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Wednesday, February 08, 2012
Indiana Officials Issue Safety Violations For State Fair Stage Collapse
The Indiana Department of Labor today cited concert and event production company Mid-America Sound Corp. of Greenfield, IN with three safety violations in the collapse of an outdoor stage at the Indiana State Fair last August just prior to a show by the country band Sugarland. Seven people died and 58 were injured after the stage collapsed when a gust of wind toppled equipment that hung over the stage.
CBS News also reports that Mid-America Sound Corp. has been issued a $63,000 fine, being the company that provided the stage rigging and chose the workers to erect it.
“The evidence demonstrated that the Mid-America Sound Corporation was aware of the appropriate requirements and demonstrated a plain indifference to complying with those requirements,” Commissioner Lori Torres stated in the report.
The department also issued a small fine against the Indiana State Fair Commission for “failing to conduct proper safety evaluations of its concert venues,” and the International Alliance of Theatrical Stage Employees (IATSE) Local 30 also came under fire, accused of five workplace violations.
Sugarland was not penalized, with the agency noting that the band didn’t employ the workers and wasn’t responsible for building the stage.
One stagehand, Nathan Byrd, was among those killed in the collapse. At least nine other union members were injured.
Further investigations are ongoing. The State Fair Commission has also hired Thornton Tomasetti, an engineering firm based in New York City, to investigate the rigging collapse, while Indiana Governor Mitch Daniels has hired Witt Associates, a public safety and crisis management consulting firm, to conduct a “comprehensive, independent analysis.”
Alto Professional recently sent me a pair of TS115A loudspeakers to check out, and they turned out to be a gig saver - but more on that in a bit. Let’s look at the specs first.
Part of the company’s TRUESONIC Series, the TS115A is a 2-way self-powered model that utilizes a 15-in woofer for the lows and a 1-in neodymium compression driver for the highs.
The injection molded cabinet measures 26.8 (h) x 16.9 (w) x 15.2 (d) inches and weighs 39.6 pounds.
Stated frequency response is 53 Hz to19 kHz at +/- 3 dB. The power rating is listed at 800 watts peak (670 watts LF, 130 watts HF) or 400 watts continuous (335 watts LF, 65 watts HF).
These boxes are attractive, with a nice steel grill that covers the entire front of the box. I prefer full grills because they better protect the box, and also they look a bit more polished and “corporate” to me.
The cabinet has a built-in handle pocket on the top, as well as large handles on each side and a pole socket on the bottom that uses a clamp for added security/stability. Six M10 flypoints are also provided – two each on the top, bottom and rear.
Front and rear views of the Alto Professional TS115A. (click to enlarge)
The rear also includes two input channels with Neutrik XLR-1/4-inch combo connectors. Directly above them are individual gain pots for each input. A male XLR is provided for Line output, and there are “ground” and “contour” switches on the right side of the panel, as well as signal and power LEDs. An IEC power cord socket and power switch are located at the bottom.
Trial By Fire
Normally I set up Road Test gear in my shop first to do some testing and become familiar with its operation before taking it out on a gig – but this was an exception. One might even call it trial by fire.
The TS115As had just been delivered to my home when my neighbor Matt, a part-time DJ, asked me to help him with a problem with his system.
He had a gig that night so had set up his system in his garage to test it, and quickly discovered that his powered subwoofer and satellite loudspeakers had issues. After a bit of troubleshooting accompanied by a lot of head-scratching, it became clear that the amplifier to power his full-range boxes, built into the subwoofer, was dead.
Two input channels with Neutrik XLR combo connectors, each with its own gain pot. (click to enlarge)
I offered him the use of the TS115As. Straight out of the box, one loudspeaker made the “long trip” next door, where we hooked it up to give it a listen. Right away we were both impressed with how nice it sounded and how loud it got.
