A large fire broke out early Sunday morning at a shoe store in the center of Druten Fire crews responded with extensive equipment to contain the blaze Authorities have not reported any injuries but police are investigating whether an explosion preceded the incident "We are looking into whether this fire was intentionally set," a police spokesperson said Emergency services advised residents in the area to keep their windows and doors closed due to smoke from the fire "Even during the final extinguishing efforts smoke is still being released," the Veiligheidsregio Gelderland-Zuid stated Firefighters had the blaze under control by 5:00 a.m The extent of the damage to surrounding buildings is still being assessed Authorities have not received reports of injuries Investigators continue to examine the site to determine the cause of the fire a live sound engineer is not a role that the average music fan totally understands Ken “Pooch” Druten is here to clear things up with his first-hand experience on tour The main comment I get when people find out I am a live sound engineer is “Your job must be so cool.” And it definitely is cool, but it’s probably not what you think it is. The job of the touring sound engineer is a good candidate for the internet meme of “What People Think I Do / What I Really Do.” The dream of hanging out with the musical elites partying late into the evening is not what my job is My job is 18-hour days in imperfect conditions and constant day-after-day repetition that is meant to break the faint of heart The travel is hard: 22 hours in airplanes or buses straight to the gig with no day off are commonplace Some tours have almost no days off These are travel days where you finish loading out at 7 AM and travel eight hours to the next city over and over and over.     While it may seem like I’m not painting such a great picture here—and make no mistake: I am not trying to deter you from your dreams—I am just pointing out that it is a hard life and you must really want this job with all your heart while having a passionate drive for wanting to be better at it We walk into an arena that is completely empty: Nothing on the floor using chalk to mark out on the floor where steel cable and chain motors are going to lift the 100,000 pounds of gear (or more—the current tour I am on is 250,000 lbs) that are currently being held in the 53-foot trucks that are now arriving from last night’s gig On average there are 10 to 20 of these trucks for an arena tour We use temporary chain hoists to lift all this gear into the sky above the stage and audience and Sound all use chain motors (each rated for a certain amount of weight—1,000 lbs is the most common) The chains must be hoisted into the rafters of the roof by hand It requires a tremendous amount of upper body strength and balance to pull the chain into the roof and secure it with wire rope around beams and whatever else is available They use a lot of geometry and math to safely attach things to the building but often the most important on the road Once all the chains are in the air in their proper positions we can begin to lift all the pieces necessary to do a show In the audio department that means a lot of speakers.  I forgot to mention that while riggers are hoisting chains in the air and weights are being calculated the audio system engineer is using computer prediction software to determine where the best placement for speakers are This person builds a computer model of the arena space and every speaker manufacturer has a piece of software that helps you build a speaker system in a virtual space to predict what will happen with real speakers in place and what angles the speaker boxes will be at to get the best result the riggers are made aware of where we need the chain motors to be located If one motor is not placed properly it could make for a horrible-sounding day consoles are being set up at FOH and Monitors There is quite a lot of cabling interconnect between gear at FOH and it takes time to set this up Most people don’t realize that we disconnect and reconnect everything every day Most of our cable is designed for long term misuse Everything is designed to be the least number of connections yet there are still on average more than 100 connections to be made at FOH and monitors If any one of those cables or connectors gets damaged it could be a very long day We protect them and try not to damage them when we load out Enroll in Microphone Techniques for Live Sound Production Other departments are setting up as well and making all their connections Things that are last to be pulled at the end of the night are the first to get laid in the morning the cable tangle and chaos would stop us in our tracks So sometimes we wait for the lighting people to put their cable down first There are very narrow windows of opportunity to get things done before another department needs to lay their cable over yours often ending well … and sometimes not so well The set pieces have begun to be built on the stage and the backline department is placing the drums and instruments in their proper places It’s about 1 PM now and the day is slipping away from us fast Once the musicians’ technicians have placed the instruments where they belong they begin to check them and we as the sound department have to run stage cable and place microphones This is one of the most crucial parts of our day.  Since everything is torn down every day and packed away in its respective places we must be very careful to unpack our microphones and place them in the same spots every day we use markings on the amplifier to help guide us to this spot and make it easier day after day Once the microphones are properly placed and wired on the stage we start with a line check This is something that we do as live sound engineers because every connection is unmade and made every day and we cannot guarantee that the connections have been made properly we do a thing called a “tap thru.” This is literally someone tapping on the side of every microphone to verify that the line is plugged into the correct spots When doing so we are very careful not to damage the microphone by tapping on it too hard or tapping on the diaphragm itself Just light taps on the side of the body can be heard with a pair of headphones and can verify that what the technician is tapping on is the expected place on the console If we discover it is incorrectly patched or we have a nonfunctioning line there is an exact order of determining where the problem is Always starting at the console we first verify that it is the microphone that is not broken (not common—but a definite possibility) We place the same type of microphone (one we know that functions) on the end of the first cable connected to the console (dynamic we know that the problem is later in the chain which is often the stage box (a metal box where many microphone cable connections meet) then it must be the XLR cable that is plugged into the microphone at the source Change the cable and hopefully this fixes our problem We always do things in a very methodical order to determine as quickly as possible where we are experiencing a problem we can concentrate on making sure the PA is in fully working order and we use measurement software called Smaart This is computer software that displays the difference between the intended sound from the mixer and the received sound at the measurement microphone and this real-time display informs the audio engineer’s decisions regarding delay times and other sound system adjustment parameters.  Using delay to align components within the PA is vital in getting a good result and often takes several hours to make sure that every place in the arena is getting the same information which is random noise that has equal energy per octave (which is different from white noise which has less energy in low frequencies) and we use music that we are familiar with to tune the PA We also use something called virtual soundcheck Virtual soundcheck is the act of recording the live multitrack files from a band either during a performance or during soundcheck and then playing those recorded files back through the console and down their respective channels.  I can closely see what the band is going to sound like through the PA that night with the interaction of the room we are in This is only something that has become available to engineers in the last 10 years or so and it really is an amazing tool After all these things are complete it is usually about 5 PM or so This is assuming that the day went smoothly we may end up working right up until concert goers are allowed in the building Normally we get a small break during this time and we go have a meal in catering or try to take a quick nap because our day is not even half over.   There is a saying in the live event industry that the show is the thing that gets in the way of load in and load out but we truly do what we do because we love the joy we bring to audiences There is no better feeling than being part of a show that people may talk about for the rest of their lives Some shows are truly life changing for concertgoers and I am very proud to be part of that an immediate flurry of activity happens as we do everything we did all day in reverse Things get packed up quickly and stored for use for tomorrow It takes upwards of 11 hours to unpack everything and make sure it is all functioning but only three hours to get it all packed away to travel to the next city.   By 2:30 AM we are usually driving away from the arena on our way to the next gig where we will start all over again at 6 AM.  we do three of these days in a row before we have a day where we do not work A lot of times the day “off” is a travel day where we are stuck on a tour bus for 12 to 14 hours We have a tremendous amount of gear: 32 trucks and 14 buses We are hanging more than 250,000 lbs of equipment over the heads of the crowd It takes a full two days to set the show up and a minimum of seven hours to load out This means that there are many on this tour that do not have a day off for more than three months and hopefully you remember to charge appropriately we are not built as humans to work without time to decompress.  