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Thursday, September 30, 2010
Yamaha Integrated Audio System Chosen By IAO Theater
The theater which has hosted many premier acts in its time upgraded the antiquated equipment which had been in use for 50 years.
Opened in1928, the IAO Theater in historic Wailuku Town on the Hawaiian island of Maui recently underwent a complete system upgrade.
Featuring a Yamaha integrated audio system the project was a vast improvement over the antiquated equipment the theater had been using for 50 years.
The IAO Theater was once the main entertainment venue for all of Maui, known for hosting movie premieres, live stage acts including such stars as Bob Hope and Frank Sinatra, and major community events. In 1953, the theater hosted the star-studded Hawaiian premiere of “From Here to Eternity”.
By the early 1980s, both Wailuku Town and the theater were in decline, and after the theater closed, it was seriously threatened with demolition. A community effort to save it led to a million dollar-plus renovation beginning in 1995.
That same year, the U.S. Department of the Interior placed the building on the National Register of Historic Places. Wailuku is regaining its role as Maui’s artistic capital, and the IAO Theater has re-emerged as an important centerpiece.
The Maui Community Theater, also known as Maui OnStage, has occupied the IAO Theater since 1984. One of the longest, consistently running theater companies in the United States, Maui OnStage provides the island with an affordable and accessible place for self-expression, exploration, education and enjoyment of the arts.
This year, and as part of the initial renovation project, the 375-seat theater received a completely new Yamaha integrated audio system. Primary audio system components were purchased through Wind Over the Earth, Boulder, Colorado.
Theater staff, under the direction of local consultant Jonathan Starr and Mickey Houlihan, owner of Wind Over the Earth, completed the installation on schedule and within budget.
The new audio system was designed by Lloyd Kinkade of Yamaha Commercial Audio Systems and includes a Yamaha M7CL-32 digital audio console and two SB168-ES Stage Boxes.
“The automated board with 300 scene memories and built-in effects, along with the digital snakes and stage boxes, provide the latest in technology for running complex theater productions as well as film and live music,” said Starr.” It allows versatility for expansion and high-resolution multi-track recording capabilities, and makes it possible to host diverse and demanding productions with excellence.”
The system also includes two Yamaha Installation Series IF3115/64 tri-amped main speakers, two IS2205s flown and used as side fills, two IS1118 subs along with four IS1108 monitors residing front of stage. Yamaha amplifiers installed include a T5n, PC9501n, and two each of PC6501n and P7000s. A Yamaha SP2060 speaker processor rounds out the Yamaha system.
“Lloyd Kinkade came over to commission the new system and train the staff, said Starr.”
“He got our wonderful old theatre on Market Street sounding great. We were amazed at the level of support the folks at Yamaha provided to make this project such a success. There was absolutely no interruption of theater operations. We were truly fortunate to go with Yamaha all the way.”
Video: Tricks For Mixing Guitar & Drums From Legendary Engineers
In this, a continuation of the Waves Audio Mixing & Tips Series, we showcase tricks from two engineers to help enhance your drum and guitar mixing arsenal.
Lectrosonics Chosen For Location Sound By Joe Knauer
Lectosonics equipment was chosen for its RF agility, range, and build quality.
When your business is capturing sound in some of the world’s toughest locales, such as the jungles of Nicaragua or on the slopes of Mount Everest, there is usually only one chance to get it right.
Considering the perilous working conditions—for both man and machine—these are not the places for temperamental electronics.
That’s precisely why location sound engineer Joe Knauer relies on his arsenal of Lectrosonics wireless microphones.
Joe Knauer and his four associates operates Joe’s Location Sounds, a firm dedicated to sound recording services for TV, commercials, and feature films. Joe got his start in this business as an ENG (Electronic News Gathering) camera assistant—where he was responsible for all aspects of sound.
Over the years, he’s worked on numerous documentary films and television shows in remote and desolate locations
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Joe’s arsenal of Lectrosonics equipment is extensive. Currently, he has ten sets of Lectrosonics UCR511 (the European spec UCR411) receivers and UM500 (the European spec UM400) beltpack transmitters.