Next, I engaged the contour switch to see what it did, and realized immediately that it added a “loudness” curve (a.k.a., smiley-face EQ), boosting both the bottom end and the highs. But it had ample bass with and without the contour switch engaged, so Matt decided to leave his sub at home and do the gig with just the pair of TS115As.
To The Rescue
Because some cabinets have different-sized stand-mount sockets, I set up one of Matt’s aluminum tripod stands to make sure that they fit. The side handles on the box made it easy to grab the cabinet and position it on the stand, and I really like the adjustable clamp that allows you to get a secure fit to different sized poles.
The top handle to me was less than handy as it just does not seems to fit my hands well, and I’ve since found that it’s uncomfortable to carry the box for a long distance by just the top handle pocket alone. That said, the top handle is very convenient when you have to just grab the box and move it a short distance.
Matt actually used the TS115As on two consecutive gigs, reporting back to me that they had more than enough volume and that they were also easier to move and set up than his three piece system with the large, bulky subwoofer.
Because he does jobs ranging in size from small parties to larger dances, he doesn’t need subs for every event, but because his sub houses the full-range amps, he always has to bring it, regardless.
In fact, Matt was so impressed that he asked me where he could buy his own pair, and asked to use my Road Test models until he could get his own.
A look at the TS115A without the grill. (click to enlarge)
A few gigs later, I got my set back, and the next day received a call from my daughter’s choir teacher, who asked if I would be available to operate the school’s portable PA system for the upcoming fall choir concert at the gym.
I discussed the school system with the teacher, and decided that it wouldn’t cover audience members seated at the far sides on bleachers. So it was the TS115As to the rescue again!
For the concert, I placed them on their sides like floor wedges and covered the bleacher seats. Because they’re powered cabinets, it was easy to integrate them into the system, and they covered the area with ease.
Back In the Shop
After the concert, I finally had an opportunity to take the cabinets to my shop and do some listening.
For source material, I used a few of the (now very familiar) tracks we played at the Compact System Demo at WFX in Dallas.
With the boxes set flat, they sounded good with a variety of material. With the contour switch engaged, they sounded better on some tracks, but not as good as the flat setting on a few others. If I were doing DJ work, and didn’t have subs, I think I’d just leave the contour switch engaged.
Next, I added a small 15-inch front loaded sub. The TS115As played well with the sub – it would make a great small band (or again, DJ) rig. The TRUESONIC Series also includes some active subwoofers that would be great paired up with these full-range cabinets.
Last, I tested the dual inputs, which to me is one of the best features of the box. Instead of just one line input, there are the two separate inputs with gain pots, with the knobs labeled “line” on the left side of the range, and “mic” on the right side of the range.
A low-profile solution at the gym to cover the bleachers at the choral concert. (click to enlarge)
I plugged a Shure SM58 microphone into one of the inputs and turned up the knob. While no substitute for a mixer with tone controls, it would certainly do in a pinch if you needed to make announcements or had a small speech only gig. Then I plugged an iPod into both inputs and it also worked well.
Natural Sound
I also wanted to check out the rigging but didn’t have any M10 eyebolts handy. I did notice that the top and bottom fly points are very accessible, but the two on the rear would require longer bolts due to the way the cabinet is molded.
While not a deal breaker, I found it a bit odd that apparently, two different bolt lengths are needed for one box.
My last test came when I took the TS115As to a small corporate meeting. Normally I would have used a smaller 10-inch and horn box, so these were a bit overkill, but they looked good and worked great.
With a little EQ work, I had a nice, natural sound with the podium mic as well as a lavalier.
Go to the Road Test Forum on ProSoundWeb to read Craig’s full review and other comments from the community, as well as to ask questions about the TS115As.
Craig Leerman is senior consulting editor for Live Sound International and ProSoundWeb. He is also the owner of Tech Works, a production company based in Las Vegas.
Evaluating a Danley Sound Labs high-pack/subwoofer combo in the field.