There are some downsides to this lifestyle but the positives outweigh the negatives for most that decide to take this path I can’t emphasize enough that there is nothing on this planet that compares to the feeling of being a part of something that thousands of people are cheering for I remind myself on a regular basis that I am one of the luckiest people alive to be able to do something for work that I love I get to do something every single day that I have passion and adoration for and I am blessed that I have friends and family that respect that and understand how important my job is to me.  The factor that most don’t talk about is the toll it takes on the people you love I was away from home for 10 months (or more) a year And this went on year after year after year having a successful career as a live sound engineer effectively turns your spouse into a single parent In my life I got to come home from a tour and show up as “fun dad,” where my wife had to take on the role of enforcer and control the kids with discipline and structure: not a role she wanted but one that she was given because of my absence you are making sacrifices and so are your family members I have missed important days in the life of my family: Births The job of a touring FOH engineer can also be the most rewarding and exciting in its best moments I have many memories of mixing large scale shows (125,000 people at a Rock in Rio festival comes to mind) where everything went right It was an amazing show and the energy was infectious I brought joy to thousands and was part of an overall presentation of a band’s vision It still makes the hairs on my arms stand up to be part of a moment in a show during a guitar solo but you as an engineer are part of the moment by turning that up for the crowd There is a direct reaction to you pushing a fader up and excitement as that solo is delivered to the crowd There is no alcohol or drug that can replace this feeling It has kept me coming back for more for 35 plus years.   His track record of recognition for flawless engineering started at Berklee College of Music and has continued through three Grammy nominations and a history of Platinum and Gold records He is the FOH engineer and production master behind Jay-Z He holds close to a dozen FOH engineer accolades With the internet and digital technologies driving rapid change within the music industry articles about new releases and who has been hired and fired are no longer enough Our up to the minute industry news alongside insightful commentary helps our readers sift through the rumors and developments to find the information they need to keep their businesses moving forward Hypebot is read daily by more than 30,000 music industry professionals including executives and senior staff of music related tech firms every major label group and most indies as well as many managers artists and 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We also offer combined rates with MusicThinkTank.Testimony “I swear by Hypebot every morning over breakfast.” Derek Sivers Founder “Hypebot is the most focused music business centric resource we have.” Celia Hirschman One Little Indian Please enable JS and disable any ad blocker what Rachel Druten has done for the Coachella Valley these past 15 years is no secret generosity and philanthropic pursuits are the stuff of legend Druten will be honored at a private event sponsored by the Heather James Fine Arts Gallery in Palm Desert and the Visionaries of Tools for Tomorrow for her role as founder of the Tools for Tomorrow program started in 1999 Druten knows that she is being recognized for her 15 years of hard work and dedication to Tools For Tomorrow What she doesn't know is that Palm Desert Mayor Van Tanner will proclaim Nov In addition to founding and shepherding the Tools for Tomorrow program Rachel Druten is a published author of historical and contemporary romance novels She is an artist recognized for her commissioned portraits when he "gives back" as an Animal Samaritan therapy dog working through the Eisenhower Medical Center program Druten is on the board of directors of Tools for Tomorrow and Desert Friends of Music She has also been a frequent contributor to this Valley Voice column 501 (c) 3 on-site after school program that integrates art writing and drama for school children grades 3 to 5 Tools for Tomorrow provides qualified teachers all materials including musical equipment and refreshments Everything the program provides is free to the children and their families Tools for Tomorrow serves more than 1300 children a year in 17 schools throughout the Coachella Valley We have a waiting list of 150 to 200 children in every school Tools for Tomorrow's major annual fundraiser presented by the Visionairies of Tools for Tomorrow will be the 9th annual Vision For the Future Awards Luncheon on March 5 at the Westin Mission Hills Resort and Spa Rancho Mirage honoring Harold Matzner With this year's honoree and theme of "Lights Our ultimate goal is to make Tools for Tomorrow available to every child in our valley Through your generosity and attendance at the March 5 luncheon and/or becoming a member of the Visionaries we will be on our way to meeting this goal Please visit www.toolsfor­tomorrow.org or call (760) 601-3954 for more information Carol Curtis is publicity chairwoman for the nonprofit Visionaries of Tools for Tomorrow To continue reading this article you must be logged in Register or login below to unlock 3 free articles every month Or subscribe from just £7.99 and get unlimited access to thestage.co.uk Invest in The Stage today with a subscription starting at just £7.99 © Copyright The Stage Media Company Limited 2025 27 June to 20 July – Jermyn Street Theatre What's on Reviews Articles Theatre News Pub theatre profiles Getting into Theatre SO Award Nominations LPT Award Winners LPT Awards 2022 in pictures Subscribe to Newsletter Advertise with us Getting into theatre Our Team Request a reviewer Contact We are very proud to announce that LONDON PUB THEATRES MAGAZINE is now an OFFIE AWARD WINNING publication A ONEOFF Special Award (February 2024) has been awarded to London Pub Theatres Magazine and Editor Heather Jeffery for providing a vital forum for highlighting the excellent work that happens in rooms in pubs and an acute sense of the importance of tiny fringe venues to the health and development of British Theatre London pub theatres magazine is published in Rickmansworth by London Pub Theatres Magazine Ltd  ISSN 2977-6724  Update your browser to view this website correctly. Update my browser now Ken “Pooch” Van Druten (pictured) a three-time Grammy-nominated recording engineer and producer front-of-house engineer and tour/production manager became something of an unofficial brand ambassador for sE Electronics after trying the Voodoo VR1 microphone Fast forward a couple of years and Van Druten who has since turned numerous other FOH engineers on to the manufacturer’s products is about to embark on a European tour with Alter Bridge bringing along his personal collection of sE microphones Van Druten has served at FOH for a myriad of artists over the years but he is perhaps best known for his association with Linkin Park with whom he started working in January 2007 Impressed with the VR1s and having subsequently tried a wider selection of sE mics when Linkin Park began to gear up for a tour Van Druten recommended that the band add more of the brand’s models to its inventory you should check them out; we need to get them for the tour,” he recounts have the respect and the money backing to do whatever we would like there are now sE microphones all over Linkin Park’s stage.” I’ve liked them so much on Linkin Park that I’m taking them to other bands.” Next up for Van Druten and his sE mic collection is a month-long tour of Europe with Florida-based hard rockers Alter Bridge the Voodoo VR1s are typically paired with a speaker DI “But you can’t get the feeling of moving air out of a speaker DI that you can out of a microphone When you’re actually moving an acoustic to an electric transducer it’s different than electronics So one of the things I like is that combination; the Voodoo complements the speaker DI very well.” Linkin Park drummer Rob Bourdon’s kit is miked using a variety of sE models “We use the Rupert Neve-designed RN17s on all of our cymbals high-hats and rides; we mic from the top on hats and from the bottom on rides,” Van Druten reports you put them up and then you high-pass them because you’re in a live situation and you don’t want feedback The first thing the monitor engineer and I noticed with the 4400a’s was that when I high-passed them up they were flat—I didn’t have to make any of the normal adjustments in the super-high end.” Van Druten’s mic choice for snare drum is somewhat out of the ordinary “We’re using an sE4; it’s the first condenser microphone that I’ve able to use on the snare drum and not have the capsule collapse It has to handle 132 dB of snare drum for two hours every single day I think some of that is due to the way that our drummer plays He does a lot of almost jazz stuff in between snare hits that’s really super nuance-y so you can’t gate the snare drum because you won’t pick it all up That was what we liked about the sE4—it captures all of those nuances and yet survives getting clobbered.” Linkin Park has wholeheartedly committed to sE microphones “We have three complete groups of equipment that leapfrog around the world so anytime we replace something