For communication between production crew and talent, he also uses the Lectrosonics IFBT4 compact IFB transmitter with two R1a beltpack IFB receivers. His associates, Roland Winkler and Axel Traun, also have several sets of UCR 511/UM500 receivers – transmitters, along with SMa super miniature beltpack transmitters, HM plug-on transmitters, plus UCR401 compact receivers and an SR dual channel slot mount ENG receiver.
Collectively, the Joe’s Location Sounds crew has access to a total of twenty sets of transmitter/receiver equipment—all of it employing Lectrosonics’ highly acclaimed Digital Hybrid Wireless technology.
“I’m very impressed with the fact that the Lectrosonics equipment makes it easy to change frequencies,” said Knauer. “Further, the fact that this equipment routinely operates in a variety of harsh conditions such as heavy rain, hot sun, dirt, and sand is equally impressive.”
“On The Wildest Dream, a documentary for cinema that follows Konrad Anker and Leo Houlding up onto Mount Everest, the recording of the sound files was done on the north shoulder of Mount Everest at an elevation of roughly 7000 meters,” Joe said.
“The climbers, however, went up to the summit and main filming took place at about 8600 meters. Operating over this far a distance was quite a challenge, but with technical assistance from Lectrosonics’ Larry Fisher, we were able to build a system that handled the situation perfectly.”
“My Lectrosonics equipment has endured some of the most brutal conditions I can imagine. We’ve actually had to dump water out from the equipment’s housing on a few occasions, but after letting them dry, the gear was ready to work in the morning.”
“I’ve had a really positive experience with my Lectrosonics gear and I’m planning on updating it to European versions of the SMa, UCR411, and SR models once they become available. You just can’t beat Lectrosonics.”
Further changes from the FCC in spectrum allocation.
In late September, the U.S. Federal Communications Commission (FCC) announced that TV Band Devices (TVBDs) - unlicensed next-generation consumer products working on new types of “Super WiFi” - will be allowed to operate in the unused UHF core TV spectrum or “White Spaces.”
At the same time, two 6 MHz TV channels are reserved for the use of unlicensed wireless microphone systems, and there’s a secondary haven for wireless mics in the low end of the UHF spectrum.
Specifically, the FCC’s “Second Memorandum Opinion & Order” states that the first channels on either side of TV channel 37 that are unoccupied by broadcast television stations will allow protected operation of an estimated minimum of 12 to 16 wireless mics. TV channel 37 is the unused channel that is already reserved for radio astronomy.
The second safe haven for wireless mics is in the lowest UHF channels, TV 14 to 21 (470-512 MHz), where mobile TVBDs are prohibited.
Jacksonville, FL, low- and midband wireless system “safe havens”: TV 18, 20, 36 and 38.
In addition, fixed TVBDs aren’t allowed in TV channels adjacent to broadcasters.
For example, in my home base of Jacksonville, FL, WTE V TV channel 19 provides a safe haven for wireless mics in TV channels 18 and 20 (494-500 and 506-512 MHz).
In many major metropolitan areas there’s at least one broadcaster below TV 21 providing one or two 6 MHz safe havens.
In 13 FCC-defined “major economic areas,” the requirement that fixed TVBDs avoid channels adjacent to both TV stations and public safety agencies opens up even more spectrum between 470 and 512 MHz.
These areas are the cities of Boston, Chicago, Cleveland, Dallas, Detroit, Houston, Los Angeles, Miami, New York, Philadelphia, Pittsburg, San Francisco and Washington DC, and they will have two to four safe channels for wireless mics.
Several manufacturers recently added new frequency groups to one or both sides of TV 37, or below TV 21. Unless you plan on making a living providing large-scale wireless systems, there’s not a huge need to buy new systems outside of the adjacent-TV 37 or sub-TV 21 safe havens.
Large event managers, licensed and unlicensed alike, will need to register wireless equipment for their events in the FCC’s database 30 days in advance, and must include specific days and times when the equipment will be used.
Submitted RF plans must show that all available protected spectrum will be used at the full capacity of 6 to 8 units per TV channel in order for the FCC to protect the use of additional spectrum for wireless mics beyond the safe havens.
Non-compliance will result in being removed or not being allowed to register in the database. This means that mid- and lowband safe haven UHF wireless system inventory will always be in demand, as it will be needed for both large and small events.
Finally, I’d like to point out that there’s a large tax benefit available for 2010 that will get much smaller for 2011.
