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PSW Live Chat With Ted Leamy
April 28, 2004
Moderated by Keith Clark
Moderator: Welcome to PSW Live Chat with Ted Leamy... And welcome Ted!
Ted Leamy: Thanks Keith! Glad to be here....
Moderator: Let's dive in with a salient question from Kevin...
kevin nemrava: If a train leaves New York going 35 mph and another train leaves Houston at 35 mph…
Ted: Hmm.... I think I landed in the wrong chat session!
Moderator: Come on, do the math! Oh, that's right, we're audio folks...:>)
Ted: Exactly -we know enough math to be dangerous!
Moderator: Perhaps you can kick off by taking us back to the early days. How did Ted Leamy end up entering the field of professional sound reinforcement?
Ted: Wow, that’s a question that there are a lot of different answers for, but I'll start by giving the history. Like many of us, I started as a teenager with a keen interest in music and especially sound. I was lucky enough to get to work with some club acts while in junior high school. My first real job was with a fellow in New Jersey who owned a company called Sound By Paul. I think he’s still there too!
Moderator: Bless you Paul!
Ted: I didn’t make much money, but gained exposure to what I wanted to learn about - the fundamentals of sound reinforcement. After that I somehow found myself on the road with Harold Melvin and the Blue Notes and Teddy Pendergrass, where I learned much about women... traveling… illegal substances... and a little sound.
Ted (continued): From there, I landed in the then-rich music scene of Manhattan in the ‘70s, at clubs like CBGB and Great Gildersleeves. There I met Mick Whelan, who hired me to work for what was then called Electrosound and became Electrotec That was in 1978, and I stayed at Electrotec until 2000 when I joined JBL Professional. Seems like such a short story - took a long time though!
Moderator: Who's this Whelan character you refer to? :>)
Ted: He he he - One of my very best friends and mentors. Mick was one of the founders of Electrosound in the U.K. and now can be found at Electro-Voice.
Moderator: How did Mick help in a mentoring role?
Ted: Well, he got me outta that club hellhole scene! Just kidding - he took a chance in hiring me, and it was the opportunity I needed. And it paid off. Mick became a very patient teacher. Well, most of the time. :>)
kevin nemrava: I read that you’re doing some work with high school students who are interested in audio. What motivated you to get involved in this program? What is it like to work with them?
Ted Leamy: You must be referring to the Zappa Institute of Technology.
Ted: It’s one of the volunteer things I do to help teach younger folks about the available positions in production work. Gail Zappa, Frank's wife, got me involved and I’ve been writing the curriculum and teaching for the past five years. We’re very proud that it’s now reached an academy status at one of LA's magnet high schools. It’s a great feeling to share knowledge with folks who are wishing they could do what some of us do now
Dave D: I seem to see a lack of young people entering the industry.
Ted: Really Dave? When you say young, how young do you mean?
Dave D: College age.
Ted: Yeah, I started quite a bit before that even. I think it’s tougher today getting a toehold into a company. We live in a more mature business, and maybe folks aren't interested in serving as interns anymore. Too many other opportunities, maybe.
kevin nemrava: Do you find anything surprising about working with young people as opposed to "pros"?
Ted: Good question. I like young people, especially the kind that are open and realize they don't know anything. Some of the "pros" get jaded and don't continue to learn and advance. This is something we should all do and stay on top of.
Moderator: Hey - are you the Old Soundman?
Ted: No - I AM an old sound man, however, I’m not THE Old Soundman.
Dave D: I’m in my mid 40's. A lot of the learning was brand new.
Ted: I'm in my late 40's as well - that really sounds old now. There are so many ways to learn these days, more so than in the ‘70s or ‘80s when the industry was young. You still have to WANT to learn though! I think that’s the most fun - when I work with kids.
Dave D: I find that the more I learn, the more I realize what I don't know.
