Article

Thursday, May 17, 2012

Ford AV And WJHW Collaborate On Harman System For BBVA Compass Stadium

Founded in 2005, the Houston Dynamo is a professional soccer team that competes in Major League Soccer (MLS).

After playing its first few seasons at the University of Houston’s Robertson Stadium, the team needed a home of its own and will be moving to the newly completed BBVA Compass Stadium on May 12, 2012.

The 30,000-seat stadium will offer the latest in facilities and amenities—including a Harman sound system that boasts more than 200 JBL loudspeakers, 50 Crown amplifiers and an extensive BSS Audio distribution and control system.

Wrightson, Johnson, Haddon and Williams, Inc. of Dallas, TX handled the audio system design, led by Senior Associate Gary White. Ford AV of Oklahoma City, Oklahoma was the audio/video contractor for the project.

The loudspeaker complement for BBVA Compass Stadium main bowl includes a combination of 90 JBL AE Series and PD Series speakers. Models include JBL’s AM7215/95-WRX and AM7215/26-WRX full-range 2-way 15-inch speakers, and PD5212/95-WRX and PD5212/64-WRX 2-way 12-inch high-output speakers.

All of the speakers have JBL’s WRX extreme weather protection treatment and are used in the main seating bowl of the stadium. In addition, 113 JBL Control Contractor speakers are installed throughout the facility, including the Control 26CT and 24CT in-ceiling speakers and Control 25T and 28T-60 indoor/outdoor speakers, along with a pair of JRX112M monitors.

The speakers are powered by 45 Crown CTs Series CTs-3000-LITE and seven CTs-2000-LITE amplifiers.

The audio system is networked together by an extensive complement of BSS Audio Soundweb London components, including 16 BLU-800 devices with CobraNet, three BLU-160 devices, three BLU-120 I/O expansion devices, a BLU-80 device with CobraNet, seven 9015US Wall Panels, 12 BLUCARD-IN input cards and 29 BLUCARD-OUT output cards.

“BBVA Compass Stadium required a multi-purpose sound system that could handle public address and music throughout the facility,” noted Gary White. “We’ve had great success with Harman products in the past and AEG (Anschutz Entertainment Group), one of the major promoters of Major League Soccer, has a partnership with Harman so it was a good fit all around.”

The stadium’s audio system has numerous zones including the main bowl area, the entrances, 34 private suites, the restrooms and other locations. In addition, separate dedicated sound systems are installed in the stadium’s Premium Club, the press room and the post-game interview room.

“The BSS Soundweb London components were absolutely essential in getting all of the different audio signals properly routed to all these diverse areas,” White pointed out. “They make what could have been an overly complex system extremely manageable.”

“The JBL AM7215 and PD5212 models are ideal for the main stadium area,” said White. “They deliver high SPL and their rotatable waveguides enable optimum positioning and the ability to orient the speakers either horizontally or vertically.

“They are also weatherproofed and durable, which is almost as important a consideration as their sound quality and coverage pattern in a city like Houston with its extremes of weather and temperature.”

Jason Werle, Project Manager for Ford AV’s Dallas Division explained some of the challenges behind this installation.

“In order to meet a deadline of when the lifts were no longer [allowed] on the field, our first task was to install all of the bowl speakers. At the time, the field was highly populated and made it challenging to navigate around the bowl. We installed all these speakers from the field level using an articulating boom and chain hoists. Any project of this size will have difficult cable pulls and Dynamo was no exception.”

“We went with the JBL Control in-ceiling and outdoor speakers in the other areas of BBVA Compass Stadium because they are compact and can be installed inconspicuously, yet deliver powerful sound,” noted White.

Harman
JBL

Solotech Provides L-Acoustics Systems For Bruce Springsteen

Bruce Springsteen’s Wrecking Ball tour kicked off at Atlanta’s Phillips Arena in mid-March, with an L-Acoustics K1/KUDO WST line source system provided by Solotech US Corp of Las Vegas.

Harnessing the power of Springsteen and his 17-piece band is FOH engineer, mix veteran John Cooper, who has provided mixing services for the Boss for the past 10 years and also performs mixing duties for artists including Sheryl Crow, Wynonna Judd, Ringo Starr and Lionel Richie.
 
The K1/KUDO system provided for the Wrecking Ball tour consists of 60 K1 enclosures, 16 K1-SB subwoofers, 24 KARAs, 48 KUDOs, and eight SB28 subs. In many venues, the audience is in 360 degrees as the set design allows for unobstructed views from the rear. Sixteen V-DOSC cabinets are also brought along to provide delay fill in venues when necessary. All L-Acoustics speakers are processed and powered via the LA8 4-channel amplified controller and all LA8s are contained and interconnected via the LA-RAK. The tour also boasts the first wide-scale use of L-Acoustics’ NetworkManager 2 software, providing advanced control and monitoring of more than 76 LA8 controllers.

“Solotech personnel have been outstanding; they show a great attention to details,” says Cooper. “At this point in time I have not heard a more refined, more accurate and musical sound system.”

Springsteen’s first concert tour since 2009 is presently scheduled to play dates in North America and Europe through September, with stadium dates recently added for Boston, Vernon New York, Chicago, Washington DC, Toronto, Moncton, New Jersey and Philadelphia. Solotech is providing full audio production services for the entire US Wrecking Ball tour.

L-Acoustics

Alcons Audio Establishes Offices In India

Alcons Audio has opened a direct office presence in India, offering customers full factory support. The company will be operating out of Mumbai and Bangalore initially, with expansion planned to other cities in the near future. 

“Alcons is installing systems around the world and it was high time we entered an important market like India,” says co-founder and managing director Tom Back. “Having successfully established our American presence, India is the next step. It is an important growth market - like Brazil, China, US and Europe - and since we didn’t have a distribution presence here we have set up a direct office.”

“A quality brand like Alcons requires direct factory support so that we can give reliable and sustainable technical advice and customer support,” adds Alcons Audio India MD John-Paul Douma. “It is a commitment to our brand and to India, saying: we’re here and we’re here to stay.”

The initial hires for the Alcons India team include sound professionals Dhaval Mastakar (sales manager) and Amesh Sharma (technical support manager), both ex-Harman. Akshata Sirsikar, who has a background in the Indian music industry, completes the team as head of marketing.

Alcons made its entry into the Indian market in 2011 at the PALM Expo and will return this June in Mumbai at Stall I29 – 36. Back will also be conducting a seminar on ‘The Sound Characteristics of the Pro Ribbon Driver’ which will take place on June 1, which is day 2 of the expo (Mezzanine Floor at Hall No. 1).