Under the HIRE extension to Section 179 of the U.S. Internal Revenue Code, up to $250,000 of equipment purchases can be written off, but the maximum deduction drops to $25,000 in 2011.
In order to receive a tax benefit for 2010, you must buy equipment and put it into service before year’s end.
Given that there’s a small number of desirable frequency groups going forward, waiting until the end of December may find your new equipment back-ordered and therefore making you unable to claim that benefit.
As always, be sure to get your tax - and wireless - advice from qualified professionals.
Mark Frink is editorial director of Live Sound International.
The 552 was nominated for Outstanding Technical Achievement in the small format console technology category.
Sound Devices has announced that the 552 Production Mixer has been nominated for a Technical Excellence & Creativity (TEC) Award for Outstanding Technical Achievement in the small format console technology category.
Sound Devices 552 Production Mixer is the company’s first to feature a fully integrated digital audio recorder.
Ideal for both simple run-and-gun applications and in complex multi-input/multi-output production setups, Sound Devices 552 is an extremely portable audio mixer.
Designed specifically for professional sound engineers, Sound Devices 552 contains five precision, high-dynamic range, transformer-balanced microphone inputs with expanded gain and headroom.
The studio-grade inputs have their own limiter, sweepable high-pass filter and pre- or post-fade direct output.
At the heart of each microphone input lies a high-performance Lundahl input transformer, which provides freedom from interference in even the most severe RF and EMI environments that are encountered in the field.
“We are honored to once again be nominated for a TEC Award in the Outstanding Technical Achievement category, this year for our new 552 Production Mixer,” says Jon Tatooles, managing director of Sound Devices.
“It’s very rewarding to be recognized year after year by such a prestigious organization for our dedication to developing innovative products specifically for field and on-location recording.”
Q: I was reading the site recently and decided I wanted to start repairing and making some of my own cables.
However, I came upon a term which I’m sure is such common knowledge that I’m sure my question really shows my ignorance.
What is “tinning”?
I know it’s part of the soldering process, but I’m kind of hoping you could explain why it’s important, etc.
Thanks!
A: Thanks for the question!
While it is common knowledge, there’s no reason for you to know what tinning is unless you’ve soldered before.
To answer your question, tinning is the process of pre-applying a layer of solder to a wire before it is actually soldered onto another wire, component or circuit board.
The idea is to apply solder to the bare strands of speaker wire, consolidating them into one easier-to-manage unit.
For example, if you’re soldering an XLR connector, it’s a good (most would say required) idea to tin leads of your wires and connections before making the final connection.
This make the final step of the connection simpler, and also keeps errant pieces of wire under control within the tinned piece of the conductor.
As always, we welcome input from the PSW community and would love to know your thoughts on soldering. Feel free to let us know in the comments below.
Earthworks Announces Improvements & Additions To FlexMic Series
The improved podium mic line now features RFI rejection and new models.
Earthworks, Inc. has announced several improvements in the FlexMic Series of microphones.
Designed specifically for use as podium microphones, the FlexMic Series offers numerous versatile features and options that make these microphones the ideal choice for public speaking venues.
This makes them perfect for integration into lecture halls, presentation spaces, churches, civic centers, theaters, and government facilities.
The newly revised Earthworks FlexMic Series consists of three basic product groups with a variety of models within each group to ensure the best microphone choice for any given application.
The redesigned original FM Series incorporates six models with fully flexible goosenecks in three lengths with the choice of either cardioid or hypercardioid polar patterns.
The FMR Series includes four models in two lengths with goosenecks that have a rigid center and flex at both ends—available in cardioid or hypercardioid.
The FMLR Series microphones also have a rigid center and flex at both ends in addition to a light ring to indicate the microphone’s on/off status and are available in cardioid or hypercardioid models.
Earthworks’ technologies incorporated in the newly revised FlexMic Series models provide a high level of speech intelligibility and uniform off-axis response to insure that the orator is heard clearly and distinctly, with no loss in sound quality, when speaking either at the front or at the sides of the microphone.
The FlexMics offer uniform frequency response at 0-degrees on-axis as well as at 45- and 90-degrees off-axis. This off-axis response and high rejection of sounds from the rear of the microphone also provides more gain before feedback.
The RFI performance of the redesigned FlexMic Series microphones is the result of Earthworks new, RFI Freedom circuitry. This new circuitry was designed to provide complete isolation from radio frequency interference.
