Cheap Trick Performs At Las Vegas’ Foundry Hall With Danley Sound Labs (Video)

JR Sound deploys J3-94 Jericho Horns with DNA 20k4 Pro and DNA 10k4 Pro amplifiers for New Years concert.

By PSW Staff • March 17, 2017

(L-R) Mark Dudzik and James Rush, co-owners of JR Sound Company
When Cheap Trick agreed to play Las Vegas’ Foundry Hall for New Years Eve, front of house engineer Bill Kozy expected line arrays, and monitor engineer Steve Funke expected old-school 15-inch wedges.

However, Foundry Hall uses Danley Sound Labs point-source loudspeakers.

“Engineers are used to seeing line arrays, and Danley’s smaller footprint can put them off,” explains James Rush, co-owner of JR Sound, the firm responsible for designing Foundry Hall’s system and for its day-to-day operation.

“I had a couple of Danley’s new J3-94 Jericho Horns and their new DNA 20k4 Pro and DNA 10k4 Pro amplifiers on loan from Danley for demos, and the Cheap Trick guys were happy to give them a spin. It would be a nice, big way to do New Years Eve. Long story short, they loved Danley’s coverage and clarity, including our on-stage Danley SM-80 monitors.”

“The Danley system was amazing, and I loved everything about it,” says Kozy. “It was a little strange to just see one box per side, we usually tend to think that ‘more is better.’ But Danley’s technology really works. The output was focused on the crowd and was very even, which made it easier to mix and gave the fans a better experience. We had plenty of volume. As far as mixing goes, I didn’t have to alter my approach at all – it was business as usual. To other engineers, I would say, ‘Don’t be thrown off by the visual. The Danley sound is solid.’”



The band used Foundry Hall’s existing Danley SM-80s for monitors – a dozen in all. “Steve was pretty wedded to the idea of having 15-inch monitors, especially for Cheap Trick’s drummer, who doesn’t use subwoofers and yet needs a big, loud kick,” says Rush. “I said, ‘trust these 12-inch Danley SM-80s, they’ve got plenty of output.’ He discovered that I was right. They were loud and clear and had all the low end that he needed. The band gave a solid performance.”

Foundry Hall may eventually move to a Danley Exodus rig, which delivers Danley’s patented point-source clarity from a line array footprint. “Engineers can take comfort in the visual that they’re so used to, but gain the benefit of Danley’s far superior sound, which is free of comb filtering and all the other tortuous processing that line arrays require,” Rush says.

Danley Sound Labs


Getting a gig in Production




There are many routes into the production industry. More traditional skills, such as electrics and carpentry, may find work at venues as well as traveling shows. Roles in more specific technical aspects of showtime production ie. audio, lighting, video, rigging, may have to seek out specialized production companies through a source, like the event production directory and move closer to larger cities to be close to companies and venues. Even more specialized skills like makeup artists, laser operators, or performance artists, may have only a few choices of companies that offer the type of work and/or training they seek.

This brings us to our next topic of schooling. The different crafts that make up the workforce of the production industry is indeed unique, so much so, that besides the usual trades that can find work in production, options for traditional paths for success, ie. schooling, trade unions, etc. are somewhat limited for audio, lighting, rigging, video technicians. While there are schools growing more formal programs, like Columbia College Chicago, and Full Sail University; they, like all traditional education, have their pitfalls, ie. cost, staying current, but offer a base foundation of knowledge and experience and well determined individual can use to form a successful career.

The stagehand’s union exists in most major cities and offers training, benefits, competitive wages, and monitored working conditions, plus union backing. Downsides would be, inability to take non-union work, and the implications that has when you are low on the seniority list. Also, the union’s hold on the industry in general seems to be a continuous struggle as the cost of services, technological advance, and the way these factors affect supply and demand of clients, has caused much change in the industry over the past 25 years. Its tough to build a stable support system around an industry that is ever changing. Local unions, Osha, and even equipment manufacturers offer educational and safety training for equipment operation and general safety principles in dealing with topics like electricity and rigging.

There is also the dilemma is how to make the regular ends meet. If you are in a union, or work for a specialized production provider company, you may be working in different places often, whereas if you work at a venue, you will be working at the same place everyday. You could also work on a specific traveling (touring), or stationary show, working with the same performers everyday. Some people may prefer one over the other. Examples of these different types would be: working at a music venue or sporting complex; working for an A/V provider, like a sound, lighting or video company (or one that does it all!); working at a stationary show, like a show on the Vegas strip or Atlantic City or a Disney property(or somewhere worldwide!); working for a touring band or show, or a cruise ship.

You may also work in a variety of these situations a freelancer. This is subcontractor, contract type of position. This basic distinction being you are paid in the eyes of the IRS as a 1099 contractor (basically you were paid in cash with no taxes taken out for you making it your responsibility) instead of W-2 as a regular employee. The former designation, normally pushes many freelancers into forming there own companies. Freelancing can seem more lucrative in the short term, as you receive checks with more taxes taken out, but you must make a decision as to how to deal with paying the taxes out of each check, for paying the taxes on income for each year. The point of becoming a company then, is a way to organize this process and to also track your spending on business related expenses, that can offset the tax owed amount. You also, depending upon the type of business you form, make yourself an employee, simplifying your personal taxes, expanding your capabilities of your newly formed business! For anyone reading this and considering the self-employed route, hire a CPA and an accounting firm to keep track of your book keeping and do your tax filing for you. Also, embrace technology and the power of Quickbooks software, and mileage tracking apps, like Mile IQ.

As with any career, the name of the game is to be as educated on your field as possible and have the foresight and adaptability to antiquated with latest updated products and methodologies to be able to better perform your job functions and to better serve clients. The path to getting where you want to go, isn’t necessarily as important as weighing your options to bring you the best results, be it schooling, joining a union, getting a specialized certificate, etc. Anyone can reach the professional level of any field; always continuing to seek and learn the newest knowledge, is what will define, enhance, advance, and prolong your career.

“All of our posts are put together by the staff at JR Sound Co. a small outfit from Las Vegas, NV. For more on us, visit our website at www.jrsoundcompany.com, cheers! ”



Audio: Signal Flow and Console Gain Structure





Hi all,

Attached below is our video to correlate with the post’s topic of gain structure. While there may be, a virtually endless supply of reading materials out there, if you’re like us, we enjoy quick videos that hit key points, spurring our interest to investigate, learn, and explore on after the fact.

To simplify the explanation of gain structure in our audio system; it is the balancing of audio signal level from source input (a mic, DI, etc.) to system output (the speakers) to achieve the maximum signal to noise ratio. This gives you optimal gain for you to manipulate, throughout your system, giving you the right amount of gain, so that you are not having to make any drastic adjustments at any point in the signal chain to make the signal much louder or softer. There are more considerations to make in achieving this balance, such as: enough PA for the space, proper mic technique and/or source output level, etc. For more on these topics, please see our other blog posts.

“All of our posts are put together by the staff at JR Sound Co. a small outfit from Las Vegas, NV. For more on us, visit our website at www.jrsoundcompany.com, cheers! ”