The company will be pitching its “Evolutionary Audio Solutions” in India primarily to the touring systems, installed sound and cinema market segments. At the same time, the company will also be promoting its range of line arrays for touring systems that includes the newly announced LR24 mid-size line-array for large concerts and events requiring professional sound systems.

“Apart from being a growth market, India has a rich cinema tradition and we have the optimal products for this,” states Back. “Developments like 3D and Digital cinema have enhanced the cinematic experience and Alcons’ Cinemarray cinema systems generate a sound quality equally superior, “ he added. “Together they create a whole new level of cinematic experience.”

Alcons Audio

Turbosound NuQ System Makes Amber Leigh A Self-Contained Success

All the arrows are pointing upward for young country star Amber Leigh. Recently named south Florida’s female artist of the year, this hard-working multi-instrumentalist has built an impressive fan base by doing about 200 gigs per year.

As an independent artist, Leigh has built a self-contained organization to assure the same high quality shows no matter where the road might take her. Recently, the band added a Turbosound NuQ portable PA system to their touring operation.

“The idea is to be truly independent without sacrificing quality,” notes Holland Ryan, sound engineer for Amber Leigh Band. “So we got a small NuQ system from Turbosound. It’s compact, lightweight, and sounds incredible. So if the venue we’re playing doesn’t have their own sound system, like an outdoor festival or a hotel ballroom, we can still put on a quality show. It’s been amazing.”

Amber Leigh agrees. “With Turbosound speakers, each night I step on stage, I know my performance will sound terrific, and the audience will get to hear the show the way it should sound every time,” she says.

The Turbosound NuQ system employed by Amber Leigh Band includes four NuQ-12DP mains, supported by four NuQ B-15DP subwoofers. All are self-powered, eliminating the need for an amp rack. Typically Ryan double-stacks a pair of the B-15DP subwoofers on either side of the stage, with one NuQ-12DP on a pole mount above them. A second NuQ-12DP is then mounted on a tripod stand to the side, aimed as needed depending on stage width and the shape of the venue.

“Having the NuQ system has been fantastic for us. It’s extremely flexible and easy to use,” says Holland Ryan. “I can use all of it or part of it and provide great sound for anywhere from 100 to 1,500 people. The subs are under 100 pounds and are on wheels, so I can set the whole thing up by myself if I have to. And with the on-board DSP, I can optimize the performance for any situation. All I need is a power source and we’re good to go.”

For an independent artist like Amber Leigh, a self-contained rig like the Turbosound NuQ system helps ensure consistent sound regardless of the venue. “That’s always been our goal,” notes Ryan. “We could be playing a gymnasium, an outdoor park, small club or a hotel, and know that we’re going to sound good. Everyone who hears it is intrigued at how compact the setup is, and how polished and professional it all sounds and looks. It’s the kind of thing that gets you invited back.”

For gigs around their home base in Delray Beach, the Amber Leigh Band travels by van, carrying everything they need in a 6x10-foot trailer. The Turbosound NuQ comprises the PA system while a rack of in-ear systems provides monitors for the five-piece group, with Holland Ryan controlling it all from a single Allen & Heath iLive-T112 console. “The simple fact is, you can’t always afford to hire a full PA and crew for every gig,” he explains. “Being self-contained means we can do more gigs and know that the audience is getting great sound, no matter what kind of venue it is.”

Having used the Turbosound NuQ system for a couple months now, Holland Ryan is convinced the band made a smart choice. “The NuQ is the cleanest, clearest, flattest sounding box I’ve heard in a very long time,” he concludes. “The output they provide in such a compact size is almost insane. I can produce sound in the mid-90s decibels for over 1,000 people and still have plenty of headroom to spare. And when I push the system close to its limits at big shows, it doesn’t get distorted, and it stays accurate, with none of the midrange honk you get from a lot of other systems. It’s really amazing.”

Turbosound

Outline GTO Line Array Deliver The Word For Joel Osteen

Outline Grand Touring Outline (GTO) Line Array Speakers were used exclusively by Special Event Services (SES) to supply front-of-house sound for the recent Joel Osteen Ministries America’s Night of Hope 2012 event.

The program, featuring musical presentations and inspirational speeches, took place at Nationals Park in Washington, D.C., home to the Washington Nationals baseball team, and featured 12 stacks of six GTO speakers each, mounted on specially designed mobile speaker carts for easy “wheel-in” setup.

Sound for the event was run from the ground level with sonic accuracy, clarity and punch delivered by the GTO cabinets. Attendees enjoyed crystal-clear, loud, full-range sound from any vantage point in the stadium.

“For this event, we were asked to shoot all the audio up from the ground,” says Jason Farah, owner of SES. “The stadium seats 41,487, with the elevation of the top seats at 115 feet in the air and 250 feet back from the GTO speaker stack—that’s almost a football field away—and the sound was simply incredible.

“The band sounded full, rich, beautiful and clear. You could hear and feel every note. But when Pastor Osteen came out to deliver one of his messages, people in the farthest corner of the stadium, in the back row of the third seating deck behind the foul-line pole, were responding as enthusiastically as the audience behind home plate. GTO presented an amazing sonic experience.”

Reed Hall, senior director, audio and technical production for Lakewood Church Joel Osteen Ministries, was also impressed with the GTO setup.

“During our event in Washington D.C.‘s Nationals Park, I had the opportunity to walk the entire stadium during sound check and the actual event,” he says. “The frequency response and clarity were incredible. At extreme edges of the park the sound was clear, concise and had an impressive amount of low-end, considering the distance from the loudspeakers.

“For the past year I have had the pleasure of using this Outline rig in venues across the country and have been very impressed from day one. They just sound great out of the box, with no tuning and no subs. When Jason Farah from SES hands the Outline PA over in the afternoons, an 18,000-seat arena sounds like a 3,500-seat auditorium. SES has a little secret called GTO that puts them way ahead of the competition.”

The GTO series of line array speakers, offering a unique combination of high-power output in a compact and relatively lightweight cabinet, feature Outline’s patented Butterfly design. The cabinets deliver clear, non-colored, high-SPL audio capable of bringing listening environment quality to the live event experience. When coupled in an array, GTO’s unique V-shaped front baffle allows individual sound sources to be positioned much closer together than in conventional line-source systems.

This facilitates superior acoustical coupling between high-frequency modules, thus producing a smooth yet extended HF response. It also creates the ideal “unbroken baffle” shape through an array, which minimizes diffraction and deterioration of the mid-high frequencies, contributing to the far-field performance of the system. A GTO line array system is capable of delivering a true visceral response to the audience while maintaining clarity.

Outline

Wednesday, May 16, 2012

NAMM Foundation Awards $445,000 To Support Music Learning Programs

The NAMM Foundation has announced the 21 recipients of the NAMM Foundation’s 2012-2013 program grants, allocating $445,000 in funding.

