Michael Lawrence

2 weeks ago | prosoundweb.com | Michael Lawrence

In the previous installment of this series (here), we looked at the design process for this system; now let’s tune it. I have three microphones: a wired at front of house and two wireless. I will follow my usual color-coding convention: Green, Orange, Pink from top to bottom of the venue. That means the FOH wired mic is orange, and the two wireless are green and pink.

1 month ago | prosoundweb.com | Michael Lawrence

This article is the first in a series that follows an example step-by-step through a representative design and tuning process for a mid-sized arena. On the macro level, I follow pretty much the same steps and workflow as I would always follow on a similar job. However, along the way, we will see how the specifics of the day demand adjustments and changes where necessary. We start with an empty venue (Figure 1). The stage is in place and we have our laser in hand.

2 months ago | prosoundweb.com | Michael Lawrence

Flying subwoofers directly behind a flown full-range array is now a well-established approach in large-scale live sound reinforcement. Some people, when learning of the technique, inquire as to whether any of the output from the subwoofers is blocked by the mains. The typical answer is that the subwoofers emit low frequencies with long wavelengths (50 Hz = 22.5 ft/6.8 m) that can simply bend around the main hang and continue on their way, rather than being occluded.

Dec 17, 2024 | prosoundweb.com | Michael Lawrence

Previously (here), we looked at a real-world example of a design which benefited from extra attention paid to the vertical (front to back) plane with simple horizontal plane coverage requirements. Now let’s examine the opposite situation: a venue design in which the horizontal coverage will require a special focus.