it’s a three-time purchase When you’re talking about spending $25,000 on microphones you’re actually talking about spending $75,000 on microphones and that gets the attention of an artist real quick But they agreed at the end of the very first rehearsal period these are so worth the investment and had improved the mix “I’m one of those guys that would not talk about a product that I don’t believe in What I like is when I find a product that I think excels and sounds really awesome and the people that are backing the product are really cool Visit sE Electronics at www.seelectronics.com Mix Staff an international media group and leading digital publisher Setting the action in a London Wall firm of solicitors at a time when there were 2.7 million unemployed in the UK Van Druten shows the situation many women faced: a life of low-wage drudgery as typists or secretaries from which matrimony offered the only escape But Van Druten makes his points through character rather than sermons he focuses on the dilemma faced by 19-year-old newcomer who is pursued avidly by the office Casanova and rather less diligently by a downstairs shipping clerk As a warning of the awful fate that may await her still slaving away for three quid a week and ultimately deserted by her longtime lover Alex Robertson as the suave seducer and Marty Cruickshank as a litigious fusspot all impress in a play that reminds us of a lost era – when middlebrow drama had a social purpose Tell us about it on Twitter using #GdnReview Think of the National’s 1994 revival of Githa Sowerby’s Rutherford & Son (1912) or the Finborough’s more recent revival of Distinguished Villa (1926) the Tabard’s new production of John Van Druten’s Bell Book and Candle is not one of those revivals The play proceeds on the assumption that witchcraft is real and that witches can fall in love It was written in 1948 but not staged until 1950 when Lilli Palmer appeared as Gillian Holroyd a young witch who falls in love with a man who lives in her apartment block The part had been rejected by Vivien Leigh who opted instead to lead in A Streetcar Named Desire (what was she thinking?!) and cast smoky and colourfully sparky spells in an ashtray conjuring – literally – indoor fireworks The Palmer-Harrisons even brought the production to London where it had a successful run in the West End despite competition from with one describing the play as “a mild romantic comedy in need of the salt and spices of super-acting” And that remains a perfect summary of the challenge it presents to anyone seeking to revive it Beth Burrows has the hardest task – to convince and endear as a lovestruck sorceress without the chemistry that comes with playing opposite one’s spouse and lacking a real cat or any special effects The strangely accented Edward Hayes-Neary is unconvincing as the romantic lead while Daniel Breakwell can do nothing but camp up his role as Gillian’s trickster brother Nicky who does her best to milk as much comedy as possible out of Van Druten’s dry and dated dialogue amping up her character’s mischievous side rather than simply presenting her as an elderly scatterbrain Completing the cast is Richard Lynson as a dry-as-dust author of books debunking or exposing witchery Book and Candle is worth seeing but only as a reminder of how weak comedies were near three quarters of a century ago The fault lies in the script not in the stars and in this production their best efforts and those of the costume designer are countered by a rather old-fashioned style of direction but young witch Gillian Holroyd’s mood is more restless than festive perhaps in the form of her attractive new tenant Yet he’s going to announce his engagement to her old school rival on New Year’s Eve Gillian could use her extraordinary magical powers to bind him with a spell Can she win his affection without resorting to the dark arts And what will it do to her if she succeeds Previous Noughts and Crosses at Theatre Royal Brighton Blood Brothers at Richmond Theatre | Review .st1{fill-rule:evenodd;clip-rule:evenodd;fill:#2a2a2a}By Community Bulletin0414LLchristine.jpg from Denville as Gillian Holroyd and Pierce V Lo from Middleville as Shep Henderson star in John Van Druten's "Bell Book and Candle" produced by The Chatham Players Use of and/or registration on any portion of this site constitutes acceptance of our User Agreement, (updated 8/1/2024) and acknowledgement of our Privacy Policy, and Your Privacy Choices and Rights (updated 1/1/2025) © 2025 Advance Local Media LLC. All rights reserved (About Us) The material on this site may not be reproduced except with the prior written permission of Advance Local Community Rules apply to all content you upload or otherwise submit to this site YouTube's privacy policy is available here and YouTube's terms of service is available here Ad Choices There is and always has been a thriving hunting culture on the islands uncles and aunts carefully train their youth from an early age instilling values as they instruct them in safety and proper care and handling of their gear Brian Van Druten runs North Carolina Hunter Safety Education classes on Hatteras Island attended by many of our youth Their statement: “Our group believes in the safe handling of firearms and teaching others to do the same We believe in being responsible and ethical firearm owners and hunters!” I myself do not hunt but I respect others’ decisions to hunt and fish for the many wild foods available in Eastern North Carolina especially on Hatteras and Ocracoke Islands I was inspired after seeing a recent heartfelt post by a local woman of impeccable honor Christy Oberbeck expressed concern that too many hunters were wasting their kill taking only the “choice” pieces and tossing the rest into a ditch a practice she and many others believe is disrespectful to the animal Her message: “You are missing out on one of the best hunter’s meals ever Stop focusing on the easy stuff and try something new are one of my top reasons for hunting in the first place!” I contacted her and another well respected hunter here to get a few answers about the integrity of hunting It has been very uplifting to see the morality they express was one of our Albatross Fleet captains for years “It was really important to him that we learned how to properly hunt We started with small animals and didn’t graduate to deer until we proved our aim.” at the right spot to be sure it isn’t just injured and cannot get away and suffer.” It is an almost surreal moment when it is real quiet My Dad says it brings us back to Native American traditions of respect.” Brian expressed similar awe as he said he and his family “always say a prayer for the animal and honor its sacrifice.” But he got into hunting because of his son They both killed their first duck on the same day The Oberbecks and Van Drutens both have raised their children on wild food and they now prefer it opting for a venison burger over  a hamburger “It is important for children to become connected with their food It is unhealthy for a society to be disconnected from their food source.”  Brian also believes it is healthy for kids to address finality Both families have taught their children to hunt There are lots fo great lessons to be learned:  respect for and love and enjoyment of nature and our environment and positive family time and sharing something they enjoy They both express how fulfilled they are from the experience of hunting even when they haven’t been “successful.”   There are days when they merely soak up nature There are other gifts that include seeing the odd bobcat and other wildlife CHRISTY AND DOUG OBERBECK’S BARBACOA FOR TACOs Original recipe calls for a full teaspoon of glove but it was way too much I cut it back the next time and liked it better We did ours in an enamel cast iron pot on the stovetop and just slow simmered it for about 4 hours We opted not to add the extra lard or oil at the end To stress Christy’s urging of the use of the shanks remember that Osso Buco is considered a very special dish usually reserved for special occasions or nights out It is usually one of the more expensive offers on a menu in a fine restaurant from thespruceeats.com “Osso Buco is a classic Italian dish of braised veal shanks In this inspired variation of the traditional recipe venison shanks are substituted for the veal shanks the Osso Buco will taste even better reheated the next day.” BRIAN AND KELLEY VAN DRUTEN’S STUFFED VENISON TENDERLOIN It is a choice cut but remember we are advocating use of the whole animal processes all his meat but uses a processor in Aden for their mild Italian sausage that he grills Now for an unexpected and unwritten recipe that Brian gave me over the phone He told me it is the favorite food at “God’s Bounty.”  