The grants support innovative community-based music learning programs that expand access to active music making and its many benefits.

The new grants, while only a small portion of the National Association of Music Merchant’s (NAMM) overall annual multimillion-dollar-reinvestment into the music products industry, help organizations operate programs designed to increase interest and participation in making music among teachers, seniors, college students and school-aged children.

Since 1994, the NAMM Foundation has supported worthy U.S. and international music-making programs with more than $13.7 million in grant-making support.

“Through its support of these community programs, the NAMM Foundation supports music-making opportunities to people of all ages and backgrounds, allowing them to experience the many benefits of playing music,” said Mary Luehrsen, executive director of the NAMM Foundation. “NAMM members through their involvement at the annual NAMM Show and membership in NAMM allow these programs to flourish.”

During the recent National Association of Music Merchants’ (NAMM) Board of Directors’ meeting, the following programs received approval:

Australian Music Association
The Australian Music Association is the trade body for the music products industry, representing wholesalers, manufacturers, retailers and associated services for musical instruments, pro audio, print music, lighting and computer music products. NAMM Foundation funding supports the expansion of Wider Opportunities Whole Class Instrumental Program, providing professional development for instrumental teachers, classroom teachers and community musicians.

Carolina Studios Corp.
Carolina Studios Corp’s mission is to provide youth a safe after-school and summer environment that promotes productive use of time through music technology and other media arts enhancing creative, educational and career-focused initiatives. NAMM Foundation funding supports the expansion of its Music Technology Program, to include a “Mobile Studio” that will visit six Title 1 middle/high schools and the Windwood Farm Home for abused and neglected children.

Coalition for Music Education in Canada
The Coalition for Music Education in Canada’s mission is to raise the awareness and understanding of the role that music education plays in Canadian culture, and to promote the benefits that music education brings to young people. NAMM Foundation funding supports the expansion of its Music Monday program, a public awareness initiative that engages thousands of music makers and the media in the opportunity to celebrate music making’s vital role in school and in life and to launch their Wise Voices for Music® program. The Wise Voices for Music program provides opportunities for Canadian youth to express their passion for music.

Dallas Wind Symphony
The Dallas Wind Symphony is the leading professional civic wind band in the United States today. Comprised of 50 woodwind, brass and percussion players, the band performs an eclectic blend of musical styles ranging from Bach to Bernstein and Sousa to Strauss. NAMM Foundation funding will help expand its Strike Up The Band youth concerts recruitment initiative, which supports the Dallas Independent School District’s sixth grade band recruitment efforts and creates visibility for the program and its Summer Music Institute, which consists of two-week long band camps designed to give low-income urban Dallas band students intensive training in a fun, friendly atmosphere, under the guidance of musicians from the Dallas Symphony.

Guitars and Accessories Marketing Association
The Guitar and Accessories Marketing Association (GAMA) is a trade association comprising of guitar product manufacturers and distributors. NAMM Foundation funding supports the expansion of Teacher Guitar Workshop, a professional development program providing music educators with the basic skills and tools necessary to introduce and teach group guitar instruction in schools.

Guitars In the Classroom
Guitars in the Classroom (GITC) trains and equips classroom teachers to integrate singing and playing guitar into children’s daily school experiences. By providing instruction, access to instruments, resource materials, and program supervision, GITC empowers educators to transform classrooms into musical environments that bring out the best in every student, engaging them in studies across the curriculum. NAMM Foundation funding supports the expansion of The AMIGO Project: Achievement through Music Integration, to include early childhood education (ECE) and in-classroom coaching based on last year’s pilot.

Latino Arts
Latino Arts, Inc. is a 501(c)(3) non-profit dedicated to bringing cultural awareness, artistic educational experiences, and high-quality programming to the Milwaukee and southeastern Wisconsin communities featuring Hispanic artists. NAMM Foundation funding supports the expansion of the Latino Arts String program, an in-school and after-school music education program serving students ages 4 to 17 where students learn classical musical skills while learning and incorporating Latino music and traditions.

Litchfield Performing Arts
Litchfield Performing Arts’ mission is to enhance the achievement of students and music educators of all ages and skill levels by providing instruction from jazz professionals in a non-competitive environment. NAMM Foundation funding supports the organizations’ emerging teacher training program Litchfield Jazz Camp & the “Road Tour” Mentoring program where selected students become Resident/Teaching Assistants.

Little Kids Rock
Little Kids Rock’s mission is to restore and revitalize music education in U.S. public schools. It provides free musical instruments and music instruction to underserved schools across the country. NAMM Foundation funding supports the expansion of its Modern Band program to Atlanta and Nashville. The program will bring instruments such as keyboards, drums, electric basses and guitars, microphones and amplifiers—as well as curricula, song charts, and instructional videos—to at-risk students and their teachers.

Mr. Holland’s Opus Foundation
Mr. Holland’s Opus Foundation is a non-profit organization dedicated to promoting music through donations of musical instruments to young musicians. NAMM Foundation funding supports its Instrument Donation program, which helps after-school programs serving underserved youth primarily attending Title 1 schools. Funding will support the purchase of new instruments and/or repairing of damaged instruments in the programs’ inventory for one of two title 1 schools.

Music For All
Music For All/UK is the charity for the UK musical instrument industry whose mission is “Making More Musicians!” NAMM Foundation funding supports the expansion of the travelling Learn To Play Stand School Tour, introducing thousands of children to a variety of musical instruments in schools in the United Kingdom and supporting music instruction programs.  This effort is done in collaboration with the music dealer network in the UK.

Music Haven
Music Haven’s mission is to imbed as a professional string quartet in an urban community and contribute to community development goals through performance and music education, empowering young people, their families, and professional musicians. NAMM Foundation funding supports the expansion of the organization’s After-School Lesson program, providing a creative outlet for youth and families who have little or no access to high-quality music education, mostly due to economic circumstances, time and transportation limitations.

National Piano Foundation
PianoNet is the official site for the National Piano Foundation, a comprehensive guide to pianos, including the history, manufacturing, related noted artists, important publications, and more. NAMM Foundation funding supports its Teacher Scholarship program to help train piano teachers to create and grow a successful RMM program.

National String Project Consortium
The National String Project Consortium (NSPC) is a coalition of String Project sites based at colleges and universities across the United States. The NSPC is dedicated to increasing the number of children playing stringed instruments, and addressing the critical shortage of string teachers in the United States. NAMM Foundation funding supports the expansion of the Nurturing and Sustaining Six String Projects program to support the fifth and final year for four more sites. 