In today’s challenging wireless environments, cell phones and other GSM devices are no match for Earthworks’ new RFI Freedom circuitry. Sound system integrators needn’t worry about buzzes, hums, and other radio communications compromising the FlexMic’s exemplary performance.
“Our improved FlexMic Series, which was recently deployed as part of a substantial facility overhaul at the Louisiana State Capital, offers a high level of performance that results in clearly understood dialog—making these microphones a terrific choice for environments where public speaking is common,” said Michael Hurwitz, Earthworks National Sales Manager.
“Whether it’s a boardroom, a lecture hall, a church, or a similar environment, the FlexMics offer today’s orator the clarity and dynamic range that enables them to sound completely natural and be clearly understood.”
Self-Powered L-Acoustics Boxes Chosen By Shepherd Of The Hills
The P Series boxes have performed very well and the positive comments have been continual.
With over 7,000 weekend worshippers and four independent “plant” churches spread throughout the Los Angeles area, Porter Ranch-based Shepherd of the Hills Church is a growing house of worship.
To accommodate its ever-increasing attendance these days, the pastoral and music teams at the church’s flagship location host seven services each weekend in their 1,500-seat sanctuary, which is now home to a self-powered P Series loudspeaker system from L-Acoustics.
Prior to the installation, the church had purchased compact, highly-portable P Series enclosures for several of its satellite locations.
Hal Sacks, Shepherd of the Hills’ director of media arts, and his team were so pleased with their performance that they contacted at L-Acoustics about putting together a new system for their main sanctuary in Porter Ranch.
Together, Sacks and Palmer created a SoundVision model of the sanctuary and came up with an entirely self-powered system design featuring three central arrays – each consisted of just two 112P – hung from the ceiling as a distributed system.
A total of eight 108P are flown from the truss beams as fills, while four SB15P are positioned at the front of the room to deliver LF reinforcement.
Despite the diminutive size of the enclosures deployed, L-Acoustics’ 3D, real-time acoustical design software proved that the loudspeaker arrangement would produce surprisingly exceptional coverage.
The church agreed to the plan and US Audio and Lighting of North Hollywood was called upon to facilitate the sale and installation of the system, which has more than lived up to everyone’s expectations.
“Even though our sanctuary is a difficult room to tame acoustically, the P Series boxes are performing very well and the positive comments have been continual,” says Sacks. “It’s a smooth, warm and rich-sounding system without hype.”
“Another important factor in our decision to go with L-Acoustics was due to the fact we had rented a KUDO system from US Audio several years ago for our Easter Passion Play run.”
“Although it was really overkill for our room, the thing that I enjoyed most about the KUDO boxes, as I do with the P Series, is that you don’t have to drive the system hard for it to sound great!”
“Whether the music is orchestral, R&B, rock or pop, all of these styles ‘breathe’ through these systems. The bottom line is that L-Acoustics makes an excellent product and their people have been great to work with.”
DiGiCo Announces Winner Of The 500th SD8 Console Contest
The contest attracted entries from across the globe and raised in excess of £30K.
Launched at PLASA2009 and the winner drawn at PLASA2010, DiGiCo’s 500th SD8 console competition in aid of the families of John Roden and Jim Douglas, attracted entries from across the globe.
The lucky winner hails from DiGiCo’s home turf.
Matthew Cotton, from Southampton, collected his one-of-a-kind SD8 from the DiGiCo offices on September 22 and could not be more delighted with his windfall.
“I didn’t believe it when David Webster [DiGiCo’s marketing director] called to say that I’d won,” grins Matt.
“It was only when a friend from Entec, who was with Noreen Roden at the show when she made the draw, rang me that I knew it was true.”
Monitor engineer Matt is a fitting recipient for the console as both John and Jim graced the monitor position of many a high profile tour.
“We’re really pleased the console is going to a fellow engineer,” says DiGiCo managing director, James Gordon.
“We’ve raised in excess of £30K in total, which will be divided equally between John and Jim’s families, and to know that this special console has gone to someone who understands exactly what these guys were about is perfect.”
“It still hasn’t quite sunk in,” said Matt as the DiGiCo team helped him load the SD8 into his van, although it did become a bit more real when my wife, who has worked in lighting and has an idea of the size of desks, asked me where I was going to put it!
