Wednesday, June 30, 2010
The Checklist: Solutions For Fixing Church Sound System Problems
A handy overview of common problems that can crop up with church sound systems and easy ways to address them.
Following is a list of some common sound problems and several ways to solve them. At least a few of these might seem obvious, but we’ve all made simple mistakes like not flipping a switch. If the advice given here doesn’t work, determine which device is at fault, then obtain help from tech support at the manufacturer, or contact a qualified audio professional.
No Sound
—Be sure everything is plugged into AC power and turned on. (Sorry – had to mention it!)—Be sure that all cables are connected to their proper equipment inputs and outputs.—Put fresh batteries in wireless microphones.—Replace broken cables.—Check for signal presence in each component by looking at the meters or indicator lights. Look for trouble in the first component in the chain without a signal, or in its input cables.—Check all switch positions. Is a mic/line switch set to “line” when it should be set to “mic?” Is a fader down that should be up? Is a microphone not assigned to the proper channels or groups? Are any mute or solo buttons pressed? Is the input trim turned all the way down? Is a wireless microphone turned off? Is phantom power turned on for condenser mics?—Use a headphone amplifier and headphones to troubleshoot the system one component at a time, from output to input.
Distortion
—If distortion can be heard on every sound source, make sure that the power amplifier is not turned up so high that it is clipping. There could be the need for more amplifier power. Doubling the power increases the SPL by 3 dB.—Make sure that the mixer meters do not reach above 0 except occasionally.—If the mixer output is balanced, +4 dBu, but the device it is feeding is unbalanced, -10 dBV build and install a 12 dB pad between them. Or set the +4/-10 switches accordingly.—A stray wire in a connector might be causing a short circuit which can create distortion. Check inside each connector for stray wires and cut them off.—Clean connectors with Caig Lab DeoxIT.—There could be too many loudspeakers connected to the power amplifier, so that the load impedance is too low for the amp. Remove some speakers and see whether the distortion stops. If so, use another power amplifier for the additional speakers. —If only one microphone is distorting, locate its input trim (gain or atten) control on the mixer. Turn the control down just to the point where the distortion stops, then a bit more to allow some headroom.—If the input trim is set correctly and you still hear distortion, switch in the pad in the mic, or substitute another microphone. Also, replace the batteries in battery-powered microphones.—There might not have enough phantom voltage for a condenser mic. Most of these mics need 18V or more. If several condenser mics are plugged in, the phantom voltage might drop too low. Consider using an external phantom supply.
Noise (Hiss)
—Be sure that mixer meters are reaching 0 on the loudest parts of the program. If this is too loud, turn down the power amplifier, not the mixer.—Check that the input gain or trim for each microphone is not turned down too far. —Check that the mixer master faders and submaster faders (if any) are at or near design center. —Replace the batteries in battery-powered microphones and transmitters.
Noise (Crackles)
—If a pot crackles when turned, try to clean it by rotating it rapidly. Eventually it should be cleaned internally by a service technician. Also try cleaning and lubricating products from www.caig.com.—If a mic cable crackles when moved, replace it with a new cable or a higher-quality cable. Also check the solder connections inside each cable connector.
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Successful Sound Mixing Starts With The Right Recipe
A recipe is a list of ingredients and directions, usually thought of as applying to food. But there are also recipes that can be used to create a successful sound mix as well.
It takes the right blend of quality ingredients and salient directions to produce the best results from any recipe.
If a dessert recipe calls for cream, it’s not essential to use Alpine milk from hand-milked Bavarian cows, but using skim milk instead of cream may jeopardize the final results.
The same holds true for sound reinforcement. A microphone for a singing vocalist that’s substituted with a pulpit microphone designed for spoken word simply isn’t the right ingredient for the recipe. It won’t help attain the desired result.
The bottom line is that all sound system components should be of as high of quality as possible.
There also needs to be an understanding of the expectations of those who are going to taste the results. For example, a chef may like extra spicy food.
But when preparing food for others, the chef must take into consideration the guests for whom the food is being prepared, and may need to slightly vary the recipe.
Further, and absolutely vital: before using any recipe, the sound operator must communicate with everyone involved with a performance, both spoken word and musical.
They must understand that a given recipe may take several attempts before it produces the desired results. This process requires extra time, effort and patience on everybody’s part.
Just as you wouldn’t start a food recipe 10 minutes before it needs to be served, don’t wait for dress rehearsals or worship services to start building your sound mix.