Orchestre A L’Ecole
Orchestre A L’Ecole, a non-profit music trade association in France, aims to develop the musical abilities of young people in schools in disadvantaged areas. NAMM Foundation funding supports the expansion of the Orchestre A L’Ecole, a music education and training program that was created by the association.

Percussion Marketing Council
The Percussion Marketing Council’s mission is to provide professional marketing and advertising campaigns, programs and activities that bring increased public awareness to drumming, thus increasing the number of people playing all types of drums. NAMM Foundation funding supports the expansion of the Roots of Rhythm interdisciplinary music education program and the Percussion in the Schools assembly program to serve schools throughout the United States

Percussive Arts Society
Percussive Arts Society (PAS) is a non-profit, music service organization. Its mission is to promote percussion education, research, performance and appreciation throughout the world. NAMM Foundation funding supports the Find Your Rhythm! Community Outreach program designed to engage fourth and fifth grade students in active music making using rhythm-based instruments. The program serves low-income youth from Indianapolis city schools.

San Diego Youth Symphony and Conservatory
The San Diego Youth Symphony and Conservatory instills excellence in the musical and personal development of students through rigorous and inspiring musical training experiences. NAMM Foundation funding supports the expansion of the Community Opus Project, providing community-based music programs for at-risk youth in San Diego County and efforts to work community-wide to reinstate music education programs.

Street-Level Youth Media
Street-Level Youth Media educates Chicago’s urban youth in media arts and emerging technologies for use in self-expression, communication, and social change. NAMM Foundation funding supports the expansion of its Audio/Music Production program, which includes beginning- to advanced-level music and sound technology workshops in community- and school-based sites during after-school hours, as well as media arts integrated workshops.

Technology Institute for Music Educators
The Technology Institute for Music Educators (TI:ME) is a non-profit organization with a mission to assist music educators in applying technology to improve teaching and learning in music. NAMM Foundation funding supports the expansion of TI:ME’s Technology Leadership Academy, a program for pre-service music education majors focusing attention on the emerging interest to reach non-traditional music students with technology-based music programs.

Youth Radio
Youth Radio promotes young people’s intellectual, creative, and professional growth through education and access to media. NAMM Foundation funding supports the expansion of the D.S.S.C.O: DJ Sound System for Community Outreach program, a teen and young adult program that engages local DJs as guest instructors to train students in technology and music making.

NAMM Foundation

Care & Feeding: Keeping Gear In Top-Flight Shape

To get the most mileage out of gear, regular equipment inspections and Preventative Maintenance (a.k.a., PM) are a must.

All equipment in your inventory should have PM scheduled at least once a year, and more frequently if it goes out the shop door a lot and/or is exposed to harsh environments.

PM comes down to inspecting, testing, cleaning, lubricating and repairing to keep systems in top operating condition.

In addition to annual PM, all gear should be given a quick inspection during setup and tear down at every gig. This includes a visual inspection, placing a hand on equipment to feel operating temperature, tugging on cable ends to see if strain relief is in good shape, etc.

If irregularities are noted, further inspection should be performed and problems addressed. Not paying attention to small problems allows them to build up to big problems that are much more expensive to correct, and they can also result in a failed gig. Here I’ll share some of the PM approaches I regularly utilize with my own gear.

Electrical

PM for electrical gear like processors, amplifiers, and snake boxes always starts with a complete visual examination. Each unit’s case is opened up for visual inspection of the interior. I’m looking for loose or broken wires, unseated connectors, blown fuses, discolored circuit boards, and so on.

Keeping the inside of components this pristine can only help performance and longevity – just be sure to check the manual before removing cases. Image courtesy of QSC Audio. (click to enlarge)

While the case is open, it’s a great opportunity to run a vacuum and clean out all dust and road gunk that has accumulated inside. Sometimes an air compressor, or at least some “canned air,” is used to blow out the dirt. I also remove filters and clean or replace them per the manufacturer’s instructions.

Next up is checking and cleaning signal connections. If the equipment has faders and knobs, it’s time for cleaning and lubrication (again, per the manufacturer’s recommendations).

All electrical pins and connection surfaces are evaluated for corrosion and misalignment, and input and output connectors are given a thorough cleaning with an electronic cleaner such as Deoxit from Caig Labs. If connectors need to be repaired or replaced, this is the time to do it.

With the case still open, it’s a good ideal to double check all power cable connections, and if the unit has a fixed power cord, to make sure the strain relief is in good shape and the cord has no cuts or tears in the outer jacket. I also run my hand down the cable to feel for internal cable damage. If the unit takes batteries, they get a check, and the battery terminals are cleaned.

Before plugging in and powering anything, I make sure all cleaning fluids or solvents have dried. After a quick check to make sure the equipment is operating correctly, each component is sealed back within its case.

Rack-mount gear is a little harder to access without removing from the rack, but I strongly believe that doing maintenance is so important it’s worth the trouble. Note, however, that opening up some gear may void the factory warranty, so please read and follow all manufacturer instructions on maintenance.

Microphones

Modern microphones are pretty robust and usually don’t require a lot of attention, but they should be inspected after each use because they’re regularly dropped, exposed to liquids, etc.

Because the majority of my jobs are corporate gigs, which are usually relatively tame, I only do serious mic maintenance once a year.

But for those doing outdoor festivals and/or working with much more “raucous” forms of entertainment, there could be need to do maintenance as often as every month.

Many models allow you to remove a damaged grille/head to simply screw on a new one.

Factory replacement heads are usually available, and a few companies also make generic heads that fit popular microphone models.

And sometimes they can be fixed. For round ball-shaped grills, the handle of a large screwdriver can be used to gently pressure out dents. If a dent is a little stubborn, I place the ball on top of a folded towel and tap the screwdriver with a small wooden mallet.

Sometimes mic grills can be “helped” back into shape, or they might need replacement. Also keep an eye on the connectors, which can be subject to abuse. (click to enlarge)

Before grills are re-attached, they should be cleaned with a mix of dish soap and warm water, with a soft bristled toothbrush to help scrub out the dirt. Some folks use Listerine for cleaning, and there’s a foam-based cleaner called Microphome available as well.

Inner foam windscreens can be replaced or washed in a mix of dish soap and warm water. These should be wrung out and air dried completely before being reinstalled. For mics that don’t have removable grills, I use a dry soft bristled brush on the exterior of the grille to remove dirt and then hold the mic upside down to help loose dirt and debris fall away.

Don’t leave batteries inside mics between shows because they can leak and corrode the contacts and generally ruin the electronics. To keep these terminals (as well as mic connectors) clean, I use Deoxit, then wipe them dry with a clean cloth.

Don’t forget the clips! Mic clips should be checked for signs of cracks and missing pieces. Also evaluate the threads and the tightness of the swivel. I normally place a drop of light lubricating oil or WD40 on the threads so they’ll screw easier on to mic stands.