Last year it was the first to go and there was 15 pounds of it on a table exploding with at least 30 other amazing choices He shot his first bear right after graduation from UNC- CH and Once he became skilled in bow hunting he wanted to try for another bear Brian said our local East Carolina black bears are “absolutely beautiful and so flavorful Phenomenal!” and attributes that to the large number of quality crops in our heavily farmed mainland Brown the meat with onions and garlic and cook in a crockpot to which you have added Cream of Mushroom soup Cook till it is fork tender and renders a rich gravy “God’s Bounty,” has been held every Winter until 2020 to raise funds for the Hatteras United Methodist Church happy to get together but even happier to taste nutria (I know … but I tried it and it was delicious!) goose Let’s hope they will be able to continue it next winter I don’t hunt either (tho’ love surf fishing!) Log in to leave a comment © 2025 Island Free Press. All Rights Reserved. Website Design & Marketing by GCP From the red carpet that greeted the nearly 400 guests to the lighted Hollywood sign on the stage the Old Town Artisan Studio Hearts for Art Gala shouted glamour and glitz of Hollywood themed "Hooray for Hollywood," was appropriately held at the La Quinta Resort which has hosted Hollywood's elite since the 1920s Guests in elegant gowns and tuxedos were greeted by Bella da Ball in a gorgeous red ball gown Carol Channing and Marilyn Monroe mingled with the crowd for photos The Rancho Mirage High School Choir conducted by Andrew Eisenmann entertained bidders at the extensive silent auction Radio personality and emcee Dan McGrath introduced the founder of Old Town Artisan Studio Victory Grund who said "This studio is a vision I have had since 2009 and over the years it has been like watching a child grow up surrounded by a village — you are that village." The nonprofit organization provides a studio for people of all ages to reveal their artistic expressions through the mediums of clay and fused glass Classes and independent studio time are blended with fee exempt instruction to numerous charities serving the interests of youth The vision continued in 2014 with the introduction of a mobile studio van that provides free art classes to schools and nonprofits including Angel View That night the vision grew even greater with the announcement of a capital campaign for an Art Park — a permanent location where everyone can experience the visual arts of all mediums and the performing arts of storytelling The Art Park will be designed by architect John Vuksic Executive director and chair of the event Linda Baughman thanked studio art director Stefania Ford and instructor Colby Cramer and recognized city of La Quinta officials Linda Evans look-alikes Carol Channing sang "Hello Dolly," Frank Sinatra crooned "New York New York," Dean Martin got the diners swaying to "Amore," and Marilyn Monroe dazzled everyone with "Diamonds Are a Girl's Best Friend." Honored for their contribution to the arts were Palm Springs Life society editor and TV host Gloria Greer (accepted by daughter Norma Greer Fishkind) author and founder of Tools for Tomorrow Rachel Druten Presented with the Alan Newman award were John and Sandra Leland and honored for their extraordinary service were Ron and Barbara Wilson Auctioneer Jay Fiske and McGrath began the lively live auction with first place in the valet line and carried it through to a flag flown at the U.S a cocktail party hosted in the home of Donna MacMillan The evening was enjoyed by supporters Dale and Carol Haes Landon In closing Grund thanked her "Man of La Mancha" husband Richard Grund for making her dreams come true The studio can accommodate parties and social events on a prearranged basis by contacting www.oldtownartisanstudio.org or (760) 777-1444 You are using an outdated browser. Please upgrade your browser or activate Google Chrome Frame to improve your experience Cape Hatteras Secondary’s baseball team racked up two wins Friday in a doubleheader against Albemarle School At the end the fifth inning in the first game Cape Hatteras playing as visitors scored two runs while Albemarle pushed across one run Preston Stowe knocked an inside-the-park homer in the third inning Cape Hatteras gathered six hits to Albemarle’s five hits Cape Hatteras gained first base on 11 walks and struck out 10 times Pitching for Cape Hatteras were Jesus Garcia for 1.2 innings; Trae Wyatt for 1 inning Liam Van Druten for 1 inning and Landen Sonnier for 2.1 innings Pitching for Albemarle were Ethan Hassell for 1.2 innings and Jay Borg for 4.1 innings Borg hurled four strikeouts while Hassell had one The Hurricanes scored five runs in the first inning two runs in the second and five more in the third Cape Hatteras next plays at home against Mattamuskeet on March 26 Cape Hatteras will have seven straight home games Senior night and family picture night will be held April 23 READ ABOUT MORE NEWS HERE. SUBSCRIBE TO THE COASTLAND TIMES TODAY! The Miami Heat (28-31) are at home in Southeast Division action against the Washington Wizards (11-48) on Monday,… The Norfolk State Spartans (25-4) will look to continue a 14-game winning streak when hitting the road against… The Washington Capitals’ Pierre-Luc Dubois and the Ottawa Senators’ Brady Tkachuk will be two of the top players… Southeast Division opponents square off when the Miami Heat (28-31) host the Washington Wizards (11-48) at Kaseya Center,… Connor McMichael will be on the ice when the Washington Capitals and Ottawa Senators meet on Monday Which season is most enjoyable on the Outer Banks View Results Concluding our coverage of the Iron Maiden 'Legacy of the Beast' tour FOH engineer Ken "Pooch" Van Druten shares how he approaches each instrument in the mix Concluding our coverage of the Iron Maiden ‘Legacy of the Beast’ tour FOH engineer Ken “Pooch” Van Druten shares how he approaches each instrument in the mix Bringing all that gear to bear on the mix meant Pooch could focus in on the details of the songs and that’s what makes this band sound great so I use the digital console with all its snapshot technology to get into those moments,” he says one of the tough parts about mixing them is that there’s three guitar players that all play Fenders through Marshalls so there’s somewhat similar tones and they’re certainly in the same frequency range; finding space so that you can pick them out individually in the mix is difficult My solution was to put them in their own panning spaces based on where they are on stage so he’s panned stage right—not panned hard all the way but he’s over there—while Adrian Smith is near the center and you can pick out every single guitar—but then I also had to build snapshots so that whenever one of the guitarists solos and then the next snapshot gets them back to their spot It’s those kinds of nuances that make a difference.” comprised of usual-suspect microphones like Shure 57s and a Palmer PDI-09 Junction Guitar Direct box which captured sound after the effects and preamps plus it picked up the warmth of the guitar amp itself there was another crucial guitar sound that had to be extremely present in the mix: the bass of Steve Harris “His bass tone is very different than anybody else out there; it’s almost like a fourth guitar because it doesn’t have a whole lot of low end in it,” Pooch concedes and the next loudest thing is the bass guitar He has a signature sound that you can’t capture with a DI; we use an SM7 on his cabinet Nicko McBrain’s drum sound was captured with a slew of mics starting with a Randall May system inside the kick drum used to support both a Shure Beta51 and a SM91 boundary mic to get some of the shell sound the snare was heard via a Shure SM57 on bottom and a Telefunken M80-SH on top chosen in part for its bump in the high-end to better capture the crack of the snare while the ride cymbal got a Mojave Audio MA-201fetVG LDC; that same model was used for overheads as well much of the drum kit real estate was taken up by no less than nine toms each with its own DPA d:vote 4099 CORE mic except for the 6-inch and 8-inch which shared one Faced with so many open microphones on the toms but rather than the gate getting its threshold information from the audio signal it comes from a trigger that is affixed on the side of each drum shell.” Over in the Iron Maiden Monitorworld sat a pair of DiGiCo SD desks; there longtime monitor engineer Steve “Gonzo” Smith looked after Harris’ mix while the rest of the band was under the watchful eye of Kevin “Tater” McCarthy While all three guitarists sported in-ear monitors there was still plenty of sound covering the stage—McBrain had his own giant while both Dickinson and Harris preferred to get their mixes from a vast assortment of speakers with one operated by each monitor engineer; Harris’ sidefills were old-school Turbosound TMS3s supplemented downstage by three sets of the band’s own custom wedges Dickinson preferred his own L-Acoustics sidefills further upstage closer to the drum kit and also heard upward of two-dozen d&b audiotechnik M2 and M4 wedges around the stage With the four-year Legacy of the Beast trek now over one might expect Iron Maiden to take it easy for a few minutes but the band will get back on the road in May; the 2023-24 Future Past tour will serve as the proper introduction to the new Senjutsu album while also shining a spotlight on the often-underplayed Somewhere in Time from 1986 who is still one of the most recent additions to a crew where most personnel have logged decades working for the group having been here for five years,” he laughed “They are an amazing band to work for; I will stay here for as long as they’ll have me.” Clive Young Clive Young is the co-editor of Mix Magazine and editor of MixOnline.com He was the editor in chief of Pro Sound News (Future's U.S Magazine of the Year - 2019) and is a four-time nominee for "Best Range Of Work By A Single Author" in the annual Neal Awards "Crank It Up: Live Sound Secrets of the Top Tour Engineers," and "Homemade Hollywood: Fans Behind The Camera." Additionally Young earned an MFA in Creative Writing from Hofstra University and is an adjunct professor at St Become a member of THIRTEEN ($5 monthly or $60 annually) and get access to THIRTEEN Passport as our thanks for your support Members get extended access to PBS video on demand and more “This carefully observed 1931 workplace drama is both of its time and ahead of it as it follows four single women working as typists at a law firm and navigating the rocky road of romance,” Diane Snyder wrote in Time Out New York Laura Collins-Hughes of the New York Times also gave it a rave review: “Watching Davis McCallum’s brisk pitch-perfect production at the Mint Theater Company feels like stumbling across a lost film classic by Howard Hawks: How did this fresh and fizzy thing fall into obscurity?” you enter a world where long-lost buried