Tuesday, October 19, 2010
TC Electronic To Participate In Three Panels At The 129th AES Conference
Leading authorities Lund and Strassberg to offer expert advice on loudness and 5.1 audio.
Industry veterans from TC Electronic will be sharing with attendees at this year’s AES 2010 their vast knowledge of loudness and 5.1 audio during three separate panels.
Thomas Lund, HD Development Manager, will be offering his expert advice on loudness during two panel discussions at AES 2010.
The first of these will be “Loudness Metadata, Concerns for DTV,” taking place Friday, November 5 from 11:00 am to 1:00 pm. As part of this discussion, Lund will be offering his personal take on current and future audio standards and how these factor into conventional audio workflows.
A related seminar that Lund will be participating in is “Keep Turning it Down! Developing an Exit Strategy for the Loudness Wars,” also on Friday, November 5 from 4:30 pm to 6:30 pm.
Here Lund will present his thoughts on the progress towards ending the loudness war and returning dynamic range to audio engineers. The workshop will focus on mastering techniques, gain normalization algorithms and standards to help attain loudness control. Attendees will also have the opportunity to have an open dialogue with Lund and the rest of the panel on this issue.
“With loudness being a hot topic for professionals in all areas of the audio and broadcast industry, I’m happy to be a part of these panels to help bring this issue to light and give those working in the trenches some practical solutions,” says Lund.
“The issue of loudness is something I’m dealing with in my professional life every day and is a topic I’m very passionate about.”
From his hands-on work in the area of audio, combined with his product and standards knowledge, Lund can tackle this issue from all angles. Lund received practical knowledge in the field of audio originally as a musician and recording engineer.
He has been with TC Electronic for more than 15 years and in his current position as HD Development Manager, Lund has been responsible for the development of audio equipment such as the TC System 6000 Audio Mastering System, DB8 Loudness Radar Meter and LM5 Loudness Radar Meter Plug-in, and Reverb 4000 Stereo Reverb.
In addition, he has published an estimate of 30 different scientific papers on the topics of loudness, distortion in digital audio and spatialization for such professional organizations as AES, NAB, SMPTE, EBU, and BCA. He has also taken part in international audio standardization work within AES, ITU and EBU.
Steve Strassberg, Vice President of Sales, HD & Broadcast for TC Electronic, will also be presenting at the Surround Live Eight Symposium, a special event being held prior to AES on Wednesday November 3 at The Metreon, 101 Fourth St. in San Francisco. This symposium brings together the leading authorities in surround sound for a candid and informative discussion with today’s audio professionals about issues relating to the capture, broadcast and monitoring of surround.
Strassberg will be presenting on issues associated with Upmixing and Downmixing 5.1 audio for broadcast as part of a technology showcase session entitled, “Upmix-Down Mix — The Current State Of The Art,” during the afternoon portion of Surround Live Eight from 1:00 pm to 5:00 pm. As part of the presentation he will be showcasing TC Electronic’s System 6000 MKII Reverb and Signal Processor, and discussing how it can be used for post production and mastering of audio specifically for television and film.
He will highlight the different challenges audio engineers face getting audio from the microphone all the way to the viewers at home and how System 6000 can be an integral part of the process. Strassberg will also be demonstrating the system’s capabilities for Upmixing and Downmixing, which is compatible with all home audio decoders.
An industry veteran, having worked with various broadcast and sales organizations as well as gaining real world experience in product application for broadcast, post production, and music recording, Strassberg is able to provide users with true insight to how this product can aid them in the field.
TC Electronic Website
The List Will Never Be Complete
Do your best, then go home at night knowing you’ve still got something to work on tomorrow. Consider it job security.
It seems I’ve been having the same conversation with a variety of Technical Directors lately.
The conversation always generally revolves around the seemingly endless list of projects and tasks that we need to work on, and the pressure we feel (either internal or external) to get them done; preferably right now.
I too am one of those TDs.
Just over a year ago I walked into a building that needs every single system updated, upgraded or replaced.
In every room. It’s a long list.
I know many of you are in similar situations. I started thinking that if I worked really hard just for the next few months, I could get it all done.
But I’ve come to realize that’s a fallacy. The truth is, the list will never be complete. That realization can either be frustrating or liberating, depending on how you choose to deal with it.
So, I’ve decided to consider the situation liberating.
What do I mean?
Now that I know the list will never be done, much of the pressure to get it all done right now is removed. I can learn to be content knowing there is a nearly endless list of tasks to accomplish, and getting them done will be a matter of prioritizing and allocating budget.
It’s really that simple. When someone tells me something needs to be done, I either respond with, “It’s on the list,” or “I’ll add it to the list.” Depending on who has made the suggestion, it gets put near the top or near the bottom.
There was a point in time when I felt the need to be some kind of super-TD. You know, the guys who have all their systems completely dialed in, nothing on the repair bench, all processed totally worked out and who spend all their time working with volunteers and perfecting their mixes with virtual soundcheck.