Vital point: Always seek natural acoustical solutions before adding more sound reinforcement, i.e., system components and increasing volume levels. Too much can lead to a big mess!
Multiple Layers
Let’s start with the basics. It’s vital to understand the acoustical elements of the sound mix and their effect on each other.
Think of it as a multi-layer cake. This represents the concept that each layer builds on the other, while they all work together to create a desired outcome.
Think of it as a multi-layer cake…
It should be pointed out that all of these layers might not be used or needed. However, the principles remain the same.
The amount of ambient noise in the room establishes the base layer of sound.
In other words, the air system, conversations, people moving, etc., create noise the sound system must overcome. Ambient noise will also change overall levels.
For example, an empty room is much quieter than one filled with people.
The second layer consists of acoustical instruments. It’s important to first begin with main instrument(s) like acoustical piano and/or guitar(s), then add drums, and finally, any other acoustical instruments.
Begin with the pianist playing a selection. Then the guitarist should join after the first verse.
If the guitar can’t be heard clearly, it may be necessary to reposition the guitarist.
If the guitar is still not loud enough, then a microphone might need to be added.
If drums are part of the performance, again begin with the piano playing, then guitar. After a minute or two, start the drummer.
Listen first to determine if the piano and guitar can still be heard.
Hint: the higher octaves of the piano are usually easier to hear above other instruments.
If either lead instrument starts to get buried, try moving the drums further back on the platform and/or enclosing them with isolation panels.
As a last resort, gradually increase the microphone level on the piano and guitar. Then, add any other acoustical instruments, including backing guitars, woodwinds and brass.
The third layer consists of electronic instruments such as keyboards, electronic guitars, bass guitars, acoustic instruments with electronic pickups, electronic drums, and so on.
Using the same procedure as before, begin with piano, and then add electronic keyboards to the mix. (By the way, the drummer and other acoustical players can take a break - they aren’t necessary at this particular point.)
Continue by adding other electronic instruments. When it’s at a satisfactory point, take a break of your own. Leave the room and enjoy five minutes of silence, then come back and evaluate the entire instrumental mix.
Last, but certainly not least, come the vocals. Begin with the background vocals, adding them one at a time, just as was done with instruments.
The topping is the primary vocalist(s), who must be heard and understood above all other aspects of the performance.
Keep in Mind
- Always listen for what is too loud as well as what is too soft.
- If a musician or vocalist expresses need to hear more monitor level, first try turning down other monitors (and instrument amps).
- Make level changes to the monitor mix or channel gain/trim control when the musician or vocalist is not active.
- Any changes should be small and gradual.
- Occasionally turn down the master levels for the main system and listen to the monitor system to evaluate its loudness - the monitors may be negatively impacting the main system.
- Regularly walk through the first few rows of seats to evaluate monitor versus main levels.
- If your church primarily features a rhythm band, drums and bass form the layer above the ambient noise, followed by rhythm guitar(s) and keyboards, then lead guitar and other lead instruments, with vocals on top.
- Become familiar with every song – for example, understand that lead guitar may need to jump to the top layer during an instrumental break, and don’t let this come as a surprise!
Travis Ludwig is a faculty member of the Internet Sound Institute.
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WTVF Nashville NewsChannel 5 Expands Wireless Tooolkit With Lectrosonics
New equipment was chosen for its sound quality and rugged design.
WTVF NewsChannel 5, a CBS affiliate in Nashville, recently retired a portion of their wireless microphones that fell within the 700 MHz band and replaced it with Lectrosonics wireless equipment.
Mike Rose, Chief Video Photographer for WTVF TV supervises a 21-person camera crew for the station’s news operations.
“We are responsible for all general news coverage, including investigative reporting, sports, and local news,” said Rose.
“In this line of work, the equipment is in the field everyday and is used in a variety of shooting situations.”
“In May, Nashville received 17 inches of rain in 48 hours. Every crew was out in the rain, around the clock, filming high water rescues, flood damage, FEMA press conferences…you name it.”
“Equipment performance was critical so crews could focus on the story. We never had wireless issues. These were by far the most extreme, humid, conditions I have ever worked in.”
“Failure was not an option. Because of the robust nature of the wireless units, we were able to tell some incredible stories.”
Rose reports that in addition to the equipment that had to be replaced to address the FCC ruling, every camera operator also had a Lectrosonics CR185 compact receiver, an M185 beltpack transmitter, and an H185 plug-on transmitter in their kit.