theatrical treasures come alive The walls are lined with photos from past Mint productions from Rachel Crothers’ 1918 play A Little Journey (a nominee for the first Pulitzer Prize in Drama) to Maurine Dallas Watkins’ backstage comedy So Help Me God (which starred Emmy winner Kristen Johnston and was directed by the Mint’s Producing Artistic Director Jonathan Bank) You can satisfy your inner theater and book nerd at the Mint’s bookstore which features play scripts and related scholarly works as well as Mint Theater Company tote bags and mugs Also in true Mint fashion, when you open your London Wall program, you’ll see an article by their dramaturg, Amy Stoller, devoted to the history and function of a “press-copier,” a prop used in the play. To learn all about press-copiers, read the Note From Our Dramaturg on pages 8-9 of the London Wall program The Mint Theater experience doesn’t end with the curtain call. Following select performances, you can attend “EnrichMINT Events” – discussions led by notable authors and scholars that help place the Mint’s plays in an historical, literary and social context. Watch “John Van Druten: Sex and the Single Girl” and other London Wall EnrichMINT videos here Theater Close-Up airs Thursdays at at 10 p.m. on WNET through November 27th and Mondays at 10:30 p.m. through December 1st on WLIW21. If you’re in our viewing area, you can also watch online on thirteen.org/TheaterCloseUp Learn more about the Mint Theater Company at minttheater.org ©2025 WNET THIRTEEN is part of The WNET Group and is operated by WNET a non-profit organization exempt from federal income tax under section 501(c)(3) of the Internal Revenue Code Students earning Principal’s List and Honor Roll recognition for Cape Hatteras Elementary School for the third quarter of the 2022-23 school year have been announced by Alvin Masarira  |  10 February 2022  |   About 20 years ago an American Adventist preacher came to my town to conduct an evangelistic series As I was driving him to the guest house after our first meeting he asked me a question that has been ringing in my head all these years: “Why do you guys sing like us in America I was looking forward to some African style of worship” but I am sure I didn’t give an adequate explanation Historical accounts as confirmed by Andy Hanson show that the first Adventist in South Africa was a transplanted Nevada miner named William Hunt who arrived in the late 1870s to work in the diamond diggings in Griqualand West He made his most celebrated convert in 1885 appealed to the General Conference for a Dutch minister to further instruct them and baptize them Van Druten enclosed about $250 to help cover expenses the Adventist Church has grown significantly in Africa Our continent is one of the fastest growing regions The three African divisions of the General Conference contribute almost 40% of the global membership and are home to hundreds of Adventist schools One would expect that such a significant segment of the world church would have moved out of the shadows of the culture of the founding European and American missionaries a review of the general condition of the Adventist church in Africa still shows significant evidence of Eurocentric domination For example: the recently held Southern Africa-Indian Ocean Division (SID) Bible & Mission Conference 2022 under the theme “The Remnant Church: Theological Challenges and the Role of Pastors This three-day conference was on the online (Zoom) platform and those invited to attend were pastors and spouses Of the fifteen presenters only two were resident in southern Africa The rest were either Europeans or Americans including the General Conference (GC) President and one of his general vice presidents Only those who planned this conference would know how the presenters were selected: whether this was an event planned by SID leaders and they decided on the presenters or if it was a GC event imposed on the SID it raises questions about the shadow of the West on the African church Although no one questions the role of the General Conference in defining Adventist doctrine and ensuring the global movement has common positions on matters pertaining to our fundamental beliefs the selection of the presenters who would spend three days speaking to the pastors and spouses and leaders in southern Africa gives a strong impression that the organisers and the General Conference do not believe that there are local theologians scholars and leaders who have competencies capacity and authority to speak on these issues When I saw this Bible & Mission Conference invitation do African speakers get invited to speak at equivalent events in North America and Europe—e.g. Trans-European Division (TED) or North American Division (NAD) Bible & Mission Conferences when will the Adventist Church in Africa move out of the shadows of the Euro-American influence in the church Everyone knows that it was the Europeans and Americans who brought the Adventist faith to Africa But there are also Africans who live in the diaspora It would be worth comparing how these two groups—African Americans and Africans on the continent—have adapted the Adventist faith and its practices There can be no easy and direct comparison between the African American experience that began in trans-Atlantic slavery which saw their ancestors shipped from the African continent in the 17th century and that of Africans on the continent who were visited by European colonialists and missionaries what is common is that the Judeo-Christian faith was foreign to both groups and had to be understood and assimilated in the context of their African culture A look at how the Christian faith is experienced and practiced in the African American community reveals some distinct features that are different to the Eurocentric community Although the fundamentals of the Biblical faith are similar the African Americans—including Seventh-day Adventists—have made strides in contextualising it to suit and address their own needs and lived realities Two of the main features of the church in the African American community are liberation and empowerment Given the history of slavery and Jim Crow laws as well as existing segregation and racial discrimination that exists in America the question of liberation still looms large Faith and worship therefore are a celebration of freedom (already experienced and freedom still to be achieved People enter and experience freedom through the liberating presence of the Holy Spirit Some even argue that it is this liberating theme that leads to the refusal by the black church to be victimised by the tyranny of the clock Black worship services can last for extended lengths of time Black music—singers and instrumentalists—aren’t necessarily governed by the written music notes Empowerment is also key in light of current and future struggles The black church is an agent of social cohesion a space for political activity and a hiding place in a hostile world and religious structures that seek to continue to oppress and rob them of their God-given rights The infusion of liberation and empowerment in the African American faith community resonates with the African understanding of life: we Africans tend to view life holistically where the secular and sacred are not mutually exclusive or in tension One of President Barack Obama’s most searing speeches on race relations in the United States was at the funeral service of the late Reverend Clementa Pinckney on June 26 Reverend Clem was the pastor of the Mother Emanuel African American church and was gunned down together with eight of his members in a racially motivated crime Clem was often asked why he chose to be a pastor and a public servant But the person who asked probably didn’t know the history of the AME [African Methodist Episcopal] church As our brothers and sisters in the AME church know “is not just within the walls of the congregation but…the life and community in which our congregation resides.” He embodied the idea that our Christian faith demands deeds and not just words; that the “sweet hour of prayer” actually lasts the whole week long—that to put our faith in action is more than individual salvation it’s about our collective salvation; that to feed the hungry and clothe the naked and house the homeless is not just a call for isolated charity but the imperative of a just society This is an excellent summary of the philosophy of the African American church There is more that can be said to describe how African American Christians have made strides in domesticating their faith as well as moving away from the shadows of Eurocentrism Even the whole question of regional conferences in the NAD is part of this narrative The Adventist Church on the African continent has made less progress in this regard A typical Adventist service on a Sabbath is comparable with an ordinary church service in the United States as our American guest preacher noted 20 years ago There is a sense—dare I say a belief?