Loudspeakers

Safety is more important than looks or sound, so the first thing I check on loudspeaker cabinets is the rigging, making sure nothing is cracked, bent or distorted. All moving parts should be cleaned and lubricated per the manufacturer’s recommendations.

Also don’t forget to keep an eye on external hardware like handles, corners and grills, fixing anything that requires attention.

Make sure hardware like corner protectors and handles stay firmly attached. (click to enlarge)

Connectors (and their panels) should always get attention as well, to make sure they’re intact and secure. For powered loudspeakers, give the power cord and amplifier a check before testing out the box.

During down times, I power up boxes and run a sweep tone through them to insure that drivers and crossover (if applicable) are O.K. For subwoofers, I usually run a kick drum sound from a drum machine as a general test, in addition to evaluating frequency tones.

Cables

Without cable and interconnect, a PA system is just a bunch of unconnected gear.

Yet cables seem to get the least attention – until they don’t work. After every usage, cables should be checked.

At the start of the wrap process, give the connector at that end the once over, to see if any pins or contacts are corroded or bent, and to confirm that the connector body is in good condition.

Make sure strain relief is tight and that the cable jacket has not pulled out of the connector body.

Then during the wrap, slide a hand along the cable, feeling for flat spots, twists or other irregularities inside the jacket. Check the outer jacket for cuts or tears.

At the end of the process, check out the other connector, then secure the cable and lay it in the proper storage case. (Don’t forget to also do this with AC extension cords.)

Cables that are obviously damaged or that need another look should be set aside. A common practice to mark a suspect cable is to put a half-hitch knot on each end, warning others not to use until it gets checked out. Another tactic is to place pieces of gaff tape over the connector ends.

It really only takes an extra second or two per cable to check them as they’re wrapped, but the extra seconds spent can save minutes (or hours) of chasing down problems at the next gig.

Check cables for obvious damage (such as that shown here), as well as problems under the surface. (click to enlarge)

All cables should also get a more extensive yearly check and some PM, including signal check with a cable tester and a thorough cleaning. When using a cable tester, check for intermittent signals by wiggling the cable where it joins the connector, and also flex the cable at any suspect spots to see if there is a break.

Many times a cable may have a break in one or more of the conductors, but the problem won’t rear its head until it’s flexed or wiggled.

With analog snakes, check the strain reliefs, and also open up the stage boxes to check the internal connections. Clean and lubricate snake reels per the maker’s instructions, and ditto for both fiber optic cabling and reels.

For general cleaning of outer cable jackets, I use a cleaner/degreaser called Simple Green. For removing sticky taperesidue (and this applies to other gear as well), I turn toGoo Gone, a Citrus-based cleaner.

When that won’t cut it, I switch to a stronger solvent called Goof Off, which contains acetone, so caution is strongly advised. It will eat through many materials, so just use enough to get rid of the gunk in the affected area, and then thoroughly wash the area clean of any remaining solvent.

Stands

Ubiquitous and ever supporting, stands are often forgotten about until something breaks. Mechanical stands need maintenance just as much as sound reinforcement equipment.

On mic stands, check the clutch regularly to make sure it operates smoothly. Replacement parts are available from manufacturers to rebuild a loose clutch mechanism. I also remove gaff tape residue (Goo Gone or Goof Off ), dry the tubes with a rag, then work a few drops of oil into the end threads so they screw into the bases and clips easily.

Staples of the PM kit include Deoxit, WD40, Goo Gone and perhaps some Microphome to keep mics fresh. (click to enlarge)

If I spot any damaged threads, I “chase” them (running a thread cutting die over a section to try to repair the threads) or simply cut off the end with a pipe cutting tool and make new threads on the fresh section of pipe.

Evaluate the stand’s base and replace any rubber isolation feet as needed. For tripod stands, check the legs and lubricate the hinge joint with a silicone- or Teflon-based lubricant. For loudspeaker stands, the process is similar, and also address rivets that hold the leg hinges as well as any safety stops on the stands.

Last month I focused on racks and cases (here), and these items also require scheduled maintenance. Check all hardware in general, and make sure rack rails are firmly bolted to the rack shell. Clean and lubricate the handles and hasps with a silicone or teflon lubricant, and clean and grease the castors as per the caster manufacturer’s recommendations.

While it may seem like a large outlay of effort, keeping up with regular PM can reduce problems, enhance system performance, and save significant time and money in the long run.

Craig Leerman is senior contributing editor for Live Sound International and ProSoundWeb, and is the owner of Tech Works, a production company based in Las Vegas.

Tuesday, May 15, 2012

PWS Walks The Red Carpet AT Billboard Latin Music Awards

Professional Wireless Systems (PWS) has been providing wireless solutions and gear onsite at the Billboard Latin Music Awards for the past 13 years.

This year the PWS team, including Brooks Schroeder and James Stoffo, created a custom wireless communications package for the show, with the company’s frequency coordination team working backstage to ensure all wireless operations went off without a hitch.

“This year’s package included all of the wireless microphones, in-ear monitors and IFBs for the technical production and musical elements, as well as the wireless communication for the production crew for both the main show and pre-awards red carpet show,” says Brooks Schroeder, project manager, PWS. 

Since 1999, The Billboard Latin Music Awards ceremony has been broadcast on the Telemundo television network, where it has become the network’s highest-rated music special.

For the main show, PWS used the new Shure Axient wireless microphone system along with the Shure PSM1000 personal monitor system.

“The Axient Wireless microphone system provides us with an innovative and fail-safe system,” adds Schroeder. “Features like the advanced planning, setup and control capabilities of the Axient make it an extremely reliable product, especially in the very populated Miami television environment.”

The PSM 1000 brings personal monitoring to its most advanced level yet. The PSM1000’s diversity bodypack receiver is ideally suited for large awards shows and other special events with a high noise floor from LED walls and the other wireless systems.

According to Schroeder, “We chose to use the PSM 1000s because it outperforms the other equipment on the market and comes loaded with operational features that no other equipment has. This is critical for live broadcast because you want to hedge your bets as much as you can by using the most reliable equipment available. This equipment allowed us to focus on all of the other things we needed to do.”

Additionally, for the pre-show red carpet activities, PWS’ John Garrido utilized Shure UHF-R wireless microphones and BTR 800 intercoms. In addition to the equipment provided, frequency coordination was another large part of the service PWS performed for the show. During the festivities, PWS’ team of experts was busy monitoring the RF spectrum to ensure there were no issues with the large amount of media covering the event. 

