Transcript
Pro Sound Web Live Chat With Marty Garcia of Future Sonics

March 19, 2001

Moderator: Welcome to our chat with Marty Garcia. Marty, can you start with some background?

Marty Garcia: Hi everyone. Well, we’ll start from the beginning. In the early ‘70’s, I went to see a friend’s band play in Philly. The band had a problem with their truck, and I had a van. Next they had a problem reaching an electrical outlet, I ran back home and grabbed an extension cord. Then problems with lights, sound, collecting money… I never went back to my surveying job.

Marty (continued): The band ended up in Woodstock, NY to record an album. I met with Todd Rundgren’s crew at the studio, became a drum roadie for Orleans' two drummers, filled in as a carpenter for Hall & Oates in '78. Audio became my forté. I designed a sound system on a tour bus, showed it to Todd Rundgren’s engineer. He said, “If you build, we will try it.”

Marty (continued): In 1979, I started a sound company called Crystal Sound, with custom-built everything, including a 40 x 16 house console, a 32 x 12 monitor desk, four-band parametric EQ on all channels. The focus was building the best possible gear, not trying to compete with what was already there. I tried to respond to the needs of the artist and just continued from there.

livmixr: What made you decide to go with a generic earpiece when all these years you have been a strong proponent of the custom-fitted approach to IEM's (in-ear monitoring systems)? Can you be certain that the sound of the piece in the ear is consistent from wearer to wearer with a generic earpiece?

Marty: The sound is pretty consistent using foam tips. Everyone’s ears are different. I know the earpiece is consistent.

AlanH: Do you sense the reluctance of some musicians to try IEM’s fading nowadays overall?

Marty: They are more popular now than ever

Brian Belcher: Marty, what would you consider to be your biggest contribution to IEM?

Marty: Creating them. However, the biggest benefit with regard to many performers is lack of vocal fatigue.

Chris Kathman: You mean people singing softly because they can hear themselves too well?

Marty: No. When they hear themselves too well, it’s not always good for the singer or the house engineer. Many performers are pushing their voices over the competitive stage volume. When the ear concept is mixed properly, and preferably in stereo, the performer could reduce the vocal strain. Vocal coaches still want the performer to sing properly.

The Old Soundman: Your earphones make people look like insects!

Marty: OK, but that’s your opinion. However, ear monitors sound great. Why worry too much about looks? In fact, some performers have their monitors diamond-studded, gold-plated or painted wild colors.

yam4000vca: What persuasion tactics have you tried that have made a skeptical diehard wedge user at least try IEM?

Marty: I usually don't try to persuade. If the artist is interested, then the demo will usually do the trick. However, some diehards are not comfortable with the concept.

livmixr: How do you answer an artist who wants to wear only one earpiece and leave one ear open to recover the room ambience?

Marty: Many artists only want to wear one. They do it in the studio. I had a client recently who would wear one earphone and would not try to wear two. This person, we found out, became dizzy when wearing two.

Marty (continued): The first approach is to tell the artist to try two, and let them know they can receive effects and audience/room mics. When they hear the potential they usually stay with two. For those using one, set up the way they want their mix and have them wear both. If they say it’s too loud, then it’s also too loud for one ear. The brain does not perceive loudness when using one ear.

gus: Are there any issues with auditory strain when wearing IEM's?

Marty: Do you mean difficulty in hearing or hearing fatigue?

gus: Fatigue, sorry.

Marty: Only if not used properly.

Big Mike: Is the EM3 a disposable product, or how would they lend themselves to a fixed install?

Marty: They are great for an install. The EM3 (like others) use a disposable foam tip. We offer two foam tip sizes for smaller ears.

Brian Belcher: Can you ever see your company having an OEM wired or wireless unit produced?

Marty: We have a hard-wired single-rack-space unit. Five years ago we tried to design a wireless system. We got as far as showing it at a trade show. We never did get the receiver to work properly off the production line. We went back to do what we do best, which is custom earphones. That way, we can focus on what systems and packages would be appropriate for the group.

Todd Carbos: What assurance does the general public have that the quality of your new generic "ears" will parallel that of your custom devices?

Marty: The generics are not intended to be parallel to the custom devices or to replace them. They will be a good backup, if needed. These new generics are the closest to the customs we have come up with. Our only assurance is our reputation to create the best possible product that is now available to every performer, audio mixer and technician. They can upgrade when they are ready.

Big Mike: Is it better to work with a new artist or a veteran act with respect to IEM?

Marty: Both. New young acts have been very easy with the right setup. Some new (young) bands I have worked with have never used wedges before. Veteran acts, when they are ready to try IEM, have been fairly tame. Veterans also usually need a little more time to adjust. Lead singers tend to jump right into it when they have a good mix.

livmixr: If everyone on the stage is on IEM, you can really eat up a lot of mixes on the monitor console. Is the industry keeping up with the advances in monitoring technology in designing consoles with enough mixes to handle a whole stage of band members? Isn't that a lot of stereo mixes?

Marty: It is a lot of stereo mixes. Some console companies have done a great job keeping up and others are working toward digital. Unfortunately, many groups currently have to decide who gets stereo, who gets mono, effects - and you still run out of channels. Future Sonics likes to work with engineers to figure out the best approach for the situation. We do this all the time.