The Danley Sound Labs SM-60F is a passive, full-range loudspeaker that utilizes Tom Danley’s Synergy Horn concept, where multiple drivers covering different frequency ranges all play into a single horn.
It’s loaded with 2 x 8-inch woofers and a 1 x 5-inch mid/high coaxial driver. Dispersion is 60 x 60 degrees.
The Danley TH-Mini is a compact subwoofer that uses a single 12-inch driver in a tapped horn configuration.
At only 24 x 15 x 22 .5 inches and 76 pounds, it’s easy for one person to move around. This 8-ohm box will handle 700 watts continuous and 1,400 watts program.
As I do with all new gear, I set up an SM-60F to try out before taking it on a show. I drove it with a QSC RMX 2450 amplifier and listened to some CDs full range. (Note that it is also available with a built-in amplifier as an option.)
They sounded great! I noticed detail in some songs that I usually don’t hear on my regular 15-inch, 2-way high packs.
They sound as good if not better than many reference studio monitors I’ve heard.
The subjects: Danley SM-60F (left) and TH-Mini. (click to enlarge)
Next up was the TH-Mini, which I drove with a QSC CX1102 amplifier, and crossed at around 100 Hz. It had the walls of my shop rattling with headroom to spare.
I then placed the SM-60F on top of the TH-Mini and played around with the crossover settings to see what sounded the best, running the SM-60F full range with added subwoofer as well as crossing both boxes over.
Both ways sounded good, and would give me more options at gigs.
Stand Note
The only negative thing I ran into during this initial evaluation is the stand mount on the SM-60F and the lack of a pole mount on the TH-Mini.
Above, the bottom of the SM-60F, showing the stand socket, cabinet shape and a nice grill. Below, a view of the Synergy Horn with the grill removed. (click to enlarge)
The stand mount sits toward the back of the cabinet, making it rather front-heavy - in fact, too much for my usual “corporate” speaker stands, which are 50-pound cast iron lighting bases and black pipe. (I prefer these instead of tripods because they look better, and can use taller pipes to get the loudspeakers up higher in the air.)
Too be fair, there’s no way to move the stand mount forward on the box, because an 8-inch driver is in the way.
If I bought these boxes and wanted to use them on stands, I’d make a frame that bolted to the bottom of the SM-60F using the fly points, and locate a stand mount at the center of gravity.
Then I could use them worry-free on any tripod stand or my corporate pipe and base stands. For purposes of this evaluation, I put them on Hamilton metal tripods - with the weight centered over a tripod leg, the stands were stable, and just to be sure I also used sandbags to weigh down the rear of the tripods.
As for the pole mount on the sub, the company can put one in if you ask when ordering.
You can also retrofit it in, but talk to the folks at Danley first so they can tell you a good location on the box so you don’t hit an internal brace.
Every Detail
The first gig I used them was a small dance band playing a corporate affair at a hotel ballroom.
With the band set up near the corner of the room, I placed two TH-Minis by the wall, side by side, and hid them behind a large potted tree.
One SM-60F went on a tripod, and I could almost get away with using just this one box except that the room was rather wide and a 60-degree box only covers so much area.
So I located a second SM-60F next to the first, had great coverage, and each loudspeaker was hardly breaking a sweat! The band was quite impressed with how great the boxes sounded, especially how much bass the TH-Minis produced for their small size.
I had no problems thumping the dance floor later in the evening with two 12-inch subwoofers. Mixing on the rig was a pleasure - I could hear every detail clearly.
Next I took them to a corporate meeting, originally planning to use both tops and subs, but had little need for the subs, so they sat backstage. The SM-60Fs sounded great for the walk in music, and had more than enough bottom end for the video playback.
One thing I noticed was that I seemed to have more gain before feedback when using the SM-60s on stands with a podium microphone than with the loudspeakers I had used in the same room in the past. Again, they sounded great.