“This really has come at the perfect time for me. I used an SD8 earlier on this year on the Australian Pink Floyd tour and I loved it, so I’m really looking forward to getting it home and having the chance to get to know it all over again.”
”I’m delighted for Matt,” says Noreen O’Riordan, John Roden’s partner.
“And the fact that we’ve worked together on Aussie Pink Floyd means that my lighting boxes might be snuggling up to this special edition console in the back of a truck sometime soon.”
“I’m as pleased as could be that Matt is a sound engineer like Jim and John and that he’s even from the same neck of the woods,” adds Jim’s wife Carol. “It couldn’t be more fitting.”
EAW Unveils Proprietary Resolution Software For Line Array Systems
Currently supports a multitude of EAW line array products, with new products to be added on a regular basis
EAW has launched Resolution, a powerful and easy-to-use simulation software. Driven by proprietary FChart acoustics modeling software, Resolution offers significant enhancements by utilizing measured 3D acoustic data to accurately predict performance within a specified venue.
Nathan Butler, EAW principal engineer, states, “EAW Resolution is extremely powerful and user-friendly, uses accurately measured acoustic data, performs real-time load analysis on each mechanical junction, and most importantly, displays the results in an easy-to-interpret manner.”
Resolution allows users the ability to calculate the mechanical load of the array along with the acoustic interactions that occur with a multiple array setup. Environmental conditions, such as user-defined temperature and humidity, can also be factored into the calculations.
Further, real-time mechanical analysis is done on each loudspeaker enclosure and flybar to precisely display force limitations based upon the user-entered mechanical design factor. Arrays of EAW loudspeakers can be entered manually or created with embedded auto designer.
Easy-to-read venue views include side and top-down orientations, complete with zoom capability, allowing the user to easily comprehend the results. Output levels are displayed by varying color using a variety of methods, including 1/3-octave and broadband SPL, A and C weighted.
The direct SPL level and actual frequency response at any point in a venue can also be viewed. Users can print reports, as well as store and recall venue and array settings with just a click of a mouse.
Currently, EAW Resolution supports a multitude of EAW line array products, including the KF740, KF730, KF737, KF760, KF761, NTL720, JFL118 and JFL210. Further enhancements will be made to the software in the coming months, with new products being added on a regular basis.
Once installed, Resolution is easily and automatically updated by using the data files available from the EAW website. The software is currently available as a free download at www.eaw.com/downloads.
Resolution software showing the display for a KF740 array with a frequency response plot of a location within the venue.
Resolution software, showing the display for an NTS250 subwoofers array in a cardioid configuration.
John Falcone, president & CEO, Sennheiser Electronic Corporation, has been named PAMA president, while Thomas Hansen, vice president sales, Bosch Security Systems, has been chosen secretary-treasurer of PAMA.
The rest of the board includes Rachel Archibald, director of marketing, Meyer Sound; Mark Brunner, senior director, Global Brand Management, Shure; Joe Pham, president & CEO, QSC Audio; and Greg Pinto, vice president marketing, Audio Technica.
“The professional audio industry is fortunate to have an experienced group of executives leading the association,” PAMA Executive Director Duffy Wilbert, CTS, CAE. “Because of their volunteer efforts, PAMA is poised to conduct new qualitative and quantitative market research, increase advocacy on behalf of audio manufacturers and provide input to audio standards that are under review.”
PAMA will hold its next all-member meeting November 3, 2010, in San Francisco.
There are times when it’s possible to lose sight of the full scope of your project, which can have unintended consequences.
For instance, when dealing with audio post, you often find that the on-location dialog recordings really stink.
Lets face it, we live in a noisy world, and that noise usually finds its way on to our recordings.
Couple that notion with the bad practice of using inexperienced people in critical sound positions (e.g. boom operator) and poor mic choices (long shotguns in highly reverberant interiors) and it’s no wonder that dialog quality gets compromised.
So, one solution is to re-record the poor dialog lines in post using Automatic Dialog Replacement (ADR).
Despite the name, it’s a fairly simple process. You bring in the talent, playback the bad dialog, and have them parrot the lines while you record their beautiful speech in the confines of a controlled studio environment.
Result: Super clean dialog. Yes!
However, there are some unintended consequences to this approach.