Brian Belcher: What is your choice of console to mix “ears” on, and why?

Marty: This is a loaded question. Larry Droppa comes to mind… It depends on what production calls for, and the budget. I tend to like what I see with digital technology. (Editor’s note: Larry Droppa is the head of ATI, who make the Paragon II. – C.K.)

Brian Belcher: What are your views on reverb units, their use, and over use?

Marty: My view is that reverb units are needed for those who need the space or want to hear the effects that are on their CD. It’s a personal choice for the artist (if they know what they want)

Big Mike: Have you tried the new dbx IEM/headphone processor, and if so, how does it work with Future Sonics products?

Marty: No, but it looks like a nice processor. I look forward to trying it and hearing what others have to say.

Chris Kathman: Hard rock bands are redlining the transmitters, no outboard or beltpack limiting. Crazy, right?

Marty: Right! I am sure they have 50 wedges on stage as well.

Chris Kathman: Oh yeah.

Brian Belcher: Tell us about your cue system for “ears” and why it was developed.

Marty: It is not our cue system; however ,we did introduce the cue switcher when consoles could not monitor post output fader in stereo. Most consoles now cue up in stereo.

livmixr: What have you found as the best method for the band to talk to each other and to the monitor engineer while on IEM's without having everything said be heard over the house PA?

Marty: Best method in a pinch is a switched mic on stage that is only in the monitor mixes. Other methods used are a momentary footswitch on stage in conjunction with that switched mic, ducked only in the house. The performer holds the switch down, the mic goes off in the house and that performer communicates with the band or engineer.

Tucci: With the advent and acceptance of inexpensive (Shure) IEM’s, does your business change?

Marty: “Shure” it did. Our business leveled off a bit; however, awareness has grown and people know more about what they’re looking for, and our business is now better than ever. The custom earpiece is still the way to go.

Chris Kathman: Please tell us the main reason for not using graphic EQ's for ear mixes.

Marty: I have been doing this a long time. Graphics did not play a role when we applied this technology. Most of all clients we worked with wanted, and did use, the ear concept for the whole band. That was – and still is - the best way to use this concept. It was not necessary to use graphics due to the fact that there were not the acoustical problems, and you could choose your mics without proximity problems.

Chris Kathman: Any quick tips on use of shakers on drum thrones?

Marty: Use them if you’re looking for the bone induction. We recommend two shakers in series with no more than 200 watts. It worked best for us. Subs can be good as well when used properly.

Moderator: I'd like to know your views on the use of room/stage/ambience mics. Especially in smaller venues where the artist interacts with the audience.

Marty: My view is most of the time they can be overused. Small venues do not lend well to ambience mics unless it is a folk act. There are many opinions on this matter. I use them very cautiously and minimally.

Brian Belcher: How important do you feel an audiologist is in the process of fitting, sound quality, long-term maintenance and hearing issues?

Marty: Very important. It is good to work with an audiologist in your local area. There are only a handful of audiologists that understand the pro audio business. That is why we work so closely with our clients. It is necessary to have a qualified audiologist or hearing professional observe recognized procedures for otoscopic examination of the ear and (at minimum) a base-line hearing test. Then to have proper impressions taken of the left and right ear for the best fit of the hearing instrument. Many times the performer wants the audiologist to answer all questions with regard to ear-mixed audio. This is where some audiologists do not relate. However, they do relate to hearing protection, ear plugs and hearing conservation concerns. We try to communicate with all parties to help understand the concept of IEM technology.

Tim: We are in a situation where we have been actively pursuing a new monitor console to handle the necessary IEM's (at times, 16 stereo mixes). We are not satisfied with any of our options (there is only one that can handle it). What situations have you seen where two consoles have been integrated well to accommodate the need?

Marty: All the time. There are many major tours out using two consoles and even two engineers.

Tucci: I know I certainly hated going back to mixing a band on wedges after a few years with a band on ears.

Marty: Not too much fun going back to wedges. Especially when it has been a few years.

Brian Belcher: Do you think it is a good idea to re-visit the audiologist for a retest of your hearing after a certain period of time, just to make sure that damage is not occurring?

Marty: Yes, once if not twice a year, depending on your touring / gig schedule. That is why we recommend a hearing test when you first start out on IEM.

Chris Kathman: When you are sound-checking an artist, do you set his/her belt pack wide open, halfway, or whereabouts?

Marty: Logically, it is best to set belt pack levels just below wide open. Set the gain structures of your mix and then set your transmit levels while listening to a belt pack. Then give the performer the belt pack with the level down. Let them turn it up to the level they are comfortable with. Check that level if the pack is low, then re-adjust the gain structure to just below full level. This prevents the artist from accidentally turning the knob to damaging levels.

Brian Belcher: Where do you see ear technology in the next 2-3 years?

Marty: I see the ear concept and technology as a standard monitor technology, as wedges were a few years ago. Small format digital console will be standard format.

Moderator: Me too :-)

Marty: Thanks for the excellent questions. “Ears” to you!

Chris Kathman: “Ch-ears”, Marty!