The 12-inch woofer of the TH-Mini, loaded and ready to thump. (click to enlarge)
Big Bass
On another gig, I used the TH-Minis with some of my regular high-packs, a typical small DJ setup for a corporate party held in a large ballroom, one loudspeaker per side by the dance floor, and the subs center stacked.
The DJ was skeptical that the Minis were big enough for the gig, so I cued up “What is Hip” and watched his jaw drop. The DJ could not believe how much bass the TH-Minis put out.
Later in the evening when only the hardcore party people were left, the DJ played some newer urban bass heavy stuff, and we both were pleased at how nice the subs thumped. Probably not my first choice for a sub if I were a DJ playing serious bass heavy music, but for a regular corporate/party/DJ gig, the Minis would be a great choice.
Monitor App
For yet another gig, I used an SM-60F on a stand as an area monitor, and covered the backstage with a low-volume program feed.
While a little big for this application (I usually use a 10-inch coaxial or a 10-inch and horn-loaded box), it sounded great, and I liked the tight coverage pattern that helped keep the sound only in the area I wanted to cover.
I put the other SM-60F on a stand and it became the video world monitor. Again, a bit big for that application, but the video crew remarked how great the box sounded.
The last show I used them on was a typical corporate general session. The SM-60Fs served as front fills, and I placed them side by side on a small trunk in the center of the stage.
The two loudspeakers covered what normally would have taken three to four of my usual front fill cabinets. The coverage of two cabinets next to each other seems seamless, and they just sound like one wide single loudspeaker.
In all, I really love both the SM-60F and TH-Mini. I think both would make a great addition to my inventory, as well as any inventory where you need smaller boxes that can outperform their size.
Go to the Road Test Forum on ProSoundWeb to read Craig’s full review and other comments from the community, as well as to ask questions about the SM-60F and TH-Mini,
Craig Leerman is senior consulting editor for Live Sound International/WroSoundWeb and has headed up the PSW Road Test Forum for six years. He is also the owner of Tech Works, a production company based in Las Vegas.
If you’re doing a session in Los Angeles and you want your drums to instantly sound great, then your first call is to the Drum Doctors to either rent a fantastic sounding kit, or have your kit tuned.
Ross Garfield is the “Drum Doctor” and you’ve heard his drum sounds on platinum recordings from Bruce Springsteen, Rod Stewart, Metallica, Dwight Yokum, Red Hot Chili Peppers, Foo Fighters, Lenny Kravitiz, Michael Jackson and many, many more.
So, I like to think his tips are worth sharing! Here are a few of his quick drum tuning tips, which can be lifesavers if you’re new to tuning drums.
If the snares buzz when the toms are hit:
• Check that the snares are straight.
• Check to see if the snares are flat and centered on the drum.
• Loosen the bottom head.
• Retune the offending toms.
If the snare drum has too much ring:
• Tune the heads lower.
• Use a heavier head like a coated CS with the dot on the bottom or a coated Emperor.
• Use a full or partial muffling ring.
• Have the edges checked and/or recut to a flatter angle.
If the kick drum isn’t punchy and lacks power in the context of the music:
• Try increasing and decreasing the amount of muffling in the drum, or try a different blanket or pillow.
• Change to a heavier, uncoated head like a clear Emperor or PowerStroke 3.
• Change to a thinner front head or one with a larger cutout.
• Have the edges recut to create more attack.
If one or more of the toms are difficult to tune or have an unwanted “growl”:
• Check the top heads for dents and replace as necessary.
• Check the evenness of tension all around on the top and bottom heads.
• Tighten the bottom head.
• Have the bearing edges checked and recut as required.
If the floor tom has an undesirable “basketball-type” after-ring, try this:
• Loosen the bottom head.
• Check the top heads for dents and replace as necessary.
• Loosen the top head.
• Switch to a different type or weight top or bottom head like a clear Ambassador or Emperor).
• Have the bearing edges recut to emphasize the lower partials.