What I’ve found is that those guys don’t really exist–or at least I’ve never met any. And I know a lot of TDs.
I know TDs of big churches who have tech arts staffs bigger than my church staff, and I know TDs of small churches who are also the IT / Communications / Office Manager guy.
The interesting thing is that no matter the size of the church and its staff all seem to universally face the same issues. When I visit them at their churches, they all say, “Yeah, we’ve got to work on this or that…”
I recently spend half a day with a great TD who moved into a brand new building recently. As we walked the facility, I learned his list of things to be done is longer than mine. And that’s in a brand new building!
Even in a new facility, things didn’t go quite as planned, they ran short of time and had to jury-rig a few things just to get it working for opening weekend. And now they have a list; just like the rest of us.
So if you find yourself feeling inadequate because your to-do list is seemingly endless, relax. You’re part of a large group of us who also have a long list of projects to work on.
Chances are, regardless of how hard you work at it, that list will still be there.
Do your best, then go home at night knowing you’ve still got something to work on tomorrow. And the next day.
Consider it job security.
Do you have a seemingly endless to do list at your church? Let me know in the comments below!
Mike Sessler is the Technical Director at Coast Hills Community Church in Aliso Viejo, CA. He has been involved in live production for over 20 years and is the author of the blog, Church Tech Arts . He also hosts a weekly podcast called Church Tech Weekly on the TechArtsNetwork.
Virginia State University Chooses ENTASYS To Revive Auditorium
Since the hall's reopening it has been extremely busy and has received numerous positive comments about improved sound quality.
Virginia State University boasts a long history dating back to the period following the American Civil War.
Founded as the nation’s first state-supported institution of higher learning for blacks, VSU counts among its distinguished alumni names like Reginald Lewis, entrepreneur and first Black CEO of Beatrice Foods, The Honorable James Coleman, the first African American to serve on the New Jersey Supreme Court, actor James Avery and jazz hall-of-fame musician Billy Taylor.
The school’s Colson Auditorium was recently updated with a powerful new audio system centered around a pair of Community Professional Loudspeakers’ ENTASYS high-performance three-way column line arrays.
As Michael Kidd of Richmond-based CCS Presentation Systems explained, the ENTASYS systems have solved the hall’s long-standing audio issues.
“It’s a multi-purpose room that’s primarily used for lectures and other spoken word presentations,” says Kidd. “It’s not all that large - it seats around 250 - but it’s a rectangular space that’s fairly reflective, and it’s always had problems with intelligibility.”
The building’s flat roof had sustained some water damage during the recent storms, and the needed repairs brought with them the opportunity to upgrade some of the auditorium’s infrastructure.
“They were looking at ways to improve the existing system, a distributed configuration of older in-ceiling speakers,” says Kidd. “It was noisy, coverage had always been spotty, and the more we talked with them, the more it became clear that it made more sense to upgrade the whole system.”
Kidd had attended an ENTASYS presentation some months earlier, and recognized the auditorium as an ideal opportunity. “When I saw the ENTASYS system, I loved the concept and thought, it would be great to have the right application to implement it.”
“When the Colson Auditorium project came along, it really seemed like the ideal scenario.”
The rest of the system is simple and straightforward. Crown amplification powers the system, and an AMX touch panel selects between DVD, computer, mic mixer and other sources.
Kidd reports the system has scored high marks with students and administration alike. “The hall’s been pretty busy since it’s reopened, and we’ve had lots of great comments on the sound,” he says.
“I felt really good about it, because we were kind of sticking our necks out by recommending a new product we hadn’t tried before. Not that I had any doubts, but the truth is the ENTASYS system really exceeded our expectations. We were all pleasantly surprised.”
Community Professional Loudspeakers Website
Tech Tip Of The Day: Battery Shelf Life
How long can I store batteries? Do they lose power?
Q:I help out at my church with the audio, and recently got to wondering how long we can store batteries? Do they lose power?
A: Most battery types lose up to 8-20 percent of their charge per year, depending on the temperature they’re stored at and the battery type. This is due to non-electricity producing chemical “side” reactions that take place within the battery’s cells over time.
It’s possible to extend the life of alkaline batteries through an alternative storage method. However, no matter how you chose to store your batteries, it might be wise to take the advice of Gary Zandstra and invest in a battery tester, which can help you prevent the preventable.
For more tech tips go to Sweetwater.com
Grand Ole Opry Installs PhantomFocus System By Carl Tatz Design Using Genelec 8050A Monitors
The new tuned monitor system has received praise from FOH and broadcast engineers alike.
Recently, the legendary Nashville venue the Grand Ole Opry House upgraded its control room sound with the installation of a PhantomFocus System from Carl Tatz Design (CTD).
Grand Ole Opry Head of Music Operations Steve Gibson contacted CTD to correct a control room window resonance problem that they were experiencing, and Gibson requested the implementation of a PhantomFocus System using their existing Genelec 8050A monitors.