Sure you gain pristine dialog, but it’s often lifeless. I’m not talking about the performances, though that can be avoided too, which we’ll discuss.
The lifelessness to which I’m referring is the room tone of the dialog booth. You see, location dialog recordings pick up the acoustics of a space, the room tone, and all the little noises made by the actors and the environment. ADR has none of this.
To make the ADR work, you have to add back in all kinds of extra sounds. Many of these are delicate and detailed requiring extra effort to bring the reality and ‘life’ back into these ADR lines or the entire scene. Of course, all this time translates into more money spent overall on the project.
Without all these little extra sounds — much of it Foley — the ADR sticks out like … er … ADR! And, often no matter how hard you try to bring your skills to bear, the scene never really works or has the same impact.
Yes, you will have super-clean dialog, but the scene as a whole makes you cringe.
How can it be avoided? Well, I’m glad you asked! Instead of ARD, consider using a technique I like to call BDR (Better Dialogue Replacement).
Using BDR allows you to capture sound on location under more controlled circumstances.
First you the scene is shot for the visual and performance(s). Then the microphone is dipped into the shot, nice and close to the talent, and they perform another take.
Essentially, the ever-essential good picture is shot first, and then you go back and record good sound.
Chances are the actors will still be in the moment and deliver a very similar performance. It might be off sync a bit, but the emotion will be there and you’ll get a better quality ‘wild’ line that you can slip in post as needed.
It’s far, far, far better than ADR, and it allows you to avoid those unintentional consequences which just make you want to cringe.
As always, if you found this please feel free to share them in the comments below.
Jeffrey P. Fisher provides audio, video, music, writing, consulting, training, and media production and post-production services for individuals, corporate, and commercial clients through his own company, Fisher Creative Group. He also writes extensively about music, sound, and video for print and the Web and has authored numerous books and training DVD’s.
iZotope Releases The RX 2 Complete Audio Repair Suite
iZotope is offering introductory pricing on their professional tools to repair, restore and enhance audio.
iZotope, Inc. has released RX 2 and RX 2 Advanced, updates to their audio repair software suites.
Offering a range of new features and functionality, iZotope has expanded the scope of RX into any field where audio is recorded or restored by both consumers and professionals.
Additionally, iZotope is offering introductory pricing on RX 2 and RX 2 Advanced purchases and upgrades throughout October 31, 2010.
RX 2 and RX 2 Advanced are designed to repair common and uncommon audio problems like tonal and broadband noise, hiss, buzz, hum, clicks and crackle, distortion from clipping and interfering sounds like cell phone rings, dogs barking, car horns, string squeaks, dropped drumsticks and just about anything else.
“RX 2 and RX 2 Advanced are crucial tools if you’re recording new tracks or restoring old ones.”
“Whether you’re on location with a TV show or recording a voiceover at home for a company presentation, it’s a challenge to get a good recording. RX gives you all the tools you need to repair damaged audio and deliver the best recording,” explains Jeremy Todd, CTO of isotope.
“RX also includes specialized tools to restoring old recordings from vinyl records, tape and other sources with tools like Declick, Decrackle and automatic azimuth alignment. RX 2 and RX 2 Advanced are a complete set of the best processing tools with an immersive visual editing interface enabling you to quickly repair and deliver high-quality audio.”
RX 2 builds on the success of the original’s Denoise, Spectral Repair, Declick, Declip and Remove Hum modules with iZotope’s latest DSP algorithm improvements and the new Decrackle and Channel Operations modules.
RX 2 Advanced extends the standard RX with an adaptive Denoiser mode, a Deconstruct module, third party plug-in hosting, iZotope 64-bit SRC resampling, MBIT+ dither, iZotope Radius time and pitch control, ability to export an edit history, multi-resolution mode for Spectral Repair and automatic azimuth correction.
RX 2 and RX 2 Advanced include new visual editing features and functionality such as the Magic Wand, Lasso and Brush tools designed for selecting audio in the product’s spectrogram.
Similar to working in popular graphic design programs, these tools allow natural freehand selections around problem sounds. The Magic Wand can automatically select a sound and even automatically select its harmonics.
After selecting, Spectral Repair resynthesizes audio allowing the user to seamlessly remove unwanted sounds or even fill in gaps in the recording.