If the cymbals are cracking or breaking with greater frequency, try the following:
• Always transport the cymbals in a top-quality, reinforced cymbal case or bag to avoid nicks that can become cracks.
• Use the proper cymbals felts, washers and sleeves at all times.
• Avoid over-tightening the cymbal stand.
• Use larger or heavier cymbals that you won’t have to overplay to hear.
Hopefully these tips are useful to you in your next session!
Bobby Owsinski is an author, producer, music industry veteran and technical consultant who has written numerous books covering all aspects of audio recording. For more information be sure to check out his website and blog.
I personally never go into a loud audio situation without these little gems. They are so much better than foam or wax earplugs in that they cut the level down without affecting the frequency response.
Since I found the Etymotic Ear Plugs I feel absolutely naked and scared when I don’t have them on me.
Okay, so I’m a little biased, but if you’re looking for a book for someone in the music business, you’ll hopefully find one of mine that will hit the sweet spot.
There’s something for everyone, including books on mixing, recording, recording drums, mastering, being a studio musician or a touring musician, improving your band, producing, navigating the new music business (the newly released second edition of Music 3.0), studio building, guitar tone, and making videos. From about $16 to $30.
Etymotic makes a lot of really great earphone products, but I especially love these MC5’s for listening to my iPad or computer on trips.
They totally seal out everything around you, which is great for eliminating that plane noise on a long trip. Plus, they’re a huge upgrade over the standard Apple earbuds (which aren’t even in the same league).
Granted, this is a little geeky, but a total boon to the hard working person on a DAW.
Raw hard drives are so much cheaper than buying them already in the cases, but how to connect them? Use a drive dock, that’s how.
This version of the Voyager is the one I use every day. It allows you to hot-swap drives and connects to the computer via Firewire 400 and 800. eSATA, and USB 3, so you won’t have any hiccups editing video or that project with 100 96k/24 bit tracks. It’s about $75.
Everybody wants big bang for the buck and you can’t get a bigger bang than the products from FMR, especially their Really Nice Compressor.
The RNC provides excellent high-quality compression complete with a special “Super Nice” mode that chains multiple compressors together internally for an especially smooth sound. At $175, it can’t be beat.
While you’re at it, buy one of their Really Nice Preamps as well, a great sounding preamp for an amazing price.
Don’t get me wrong, it’s usually not a good idea to master your own stuff, but on those occasions where you must, T-RackS is the way to go.
I especially like the fact that it can be used as a stand alone desktop app. It has a great metering package and a wide range of EQ and compressor options.
A word of caution, it’s best to stay away from the EQ if you’re mastering yourself, but T-RackS is a great way to do one of the main jobs of a mastering engineer - setting all of your songs to the same relative level. You can purchase T-RackS 3 for $249.
While you’re at it, pick up a copy of the T-RackS official guide (written by yours truly) for some mastering tips and tricks.
There’s now a number of cheap ribbon mics on the market, but let’s face it, they sound like crap compared to the real deal like a Royer R-121 or a vintage RCA DX-44.
Now you can own a great ribbon mic for a reasonable price thanks to Royer’s new R-101.
It’s about 40 percent cheaper than it’s big brother and just the thing for recording electric guitars and horns of all type. Plus, it’s a real Royer.
That’s it for this year. Hopefully there’s a little something in the price range you’re looking for. I probably could have written about 10 more gift ideas, but I think I’ll save them for next year.
In the meantime, don’t you deserve a present too?
Bobby Owsinski is an author, producer, music industry veteran and technical consultant who has written numerous books covering all aspects of audio recording. For more information be sure to check out his website and blog.
Selecting The Right Contractor For Your Church Sound System Upgrade
Tips on selecting the company which will best serve your church audio needs.
Let’s pretend . . .
Imagine you walk into your next committee meeting and to your amazement discover that they have approved your suggestion to seek bids for a new sound and video system.