—that Adventism is not authentic unless it mirrors that which was brought by the missionaries in the late 19th century but in general nothing much has changed in the last 140 years the Sabbath worship does not reflect the entire spectrum of the lived experience of people but it is indicative of our fundamental belief system that the recent SID Bible & Missions Conference 2022 was dominated by General Conference and American presenters did not surprise me The African church is still deep in the shadow of the American church There is very little that has been contextualized to reflect the local conditions Over the century since the missionaries arrived there are still arguments about whether the African drum belongs in an Adventist worship service There are still many parts of Africa where African traditional clothing (which is modest and decent) is not seen as appropriate for church on Sabbath Church leadership is seldom intentional about encouraging local leaders to develop an authentic African Adventism There is a perception among many that anything that deviates from the Adventism that came within the European context and packaging is a denial of the faith It needs to be reiterated that the questions around Euro- vs Afrocentrism in Adventism are in no way a criticism of Adventist fundamental tenets of faith but rather an issue of how they are interpreted and experienced to speak to the specific characteristics of each culture and society I propose some possible ways to assist in the growth of the Adventist Church in Africa as it seeks to be more relevant to the community it operates in and seeks to serve there is a need for more robust conversations driven by lay Adventists since conversations inside the organisation led by church workers and leaders tend to be characterised by fear of reprisal—whatever that means Church workers seem frightened that they will be seen as criticising and challenging the organisation The Adventist Church is fond of reminding us that it is we members who make up the church—and in this case the burden for change rests on the shoulders of us lay members because the organization is reluctant to self-critique these conversations have already started taking place in the two years since the church moved from church buildings to private homes We should be intense and intentional about coming up with practical even if it initially brings no changes in the thinking of those at the conference or union conference levels we should continuously challenge church leadership Strange as it might sound after what I’ve just said it is my experience that some church leaders are open to proposals and ideas on how to improve the church and make it more relevant to the world Church leadership knows that a lot of good ideas come from the grassroots of the church Even if leadership lacks the boldness and courage to make tough decisions that lead to real change That should encourage lay members to keep talking and engaging with leaders there is a new generation of young Adventists in Africa that is no longer willing to accept things as they have always been done The youth are asking difficult questions around this interface between their Adventist faith and who they are as Africans their lived experiences and their community identity The church needs to take these questions seriously because young Adventists might not have enough loyalty to the organization to remain in the church if they don’t experience it as reflecting who they are We can no longer ignore that the African Adventist Church has been living under the influence of a Eurocentric cultural cloud for way too long Alvin Masarira is originally from Zimbabwe and is a structural engineering consultant based in Johannesburg To comment, click/tap here. 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DiGiCo consoles have stayed busy as of late working Justin Beiber’s European tour The Revolution’s shows in Minneapolis following Prince’s death Ken “Pooch” Van Druten at the tour’s DiGiCo SD7 FOH console One thing that all of these engineers have in common is their console of choice depending on DiGiCo desks to control the audio world on each and every one of those tours On the current European leg of Bieber’s 2016 Purpose World Tour which is being globally supported by VER Tour Sound Van Druten and monitor engineer Alex MacLeod are using a pair of fully loaded DiGiCo SD7s to run more than 120 input channels Van Druten was quick to point out that pop is not only driving the revenue—it’s driving the tech as well “We are doing things on this tour with technology that are way beyond anything I have seen on any rock tour,” he says Part of this is simply a question of logistics With four and a half years under his belt with Bieber and it’s that “seen-it-all” experience coupled with the flexibility of the SD7 that allows him to wrangle an astounding number of mix outputs is a huge number of talkback systems,” MacLeod says It’s not just the monitor engineer talking to the artist or the band or some kind of party-line with everyone on all the time “Some people have switched systems so that a band member can switch between a feed that lets them talk to the rest of the band or one that allows them to talk to their tech There are feeds for dancers and choreographers and stage managers I literally could not do this on anything other than an SD7 The DiGiCo platform is a huge part of pulling off this tour.” “Just think about the insanity of that for a minute,” Van Druten interjects “A band member can be talking to another band member while two different techs are talking to each other and a band member is talking to a specific tech and Alex is talking to Justin And this is all happening at the same time It’s all a part of the architecture of the system based on the DiGiCo SD7 and the Optocore audio transport and I really don’t believe there is another system from any other audio manufacturer at this point that would allow this kind of flexibility This show could literally not happen right now without the SD7.” This kind of flexibility elevates the level of inter-band and inter-tech communication that goes way beyond the old days of a tech running up to the monitor engineer and screaming that there is an issue with the guitar and he is going out onto the stage to try to fix it I was initially struck by the complexity of the system,” he says “But that changed pretty quickly and I am now just so impressed every day with how smoothly this makes the show go.” “Everyone is in the loop at all times,” MacLeod adds “With the level of non-audience communication that the SD7 allows it is solved very quickly and with minimal drama Even with all of the outputs and mixes on this show I literally never remove my ear molds to communicate with someone about some issue.” Add to that the sheer number of people on in-ears during the show While there are a lot of shared mixes for dancers and techs MacLeod reports that there are about 40 active in-ear feeds going during the performance “It’s a monumental management challenge,” Van Druten says But I do know he could not do it without the abilities baked into the SD7.” That renowned DiGiCo flexibility is something both engineers count on because this is a show and tour that is constantly evolving MacLeod answers the challenge in two ways: first he knows that the SD7 gives him the ability to do almost anything in terms of routing so he quickly comes up with a solution; then he assumes that the same request will be made of him on every subsequent show and is prepared for it stuff tends to just get thrown at you randomly,” he notes “You not only don’t know exactly what the change will be today so you have to be prepared for just about anything.” when the artist decided to speak directly with some fans at a recent show he sent a wireless mic down into the audience Note that this is miles past the popular staging phenom of a long thrust great care is taken in tuning the system and choosing vocal mics that can be in front of the PA and not feedback And if there is an engineer alive who says he or she is not a bit on edge every time that artist ventures in front of the PA I had to leave the console and grab the closest wireless mic and find a way to communicate to Pooch which mic that was so that as soon as it was handed to Justin to allow him to give it to someone in the audience And we did all of that in about 20 seconds.” Both engineers agree and are adamant that it is the communication system built around the SD7 that allows that to happen stadium-packing modern concert tours typically represent some of the most technically demanding applications—and the 2016 Purpose World Tour is no exception We often say that the show has to sound like the record but the biggest one is sound quality,” he adds “With the digital snakes running at 192kHz and downsampling to 96kHz at the consoles they are just phenomenal sounding digital desks With the Optocore system we have the ability to run huge numbers of input and output channels and customize exactly what that means for a given show.” For details on the 2016 Purpose World Tour’s upcoming stops VER Tour Sound can likewise be found on the Web at www.ver.com FOH engineer Andy Meyer running the house mix on a DiGiCo SD7 “It was really an emotional show,” recalls Andy Meyer the FOH engineer who mixed the shows on a DiGiCo SD7 console “You could tell the musicians on stage were feeling it.” Meyer who is most closely associated with Justin Timberlake as that artist’s longtime FOH engineer was brought on board for the Prince memorial gig by Matt Larson national sales manager for DiGiCo distributor Group One Ltd But Larson had a deeper connection to the event: he was also the crew chief for Prince from 1986 to 1992 a period during which the artist created some of his most enduring work around the world and at his Paisley Park Studios in the Minneapolis suburb of Chanhassen “These performances were such a moving musical memorial and really important shows for The Revolution and past staff as well as early band mates Dez Dickerson and André Cymone,” he says “I think most of us were in such shock hearing the news of Prince’s death—it was almost unimaginable Prince impacted the lives of so many musicians and crew over the years it felt like a big family reunion and transported everyone back to the days when Prince was putting on incredibly tight shows with ultra-tight timeframes The first night was magical as it was all coming together; the second night was even better as we all had a chance to breathe and watch the audience really enjoying themselves it was like the encore performance of the three shows “Purple Rain,” I think it really hit us as a personal closing and goodbye to Prince It was great