RX 2 and RX 2 Advanced further improve the workflow from the first release. Like the original, they are available as both a suite of plug-ins for a DAW and as a dedicated application.
An extensive edit history tracks every change the user makes allowing unlimited undo and compare processing. RX 2 Advanced adds the ability to export the history to an XML file for archival or forensic documentation.
The application also saves complete session information, so the user can restart the application and continue working with even the audio selection and undo history being remembered. The updated Batch Processor allows the chaining together of modules to operate on multiple files, all optimized with the use of multiple CPUs.
RX 2 and RX 2 Advanced are intended for restoration engineers, video post production engineers, forensic specialists, audio engineers, recording musicians, broadcasters, podcasters, archivists, videographers and anyone who records audio.
Specifications:
Windows (XP, x64, Vista, 7)
Mac OS X 10.5 or later (Universal Binary)
Standalone application
Plug-in formats: Pro Tools 7+ (RTAS/ AudioSuite), VST, MAS, Audio Unit, DirectX
Price and Availability:
An introductory price of $249 USD for RX 2 and $749 USD for RX 2 Advanced is available through October 31, 2010, and $349 for RX 2 and $1,199 for RX 2 Advanced thereafter.
Upgrade pricing is available for RX and RX Advanced owners. For product information, demo videos and ordering information visit the iZotope website.
The low hum you hear is not a distant cargo plane.
It’s not your local television helicopter.
It’s the beginning of the end… it’s feedback.
Sooner or later every sound system operator experiences feedback.
Most people think of feedback as that dreaded deafening high-pitched squeal resulting from a bad combination of mic gain, mic location and speaker volume, but feedback often begins as a low pitched hum.
If you recognize it early and correct it quickly, most people won’t notice. Your reputation as a sound system operator will go untarnished and your sound-savvy colleagues will congratulate you on a good save.
Let that hum turn into a squeal too many times and your name may stop showing up on the schedule for the sound system ministry. This article will get you well on your way to banishing feedback.
There are other causes for a low pitched hum in a sound system, but you should learn to recognize the tell-tale hum of a sound system on the verge of feedback.
What is Feedback?
Feedback is the result of cycled sound. In short, a microphone amplifies sound coming from a speaker which is then amplified by the sound system and passed out the speaker back into the microphone.
This cycling occurs at an exponential rate. Feedback commonly occurs when stage monitor speaker volumes are set too high and/or the person using the microphone is standing too close to the monitor.
How Can I Prevent Feedback? I. Set up the Sound System For the Room (Tuning a Room)
In any given room some frequencies will be more prone to feedback. Hire a qualified, experienced, well-respected sound technician to “tune the room.”
Using a spectrum analyzer, they can play audio through your sound system and see what frequencies are out-of-line. Using this information, they will set your house-level equalization unit to correct those frequencies. The result is a better sound and less feedback.
II. Proper Stage Setup
When you arrive an hour before the service (hint-hint) to set up the system, the stage, and test all media, pay particular attention to how you set up the stage. Place microphones out of range of speakers and pointing away from speakers.
Then, talk with the staff/service leaders/worship singers/etc about proper microphone placement. Lapel microphones should be one hand width from the person’s chin when they put their chin to their chest.
Handheld microphones should be between 3 and 6 inches from the user’s mouth. Tell the handheld users that you control the volume and they don’t need to worry about moving the mic back and forth to do so.
The closer the microphone to the source of the sound, the less volume you have to send out and the less likely to get feedback.
III. Know The Limits
You can force a microphone to feedback. If you give it enough volume on the mixer (console) then you’ll get feedback.
Why would you crank the volume so high?
Here’s a common example; someone who is not accustomed to using a microphone and may be uncomfortable with public speaking is shying away from the microphone and speaking softly.
In this case, you need to bring up the volume. However, microphones can’t pick up sounds well that are more than a foot away.
Boosting the volume will only result in feedback.
When you are rehearsing for your service, crank the volume up on each microphone as it’s being used. See where the feedback starts and then make a mental note not to raise it that far during the service.
IV. Turn it Off
Plain and simple…if no one is using a microphone, turn the volume all the way down and then turn off that channel.
This isn’t always necessary if the microphones are placed in good locations and not apt to pick up secondary sounds. I place microphone channels in groups and control the overall volume to those mic’s with a group.