“Trying to manage the local and international press that are in attendance and make sure they do not interrupt the frequencies used for the shows is a big challenge,” concludes Schroeder. “Our goal is to have a perfect, interference-free show every time and we do whatever it takes to accomplish that.

“By using customized gear and bringing in our filtered products, RF monitors and antennas, we are able to pull off these large shows. This year’s Billboard Latin Music Awards was another successful event for us.”

Professional Wireless Systems

DiGiCo SD11 Aids Australian Education

In these financially difficult times, maximizing the potential of facilities has become a key issue for the education sector. At the same time as delivering high quality education in line with modern expectations, schools need to ensure that their facilities generate their own revenue.

These are the reasons why one Australian primary school has invested in DiGiCo, opening up a new market for the console manufacturer.

Helensvale Primary, located on Queensland’s Gold Coast, recently finished a new performing arts centre, complete with a full audio-visual solution designed, supplied and installed by Dominica Sound via DiGiCo’s Australian distributor, Group Technologies.

“The school was previously hiring halls at its local arts centre for its events, but wanted to become self-contained in order to cut some of the operational overheads,” says Steve McCallum, director of Dominica Sound. “At the same time, they wanted to ensure that the space could accommodate a wide variety of events and be rented out to other schools - generating income while, at the same time, saving the other schools money.”

Measuring around 40m x 25m, with a stage at one end and elevated seating at the other, the 1100-capacity venue needed a high quality audio system and so a DiGiCo SD11 digital console was specified.

“We went with DiGiCo because it turned out to be a higher quality and more cost effective solution than anything else,” says Steve. “The sound quality of any other digital console wouldn’t have been anywhere near as good as the SD11, so it was a simple choice.”

Another big advantage of choosing the SD11 was the ability to configure the console for non-technical individuals, such as teachers and student AV operators from other schools.

“Helensvale holds a talent show at the end of every school day. The SD11 is setup with every input on every layer so anybody can walk in, clearly see which fader belongs to which input and begin using the desk. The teachers have commented on how easy it is to use. They just turn it on, select the inputs and then control volume, it’s that simple,” Steve continues.“Everyone loves the new system. One of the teachers has told me that they feel like they’ve won the lottery!”

DiGiCo

Altinex Announces Dual Input-Type Interconnect Boxes

Altinex is pleased to announce the availability of the dual input-type TNP162 / TNP162C Interconnect Boxes, a new addition to the ever-expanding line of Tilt ‘N Plug interconnect offerings.

As a compact interconnect solution designed for installation into tables, podiums, or other furniture as part of an AV presentation system, the new TNP162 / TNP162C offers convenient, one touch access to a variety of video, audio, computer, network, and power connections—making the tabletop connection point attractive for any boardroom or conference room table.

As an easy-to-use tabletop connection device, the Altinex TNP162 is a sharp looking, highly functional tool for facilitating power, Internet/Network access, plus audio and video connections for one’s laptop computer while attending a meeting in the company boardroom or presentation space.

The standard configuration TNP162 provides two different input plates. One input section provides two CAT6 (RJ45) input connections and two AC power connections. The other provides one AC power connection, Computer Video (15-pin HD), Computer Audio (3.5 mm Stereo Mini), Modem (RJ11), and Network CAT6 (RJ45) input connections. All signals are pass-through.

The Altinex TNP162C is highly customizable, with a wide range of available connector options—all factory-configured and terminated so installations are quick and effortless. By calling Altinex customer service at 1-800-ALTINEX or visiting the company’s website, one is able to select from a variety of connector options such as USB, S-Video, RCA, BNC, and more.

Each AV and Data connector comes with a 6-foot cable and is terminated appropriately for quick connections to one’s audio-visual system (wall plate, floor plate, etc.). AC Power connections are provided with 9-10 foot cable lengths.

Either module of the TNP162 can be reversed before installation and each input plate is accessed by pushing down on the top cover. The unit then auto-tilts open with assistance from an internal pneumatic spring. Once open, the input plate remains securely in place.

The input plate is hidden, or closed, by pressing down on the top cover until the latching mechanism engages. In the closed position, the top panels lie flush with the table’s top, held in place by the latching mechanism. This secure fit also means less chance for paperwork to catch the TNP162’s edges when being passed across a table—so documents remain clean and professional in appearance.

Grant Cossey, Altinex Vice President of Sales, commented on the company’s new Interconnect Boxes, “Our TNP162 and TNP162C Tilt ‘N Plug interconnect boxes are the ideal boardroom choice for creating a quick and convenient means of patching equipment into a company’s data network or presentation system. With its ability to be customized in so many ways, the TNP162C offers tremendous flexibility for configuring a presentation space exactly to one’s preferences.

“To match any room’s décor, its bezel is available in black or brushed aluminum, so it looks terrific. With the quick, easy access these units afford combined with their elegant design; the TNP162 and TNP162C create a high-tech visual aesthetic that compliments the décor of any boardroom or presentation space.”

The Altinex TNP162 and TNP162C Tilt ‘N Plug interconnect boxes are available now with a MSRP price of $795 and $835 respectively.

Altinex

Meyer Sound MINA Amplifies Enthusiasm At Yuong-Sang Presbyterian Church

The sermons and songs may be in Korean, but the level of passion expressed in worship at Yuong-Sang Presbyterian Church easily matches that of any other dedicated church service in America.

The excitement level recently kicked up a notch when Yuong-Sang, located in the Philadelphia suburb of Horsham, invested in a new sound system anchored by Meyer Sound MINA line array loudspeakers.

“MINA is a perfect fit for Yuong-Sang in both size and performance,” says Dave Brotman, owner of Coatesville, Pa.–based systems integrator DBS Audio Systems, Inc. “Yuong-Sang has a very active music program, with services including a band, orchestra, and 100-voice choir.

“MINA delivers the power and the clarity the church needs, but in a compact box that blends with the look of their remodeled sanctuary.”

The custom-painted Meyer Sound system includes left and right arrays, comprised of six MINA loudspeakers flown under a 500-HP subwoofer on each side. Five UPJ-1P VariO™ loudspeakers are spaced along the rear of the sanctuary as balcony delays, and six MM-4XP self-powered loudspeakers are recessed in the stage steps to provide front fill and lower the perceived audio image.

“The church already had expressed a preference for a Meyer solution based on the senior pastor’s experience at other churches,” Brotman explains. “They were looking at a M’elodie [line array loudspeaker] system, but by using MAPP Online Pro [acoustical prediction program], I showed them that the more compact MINA would give them all the performance and coverage they needed—and save them a substantial amount of money.”

The Meyer Sound loudspeaker system installed at Yuong-Sang is self-powered, therefore requiring only two additional items to complete the setup: a Galileo loudspeaker management system with one Galileo 616 processor and a 48V, DC MPS-488HP power supply for the MM-4XP loudspeakers. A new Allen & Heath iLive digital console has also been installed.