Ted: Yeah, we’re involved in a deep subject that continues to evolve, from the science of making loudspeakers to the application side of things. Its getting better and better, expectations are high from an audience perspective - average doesn’t cut it in concerts or live venues any more.
kevin nemrava: Are you talking about the opportunities (like this!) on the Internet, or some other forms of learning the craft?
Ted: Well, these kinds of things are great, but nothing beats experience, going out and doing things for yourself - making mistakes, learning from those mistakes and becoming better at it. I think this is still the best way. It’s certainly how I did it.
Moderator: O.K - give it up. You ARE The Old Soundman!
Ted: No - I’m just old.
Dave D: I was once told, "You learn by having tweeters hit you in the face.” Tongue-in-cheek, but not completely.
Ted: Well that’s the spirit. Of course, you’ve got to be careful to space out your mistakes so you don't get fired too quickly!
kevin nemrava: I have to run, but thank you Mr. Leamy. Not only for taking the time to chat with us, but for your time and efforts in promoting the craft to younger people. It’s truly a high calling.
Dave D: So, do you think I like slot tweeters and potato mashers because of the way they sound, or because I like the romance of days gone by?
Ted: He he he… I think it’s a little of both. Some of the old technology does sound good. I think it’s more about what you’re use to. We all gravitate to what we’re used to using and hearing.
Moderator: Ted, let’s shift gears a bit. W hat was your favorite part of working with a touring company all those years?
Ted: Oh, all the people I met, most of whom have become life-long friends. I felt very proud of belonging to Electrotec - we accomplished much.
Moderator: What's the biggest change you witnessed and perhaps even had a hand in?
Ted: Biggest change? I think how serious we are about what we do, from safety in rigging to optimizing sound systems each day. And back in the day, as they say, there were not a lot of free-lancers. You tended to work for a company. There were a number of large companies to work for then, and it was one of the ways into the business. I think today we see a lot more regional and smaller companies that afford some work but they can’t afford to have full-time staff, so they rely on free-lance folks. I think free-lance is great. You really get to learn a lot about many different situations.
Moderator: Were you actively involved in mixing or more interested in the system/tech side of things?
Ted: I got the mixing out of my system when I was very young. I’ve always been involved in the system side of things from the very start.
Moderator: What's the appeal of that to you?
Ted: There is something about trying to understand how a system interacts with the listening space that has always captured my attention .It became a passion early on.
Moderator: Over the years, was there a "magic" system -one that really captured your fancy?
Ted: Nope, each system had its own character and charm. I’ve been lucky enough to always have been able to work with the latest technology, even in the early days of Electrosound with the old "five-way" PA, which consisted of radial horns and bins.
Moderator: What's the path to success these days for smaller touring companies?
Ted: Finding your place in the market. The same for any company in any business. The problem with our business is that it’s kind of sexy, and not all decisions are based on good business judgment. You’ve always got to remember it’s a business, whether you own a company or are a free-lancer leasing out your services. Make good business decisions.
Moderator: Do you think it wise in the current climate for touring companies to try to gain a toehold in the contracting market?
Ted: Tough question. I think the two markets are sufficiently different that they must be approached with two separate business models. If you’re willing to do that, then you have a chance of succeeding.
Moderator: What are the big differences?
Ted: There are licensing issues and etc for each state, to begin with. But I also think.the skill-sets involved are different. For example, touring is pretty fast and loose, where in contracting, everything is documented, with submittals to the general contractor being a big part of what goes on.
Ted (continued): I think what might make you ask the question in the first place is the fact that installed venue systems are requiring similar high-end systems those provided for touring. It goes back to what I said earlier about audience expectations being higher than ever.
Moderator: Let me loop back to an earlier thread about the evolution of our business with this comment from Paul…
Paul: But, much remains the same!
Ted: You mean, "point the loud part towards the audience.” Yes, you are correct, many of the fundamentals have not changed, only the technology to get the fundamentals presented. An example of that is DSP. Digital signal processing has made for much more coherent sound systems, something we KNEW about early on but did not have effective tools to make the best changes. Now we have those tools, but the sad part is they’re not always used effectively.