You leave the meeting excited!
Finally all of you problems will go away.
No more buzz, no more hum, no more having to dim the lights and shut all the shades just to barely make out what you are projecting on the screen!
You figure by next Sunday all of your frustrations will be gone. The next morning you immediately look in the yellow pages and see a large ad for Audio Services.
You call and talk with “Blair” who informs you that he has on his shelf two of the latest, greatest speakers that will work in any room and deliver equal sound pressure and all frequencies.
To top it off he can have his guy there Friday to do the install!
Then to seal the deal (or your fate) he throws out a price that is well within what your committee said you could spend. Bingo we have a Deal!
Blair and his hatchet men show up Friday afternoon. You get out of work and excitedly head over to see the progress that has been made.
To your surprise Blair and crew are walking around examining the sanctuary. They haven’t started a thing…
After many heated questions and answers, it comes to light that these particular speakers won’t possibly work in a room of this size (ie: average) without a needlessly costly add-on. Feeling boxed in, you agree.
Upon the completion of the “installation,” not only does the system not work, but now you’ve spent more than the committee approved.
In fact you are so embarrassed you donate enough to make up the difference so that no one will know of you blunder….other than they hear it every week!
Rewind: What should you have done?
When deciding that it is time to upgrade the old sound system there are many options as to how to proceed.
The first choice should be to decide to hire a design build contractor or a consultant to design the system. Needless to say there are some very bad design build contractors and some very bad consultants.
However there are also some very good ones! My general rule (variables such as acoustics and complexity of the system also play into this decision) is that if the project is under $100,000.00 and in a room under 1000 seats I would explore a good design build contractor. Most design build firms have good experience in these size rooms.
You also have the choice of using the local music store. In general, unless the music store has a specific division that focuses on installation and has a strong proven track record, I would steer clear.
Many of the poor designs and implementations that I see are from good intentioned “guitar shops” that have a great passion and understanding of gear and technology, but do not understand the laws of physics and just how difficult it can be to install a successful sound system in a larger room.
What does a design build contractor do?
A design build contractor should function in much the same way as a consultant.
The only difference is that he is not going to bid the project out at the end of the design (the contractor will also be the installer). I recommend that you once again do your home work and select the right contractor.
What does a consultant do?
A good consultant will first and foremost find out who you are, what your ministry is like, future plans for the ministry and current challenges you are facing.
The consultant should take time to interview the sound technicians, musicians, worship leader and senior pastor to get a good understanding of your churches over all needs.
They should also take a good physical inventory of what equipment you already own and also your experience level with sound equipment.
In addition blueprints and field measurements should be gathered to aid in the design of the system.
Once the consultant has gathered this information the issue of budget must also decided.
The best case scenario is to have the consultant help guide and establish the budget. However this happens all too infrequently.
After establishing the budget the consultant should be prepared to do the first round of design.
The design should be based on using tools like EASE (computer design simulation software that help predict many aspects of how a sound system will perform in a give space).
The consultant should provide and equipment list as well as a descriptive narrative of how the system should perform.
There are 4 main types of “contractors”
Music store
In general the music store is the least qualified contractor. The person on the floor at the music store has more than likely not been exposed to all the tools and products that are available in the Professional contracting arena.
In addition they have probably had very little if any training in system design, safety standards, proper grounding techniques and most importantly rigging.
In addition they probably do not have software tools such as EASE or Star draw to aid in the design and documentation.
Finally, you know that statement, “I wish I knew then what I know now.” That usually applies greatly in this situation. The person working the music store floor likely is unaware of what information they are lacking.
Generally, unless the music store has a contracting division with all the proper tools and professional equipment lines, I’d steer clear.
Low Voltage Contractor
A low voltage contractor is a step in the right direction. They may (or may not) have the expertise required to do the project.
Again, this has a great deal to do with whether or not they have a sound contracting division.