to be with each other as so many past employees made the journey back to Minneapolis we would have been able to get all of the past staff together but in this industry there are always other shows that must go on “The band really strived for the highest possible production levels and spent two and a half weeks reconnecting with each other as musicians and friends rehearsing in L.A even before coming here to Minneapolis to rehearse with the crew many of whom had also worked for Prince back in the ’80s The demand for these shows was so big that even though they had only originally planned on two nights a third night was quickly added after the first two sold out in mere minutes.” was the perfect location for the Revolution to get together and perform to fans that flew in from around the world To pull off such a tight schedule of rehearsals and shows in the club a digital audio platform had to be the driving force hence the choice of a DiGiCo SD7 and SD10 at FOH and monitors “Past front-of-house engineer and family member Rob ‘Cubby’ Colby was booked over these dates and we wanted to make certain that we did the show justice,” Larson continues “Andy’s experience on the DiGiCo platform was perfect as we could move from rehearsals to the show and keep building it up most historical shows are already touring then get booked to do a big event This was a ground-up collaboration with the some of the best musicians and special people we’ve had the pleasure to work with and all stress was replaced by the love and respect we have for each other and for the cause.” The DiGiCo SD10 used for monitor mixes was helmed by locally based engineer Kirk Schutrop Working with the house Electro-Voice PA system installed at First Avenue Meyer says the Waves-equipped SD7 he used performed flawlessly “The SD7 gave me all the tools I needed for the show,” he says noting that he’s been an enthusiastic DiGiCo user of the desk from the start Stealth Core 2 has taken the SD7 to the next level—it’s now quicker and more powerful with a newer user interface and dynamics and effects section I was able to get virtually all of the processing I needed—dynamics with some additional help from the Waves plug-ins Everything I needed was right at my fingertips.” Coming into such an emotionally fraught situation Meyer knew he needed to pull off the best possible mix for every show Studying Prince’s catalog and individual songs as the set list developed listening through L-Acoustics 108P reference monitors dialing in the sounds that Prince and The Revolution had worked so hard to perfect He then compared those with multitrack recordings made during the band’s soundchecks “We had three days of rehearsals and then three nights of shows—a solid week of turning knobs,” he says The shows came off wonderfully and sounded fantastic It was a fitting event to remember a great talent.” “Aside from The Revolution and Prince’s other early collaborators we had many very special guests come out to share the stage It was such a great bonding experience for everyone and a wonderful tribute to an amazing musician Mark Littlewood mans the FOH position with his own S21 Tom’s monitor engineer and project manager for Wigwam Acoustics had worked with Keane for the past six years who he has toured with on and off for almost two decades and mans the FOH position with his own S21 “The tour started on the 21st October and took in venues of various sizes,” says Mark “We also did promo and TV shows prior to the tour which ranged from radio station ‘acoustic’ shows to performances in German record stores The eight-date tour in October took in a real variety of venues from churches Space limitations in such unorthodox venues were a major factor and all the backline and sound equipment had to fit into small vans and bus trailers whilst load ins generally involved several flights of stairs “After evaluating small-format desks from a number of manufacturers we knew the S21s were a no brainer because of their small footprint a lot of the shows involved very limited time from arriving to performing and I had every confidence that the S21 would deliver and perform flawlessly first time.” “But possibly more important was the quality for cost ratio which is what steered it in the direction of the S21s in the first place so the whole package had to be cost effective The S21 came to market just at the right time for us to give it a run out and as Mark had been using his with great results Mark has owned his S21 since last year and has added a SoundGrid card with a DMI MADI B card handling the inputs from the D2 Stage Rack “The whole package worked perfectly from day one,” he says “The layout is incredibly simple and intuitive and I’ve never even looked at the instruction manual as Control Groups are always to hand no matter what page I’m using on the console The set list for the tour changed daily and the ability to move snapshots easily around is a huge advantage.” This was Simon’s first run out with the S21 and he has been more than happy with it “Being a regular DiGiCo user meant all the terminologies were similar even though the user platform on the S21 is different from the usual DiGiCo appearance,” he says “There were a few things I had to get used to and a few things that you can’t do on the S21 that you can on the SD Range consoles but you have to remember this is a lower cost desk and you can’t really expect the same amount of functionality I like the way you can change the order of the set list.” “Tom is really hands-on and is very interested in giving the audience the best sound possible,” adds Mark “He’s been impressed with the sound of the console at both FOH and monitors and I’ve never seen him looking stage-left at Simon – which is always an indication that things are going well “The desk has also generated a lot of interest from house engineers particularly when they realise that a DiGiCo console is now an aspiration they can afford It still puts a smile on my face when I unmute the board for the first song “The consoles have been perfect,” Simon concludes “The sound is great and you can get them into tight spaces where the bigger desks would struggle The Tour manager has also enjoyed the smaller rental bills.” © 2025 Sports Video Group. All rights reserved. Site by Brightgreen Design/Arturan/Sfera Interactive "While there is a multitude of Off- and Off-Off-Broadway theaters producing hundreds of new works each season most of these shows play just a few weeks and many are seen by only a small audience," press notes state 'Theater Close-Up,' a unique collaboration between THIRTEEN and that large community of non-profit Off-Broadway theaters will finally bring a diverse cross-section of those provocative plays to primetime and online audiences."  Here's how the production is billed: "John Van Druten's play explores the tumultuous lives and love affairs of the women employed as shorthand typists in a busy solicitor's office in 1930's London falls for the charms of a predatory junior lawyer Watching with concern is the firm's senior secretary her too-timid suitor and several others in the office gamely trying to navigate a new kind of office where men and women must work side by side.  The 1931 play was acclaimed for its hyper-realistic depiction of office life as well as its soulful probing of the dreams and desires of its female characters."  Repeat broadcasts will air on Sunday evenings following "Masterpiece." WLIW21 will air the series on Monday evenings beginning Oct. 6 at 10:30 PM. Visit thirteen.org for more information.  Gail Kriegel's new play follows a family affected by mental illness The Tony-winning Best Musical continues at the Walter Kerr Theatre Noah Himmelstein will direct Matthew Puckett's original musical Neumann is the Tony nominated choreographer behind Hadestown and Swept Away one Tony winner is playing the trumpet while the other is channeling Madame Rose Due to the expansive nature of Off-Broadway Thank You!You have now been added to the list Blocking belongson the stage,not on websites Our website is made possible bydisplaying online advertisements to our visitors Please consider supporting us bywhitelisting playbill.com with your ad blocker.Thank you Purchases made through our links may earn us a small commission — at no extra cost to you Travis Scott’s recent “Circus Maximus” stadium tour had an award-winning mixer running the show who won the 2024 Parnelli Award for “FOH Mixer of the Year,” chose to mix the tour using Waves plugins with the Waves SuperRack SoundGrid system Van Druten’s setup included a DiGiCo SD12 96 console and some extra audio gear like a Neve processor and an Oven amp simulator some of Van Druten’s go-to Waves plugins were: Van Druten says Waves plugins are crucial to his workflow depth and his “secret sauce” for great live sound The flexibility and quality of Waves allowed him to mix Travis Scott’s massive stadium show successfully editorials & interviews from the dance music industry in our latest magazine in transforming “I Am a Camera” into the musical “Cabaret,” opted to punch up the script and redistribute some character traits in order to shape a more compelling story The scenario that John Van Druten — a yeoman playwright of the early 20th century — crafted may have been quite shocking for its era (promiscuity In a prefatory “Note to Producers” preceding the script Van Druten himself conceded that “the play is plotless.” We first encounter the young writer Christopher Isherwood (Marc Pierre a bit out of his depth) laboring over the opening sentences of what he hopes will become his magnum opus The first step is to undertake the titular vow: to adopt the role of passive observer Set designer Christopher Ostrom has caught the artist-in-garret atmosphere just right Isherwood’s boardinghouse room may boast vestiges of opulence past but the burgundy