“These systems have been in service for a long time,” said Rose, “so we already had a high level of confidence in Lectrosonics products.”
Ultimately, Rose purchased 19 Lectrosonics SRa5P dual channel slot mount ENG receivers, 19 HM plug-on transmitters, and 19 UM400a beltpack transmitters from Nashville’s Trew Audio
“By getting our new Lectrosonics SRa5P dual channel receivers, along with our HM plug-on and UM400a beltpack transmitters,” said Rose, “every operator now has two systems available—and all of it Lectrosonics.”
After roughly six months of field time with their new Lectrosonics equipment, Rose has nothing but praise for both the gear and Lectrosonics’ customer/technical support services.
“I’m particularly impressed with how easy it is to change frequencies,” he says. “This is great for those times when you want one microphone to feed multiple cameras. Over the years, I’ve been equally impressed with the company’s tech support.”
“On those occasions when I’ve need something adjusted or a firmware update, the company has been very responsive. A tech always calls to advise me what work has been performed and the equipment has been returned very quickly.”
“When I watch the news at home in the evenings,” he said, “the audio is clear, I’m able to hear all the sound bytes that I know should be there, and I don’t hear any RF interference.”
“Sound quality is first rate and that’s the bottom line. When I watch the news, I want to be able to close my eyes and visualize the story by way of the sound—and our Lectrosonics gear gets us there.”
Lectrosonics Website
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Aviom Personal Mixers Utilized By Italy’s 60th Sanremo Music Festival
Aviom mixers made it possible for the entire orchestra to have personalized monitor mixes.
Aviom helped with the performances at Italy’s 60th annual Sanremo Music Festival by supplying more than 25 A-16II Personal Mixers, via Sisme Spa, to the show’s entire orchestra.
Each year, the popular Italian song contest hosts musicians from all over Italy, who perform original Italian language pieces.
The program is televised, and the artists are ultimately judged by viewers watching at home.
Described best as a battle of the bands combined with any popular televised music contest, the Sanremo Music Festival is held annually at Teatro Ariston in the city of Sanremo, and has been broadcast live on RAI Uno since 1955. This year’s 60th anniversary festival was viewed by over 10 million people each night.
One of the major challenges producers face when broadcasting this show is the use of different conductors during each performance, while the orchestra remains the same.
To help maintain consistency between numbers during this year’s festival, every member of the orchestra utilized the Aviom A-16II Personal Mixer.
The 16 presets on each of the A-16II mixers proved ideal, allowing musicians and engineers alike to adjust their settings during sound check and save those settings for the live performances later each day.
“The remarkable audio quality and ease of use of the system gave the musicians an excellent monitoring signal,” said Andrea Guerranti, Sisme Spa technical manager.
“RAI technicians designed a simple and efficient audio network for the entire orchestra, which faces the daunting task of performing with several different musicians and conductors each night.”
The Aviom A-16II enabled individual performers to create custom monitor mixes tailored to their individual needs. Designed for use in live performances, as well as in the studio, the personal mixers provide each performer control over channel volume, grouping, pan, stereo spread, master volume and tone.
“The orchestra is aware that the audiences, as well as the special celebrity guest singers, expect nothing but the greatest performances each night,” says Guerranti.
“The Aviom gear allowed the orchestra to perform beyond the best of its ability – which is especially crucial when playing alongside these world-famous artists.”
This year’s Sanremo Music Festival winners were professional singer Valerio Scanu, who sang the original piece “Per tutte le volte che…” (For all the times that…) and newcomer Tony Maiello, with his song “Il linguaggio della resa” (The language of surrender). At the age of 19, Scanu was the youngest male winner in the history of the festival.
Aviom Website
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Tech Tip Of The Day: Setting Front-of-House Delay
How can I easily set front-of-house delay to match backline sound?
Q: I work with a lot of smaller bands in local clubs and have been doing so for quite a while now. I’d say my mix chops are really starting to
However, lately I’ve been in a few places where I really needed to dial in the delay between the mains and the backline, but I really didn’t know how.
Can you help?
A: As you’ve noticed, in many smaller club settings your main sound system can face competition from the signals generated by the backline - the drums and amplifiers onstage.
These project into the audience and can cause timing-related problems that are perceived as “smeared” audio.
There’s a relatively simple way to combat this and produce a cleaner, more pleasing FOH sound.
First, it’s worth noting that large sound companies use sophisticated room analysis software to calculate the correct alignment times necessary for their FOH systems to sound their best.