“The thing that is the most fun for me is how the center ‘channel’ feels like a physical presence; as well, I know that our mixes are translating much better out of the building than they ever have.”
“We’ve got two systems and we love listening to them both!” noted King Williams, Chief Broadcast Engineer, Grand Ole Opry and the Ryman Auditorium.
“The project went extremely well and I have received several phone calls out of the blue from some GRAMMY-winning engineers commenting on how smooth and accurate the monitors now sound,” says Tatz.
Once the basic acoustic treatment has been accomplished, Carl Tatz Design’s proprietary PhantomFocus Monitor System offers clients a unique opportunity to have a world-class monitoring experience despite the quality of their room.
The PhantomFocus System allows their monitors of choice to perform accurately at a full 20Hz-to-20KHz frequency response with pinpoint imaging in an almost holographic sweet spot — this enables their mixes to travel anywhere with a new level of sonic accuracy.
There are approximately fifty steps in the proprietary PhantomFocus System implementation protocol, some of which may include phase and laser alignment, damping, isolation mounts, careful assessment of engineer/speaker placement relative to their room’s primary axial modes, proprietary speaker distance and angle, crossover points for pass filtering, and finally parametric equalization.
Hardware can include monitor stands, concrete, sorbothane and other isolation materials, custom floating plenum mounts, subwoofer system, custom crossover, parametric equalizers and the monitors themselves (passive or active). The evaluation and implementation is a full two-day process and can be applied to near-fields, mid-fields, and large soffit mounted monitors, regardless of manufacturer.
Carl Tatz Design Website
Monday, October 18, 2010
Why Audio Engineers Need To Know Video
Video is everywhere and if you're properly prepared, it can create an additional revenue stream for you studio as you provide the complete media package.
Over the past months I’ve had the unique experience of dealing with quite a bit of video.
I’ve always created short little videos for my website Home Studio Corner, but those were rudimentary at best.
Recently I’ve been branching out creating weekly video content and I’ve become heavily immersed in creating videos.
In addition, I’ve had the opportunity in the last few months to record several live bands, capturing both multi-track audio and multi-camera video footage – all while still putting on a live concert.
I have a new respect for video guys. There is so much involved with video that goes way over my head, but I’m grasping it more and more, and I plan to continue to grow my video expertise.
Why not just focus on the audio? Why concern myself with video? I have a few reasons.
HD Video is Everywhere
Unless you live in a cave, you’ve probably noticed that the entire world is obsessed with HD video.
YouTube offers videos in HD (all of my tutorial videos on YouTube are in HD, and they look quite nice).
Flat-screen high-definition TV’s are a hot item.
Every cable company has a super-duper HD package that costs an arm and a leg, but it looks amazing.
All the major networks are competing to have the best and most show in HD.
BlueRay discs are gaining popularity.
The XBox360 and PS3 are setting the standard for HD video and gaming.
What do you not see here? I’ll tell you. You don’t see people obsessing over high-definition audio.
The people who rushed out each year on Black Friday at 5am to grab up those $600 Sony HD TVs at Sears are the same people who listened to mp3s on their iPods in the car on the way to and from the store.
People simply don’t care about SACDs and 1-bit High Definition recorders. They don’t really care if the mp3 codec used to encode their mp3s adds lots of artifacts.
Most people can see the difference between standard definition video and HD video much more easily than they can hear the difference between a crappy mp3 and a 24-bit wave file.
My point? The world has voted for HD video. It doesn’t mean you shouldn’t put any effort into your music. A bad mix will still be a bad mix on a 64-kbps mp3. A good mix will still have people bobbing their heads, whether the quality of the actual file itself has been degraded.
What this does mean is that you should seriously consider adding video to your portfolio.
Video Experience = More Jobs
Whether you do audio as your full-time job or just a side gig, you will have more job/project opportunities if you can do video.
If I’m the hiring director at a marketing company, and I need an audio guy to come in and record commercials, etc., I’m much more likely to hire the guy who has audio and video experience over the guy who just does audio.
Likewise, if I’m a band looking to record my next record, I would be much more drawn to the guy who could record and mix the album, but also produce a music video for one of the songs.
The list goes on and on.
Be a Complete Media Package
Being an amazing audio engineer is a wonderful thing. You should always be expanding your skills and becoming a better one.
However, the industry is changing, and if you want more creative opportunities, you need to expand your creative portfolio.
If you can become a one-stop shop for anything media-related – audio, video, even web design – you will have an amazing leg up on the competition.
The Counterpoint - You Don’t Need to Know Video
I’ve talked about how video is a great opportunity for audio engineers and can lead to new jobs.
However, what about the arguement that audio engineers should just focus on audio rather than expanding into the world of video.
This is a valid point, so here are a few things to think about.
Know Your Goals
What are your goals for your opperation? What are you wanting to accomplish in your studio?
Are you wanting to attract new clients? Do you want better paying jobs? Do you want more editing jobs?
If you don’t really know the answers to these questions, I would challenge you to take some time to think through and write down your goals for the remainder of the year.