However, if our pastor decides to walk to that portion of the stage with his lapel mic, I’m turning those mic’s off. It’s not the main speaker’s I’m worried about as much as the monitor speakers.
V. Grab Some Gear
There exists a handy device called a feedback eliminator. Sure, it sounds great but don’t go there just yet. If you’ve tuned your room and follow the previous points, feedback will become a rarity.
You might not even need a feedback eliminator. The fact is, there are several components that work towards reducing feedback and improving overall sound quality.
A compressor places all sound output levels within a set range. In short, nothing sounds too loud and nothing sounds too soft. This is a very important aspect in blending worship music.
A limiter is a multi-band compressor with a quicker attack time. It is used for a safety device in live applications to prevent sudden spikes in volume like a dropped microphone or any other sudden sound blast.
Feedback eliminators work by either limiting offending frequencies as they occur or by shifting the pitch of the sound slightly so the source sound and the output sound don’t match so feedback won’t happen.
This isn’t ideal for musical applications because the pitch of acoustic sound coming from an instrument will not match the amplified sound.
If your sound system consists of turning on an amp and talking in a microphone, you could benefit from a feedback eliminator. Otherwise, consider the other pieces of gear. In either case, consult a well-respect sound professional so you buy the right gear the first time.
Conclusion
Feedback, now matter how obvious, can easily ruin the mood of a worship service. If you’re having feedback problem, try out some of the techniques as I’ve described and hopefully feedback will be a thing of the past.
Also, if this Sunday (or any day) you banish your feedback woes, be sure to let me know in the comments below!
Ready to learn and laugh? Chris Huff writes about the world of church audio at Behind The Mixer. He covers everything from audio fundamentals to dealing with musicians. He can even tell you the signs the sound guy is having a mental breakdown.
Special Event Services Utilize The Powersoft Amplifiers Step Up Program
The Powersoft step-up cards increase power output for K6 and K8 Models, eliminating the need to re-tool and purchase new equipment.
Special Event Services recently started changing over its Powersoft K8 amplifiers to K10 models through Powersoft’s unique Model Step-Up card system.
As part of Powersoft’s green-design philosophy where all K6, K8 and K10 models share the identical hardware, the Model Step-Up cards allow companies like Special Event Services to unlock extra power capabilities on demand without the need to purchase new units.
This step up system gives users the flexibility to grow into new sound system capabilities on demand without the need to sell existing inventory and re-tool racks with entirely new amplifiers.
“We are very excited about the step-up capabilities of Powersoft amplifiers,” says Jason Farah, co-owner of Special Event Services.
“We own 64 K8 Powersoft amplifiers that were powering dual 18-inch sub woofer cabinets. We recently made the decision to upgrade some of our systems to Outline Lab 21 subwoofers, but felt those cabinets needed the greater output power of a Powersoft K10.”
“Powersoft’s unique design lets me purchase a Model Step-Up card that is essentially equivalent to the price difference between the different models. As I receive each Lab 21 shipment, I will upgrade my power amplifiers to match.”
“The Model Step-Up cards help preserve my investment in the Powersoft K8s, while allowing me to keep all my existing racks and associated wiring.”
“We have used our K8s for over a year and they have turned in a 100-percent perfect performance for us,” continues Farah. “We work very hard to provide complete, high-level service for all our clients and that is why they stay with us. Perfect reliability is a bar that you cannot beat and that is exactly what we need for the live mega-events we are involved with.”
The K10s offer excellent damping, delivering an exceptionally tight, controlled bass signal that makes the Lab 21 speakers sing. The advantages of this combination are multifaceted for Special Event Services.
“By using the stepped up K10s, I’m now getting all of this sub energy in a room, in an arena or wherever in a tiny amount of rack space – it’s crazy,” explains Farah.
“I now get a better sound moving fewer cabinets and amplifiers and that is a benefit for both transport and set up. Powersoft is also very efficient so it draws less current and the amps run significantly cooler than traditional amplifiers.æ
“All this and I don’t lose my original investment in the K8 amplifiers. We see the big touring and live event companies moving into Powersoft and we feel that Powersoft is the wave of the future.”
Quote meon an estimate et non interruptus stadium. Sic tempus fugit esperanto hiccup estrogen. Glorious baklava ex librus hup hey ad infinitum. Non sequitur condominium facile et geranium incognito.