These firms usually work with telephones, networking, security and control systems. Their installation work is usually very good (unlike a typical music store install).
However, unless they have the tools and the correct people they may not be very adept at system design. They may be good at copying the last installation they did, but they will probably have a hard time designing a system specific to your need.
Sound Contractor
The sound contractor is likely qualified to handle your project. At the very least. they should be qualified to bid on a design if you go the consultant route.
When looking at the sound contractor is important to note the product lines that they carry and the type of work that they perform.
Are they mostly a commercial contractor doing paging and public address systems? Or are they geared towards night clubs and entertainment?
Find out from their reference list and past jobs what they seem to do the most of and what type of systems they like to put in.
For example if every install you visit is Brand X speakers, your installation will be using brand X speakers. That may not be bad but you should be aware of it.
With the sound contractor make sure you meet the people who will work on your project.
They may have a great sales person and terrible engineers and project managers, so push to meet the entire team.
System Integrator
A true systems integrator should be able to take care of your design build needs. They should have multiple product lines available to them and engineers on staff that have implemented many projects like yours.
It is your responsibility to check the track record and confirm that these guys are qualified.
Do some research and visit their installation and most importantly talk to as many users of their systems as you can find.
Again with the systems integrator meet everybody that will be on the team of your project!
How do I select who to use?!
1. Decide if you are going to use a contractor or consultant
2. Select 3-4 reputable firms to ask them to present their capabilities to you on your project. (ask around for names, visit the National Systems Contractor Association’s website NSCA.org to find members in your area)
3. Meet with the firms to explain your needs. Analyze…. Do they listen? Or are they only interested in selling how great they are? Do they give input as you describe your needs…? “You may want to consider……….” or are they just taking down your ideas?
4. Set a specific date for the proposal to be turned in by. (If they do not turn in a proposal on time chances are they will not install the system on time!)
5. While you are waiting for the proposal to come back. Do your home work in finding out even more about these companies.
6. Let the companies present the proposal to you. Listen carefully to see if they can articulate how they are meeting your specific needs.
7. Evaluate the proposals based on how well the system meets your needs. If the highest price is the only one that meets your needs you need to take it. If it doesn’t meet your needs you need to change your stated needs so that you can afford them.
Gary Zandstra is a professional AV systems integrator with Parkway Electric and has been involved with sound at his church for more than 25 years.
Helpful hints from the Technologist on keeping things straight after the session.
You’ve just finished a killer tracking session, one that you really want the ability to recreate, so now what?
I’m generally confident in my memory for microphone placements and studio setup, except that plans change and what may have been easy to remember tomorrow suddenly needs to be compartmentalized until everyone is available again next month.
Plus, there’s no remembering compressor or EQ settings, let alone values for gear that has less than descriptive front panels.
So, what’s an engineer to do? Well, the obvious answer is documentation of some form. I’ve engineers over the years who wouldn’t take the time to write down a setting unless contractually bound.
However, I’ve been convinced by many that documentation is not only necessary for when a client comes back next year for an emergency remix, but also that documentation is of intrinsic cultural and historic value after the fact.
After all, you never know what may become of that last-minute project you did last week, and it’s always valuable to be able to look back. All this having been said, what form of documentation you use depends completely on your work-flow and needs. So, let’s take a look at some of the options.
Analog
There’s nothing quite so simple as good old pen and paper. When I’m running around a studio or venue just trying to get work done minute to minute, this is more than likely how I’m going to keep track of data.
Moleskine
I’ve created my own take sheets, track sheets, and session logs which I print off and use when I’m in a hurry. However, If I’m working and just trying to keep track of information, there’s no separating me from my Moleskine.
Of course, paper being paper, it is susceptible to damage. The next time I’m working an outdoor venue I really want to try Rite in the Rain All-Weather Paper.
Digital
Sometimes, there’s just no time to write. Really, I’ve been there, and it’s a pain. However, if you’re packing a camera while you’re working, you can settle on an equally useful compromise; pictures.