wallpaper is peeling and the grimy windows now give out notes over-sharing landlady Fräulein Schneider (underwhelming Nina Schuessler) She may joke about adopting the profession but — as we’ll soon see — widespread economic anxiety is providing the Nazi party with the wedge it needs to advance its agenda Watching writers write is no one’s idea of an exciting time so in quick order we’re introduced to three acquaintances: dark and handsome Fritz Wendel (capable Ari Lew) whose history with Isherwood is never clarified; Fritz’s latest the “wonderful” actress-singer Sally Bowles; and Natalia Landauer (marvelously uptight Kelsey Torstveit) whom the hard-up Fritz — upon learning that she’s a department-store heiress — immediately determines to wed What ensues is not so much a story as a series of character studies the fabulously rich Clive Mortimer (over-effusive Robin Russell) leads her and Isherwood on with promises of an all-expenses-paid world tour (We’re given to believe that Clive might have an opium problem it looks more like meth.) Then Sally’s mother not Bowles but Watson-Courtneidge (solid Valerie Stanford) determined to steer her wayward daughter back to the straight and narrow it’s the chimerical shifts within Sally’s own nascent personality that compel our interest True to her stage in life (she’s only 19!) she’s busy trying on personae: One minute she wonders what life might be like if she’d had the baby (“how after I’d put it to bed at nights I’d go out and make love to filthy old men to get money to pay for its clothes and food”); the next she’s picturing herself as a nun but Ruby Wolf’s star is just starting to rise She’s reason enough to take in this generally unsatisfactory germ of a play Sandy MacDonald can be reached at smacd@aol.com. Home Delivery Gift Subscriptions Log In Manage My Account Customer Service Delivery Issues Feedback News Tips Help & FAQs Staff List Advertise Newsletters View the ePaper Order Back Issues News in Education Search the Archives Privacy Policy Terms of Service Terms of Purchase Work at Boston Globe Media Internship Program Co-op Program Do Not Sell My Personal Information Recently announced appointments or reappointments within the Employment Relations Authority (ERA) included Matthew Piper and Rachel Larmer who have both gained prior experience as employment lawyers New Zealand’s workplace relations and safety minister announced in a news release the reappointment of Larmer to the ERA as well as the appointment of Piper as one of two new members Larmer’s next four-year term will commence on 4 February 2025 and end on 3 February 2029 van Velden said in the news release of the New Zealand government Larmer worked as an employment lawyer for Kiely On the other hand, Piper has been newly appointed for a four-year term beginning on 7 April 2025 and ending on 6 April 2029, the government’s news release said He most recently served as the Warehouse Group’s general manager for employment relations Before that, Piper worked for commercial law firms including Simpson Grierson and Buddle Findlay, the news release said. He also garnered private sector experience upon being seconded into large companies in New Zealand. “Currently, 76 percent of ERA members have significant experience in the public sector, but only 48 percent in private business,” van Velden said in the news release. “I would like to see a greater balance in the backgrounds of ERA members to bring new ideas, skills and experience – and to better reflect the proportions of public sector and private sector employment in New Zealand.” van Velden expressed hopes that the two new appointments would assist the ERA in better understanding the private sector, specifically “the practicalities of employment law practice by employers in large and small businesses.” van Velden added that the new appointees both had skill and experience in the processes relating to investigations, hearings, the courts, and the ERA. “I am keen to see them bring fresh ideas and approaches to ERA so that we see fast, fair and flexible resolution of disputes between employers and employees,” van Velden said in the news release. “This will reduce the burden on the Court system and the associated delays and costs experienced by all parties in trying to resolve employment problems.” Helen van Druten is the second new appointee to the ERA, according to the news release. Hailing from Restaurant Brands NZ, van Druten will serve a four-year term starting on 3 February 2025 and ending on 2 February 2029. ABC News News HomeGoMA hosts major Bennett exhibitionShare GoMA hosts major Bennett exhibitionRebekah van DrutenTopic:Visual Art Gordon Bennett's Notes To Basquiat: CNN. (Rebekah van Druten: ABC News Online) Link copiedShareShare articleAn exhibition of work by Indigenous artist Gordon Bennett opens at Brisbane's Gallery of Modern Art (GoMA) this weekend. The major retrospective, on loan from the National Gallery of Victoria (NGV), brings together more than 80 works and features examples from his well known Notes To Basquiat and Home Decor series. Kelly Gellatly, curator of contemporary art at NGV, describes Brisbane-based Bennett and his works as brave and unusual. "He came to art practise as a mature man. He was very well read and interested in psychoanalytical theory among many other things," she said. "He also, quite importantly, went to art school at the time of the lead up to Australia's Bicentennial celebrations. So the activities and debate that took place at that time about our colonial heritage and whether this landmark year - 1988 - should be celebrated or not, it really fuelled the work that we see in the early part of the exhibition." Bennett's Indigenous heritage also heavily influenced his early works. "One of the most important events in Gordon's early life was the fact that he didn't actually discover he was Indigenous until about the age of 10 or 11. He described that discovery as a kind of psychic rupture," she said. "And so when he came to start making work as a mature man, his very early works play off these binaries of ... good-bad, light-dark, Indigenous and non-Indigenous, self and other." More recently, Bennett's works have dealt less with post-colonial politics and the cultural identity of Indigenous and non-Indigenous Australians. His Notes To Basquiat series - inspired by the work of American street artist Jean-Michel Basquiat - reflects on the geopolitical climate and, specifically, the September 11, 2001 terrorist attacks. "For the very first time, we have the appearance of a specific event and geographical location in these works ... [but] you have both the local and global concerns - the fact that it didn't actually matter where you were when 9/11 occurred, that the effects of that resonated far more broadly than New York," Ms Gellatly said. "And that's brought to the fore very poignantly in the work called Notes To Basquiat: CNN, which actually records the time of the event on the clock on the video recorder. So you have the sense of this becoming something of global significance." Gallery director Tony Ellwood says GoMA is delighted to be hosting the exhibition. "[It is] very complex subject matter and very rich material," he said. The exhibition will run from May 10 to August 3. CNN and the BBC World Service which is copyright and cannot be reproduced AEST = Australian Eastern Standard Time which is 10 hours ahead of GMT (Greenwich Mean Time) Two new appointed members and one reappointed member of the Employment Relations Authority have been announced by Workplace Relations and Safety Minister “I’m pleased to announce the new appointed members Helen van Druten and Matthew Piper to the Employment Relations Authority (ERA) and welcome them to their roles,” says Ms van Velden The ERA is an independent body that helps both employees and employers to resolve employment relationship problems and facilitates collective bargaining when difficulties arise 76% of ERA members have significant experience in the public sector I would like to see a greater balance in the backgrounds of ERA members to bring new ideas skills and experience – and to better reflect the proportions of public sector and private sector employment in New Zealand.” Ms van Druten joins the ERA from Restaurant Brands NZ where she managed their employment relations nation-wide “She brings a depth of experience as well as a small business perspective She has also managed employment relations with a diverse range of workers in these businesses including youth and migrant workers,” said the Minister Mr Piper most recently worked as General Manager Employment Relations for the Warehouse Group He has previously worked for commercial law firms such as Simpson Grierson and Buddle Findlay as well as gaining extensive private sector experience having been seconded into some of New Zealand’s largest companies “Both new appointees will further strengthen ERA’s perspectives and understanding of the private sector the practicalities of employment law practice by employers in large and small businesses Both are skilled in the process of investigations and experienced in the ERA and the Courts system,” said Minister van Velden “I am keen to see them bring fresh ideas and approaches to ERA so that we see fast fair and flexible resolution of disputes between employers and employees This will reduce the burden on the Court system and the associated delays and costs experienced by all parties in trying to resolve employment problems.” The Minister also announced the reappointment of member Ms Larmer has been a member of the ERA since 2010 and since her appointment has issued a significant number of determinations Ms Larmer spent several years as a specialist employment lawyer in Auckland law firm Kiely Information and Events for the New Zealand Public Service Contact us: newsdesk@insidegovernment.co.nz