPA 4017B shotgun mic or a DPA lavalier mic, into a DiGiGrid IOX I/O interface. The client has an option of monitoring through an IFB or a wedge, depending on the event, says Kristijanto.

Out of the console, the audio gets embedded into the video system, which then goes into a custom server handling point-to-point streaming to the Control Studio for low-latency monitoring. Once the data is decoded by another custom server in the Control Studio, the audio goes into a Waves LV1 system using an Apogee Symphony I/O, monitored through a Meyer Bluehorn system.

With the at-home setup, BNY can have different engineers and operators working on the event from different locations. “For example, we can have a video engineer in Pennsylvania, a shader in Washington, D.C. and an audio engineer in Iowa,” he says.

Waves • www.waves.com

World News

EDM Gets Cube-ist in Australia

Posted on July 10, 2020 by ProSoundNetwork Editorial Staff

A DiGiCo SD9 is used for a variety of mix responsibilities inside The Cube.

Melbourne, Australia (July 10, 2020)—There may not be a lot of live events going on, but for those who long for EDM with the requisite visual grandiosity, they might do well to check out The Cube, a livestreaming event space gaining traction in the world of live DJ streaming. While visually impactful, the sound is equally important, and for the livestream broadcast mix, a DiGiCo SD9 is employed.

Aiming to embody the visual flair of a festival stage, the Cube is a compact streaming space created as a collaboration between Melbourne AV retailer Concert Audio Visual, lighting and visuals specialists VizFx and Melbourne-based online radio station LESH FM. The SD9, supplied by DiGiCo’s Australian distributor, Group Technologies, was chosen for mixing pre-broadcast audio, as well as handling the stage monitor mix, DJ Booth audio and Front of House mix.

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Anthony Graziani, Concert AV’s Sales Manager and one of The Cube’s primary team members, explained, “The SD9 can accomplish a lot from such a compact format. The routing options and onboard signal processing mean we have something in place that is well suited for supporting DJ performance audio but can just as easily handle mixing an entire band for the stream, or whatever else you can throw at it.”

The team’s in-house engineer, Oliver Coupe Sando, adds that the SD9 was chosen for its sonic transparency.

“When we stream, we’re looking to introduce as little tone shaping and color to the sound as possible, so that we can translate what we’re hearing in the space, to people’s headphones and living rooms, with the maximum amount of clarity available to us,” he explains.

Group Technologies • www.grouptechnologies.com.au

DiGiCo • www.digico.biz

World News

Newhope Church Livestreams with Waves

Posted on July 8, 2020 by ProSoundNetwork Editorial Staff

Dave Bookhout, director of Creative Arts & Worship of Newhope Church in Durham, NC, with the church’s Waves eMotion LV1 Live Mixer.

Durham, NC (July 8, 2020)—Under the COVID-19 pandemic, many houses of worship have turned to livestreaming to continue reaching their communities. Creating a fulfilling worship experience for viewers online is no simple task, as Dave Bookhout, director of Creative Arts & Worship of Newhope Church in Durham, North Carolina, has seen in recent times. While the church has livestreamed since before the health crisis, Bookhout has been using a variety of technologies, including a Waves eMotion LV1 Live Mixer and Waves plug-ins, to stream the church’s services and ensure they sound as intended.

“We’ve been broadcasting our services from our six campuses (Durham, Garner, Hillsborough, Wake Forest, Sanford, Kenya, and iCampus) for a while now, but since COVID, it’s become the most important thing we do on a weekly basis,” said Bookhout. “Sometimes we broadcast live using the eMotion LV1, and at other times we pre-record and then mix and master the broadcast using Logic, with all the same Waves plug-ins that we use on the LV1. Week in and week out, we use the Waves eMotion LV1 live mixer in our broadcast suite.”

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“We are running four Dell TouchScreen monitors in our setup,” Bookhout says about the church’s system; “Our DiGiGrid MGO optical MADI interface transports 128 channels between two MADI cards in our Midas Neutron and the Waves SoundGrid network. We have a Waves SoundGrid Extreme Server to handle the plug-in processing; we have almost every Waves plug-in in our arsenal, and we are using many of them at any given time, so a powerful server is crucial. We also have a DiGiGrid IOC audio interface in our broadcast suite functioning as the LV1’s local I/O to transport audio to our studio monitors. We run 48 channels of the Waves SuperRack at front-of-house, using a Midas Pro X console, all I/Os being shared with the broadcast suite. So, we have 128 channels going on/off the Waves SoundGrid network, and the broadcast suite uses 72 channels while FOH has access to 48. We also utilize the SoundGrid Driver with a DAW for virtual sound check at both FOH and for broadcast, to get everything dialed in between our rehearsals and Sunday morning. That’s invaluable for us.”

On choosing the LV1 for streaming, Bookhout says, “We were already running SoundGrid through our Midas console at FOH, so adding LV1 for broadcast was a no-brainer. Also, the ability to run Waves plug-ins on every channel as well as on the master gives us every tool needed to create an incredible mix. When broadcasting to Facebook and YouTube, mastering is ultra-important, and we are able to achieve great results that we were only able to hear previously when mastering in a DAW.”

He sums it up: “Adding eMotion LV1 into our streaming/broadcast workflow has greatly improved our mix quality. Having the ability to drop any Waves plug-in on any channel at any time is powerful. When people tune in to our online broadcast, there is nothing more important than the mix. It doesn’t matter how good our video is; if the audio is sub-par, people will quickly leave and watch something else. Waves gives us every tool we need to build the best online streaming mix possible, which allows us to create incredible worship experiences, week in and week out.”

Waves • www.waves.com

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