If your goals involve getting more clients and paid jobs, it may still be worth your while to learn more about video.
However, if you’re looking to just improve your mixes, focusing on video might be a waste of time.
Don’t Be Spread Too Thin
Perhaps you’re at the beginning of your career and still trying to improve as an audio engineer.
You’re working on more and more music, and you’re excited about the fact that you could start producing videos, which could open up all sorts of opportunities for you.
In all the excitement, you may start learning and practicing your video skills…at the expense of your audio work.
You don’t want to look back a year from now and realize that instead of being a better audio engineer, you’re just a mediocre audio engineer AND a mediocre video guy.
Only focus on video if you have time to do both audio and video well.
Partner Up with a Video Expert
Businesses do this kind of thing all the time. Rather than taking on a new skill themselves, they’ll hire (or buy out) another company to do the task for them.
The second company specializes in the new skill, so rather than wasting time learning a new skill, the first company partners up with the second company to get the job done.
You could do the same thing with your studio. If it doesn’t make sense for you to learn video yourself, find someone else who knows video but could use your audio expertise.
You can then refer clientele to one another and even work on projects together. This way you can still access a lot of new opportunities without needing to invest the time and money into learning video yourself.
What do you think? What are your plans/goals? Do you plan on tackling (or have you tackled) video in your business?
Joe Gilder is a Nashville based engineer, musician, and producer who also provides training and advice at the Home Studio Corner.
Telefunken Microphone Name Contest Voting Now Open
The person who suggested the winning name will be rewarded with a pair of the R-F-T mics in a custom flight case!
In September TELEFUNKEN Elektroakustik fans were encouraged to submit suggested names for the company’s new tube microphone that will be introduced at AES in San Francisco on November 4.
The response was overwhelming, with thousands of individual suggestions coming from across the globe and from dozens of countries, including Morocco, Greenland, New Zealand, Denmark, and Thailand.
Below is a list of names in alpha-numeric order that have been chosen as the best suited for TELEFUNKEN’s new R-F-T microphone.
Voters will only be allowed one vote, and the polls close at 6pm EDT October 21st. The winner will be announced on Friday, October 22nd at 12 Noon PDT.
“We always like to be responsive to our friends and supporters,” explained company founder Toni Fishman. “So for this very cool new mic design, we thought we’d reach out to our fans and have a contest to name the new microphone.”
Traditionally, the microphones in TELEFUNKEN’s R-F-T line have been based on famous powerful munitions, such as the AK-47 and the M16.
“But we’re not limited in that respect,” added Fishman. “I thought of the ‘Bolt,’ which refers to the company’s lightning bolt logo. Let’s see what the public comes up with.”
Names for consideration are:
AF-29; COPPERHEAD; CU-29; EP-1C; M1C; M29; MP-5; TALOS; U-21; V1C
In development for 18 months, the newest mic in the company’s ] R-F-T line was designed by the company’s in-house engineering team, with outside consultation from some of the world’s top amplifier designers.
The microphone is based around a unique circuit that features a New Old Stock (NOS) TELEFUNKEN vacuum tube, custom audio transformer and a fixed cardioid large diaphragm capsule.
Sonically, the microphone carries similar characteristics found in its R-F-T line counterparts, the AR-51 and the AK-47 MkII.
Featuring a custom antique copper finish, the new microphone has an open top end, smooth midrange, and a detailed low end.
The amplifier design and frequency response are tailored for vocals, however the microphone works exceptionally well on many signal sources including acoustic guitars, amps and percussion.
The contest ends at 18:00 (EDT) October 21. The winning name will be announced at Noon (EDT) on October 22nd. The person who suggested the winning name will be rewarded with a pair of the R-F-T mics in a custom flight case. The 2nd and 3rd place names will win an M80 Dynamic microphone.
The street price of the new R-F-T mic will be $1295, making it the first large diaphragm tube microphone offered from TELEFUNKEN Elektroakustik available below the $1500 price range.
Each microphone system comes complete with power supply, 20’ mic-to-power supply cable, shockmount and wooden box. New custom flight cases are available for an additional $99.
To vote visit the TELEFUNKEN website.
Gary Hebert Of THAT Corporation To Present Microphone Preamplifier Design Tutorial At AES
The session is part of the Product Design Track of the 129th AES convention.
THAT Corporation’s Chief Technology Officer, Gary Hebert, aims to unlock the secrets of designing cost effective, high-performance microphone preamplifiers at a tutorial during the 129th Audio Engineering Society Convention in San Francisco.
Mr. Hebert’s tutorial, “Designing Microphone Preamplifiers”, addresses many of the challenges faced in this critical, largely analog part of the audio signal chain.
Hebert will present a sampling of amplifier topologies and circuit details, and discuss design tradeoffs among cost, size, power consumption, noise, distortion, and other factors.
