Are there significant differences between designing a system for classical music and for pop music?
Not really. The differences stem more from whether or not it’s a touring system, and if so, the needs of the tour and the types of venues. That’s when you get into ease of packaging, how things are going to be set up, taken down and tuned. These are big factors with ice shows and the circus, for example. You might want to have more gear from a sound standpoint, but there’s no point in having more gear than you can actually set up and take down. One of the important things we need to remember about providing sound is that we often have to fit in with everybody else. Even though we’ve had considerable advances in technology, some things have not changed. For example, I talked with somebody recently who does a lot of touring with country and gospel shows, and he was telling me how frustrating it can be when the tour schedule just doesn’t allow much time. You can’t do your thing until everybody else has done their thing, and the priority isn’t high enough to give you any extra time. That’s