This function is built into many boxes, like the DriveRack and other popular models. However, for every average club engineer out there, here’s a much less scientific - and more approximate - method.
Since the idea is to counter the sound coming off the stage, start by selecting the loudest acoustic source onstage. This is usually the snare drum. Have your drummer play single strokes on the drum, about one per second. Make sure he or she plays at “gig” level!
Start with the approximate formula that 1 foot equals 1 millisecond (rounding the speed of sound down to 1000 feet per second). Measure the distance from the snare to the drivers of your sound system and set the delay that’s connected to your FOH system accordingly.
Be absolutely certain your sound system volume is as close to equal the acoustic snare’s volume as possible. This won’t be your gig level; it’s just for purposes of setting the delay.
Now use your ears and add or subtract delay amounts until you hear the closest possible attack consonance between the stage sound and the speaker sound. You’ll get better at this with practice, it will improve your ear training, and it won’t cost you a dime.
For more tech tips go to Sweetwater.com
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Midas Pro6 The Center Of Ukrainian Sound Engineer Seminar
The Pro6 provided FOH support for the duration of the seminar and was also used for training.
The Midas PRO6 live audio system proved to be the highlight of
Midas Klark Teknik’s Ukrainian distributor CORTMI Ltd provided a PRO6 for the third annual Ukrainian Sound Engineers Union Seminar which was held during May in Kiev’s resort district of Pushtcha Vodica.
As well as demonstrating the Midas sound to delegates for all the presentations, the set up was used for a vocal microphone test arranged by the Ukrainian Sound Engineers Union, as well as a sound engineers’ proficiency contest.
The seminar also included a presentation devoted to the PRO6 by CORTMI sound engineer Vladimir Prokof’yev.
Delegates participated in a workshop introducing them to the practical aspects of working with the console, and were given a presentation by sound engineer Vitaliy Siroshtan from rental company Jazz-Club Service, the first Ukrainian company to purchase a PRO6.
Siroshtan shared his personal experiences of working with the PRO6 at numerous events in a variety of venues during the Ukrainian tours of Russian superstars Grigoriy Leps and Philip Kirkorov.
“It was a fantastic opportunity for delegates to see and hear the PRO6 close-up, and in the breaks between presentations, engineers were able to touch the console and examine its functions for themselves,” said, CORTMI marketing manager Stanislav Serbin.
“Engineers were particularly impressed with the PRO6’s unique ability to produce authentic analogue sound via an intuitive workface combined with a richness of digital functions, features and usability. They get the best of all worlds.”
Midas Consoles Website
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iKey Announces Rackmount SD/USB Recorder
The RM3 is a solid state recorder intended for the installation market.
iKey Audio has announced the RM3, a rack-mount digital SD/USB recorder
The RM3 is a single-space (19” 1U) digital media player/recorder that is ideal for restaurants, houses of worship, schools, home studios, broadcasting, meeting & lecture halls, and any other permanent installs.
The RM3 features a large color LCD screen and a front panel Jog Wheel for easy file search. It includes many input/output options such as two front panel1/4” line inputs as well as back panel combo XLR/1/4” stereo jack and stereo RCA inputs
The unit also includes 2 balanced XLR outputs, and a stereo RCA output for pass-through ability.
The RM3 records directly onto SD cards up to 4GB, SDHC cards up to 32GB or any supported USB storage device of unlimited memory capacity.
Recordings can be made in MP3 formats up to 320kbps, or in WAV format with 44.1kHz/16-bit quality.
iKey Audio Website
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Sanken Microphones Chosen By Engineer Jim Anderson
Anderson chose Sanken microphones for their ability to accurately capture saxophone.
Professor and recording engineer Jim Anderson recently recorded the new live album from jazz legend Lee Konitz at NYC’s Village Vanguard with Sanken Microphones.
Anderson chose the Sanken CU-41 dual capsule condenser mic for Konitz’s alto sax and the stereo Sanken CUW-180 for the piano.
“Sanken CU-41’s are my go-to microphones for sax, drum overheads, acoustic guitar, and electric guitar amplifiers,” said engineer/producer Anderson, who is New York University professor at the Clive Davis Dept. of Recorded Music and Fellow and Past-president of the AES.
“It’s a microphone that is especially suited to Lee’s alto sax. On a previous recording with Lee (“Strings for Holiday” - Enja Records), the CU-41 did a remarkable job in the studio of capturing the subtle detail of Lee’s playing and I wanted to recreate that sound, live.”