The session, part of the Product Design Track within the AES convention, is scheduled for November 6th from 4:45 to 6:15pm,
“Preferences and opinions on preamplifiers are nearly a religion within the professional audio community where the microphone preamp often defines the signature sound of a piece of equipment or even a recording studio,” stated Mr. Hebert.
“Working in harmony with the microphone, the preamp often sets the performance of the entire system.”
“In addition, as the first line of defense to the outside world, it must withstand hostile conditions such as 48V phantom power faults or erroneously patched hot signals.”
THAT Corporation will sponsor the Product Design Track at the 129th AES Convention, which includes Hebert’s tutorial and 19 other events.
THAT Corporation’s Website
Tech Tip Of The Day: What’s That Buzzing?
Advice on how to eliminate interference from lighting dimmers in your studio.
Q: I just finished building my project, complete with some swanky dimmable lighting, and I’m all set to start mixing.
However, there’s a buzz in my signal chain I just can’t chase down. Any advice?
A: Anyone who has ever played a gig at the hotel ballroom has probably fought this battle at one time or another, but it’s really frustrating when it happens in your own studio.
There are several problems that cause this, and usually when it becomes noticeable it’s because more than one of them are active.
The variables are the quality and type of lighting dimmers, the amount of lighting being dimmed (is it one 100 watt bulb or 20 kilowatts of ballroom lighting?), the nature of the electrical wiring, and the nature and quality of the audio wiring.
Lighting dimmers that use big, inductive coils can cause hum to be induced in audio equipment just by being in close proximity.
Dimmers that use potentiometers or solid-state circuits (as many inexpensive home dimmers do) will cause hash noise and other garbage to be induced.
In both cases the induction often occurs through the electrical wiring. Basically, they feed a bunch of garbage back up the AC line (and ground line) and it finds its way into your gear.
Similarly, however, they radiate electromagnetic energy through the air, which means your poor guitar is going to pick it up.
Without getting into an entire electrician’s course on lighting circuits, suffice it to say that the quality of the dimmer and the way in which they are wired is an important variable.
If lighting dimmers put enough garbage into the air and back on to the electrical lines you may be stuck with some of it getting into your audio, but there are some precautions you can take to better your chances. Make absolutely sure you have no ground loops.
A ground loop acts as a big antenna for electromagnetic radiation so your best bet is to not have an antenna.
A power conditioner with isolated outlets will also help, both in preventing ground loops and in preventing general garbage on the AC line from getting to your delicate audio equipment.
Balanced wiring (both audio and electrical) will better be able to prevent problems than unbalanced wiring.
If you solve enough of these problems you should be able to bring the noise under control. If you can’t - and sometimes you just can’t - we suggest not dimming the lights.
After all, it’s not a perfect world folks.
As always, we welcome input from the PSW community and would love to know how you would (or have) handle lighting levels in the studio. Feel free to let us know in the comments below.
For more tech tips go to Sweetwater.com
DPA 4099 Clip On Microphones Amplify The String Section Of Sting
The 4099 is a new favorite of FOH Engineer Howard Page who is a fan of the absolute separation provided by the microphone.
Sting’s front of house engineer Howard Page is using a large quantity of DPA 4099 clip mics across the string section for Sting’s Symphonicity word tour.
Accompanied by a full symphonic orchestra, Symphonicity sees Sting performing new arrangements of his greatest hits as well as more unknown work.
Page, senior director of engineering at Clair Brothers, was approached to handle FOH for the tour due to his extensive orchestral experience.
Familiar with DPA microphones from Sting’s cathedral concerts last winter, Page was delighted with the 4099s purchased by Clair Brothers for the tour.
The entire string section - nine first violins, seven second violins, seven violas, five celli and three basses - is miked with 4099s, with several more on radio packs for clarinet and trumpet soloists.
Page has veered away from the traditional area miking method of amplifying an orchestra, where mics were shared between two chairs or desks.
“The problem with that is the moment you add even a semi-rock group to a symphony orchestra, the inherent dynamics between the two are so out of balance; the natural volume that a violin puts out compared to what a guitar or a drum puts out is so wildly different,” explains Page.
“The DPAs are the best mics I’ve ever, ever found - and I’ve been doing this a long time with orchestras. They give me absolute separation: when I turn on a DPA 4099 on one violin I get one violin and barely anything else, which gives me incredible signal to noise.”
“I also get more headroom on an overall string session than I’ve ever had on an orchestra before; traditionally you’re up against a feedback threshold, and your show is compromised by how loud you can go.”
“But the DPAs are so immediate that by clever use of overall reverb, I can move sections forward to get more presence for certain songs, or more natural reverb across them all.”
Over time, the show has evolved to become more rhythmic. “Sting’s getting the percussionist to play more back beat, and If I didn’t have the DPAs I’d frankly be dead in the water by now,” says Page.
“We’ve done all sorts of venues on this tour, including 40,000-capacity outdoor stadiums, the notoriously tricky Albert Hall and the reverberant Metropolitan Opera which is not designed to have microphones, and I couldn’t have done them with area miking, it doesn’t work.
