Live Sound

On the stage or at the practice facility performers depend on the surrounding acoustics for cues, synchronization, and envelopment.

Each venue is different -- from performance hall size, flooring, seating, stage size, and ensemble configuration. Each of these factors contribute, in some way, to the overall sound the performers hear themselves--and the sound that they project to the audience.

Timing and Cohesion

Both early and late reflections, combined with hall reverberation, affect synchornization and cohesion of the group. Designed control of these acoustic artifacts can lead to a 'tighter' performance, and higher performance satisfaction.

Balanced Reference Cues

While a performer is taking cues from other members of the ensemble, they also must be monitoring their own performance--adjusting volume, timing and tonality dynamically with the group. An optimal balance between their own sound and the rest of the group should be the goal on stage. Too much direct feedback of their own sound, and a performer quickly loses connection with the group. On the other hand, lack of supporting reflections and will often cause overcompensation and balance is quickly lost.


The versatile StudioTrap can be adjusted to both absorb sound, or provide diffusive feedback--as needed. It is mounted on a height-adjustable stand to accommodate a variety of configurations for nearly any venue.

Stage Shells & Gobos

We can custom design and manufacture rolling stage shells and gobos for a variety of uses.

  • Touring Groups
  • Concert Halls
  • School Music Departments
  • Churches
  • Drum Shells

Real-Life Example & Testimonial:

TubeTraps Tame Rumble in Quadrophenia

For Quadrophenia, ASC supplied an array of TubeTraps for onstage sound control. By the drum-kit, they absorb bass rumble from Zak Starkey's kick drum so it doesn't disturb Roger Daltrey. Elsewhere, they isolate guitars so The Who can get orchestral, amps up high.

“It was my idea to use them [TubeTraps] to try to reduce bass rumble around the drum kit, around the riser, which they do very, very well...” Pete Townshend

Pete Townshend called on his old friends at ASC to produce the TubeTraps he needed for the Quadrophenia tour after a long history endorsing the product.

“Roger [Daltrey] had a problem where he stands right in front of the drums. Though you can screen the drums off with perspex, what can't do is you can't lose the rumble from the bass drum. It was disturbing him and Zak's [Zach Starkey] got double bass drums so it was a big rumbling noise,” explains Townshend.

Townshend has used TubeTraps for many different applications, experimenting with unique placement and deploying them in a wide range of environments where sound conditioning is needed.

“They've [TubeTraps] been great on tour... [We] used them to create traps around guitar amplifiers. My guitar sound needs the speakers to be developing a sound as well as the amps. In other words, the speakers need to distort a little bit, and of course, it was too loud, because the sound onstage with Quadrophenia is very quiet and almost orchestral.”

Townshend plays the speakers and amps like additional instruments, turning them up to a point where they add their own distortion to the band's distinctive sound.

“It's no more than maybe 90, 92, a maximum of 96 db, apart from maybe up by the drum-kit. And I needed to damp it down, and I had the idea to try a few TubeTraps around the kit, around the amplifier rig, and it's just been great. It's enabled me to turn my amps up really loud, certainly as loud as they were on the 2006, 2007 tours when we were playing heavy rock shows...”

In addition to controlling the sound around the drum-kit and lead guitar, Townshend used TubeTraps to isolate the backup guitar.

“We've used some over on the other side of the stage to break up the dispersion from Simon Townshend, my brother's amplifier. He covers me on guitar over on the other side, so I can exclude him. It really is just using them like separation screens, but they do do more than that because they take up the low end. They've got deflectors built into them as well so you can set them up to reflect the sound exactly where you want down the stage. They're really useful onstage for that kind of thing.”

ASC also worked with Anvil Cases to develop storage cases to transport the 22 TubeTraps required by the tour.