Moderator: Would you agree that the human factor is both the strongest and weakest part of any system?
Ted: He he he… I'd say that is correct for any kind of system with a human interface. We get back to education here. Fundamental knowledge is important - more important than the myriad of knobs we have to turn. It’s the knowledge of the fundamentals that helps a person understand how technology should be used.
Dave D: So, does a company make the processor tweakable because it needs to be able to be tweaked, or because they know that guys like to tweak processors?
Ted: I'd say the first of the two choices. It’s very frustrating when folks tweak things based on assumptions or anecdotal information. As you know Dave, if you give someone a parametric EQ, they can dig themselves into a hole pretty quickly as opposed to a graphic.
Paul: Where are the biggest opportunities for growth in entertainment sound?
Ted: Wow - I was hoping I was going to learn that from one of you guys! I personally think it’s in the install side of the business. If not installing, then consulting or operating some of the performing arts-type systems that we see so much of today. Touring is tough these days. If I were still in a rental company, I'd probably steer toward corporate work or special events.
Moderator: Why did you decide to switch career gears, making the move over to JBL?
Ted: I thought I just answered that (grin).
Moderator: Rim shot!
Ted: It’s a great opportunity that was afforded me and I felt I had spent enough time involved with touring. You all know it’s a grueling business - that’s probably why we like it so much, but it does wear on you. I have the honor to be one of the custodians of a legacy, being a director at JBL Professional, and it was something that I couldn’t pass up.
Dave D: A sound guy selling sound stuff! What a concept!!
Ted: He he he… Yeah, not always happening these days, huh? I like it from the education side too. The folks at JBL encourage me to continue helping others with education, and this is a big part of how we do business.
Moderator: I hear there's a tough dude up there in Northridge, goes by the name of Gander. Watch out for him, amigo!
Ted: Yeah, he's tough all right - but he’s an O.K. hombre to work for! A big part of my job at JBL is application of technology. We talked earlier about how technology has moved forward. There are a lot of choices - most are application dependent, helping folks choose the right technology for the right application takes a lot of my daily time.
Dave D: I think that in general, pro audio people are educated consumers.
Ted: For the most part I agree, but there are a lot of choices out there and always room to learn a little more about each of them.
Dave D: I think that they’ll give most anything a try, but what does the job is always the bottom line.
Ted: True. I think that’s the application dependent part - whatever product you choose, it should be appropriate for the application and best in class. Nothing else should get in the way of your decision as a sound person.
Paul: What are the next great things to look for in the biz? Gear/methods/new customers?
Ted: I think in the biz of gear, we’re going to see more integration of the whole system, from the microphone right through to the loudspeaker. We see fits and starts of that today, but that is the future: how the sound mixer or technician or musician interfaces with the sound system, along with control over the entire system from one single platform.
Ted (continued): It’s going to make things even better, more efficient and sound better (in the right hands). But it’s all still going to rely on the fundamentals of the interface between the audience and the sound system. There I go with the fundamentals again!
Mike Bentz: What do you mean by "more integration of the whole system”?
Ted: Kind of like what we’ve seen with digital consoles and work surfaces. Look at all you can do with some of the digital consoles today - that would have taken an enormous amount of hardware just a few years ago. You can control hundreds of inputs from a very small work surface, and it will eventually involve control over more and more of the sound system. Perhaps digital microphones. Perhaps loudspeakers, each with a digital power amplifier built in. Used correctly, it will make for the most coherent system possible, not to mention easy to use.
Moderator: VerTec seems to be doing quite well in the marketplace - can you tell us specifically why you think this is so? (And no, "it sounds better" will not suffice - show your work!)
Ted: Hmmm… Well, VerTec is definitely a premier product for JBL. I'd have to say one of the things that sets it apart is the transducers. Remember, JBL produces transducers specific to a product's needs - transducer engineers and system engineers working together from the start of a product concept. I think that’s probably the biggest advantage to VerTec, and it shows in its ultimate performance.