“The beautiful thing about using the DPA 4099 is you turn it up and it sounds like a violin. The old contact mics didn’t give you the true texture of the violin sound, it gave you an edgy, screechy sound that you had to murder with EQ.”
“I place the 4099s on the F hole on the top side of the violin, turn them up with no EQ, and they sound exactly like listening to the instrument. One of the most difficult challenges of doing this is instantly removed.”
“Word about the DPA 4099 is, believe me, getting around,” he says. “Everyone raves about how the strings sound on this show, and the reviews all mention how rich the orchestra sounds.”
Aphex Sponsors H.E.A.R. Charity Auction
Winners of the Aphex/H.E.A.R. eBay auction will be announced at the 129th Audio Engineering Society Convention.
Aphex has donated several of its professional audio products for an auction to benefit H.E.A.R., Hearing Education and Awareness for Rockers.
The online auction is sponsored by H.E.A.R. and hosted on the foundation’s eBay store. Bidding begins on Monday, October 18, and continues for two weeks.
On offer is an Aphex Model 204 Aural Exciter and Big Bottom signal processor, as well as two Aphex Model 454 HeadPod Headphone Amps.
Proceeds of the sales of these products will benefit H.E.A.R. and its ongoing education programs promoting hearing awareness.
“We’re really thrilled to have the support of Aphex to help promote our programs,” said H.E.A.R. Co-Founder and Executive Director Kathy Peck.
“The company has been an integral part of so many legendary recordings over the years, and it’s great to know that they stand behind our cause of alerting musicians and music fans to the importance of protecting their hearing.”
“H.E.A.R. has long provided an invaluable service to our industry and to music fans the world over,” added Rick McClendon, Aphex General Manager.
“There are few things more important than guarding against hearing loss.”
“Too many times, young people in particular don’t find out about the dangers of excessive volume levels until they’ve already done irreparable damage to their ears, and if we can prevent even one person from suffering hearing loss, it’s a worthwhile cause. We’re excited to be a part of H.E.A.R.‘s efforts.”
Winners of the Aphex/H.E.A.R. eBay auction will be announced at the upcoming Audio Engineering Society Convention in San Francisco, November 4-7, 2010, as well as on the Aphex and H.E.A.R. websites.
To bid on the Aphex items visit the H.E.A.R. eBay store.
Friday, October 15, 2010
CharterOak Acoustic Devices Now Shipping New PEQ1 Program Equalizer
Carefully chosen switchable center frequency points, overlapping bands, and contoured cut and boost are well suited for music production
CharterOak Acoustic Devices has announced that the new PEQ-1 program equalizer has begun shipping. The PEQ1 is a switchable 16-band program equalizer with center frequencies ranging from 20 Hz to 50 kHz that is intended for use as a finishing tool on the mix bus or in mastering.
The design of the PEQ-1 is very intuitive, as the carefully chosen switchable center frequency points, overlapping bands, and contoured cut and boost are well suited for music production.
The equalizer is clean and free of distortion, which allows for large amounts of boost in the upper frequencies without any harshness, and also boasts ultra-low phase shift resulting in tight and focused bass and excellent stereo imaging.
“All of the end user feedback and comments gathered initiated several rounds of tweaks, resulting in the most musically refined equalizer I’ve used in my 25 years of producing and recording,” said Michael Deming, president and founder of CharterOak. “The PEQ-1 is very different than any other stereo equalizer on the market at the moment, and serves as a broad tone control with a focus on stereo imaging, natural musicality, and audio quality of the absolute highest order.”
The PEQ-1 comes with a lifetime warranty on all parts and labor and easy access to factory technical support. The PEQ1 can be auditioned at the upcoming AES Show (booth 1036) in San Francisco.
CharterOak Acoustic Devices Website
Posted by Keith Clark on 10/15 at 09:42 AM
Meyer Sound Brings Matt Ferguson Onboard As Digital Audio Product Specialist
Will support customers in the design and operation of D-Mitri, the company’s new Gigabit network-based digital audio processing and distribution platform
Meyer Sound has announced the addition of Matt Ferguson to its expanding technical support department as digital audio product specialist.
In his new position, Ferguson will support customers in the design and operation of D-Mitri, the company’s new Gigabit network-based digital audio processing and distribution platform which began shipping in 2010. Ferguson will also be available to support users of Meyer Sound’s loudspeakers, audio show control tools, and Galileo loudspeaker management system.
Prior to joining Meyer Sound, Matt Ferguson was audio technician at the Disneyland Resort in Anaheim, Calif. for four years, responsible for servicing and installing sound systems for its numerous attractions. For Disney’s newest “World of Color” nighttime water spectacular, Ferguson played an instrumental role in the design, documentation, installation, and tuning of the Meyer Sound loudspeakers in the production.
He also worked closely on the programming of the D-Mitri system which drives the entire show’s audio playback and routing. Ferguson was a contract engineer for Saddleback Church in Lake Forest, CA for two years, mixing its weekend services and acting as the local technical director for its satellite Irvine campus.