As part of the church’s complete renovation, Applied Video Technology, Inc. (AVT) in Malvern, Pa. supplied new video systems, including Digital Projection projectors, NEC monitors, Panasonic cameras, a Sony HD production switcher, and Crestron controls.

One of the largest Korean-language churches in the Northeast, Yuong-Sang Presbyterian draws its congregation from Korean-American communities throughout the greater Philadelphia area.

Meyer Sound

Clear-Com Introduces New CC-300 And CC-400 Headsets

Clear-Com introduces the latest additions to its line of professional headsets, the CC-300 and CC-400.

The CC-300 and CC-400 offer extra comfort, better performance and more flexibility for users who employ intercoms for long hours. They are compatible with Clear-Com’s wide range of wired and wireless intercoms.

Wearing headsets day in and day out while communicating with other team members over the intercom can quickly exhaust a user. The new Clear-Com CC-300 single-ear headset and CC-400 double-ear headset were designed to reduce fatigue and accommodate individual preferences by offering a clear and comfortable audio experience.

The CC-300 and CC-400 headsets’ microphone booms can be rotated 300 degrees, allowing the microphone to be worn on the right or left side of the head. Users can also make the headsets larger or smaller by manipulating the slide adjustments on either side of the headband. In addition, the enclosed headphones have very soft padding and a slight rotation to provide a better fit.

The CC-300 and CC-400 headsets are equipped with hyper-cardioid dynamic microphones and high ambient-noise attenuation headphones that deliver balanced audio performance to the user. The acoustic isolation capability significantly reduces external background noise and with a clear audio profile, including an up to 20-kHz frequency response, the new headsets are made for professionals who demand high-quality sound.

The CC-300 and CC-400 headset microphones can be turned on and off by moving the microphone boom. Users need only to pull the boom gently downwards to turn on the microphone and push the boom gently upwards to turn it off, in effect giving them a quick and simple mute to their intercom system. 

Interchangeable cabling is another major benefit of the CC-300 and CC-400 headsets. Both headsets come with a standard four-pin female connector, but users can easily change the cable and connector at the base of the headset by using a Phillips screwdriver in order to accommodate different connector types. The same process can be used to repair and replace a damaged cable on the fly.

“Busy crew members need a headset that they can slip on and immediately feel the difference in fit and performance,” says Stephen Sandford, Product Manager, Clear-Com. “The Clear-Com CC-300 and CC-400 deliver by providing long-lasting comfort and high-quality audio, and can be used in conjunction with virtually all of our intercom solutions.”

Clear-Com

Full Compass Hosts “Music Biz” Workshop For Young Musicians

Full Compass Systems will host a day-long workshop for aspiring musicians on Saturday, June 23rd 2012. 

“Making It in the Music Biz” is a special gathering of music professionals who will share insights and advice on the practical and business aspects of performing music.  The event, based on the popular Launchpad music program, is free to all participants.

“Launchpad celebrates the reach of music education, which is exactly what this event is designed to do.  While it targets youth, musicians of all skill levels, ages and genres are invited to attend for free and learn tips and tricks from the music professionals,” said Tim Wurgler, WSMA program director. 

“Making It in the Music Biz” features notable Yamaha recording artists and other music business professionals, including Full Compass staff.

The program covers a variety of topics: guitar and drum clinics; how to avoid costly mistakes in the studio and tips for recording; ways to get your band noticed; stepping it up with social media and online resources; the process of song writing; making music that makes money; making the most of practicing, rehearsing and performing; and panel discussions on publishing, royalties, copyright, contracts, artist management and touring.

Susan Lipp, who owns Full Compass Systems with her husband Jonathan Lipp, stated, “Jonathan and I are long-time passionate supporters of school music programs. In fact, we have recently returned from our seventh trip to Washington, D.C. lobbying for desperately needed funding. Hosting a workshop for these amazingly talented young musicians is just another way we can offer our support.”

Sponsors include Yamaha, Charter Communications, Nicholas Family Foundation, the Les Paul Foundation, Tilt Media, Sherwood Press, WTDY AM, WJJO FM, HOT JAMZ, Maximum Ink and the Onion.

Full Compass Systems

Rational Acoustics Announces Upcoming Smaart Training Classes

Rational Acoustics has announced several new Smaart classes in its 2012 training schedule.

May 21-22, 2012 in Kerkrade, Germany.  This 2-day Fundamentals & Applications class will be hosted by Rational distributor AudioTec at the AD Systems facilities. It will be taught in German by Michael Haeck. Interested attendees will need to contact AudioTec directly for pricing, registration and logistic information by e-mailing .(JavaScript must be enabled to view this email address).

May 22-24, 2012 in Paris, France.  This 2-day Fundamentals & Applications class will be hosted by Rational distributor Haliotis and will be taught in French. Instructor TBD. Interested attendees will need to contact Haliotis directly for pricing, registration and logistic information by e-mailing .(JavaScript must be enabled to view this email address).

May 29-31, 2012 in Toronto, Canada.  This class will be hosted by Rational distributor SF Marketing and will be taught by Arthur Skudra, following the standard 3-day training format with Days 1 and 2 covering Smaart Fundamentals and Applications and Day 3 as the optional Practicum.  Interested attendees will need to contact SF Marketing directly for pricing, registration and logistic information and can register online.

May 29-31, 2012 in Manchester, UK.  This class will be hosted by Rational distributor Wigwam Acoustics and will be taught by Jim Cousins following the standard 3-day training format with Days 1 and 2 covering Smaart Fundamentals and Applications and Day 3 as the optional Practicum.  Interested attendees will need to contact Wigwam directly for pricing, registration and logistic information by .(JavaScript must be enabled to view this email address).

Don’t forget these previously announced classes:
June 18-20, 2012 in Las Vegas, NV
June 27-29, 2012 in Quito, Ecuador
July 2-4, 2012 in Lima, Peru
September 18-20 in Irvine, CA

Further information and registration details on all classes listed above can be found on the Class Schedule page of the Rational Acoustics web site.

In addition, Rational Acoustics Rational Acoustics will be exhibiting at the upcoming InfoComm show in Las Vegas, Nevada from June 13-15, 2012.  We will be located in the Central Hall, booth #C11346.  The latest enhancements to Smaart v.7 and various other peripheral measurement products accessories like the Smaart I-O and the Noise Stick will be on hand.

Jamie Anderson will also be presenting two sessions for InfoComm University on Thursday, June 14th.  The first is Session #IUX07: “Smaart Application: Reading the Phase Trace” which will run from 8:00AM to 12:00PM.  The second is Session #IUX10:  “Smaart Application: Spatial Averaging, or Measuring Something that Doesn’t Exist” which runs from 12:30PM to 4:30PM. 