Key to the CU-41’s performance is its double condenser capsule design. Unlike typical microphones, the CU-41 consists of two condenser capsules, one of small and one of large diameter. The small capsule picks up the upper range of audio frequencies and the large one picks up the lower range.
“The dual-capsule stereo CUW-180 was perfect for piano and worked out well for this album because we recorded live to a stereo 2-track mix,” remarked Anderson. In a live recording, where leakage can be an issue, using the CUW-180 gave me excellent focus on the piano, while the off-axis pick-up was what I like to call “good leakage.”
“Leakage that doesn’t detract from the final mix. I’ve been a longtime user of Sanken Microphones and I find that the off-axis quality of their products to be excellent.”
Sanken Microphones Website
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Tuesday, June 29, 2010
Shure Names Audio Geer As Its Representative Of The Year
“Audio Geer consistently goes above and beyond to service its customers." - Jim Schanz, Shure
Shure has named Audio Geer as the company’s sales representative of the year for 2010.
Audio Geer President Alan Geer received the award at the recent InfoComm Show in Las Vegas.
“Audio Geer consistently goes above and beyond to service its customers,” said Jim Schanz, Shure director of U.S. and Canada field sales. “Alan Geer has assembled an outstanding sales team with a broad array of real-world experience in live sound, contracting, and retail.
“The firm also maintains a sophisticated internal infrastructure that gives it instant access to key sales data in the office and in the field.”
“We’ve been part of the Shure family for 10 years, and it’s nice to be recognized as a leading contributor by receiving this award,” said Alan Geer.
“I’m very proud of my team, all of whom contributed to this success, and we’re looking forward to another great year.”
Audio Geer has represented Shure in southern California and southern Nevada since 2000. The company maintains offices in Los Angeles, Orange County, San Diego, and Las Vegas.
“Audio Geer was selected as our Rep of the Year for several reasons,” added Schanz. “Audio Geer has committed its resources to working with our customers to not only grow their business, but to look for ways that enable our customers to stay on the forefront of technology through training and education.
“At Shure, we feel that the interaction with our customer must continually go beyond the everyday sale. Being there for dealer events, the planning and designing of new projects, challenging installations, and day-to-day opportunities that arise is pivotal in partnering with our customers. Audio Geer shares that same work ethic.”
Shure Website
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CAD Audio Expands New Category With 1800VP Remote Control Variable Pattern Microphone
Polar pattern can be actively adjusted based on the person or persons using the microphone
The CAD Audio/Astatic Commercial 1800VP is the first continuously variable pattern 18-inch dual-flex condenser gooseneck microphone system with a remote polar control design (patent pending).
The 1800 VP joins the previously introduced 1600VP and 1700VP, with all models featuring a variable polar pattern with remote control that allows for the precise shape adjustment of the pick-up pattern for best performance and gain before feedback from a remote location using standard microphone cable.
The 1800VP is designed for use on a podium where the polar pattern can be actively adjusted based on the person or persons using the microphone.
Engineered and built in the USA, the 1800VP is also designed to resist interference from cell phones, two-way communication devices and lighting apparatus.
It uses Astatic’s RF Resistant Architecture, meeting the stringent RF standards set by the European Union.
CAD Audio/Astatic Commercial Website
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The Latest 2010 InfoComm Products & Updates
Plenty of new product introductions, news, PSW exclusives and more!
The 2010 InfoComm show in Las Vegas has concluded, this year attracting more than 32,000 system professionals along with 900-plus exhibitors, in addition to presenting an exhaustive educational curriculum.
The final stats from the show are here.
PSW’s coverage of 2010 InfoComm will be continuing as we present notable news and a steady stream new product debuts from the show.
Be sure to check back regularly for updates!