“We are absolutely delighted to have Matt join us as we continue to expand our support resources,” says John Monitto, director of technical support for Meyer Sound. “With his field experience applying Meyer Sound’s digital technology and loudspeakers as well as his extensive training from our education program, I am convinced that our customers will benefit greatly from Matt’s exceptional technical expertise.”
Reporting to Monitto, Ferguson will work closely with Richard Bugg, Meyer Sound’s digital product technical support manager, and Jason Rauhoff, digital audio product specialist. Ferguson is based at Meyer Sound headquarters in Berkeley.
Meyer Sound Website
Thursday, October 14, 2010
Deploying New Concert Technology At Rogers Bayfest
The multi-weekend festival which saw audiences of up to up to 20,000 per show utilized several impressive sound systems deployed by Showworks.
The annual Rogers Bayfest music festival has grown from humble roots since it’s founding over a decade ago with just a single performance to currently spanning two consecutive weekends where more than 100,000 attendees are treated to shows by top artists and numerous emerging acts.
Hosted in its original beautiful setting of Centennial Park in downtown Sarnia, Ontario, Canada, on the southern banks of Lake Huron, the 2010 version of the festival set a new high in terms of number of performances.
The first weekend offered rock headliners such as the Scorpions, Rush, and Weezer, followed by a second weekend of country that included top artists like Keith Urban and Alan Jackson.
And this year for the first time, it was all capped by yet another performance day featuring The Black Eyed Peas.
Bayfest is not only one of the largest tourist attractions for the area, but is also one of its biggest economic stimulators.
In fact, it was named the Best Business/Event Of The Year for 2009 by the Ontario Tourism Council.
Founded by the late Jim Stokely and still under the direction of his wife Michelle, it is a non-profit endeavor, with all proceeds going back into the community.
Sound reinforcement for Bayfest was supplied by Showworks, a fast-growing production and system installation company based in Mississauga, Ontario.
Showworks, which also provided lighting, video and other production for the second consecutive year, is headed by veteran touring mix engineer Geoff Kent.
In addition, Rob Deslauriers of SF Marketing of Canada lent his talents to the sound system design.
The large main stage, owned by the festival organization, hosts all performances. It’s the focal point of a huge lawn extending well over 600 feet back that hosts audiences of up to 20,000 per show.
Geoff Kent of Showworks, sound provider for the event.
For the first weekend, Showworks chose to utilize two EAW KF760 large-format line arrays, flown to each side of the stage, to provide primary coverage, but things changed notably on the second weekend, with the sound team deciding to deploy the recently introduced EAW KF740 line array modules as the mains.
The KF740 delivers output resembling the much larger KF760, but at a muchreduced footprint and lower weight. Each module incorporates eight drivers (four- 10 LF, dual-8 MF and dual-1.4-in-exit HF) into a cabinet measuring just 13 inches high by 40 inches wide.
A symmetrical design, large horn and spaced woofers foster broadband pattern control, and the system can be further optimized with the company’s Focusing processing and Resolution software. KF740 modules can also integrate with KF760 or KF730 arrays for additional flexibility. (For more about the KF740, see Designer Notebook in the April 2010 issue.)
“This was our first real-world application with the KF740, and it couldn’t have gone any better,” Kent states.
“There have been just a couple of times in my entire career where I’ve developed a whole new level of respect for PA rigs, and this is one of them.
The thing that stands out the most is the compact footprint of the box versus its output, combined with a full, rich sonic quality.
It’s just incredible. I’m a true skeptic, but this is the real thing.”
The main arrays each incorporated 10 KF740 modules, with four KF760s at the top to add a bit of high-frequency boost to the very back of the coverage region.
In addition, the arrays weren’t configured in the usual “J” shape, but rather, were set up to provide more of a flat-front array due to the throw distances involved.
“One of the great things about the festival this year is that it gave us a nice comparison, with KF760 arrays the first week followed by KF740 arrays in the same space,” Kent adds.
“With the KF740s, we literally attained the same coverage and SPL (as the KF760s), and what really stood out is a more ‘hi-fi’ sonic signature of the newer arrays.”
A view showing the large scope (and coverage area) presented by Bayfest.
Both weekends, the main arrays were flanked by six flown Meyer Sound M3DSub subwoofers, loaded with dual-18 and dual-15 woofers that are configured to supply cardioid characteristics for additional control of low-frequency energy.
On the ground, 24 Canadian Speaker Works Pro (CSW Pro) Black Box dual- 18 hypercardioid subwoofers in front of the stage supplied a low-end hammer when needed.
“The CSW Pro is the loudest, angriest subwoofer this side of Servodrive that I’ve heard anywhere,” notes Deslauriers.
Front fill and out fill to the very front and side areas came courtesy of eight KF761 wide-coverage modules placed atop the subwoofers.
All main system loudspeakers and subwoofers were driven by QSC PowerLight 3 Series power amplifiers, with PL380s the predominant choice except for high-frequency drivers, which were powered by a combination of PL340 and PL325.