Rational Acoustics

Accuracy vs. Realism: Simulating The “Human” Side Of Audio Measurement

The human auditory system is equipped with two inputs - left and right ears.

This “binaural” processing system provides us with the ability to localize where sound is coming from, something that a one-eared listener would have difficulty in doing.

Playback systems may utilize any number of channels to surround the listener with sound, but two channels is always enough to simulate the human listener.

Recording enthusiasts have long discovered the benefits of stereo microphones. While not necessarily “human-like,” they can produce recordings that add spaciousness and realism to the recorded material.

Two-channel acoustic measurements are important for the same reason - they add a human characteristic to the data.

For our discussion here, I’ll use the term “binaural” to describe recording processes that provide data for two ears - there is no need to distinguish between making a recording and making a measurement, as either or both could be of interest.

Let’s look at some of the ways to get binaural data. Many modern measurement platforms support two-channel recording. We will assume that one of them is being used, allowing our discussion to be confined to microphone techniques.

One of the first decisions that must be made by the data gatherer is whether accuracy or realism is more important.

After a little consideration, it becomes apparent that one cannot have both. Setup parameters that provide a more accurate view of the loudspeaker’s response will require that the effects of the environment be minimized.

On the other hand, if the effect of the room is to be considered, then accuracy will need to be sacrificed to include it.

The question becomes, “Do I want to know what is actually happening, or do I want to know what is perceived to be happening?”

The answer to this question will fundamentally affect the method used to collect the data.

It’s important to note that at least three responses are being gathered in the recording - the loudspeaker, the listener and the room.

The listener’s response is a constant. The ear/brain system is assumed to be processing sound the same way at every seat. The loudspeaker’s response can be dramatically position dependent, but it does not have to be.

Loudspeakers that are designed for covering an audience evenly can have a similar response over a large area.

The room also has a response, but it is unique for each listening position. This is one of the reasons why we can’t correct room acoustic problems with electronics.

Is the goal of the measurement accuracy or realism? If the purpose of the measurement is to calibrate an equalizer or crossover network, then accuracy should be considered first.

It is desireable to know the true acoustic response of a transducer at a point in space, usually for the purpose of improving this response through signal processing.

In Figure 1 you wil see a stereo microphone on a stand at ear height might convey what a listener will hear, but this response will include seat-dependent artifacts, such as a strong reflection from the floor or other nearby objects.

Figure 1: Responses of ear height and ground plane microphone placements. (click to enlarge)

The resultant comb filters will make it impossible to observe the response that is due to the loudspeaker alone.

If one were to attempt to compensate for the effect of the floor reflection, the compensation would not be correct for a closer or more distant listener seat. As such, it is best to ignore the floor reflection altogether when “tuning” the system.

Also, such a “seat dependent” response would average out if a large number of measurements were averaged across an auditorium.

This is why near-field and ground plane measurement techniques play an important role in sound system tuning. (This article is about neither – we’ll table this discussion for the future.)

Case For Realism
If the measurer wants to know what a sound system/room sounds like, then accuracy must give way to realism. Realism requires a binaural recording technique, and it must include the same effects from the room that might affect a live listener.

Mic placement is actually much easier than when considering accuracy, as the measurer simply listens to the system wherever he/she like and then replaces his/her head with the microphone. See Figure 2 for mic choices, which include:

Figure 2: Dummy heads, while expensive, provide stability and repeatability. They are ideal for research projects. Peter Mapp displays his arsenal of two-channel mics. (click to enlarge)

Stereo.

A simple stereo mic can yield left/right information. Two cardioid mics in an X/Y configuration can yield convincing stereo.

Spaced omnidirectional mics are another popular method. This is art, not science so there really aren’t any rules to break. If you like what you hear, then it’s O.K.

Head Simulation. An added element of realism can be achieved by simulating the presence of a human head. The “head effect” is called the Head-Related-Transfer-Function (HRTF.) The Crown SASS uses omni mics spaced at human dimensions with an absorptive mass in between.

Frequency-dependent directivity is achieved by boundary-loading the mics on small, flat panels.

Head/Torso/Pinnae Simulation. Perhaps the best binaural mic is the dummy head. This includes the effect of the head, torso, and even the ear structure. The major benefits of this technique are customization and repeatability.

The response can be modified electronically and physically to whatever is desired, and setups can be recalled in the future if needed.

Digital signal processing provides a low-cost, powerful way to modify the response.

Dummy heads can cost many thousands of dollars, but the cost is easily justified for researchers that need the benefits.

Human Mics. One way to make a “poor man’s” dummy head is to utilize your own (no offense intended). Everything is already in place except the microphones. I’ve seen numerous mic placement mechanisms over the years, including eyeglass mounts, wires, and even earrings.

Possibly the most clever and realistic approach to date is the In-The-Ear (ITE) recording technique pioneered by Don and Carolyn Davis in the late 1980s.

Figure 3: The Countryman B6 lapel mic makes an excellent “At-The-Ear” microphone. The foam insert is from a Shure E1 ear bud.

This involved placing probe mics at the surface of the ear drum. This technique captured the outer ear response, including the ear canal resonance. The resonance was removed with an inverse filter during playback.

A variation on this technique that sacrifices some accuracy for practicality is to place small mics at the entrance to the ear canal. I will call this “At-The-Ear” to distinguish it from the previous technique.

The mics are held in place by some foam inserts (Figure 3).

The two mics have XL male connectors that can connect directly to my data recorder.

I normally survey an auditorium without wearing the mics to determine the measurement positions, and then return to the seats with mics in place to gather data.

Figure 4. The impulse response and frequency magnitude of the B6 mic placed in a free-field and At-The-Ear. The impulse response of the At-The-Ear placement has been offset for clarity. Note the stark contrast between accuracy and realism in gathering data. (click to enlarge)

Figure 4 shows a comparison between a free-field measurement and the “At-The- Ear” placement in both the time and frequency domains.

The responses have been overlaid for comparison.

The methods used to gather data are determined by the intended use of the data.

This often requires more than one technique, each preserving or enhancing the information in a way that yields more insight into the particular problem being solved.

When making measurements, arrive equipped to acquire both accurate data and realistic data, and then let the question being pondered determine the preferred perspective.

Pat Brown teaches the Syn-Aud-Con seminars and workshops. Synergetic Audio Concepts (Syn-Aud-Con) has been a leader in audio education since 1973. With nearly 15,000 “graduates” worldwide, Syn-Aud-Con is dedicated to teaching the basics of audio and acoustics. For more information visit their website.