New, Showcase & Highlight Products
Power Amplifiers
QSC CMX Amplifier Line
Resonate AV In-Wall Digital Amplifier
Powersoft M Series Power Amplifiers
Behringer Eurocom SN2000 Series Mixer-Amplifiers
Crown Audio ComTech DriveCore Series Amplifiers
Crest Audio E-Lite Series Power Amplifiers
Stewart Audio AV30MX-2 And CVA50MX-1 Mixer/Amplifiers
Behringer Eurocom MA4000 & MA6000 Series Mixer-Amplifiers
Powersoft Armonía Pro Audio Suite For System Management
Ashly Audio Pêma Amplifier w/DSP
Mixing Consoles
Midas XL8i
APB-DynaSonics ProSpec Contracting Line
Avid VENUE MADI (Multichannel Audio Digital Interface) Card
DiGiCo Integrated DiGiCo/Waves SoundGrid
Midas Pro3 Digital Console
Roland Systems Group M-300 V-Mixer Digital Console
Mackie VLZ3 4-Bus Mixers With Integrated FX & USB Connectivity
APB-DynaSonics ProDesk-8
Studer Vista 9 Digital Console
Loudspeakers
Renkus-Heinz CF/CFX Modular Point Source Line Array
Wharfedale Pro Titan 8A MKII
Outline DVS 8 SP and DVS 10 SP Powered Loudspeakers
JBL Control Contractor 60 Series Pendant Loudspeakers
Tannoy CMS 1201DC Large Format In-Ceiling Loudspeaker
Mackie HD1221 Self-Powered Ultra-Compact Loudspeaker
Renkus-Heinz IC2 Digitally Steerable Line Array
JBL Professional PRX600 Series Portable Powered Loudspeakers
Renkus-Heinz Iconyx IC Live Models
FaitalPRO 3FE20 3-Inch Cone Driver
Turbosound TCX Compact Install Series Loudspeakers
JBL Professional Commercial Series Ceiling Loudspeakers
Additions To Electro-Voice EV-Innovation Loudspeaker Family
Mackie HDA Powered Line Array
Danley Sound Labs Jericho Horn
EAW QX Series Loudspeakers
Community Professional Weather Resistant iBox Series Loudspeakers
One Systems 112IM-Sub Subwoofer
Bosch Vari-Directional Array Loudspeaker
Martin Audio MLA Touring System
Technomad High-Power All-Weather Subwoofer
EAW New Versions Of JF And JFnt Series Loudspeakers
Electro-Voice ZXA1 Powered Loudspeaker
Danley TH-118 Tapped Horn Subwoofer
Mackie SRM1801 1000-Watt Powered Subwoofer
Fulcrum Acoustic US212 Subwoofer
Danley Weatherproof Molded Synergy Horns
One Systems Portable Outdoor Presentation System (POPS)
Processing, Software, Routing & More
Lectrosonics Aspen Series
Electro-Voice DM-1 Dante Card
Symetrix Jupiter Installed Sound DSP
Midas Digital Snakes
MediaMatrix NION nE DSP Platform
Klark Teknik DN9650, DN9652 Digital Audio Format Converters
BSS Audio Soundweb London BLU-BIB Break-In Box
Audinate Astoria IP-Based Audio Networking Dante PCIe Sound Card
Aviom Pro64 Network Manager Control Application
RTS Zeus III Digital Intercom Matrix
Architectural Acoustics By Peavey Digitools MX Multi-Processors
PPC Pro Connector and Cable Line
Sencore MP500 MediaPro
Wohler AMP2-16V Audio/Video Processing Monitor
Allen & Heath Larger iLive Mix Rack
Link Dante-Enabled Stage Box
Microphones
Astatic 210 Surveillance Mic With Adjustable Line-level Output, Internal Limiter
CAD Audio 1800VP Remote Control Variable Pattern Mic
Audio-Technica ES963 Three-Element Boundary Microphone
Shure KSM42 & KSM44A Side-Address Condenser Microphones
AKG 99er Microphone Series
Point Source Audio CO-6 Speech Optimized Earset Microphone
Wireless Systems
Audio-Technica 2000 Series Wireless
Line 6 XD-Series Digital Wireless Microphone Systems
Telex RadioCom BTR-80N Narrow Band Wireless Intercom System
Audio-Technica Expands SpectraPulse Wireless System With rcu104
Expanded Frequency Range For beyerdynamic Opus 600 Series Wireless
Additions To Electro-Voice RE-2PRO Wireless Microphone Line
Zaxcom TRX900LT Digital Receiver
Clear-Com HelixNet Intercom Platform
AC, Power & Related
SurgeX 1000 VA Line Of UPS Surge Eliminators
Atlas Power Stream APS-6RMIP Web-Enabled Power Control & Monitoring
Interconnect
Clark Wire & Cable ModBox Modular Fiber & Data Rack System
MultiDyne Compact HD-Multi-Link
PSW Exclusives
Wireless Zero Hour: Time To Step Away From The 700 MHz Band
VP Costa Lakoumentas On Behringer’s New Eurocom Systems Contracting Division
In-Depth First Look At The New Martin Audio MLA System
Game Changer? AVB Now And In The Future
Penn & Teller At The Rio In Vegas Get An RF Makeover
Notable News
Yamaha Mac Compatible Editor
Josh Evans Named Lab.gruppen Technical Sales Manager - Tour Division
Yamaha Commercial Audio To Hold First Audioversity in Nashville