Five EAW UX8800 units (each 4-in by 8-out) provided both loudspeaker and overall system processing, as well as facilitating more advanced tailoring with EAW Pilot software linked in via PC.
The UX8800 processors were all networked, allowing control and monitoring from the house mix position. The sound team notes that the networking, employing the latest version of EAW U-Net firmware, proved exceptionally stable and user-friendly.
“I really like to focus on sound and don’t get all that excited about networking, but I have to say that the networking here was beyond impressive,” Kent states. “It was really dialed in. It’s obvious that EAW has put a lot of time and care into this.”
Two delay zones helped solidify coverage, in particular bolstering high-frequency support. Each zone incorporated EAW NTL720 compact, self-powered line arrays both flown at about 200 feet and 400 feet from the stage, behind the house mix position. And, both of these arrays were also incorporated on the system-wide network.
One of the EAW KF740 main arrays - topped by KF760 modules - with a relatively flat-front configuration, and next to flown Meyer M3D-Sub subwoofers.
Showworks had a Yamaha PM4000 console at the ready for any acts that needed it, but the vast majority brought in their own consoles for both house and monitors.
The same with effects devices. Consoles and outboard gear could be patched in quickly via a Midas XL88 line level 8 by 8 matrix mixer.
“Festivals are all about quick changeovers between acts as well as being able to accommodate the needs of every artist and guest engineer. That was the driving force of our efforts on both weekends, and it all happened seamlessly,” Deslauriers says.
For Kent, a highlight was the final concert by The Black Eyed Peas, a band he’s worked with extensively in the past. “They put the pedal to the metal, really pushed it in terms of dynamics, and the engineer produced a great mix,” he concludes. “It was a demanding test for any array, let alone a new one you’re just getting a feel for, and it stood up really well, passing with flying colors.”
What You Need To Know When It Comes To Mixing Wedding Music
Technical know-how and art must come together when it comes to weddings. Are you prepared?
Getting out of my car on the way to work a wedding, I thought to myself, “This is going to be one hot service.”
And not for the reason you might be thinking, either.
This bright August day, the sky was clear, the sun was directly overhead, and I was headed to an outdoor wedding.
In retrospect, I was much more fortunate than the groom and his entourage who were decked out in the 87 layers of rental clothing that come with wearing tuxedos.
It’s not that I’m against outdoor weddings. Jesus performed his first miracle at a wedding turning water into wine. Ten bucks says it wasn’t Beringer White Zin, either.
Heck, I’d bet the first outdoor wedding would have been between Adam and Eve had only they been able to find a reception hall with a disco ball.
But that’s not why I’m telling you all of this.
Sitting in the amphitheater, hoping my sweat wouldn’t soon change the color of my shirt, I eyed the sound system.
It was a portable Fender unit with a few line inputs and outputs and speakers on pedestals - acceptable for the small venue.
The sound guy was the brother of the bride and currently had the job of controlling the wedding music. Let’s call it an iPod wedding and just get that out of the way.
The wedding was nice, and everything went smoothly - no feedback issues that I’ve seen in the outdoor environments.
I remember one wedding where the microphone was directly in line with both loudspeakers - feedback wasn’t a problem at that wedding, it was part of the wedding.
I’m writing all this just to build up to a cental point when it comes to wedding music; technical know-how and art must come together when it comes to weddings absent of any musicians and where it’s up to the sound operator to provide the music.
Great music performances flow from one song to the next. There are even albums with little-to-no delay between songs.
I’m not saying silent space can’t occur between songs but there is a time and a place for everything.
Running sound for an event like a wedding might mean we are charged with playing music before, during, and/or after the wedding.
I submit to you that we are responsible for more than just playing the music but blending it and playing it so it flows.
A perfect example is switching from one song to the next. There are a few ways this can sound badly.
The song ends and the audience hears the CD player open, close and then the next song starts - because the music is from a stack of CD’s.
The song starts to fade out and then suddenly stops and the next song plays.
The song fades but the time between when it fades out of the audience’s ability to hear it and when the next song starts is greater than five seconds.
Just because we aren’t mixing a band, it doesn’t mean we can’t mix recorded wedding music. There are a few options available.
Using CD’s, use two CD decks to cue up and blend the music. That’s basically a DJ setup. Use the faders to fade in out songs as appropriate.
Get the music way before the wedding and create a mix CD (or computer file if you can play that way). This way, you can create a mix with the proper timing between songs.
Whatever you do, don’t just kill a song - fade it out if you have to.
Remember, wedding music carries emotion. When the time between songs is too long or songs end suddenly, listeners can tune out of the mood which the music is trying to set.
I want the father-of-the-bride to be thinking about the beauty of the wedding. I don’t want to give him the opportunity to think about what he has to do tomorrow.
What Bad Wedding Audio Experiences Have You Witnessed? What Wedding Audio Advice Can You Share? Let us 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.