Ted (continued): Of course, line arrays in general are very popular these days, and rightly so. They solve sound reinforcement problems without taking up much space, and provide better coverage in most venues that we’ve ever experienced.
Moderator: Ultimate? I thought that was the "Wall of Sound"!:>)
Ted: A ha! My very good friends at the Dead, including one of my best friends, Don Pearson. The Wall of Sound was an interesting idea and dealt effectively with many issues that plagued sound systems. It was pretty unwieldy though, given today’s rigging standards!
Dave D: So, how much technology is shared by the VerTec and the Clair I4?
Ted: The I4 is a line array system that is proprietary to Clair Brothers and uses JBL components, but that’s about it. Each system was developed completely independently by each company.
Dave D: 'Nuff said J
Ted: There are sooo many line array systems these days - it’s really quite a scene. I encourage all of you to use them when and where effective, and to use other technologies as required and when fitting the application.
Mike Bentz: When are they (line arrays) going to start costing less?
Ted: That’s a tough one, Mike. In order for a line array system to work, and get the kind of vertical coverage needed in a typical gig, it takes A LOT of loudspeakers crammed in each of those enclosures! That is the biggest cost, and it will be interesting to see what the next revolution in system design might be. For now, I think the line array trend will be around for quite a while.
Moderator: That's where I wanted to go with you - looking down the line, gazing into the crystal ball, do you see the roots of the next revolution?
Ted: If I knew that I would have a few patents applied for (grin). Seriously, I think we’re going to learn more and more about line arrays and the interaction they have within themselves and with other arrays. There is a constant stream of research papers being released on the subject. Perhaps what we’ll see is more of a hybrid of line arrays working in close association with point-and-shoot boxes. My crystal ball is kinda cloudy right now.
Dave D: IEM's for the whole audience.
Ted: He he he - great idea! Not too practical, but a great idea. Many of us will probably be using the "hearing impaired" devices we’re all forced to tie into each gig soon.
Juki: What do you think about the Bose L1 (cylindrical radiator speakers)? Does JBL have anything like this in the works?
Ted: I haven’t experienced the Bose L1, so I don't have an actual opinion. Looks like an interesting device for use by musicians.
Moderator: In general, do you think the concept is workable/viable?
Ted: It’s interesting in concept, but I'd have to see how it addresses the fundamentals I keep talking about.
Dave D: Do you know anyone good at reconing E-120's? ;-)
Ted: Where do you live? You should still be able to get E-120's reconed. Call me on a workday and I'll figure something out with you. E120's were the heart of many of the Electrotec systems.
Todd: Do you think that the current live sound industry is perhaps driven a bit too much by manufacturers suggesting that their product and new “magic black box” is a must?
Ted: Yup. Use your common sense and knowledge. We’re all inundated with advertisements every day from the trade magazines. Everyone is trying to get your attention. We said earlier - if a product works for the application, then that is the REAL test. Don’t just go for a new black box - make sure someone explains in simple terms what that box means to you and what you’re doing.
Ted (continued): I’m hung up on the education thing - keep learning about what you’re doing, and it’s going to help you make the most informed choices when looking at new equipment.
Moderator: O.K. Ted, last question, and really, the reason we're all here: Brittany or Christina?
Ted: Hmmm - refresh my memory… Who are they?
Dave D: Betty or Wilma?
Ted; Definitely Betty. And Mary Ann. And Marsha.
Moderator: Oh yeah, this guy's good - taking charge of the follow-ups before we could even ask!
Ted: He he he… Had a flashback there!
Moderator: Everyone, give it up for Mr. Ted Leamy! Ted, on behalf of the audience, thanks so much for your time and information.
Ted: Thanks Keith - this was great fun. Anyone who wants want to reach me can find my e-mail address just about anywhere. Drop a note - I'd love to hear from you and help out with any other questions. (Serious questions regarding audio, that is!)
Moderator: Good night everyone, and thanks for chatting.
Ted: Good night all!