Rick McClendon Named New General Manager Of Aphex Systems
SynAudCon Founders Don & Carolyn Davis Honored As Pioneers Of AV
Final Stats On The 2010 InfoComm Show
EAW Forms Partnerships With Lake, Lab.gruppen & Powersoft
A Host Of Connecting & Networking Opportunities At 2010 InfoComm
SurgeX Launches Partnership With Chief Manufacturing
Aviom Announcing Design Services Initiative At 2010 InfoComm
Introduction To Room Acoustics Clinic To Be Presented By Primacoustic
Fulcrum Acoustic & Rational Acoustics Hosting Tech Tour At City Center Nightclub
Meyer Sound Demonstrations To Include MINA & Constellation
ANSI Approves InfoComm AV Systems Design Standard
Discounts For 2011 NSCA Business/Leadership Conference Fees At 2010 InfoComm
Crown Offering Amplifier Installation & Design Sessions At 2010 InfoComm
Vieta Pro Seeking North & South America Distribution; Attending 2010 InfoComm
Bosch Providing Training Sessions At InfoComm
AVnu Alliance Marking 1st Birthday At InfoComm With Member Pavilion & Panel
TC Group Americas Distributing Audica Pro In North, Central & South America
Sign Up Open For NSCA Business Sessions At 2010 InfoComm; Discounts Available
Harman Pro Highlighting AVB At 2010 InfoComm With Seminars, Training Sessions
NSCA To Offer MNEC Training At InfoComm 2010
InfoComm Makes Key Additions to Management Team
New Website Provides Preview Of NSCA Education and Events At InfoComm 2010
As noted, our coverage will continue, so check back often. Send any news and notes to .(JavaScript must be enabled to view this email address).
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Shure Microphones, Wireless Systems See Heavy Use At CMA Music Festival, CMT Music Awards
LeAnn Rimes' live performance features a unique application of Super 55 wired microphones
Shure microphones and wireless systems were used in abundance at the recent Country Music Association (CMA) Music Festival and CMT Video Music Awards in Nashville.
The CMT Video Music Awards, held at the Bridgestone Arena, featured an opening performance by the event’s host, Kid Rock, using a chrome UR2/SM58 wireless microphone.
Joining him for the opening performance were Martina McBride and Hank Williams Jr., who also used UR2/SM58 microphones, as well as Trace Adkins, Kellie Pickler, Randy Houser, Jamey Johnson, and Zac Brow, all using wireless SM58 microphones.
According to Tom Davis, who served as the audio producer for the show, “We received many positive comments this year, saying that this was one of the best sounding CMT Awards in years, both in the house and the live broadcast.
“Putting a live broadcast on the air with 11 live acts and multiple presenters and hosts is always a challenge. Knowing that we can always rely on Shure systems working first time every time is a great comfort.”
Shure endorser Brad Paisley sang “American Saturday Night” through UR2/SM58 wireless, while another Shure endorser, LeAnn Rimes, chose a pair of Super 55 wired microphones for an up tempo version of John Anderson’s “Swingin.”
“For her performance, LeAnn requested the two Super 55s, one on a stand and one to be flown in from the ceiling,” said Shamus Bacon, front of house engineer for Rimes. “The ’ceiling’ in the Bridgestone Arena, being about 120 feet, presented a small hurdle for the crew. It wound up requiring one 150-foot section of cable, three 100-feet sections of cable, and then another 125-foot snake to the truck - a total of a 575-foot cable run on a Super 55.
“The end result was the ‘sky mic’ versus the ‘stand mic.’ The sky mic lost about 3 dB of level and maybe a bit of low-mid, which the guys in the truck added back in and Eureka, the Super 55s sounded great.”
Several other artists who performed used Shure wireless systems with a variety of different microphones in addition to the SM58, including KSM9 and Beta 58 handheld transmitters. The house band for the show performed using wired SM58s on all vocals except for newcomer Easton Corbin, who opted for his own wired KSM9.
Rounding out the full complement of Shure gear, a standard assortment of Shure drum microphones were employed for most of the drum kits, including the Beta 52 on many of the kick drums and the Beta 98s on almost all of the toms.
Shure Website
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Astatic Introduces New 210 Surveillance Mic With Adjustable Line-Level Output & Internal Limiter
Designed to effectively interface with security cameras, digital video recorders and other observation recording devices
New from CAD Audio/Astatic Commercial at the 2010 InfoComm show is the Astatic 210 surveillance microphone, a commercial-grade omnidirectional, button-style model with adjustable line-level output and internal audio limiter.
Visually unobtrusive, the 210 mic features an output level that is variable from -50 dBv (3.2mV) to -10.5 dBV (300mV) @ 1μBar to effectively interface with security cameras, digital video recorders and other observation recording devices.
Astatic’s internal audio limiter circuitry tames high sound pressure levels and improves intelligibility by protecting the audio signal from distorting sensitive recording circuitry in cameras and digital recorders.
The integrated 150 Hz, 6 dB/oct high-pass filter attenuates unwanted low frequency energy. 8 to 18 VDC (70mA) is required to power the microphone (not supplied). The connection is made through a removable 3.5 mm terminal block plug connector on the opposite end of the microphone.
The Astatic 210 housing is all metal, designed for commercial applications into ceilings, walls, tables and other surfaces. Rubber isolation bushings and metal nut/washer hardware are also provided.
CAD Audio/Astatic Commercial Website
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Tech Tip Of The Day: Level Matching
Is there a proper technique for comparing levels when preparing an album?
Q: I’ve been an intern at Big Name Studio for a while now, and I get to use the room to mix late at night, which has been really great for me.
I’ve got a bunch of tracks together I’m really proud of and I’m trying to put them together in an album but it’s really difficult.
Every time I get the levels of the tracks all lined up, then or two of them start to sound bad, then I have to go and remix the tracks, and the process starts all over again.
I understand this is all one big process, but can you explain why?
A: I certainly understand your frustration!
As you’ve found, in order to accurately and effectively compare two audio signals, the volume levels of those two signals must be matched as closely as possible to start with.
If one of the two signals being compared is even slightly louder, our ears will tend to perceive it as sounding better.
In your case, it’s likely that once the levels are where you want them, you’re EQ’ing and compressing against the new levels and fighting a loosing battle.
In the future, you may find that mixing to a set level to start with will save you bit of level jockeying when it comes time to put your album together.
For more tech tips go to Sweetwater.com
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Kent Theatre Employing Allen & Heath iLive Digital Console As An Overhaul To Analog
Engineers at Kent chose the iLive for its flexibility, small footprint, and options like its touchscreen.
The Assembly Hall Theatre in Tunbridge Wells, Kent, recently upgraded its analogue FOH mixer to a new digital system, selecting Allen & Heath’s iLive from a shortlist of options.
During the evaluation stage, the Theatre’s engineer, Jay Christie, approached PA company and installation firm, SRD Group, to request a demo of the iLive system.
“Jay was looking at various digital options but iLive came out on top because it is so flexible, easy to set up and install, has DCA groups, and unlike many other smaller consoles, has a Touchscreen,” explains SRD’s Stuart Roberts.
“I also liked the fact that the EQ, gates and compressors are all laid out on the front of the surface rather than hidden in a Touchscreen menu, making set up and operation quicker than other consoles we tested,” adds Christie.
The Theatre selected an iDR-48 MixRack and iLive-T112 Control Surface from Allen & Heath’s choice of 7 surface and 5 rack options. The catalyst for the upgrade was the annual panto production, which was engineered in-house for the first time. The venue decided they needed a reliable and technically more flexible desk to manage the season.
“iLive’s software enables us to recall parameters in different scenes, programme and save the show, and then recall the files each night, which makes running the production very easy,” explains Christie.
One CAT5 cable runs from the iDR stage box to the back of the auditorium, and another single cable runs from there to the stalls so Jay can run the surface in either position depending on if it’s a theatre or a live band show.
“I love the fact we can move mixing positions! The previous analogue multicore meant that rock and roll shows had to be mixed from the top of the circle, which is a terrible mix position. With iLive we can mix downstairs in the stalls from a new touring desk position, which has definitely increased the sound quality of our shows,” he explains.
The venue never had the budget for outboard gear and with the old system Christie was making do with 4 gates, 4 compressors and limited graphic EQ over outputs.
“With iLive, we have graphic EQ’s over every output giving more control and enabling the sound quality to improve. Having compared iLive to other desks, I also highly rate the onboard FX, which I believe have more clarity and are richer, plus there’s a large bank of options, which is growing with each software release,” Christie concludes.
Allen & Heath Website
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