Even though you might not have a detailed diagram of the setup or precise details of settings, snapping a few pictures before you hurriedly move on in a busy setting is often all you need to piece it all back together at a later date.
This is just as useful for capturing the front panels of gear as notating exactly where that tom mic was. Whether you’re rocking a compact point-and-shoot or a trusty Digital SLR, a camera is a fantastic way to keep track of details in the heat of the moment.
Analog + Digital
Sometimes, no matter what images you capture of a session, the best information can only be captured by words.
That’s why I trust Evenote with my mobile and desktop note taking.
With clients for your Web Browser, Windows, Mac, iPhone, Android, and Blackberry, you’ll always have access to your information.
Sweetening the deal further, Evernote has the ability to take pictures, OCR the text, and make it searchable; perfect for napkin documentation I’m always jotting down after the fact.
While you can often capture your settings in pictures and words, sometimes you just need more.
Enter Teaboy Audio with their Recall Sheet Software.
“Teaboy is an online service for taking recall notes of your recording sessions. Instead of using traditional pencil and paper, you get real pictures of your outboard gear that you can manipulate like you would with a software plug-in.”
The program allows you to manage your data with pinpoint accuracy and synchronize your data to a central server. Plus, since it’s Java based, you can use Teaboy’s Recall Sheet Software on any system on that supports Java.
If you like the idea of maintaining digital documentation like text or Word documents and pictures but want a more flexible solution, there’s no better solution than the versatile (and free!) Dropbox.
Any file you put into your Dropbox folder is automatically backed up to our servers.
Even if your computers and iPhone have a melt-down, the files stored in Dropbox are safe and can even be accessed from the web.
This makes the free 2GB Dropbox account the perfect solution for syncing plug-ins, settings, session notes, mixes, pictures, and more to any studio.
Verdict
It’s probably no surprise that I don’t stick to just one documentation solution. In fact, I love my Moleskine, I’d be lost without a camera, Evernote and Dropbox are an integral part of my work-flow, and I even used Teaboy’s software when it was in beta.
While a multi-part solution works for me, the important thing is finding a solution that works for you. After all, you never know what minuscule detail could make a monumental difference.
What are your thoughts on documentation? Have a favorite method that never lets you down? Whatever your thoughts or experiences, let us know in the comments below!
The Technologist, a.k.a. Kyle P. Snyder, is an audio engineer with innumerable credits in the public and private sector, writing about audio engineering, recording technology and a multitude of other topics as Associate Editor of ProSoundWeb. Find out more about Kyle at his website and blog http://kpsnyder.com.
A thoughtful expose on protecting your studio with battery backup. Is it for you?
While the skies now shine bright over my home state of Indiana, less than a month ago it was particularly harrowing to use Pro Audio equipment in the Midwest.
Why? Well, we were constantly plagued with blizzards and freezing rain, which had a fairly devastating effect on the local power grid.
Though I never completely lost power this winter, it did often waver intermittently for hours.
Thankfully, when I setup my studio, I invested in several Uninterruptible Power Supplies (UPS) which have paid for themselves several times over.
On one evening, for instance, the UPS allowed me to finish my work and save my session without the computer powering down, losing connectivity with an audio interface, or my DAW crashing; all possibilities in intermittent power situations.
A UPS is a great investment if you live in an area plagued with power issues, but it’s a good idea no matter where you live because of the security it offers you in protecting not only your equipment but more importantly your data.
This is because depending on the type of UPS you purchase, it can protect you from not only power failure, but surge, sag, spikes, noise, frequency instability, and harmonic distortion as well. There are several excellent manufacturers of UPS units, including APC, Tripp-Lite, Furman, and Middle Atlantic. It’s worth noting that no matter which manufacturer you choose, if you’re backing up audio equipment, it’s best to use an online unit that offers sine wave output.
When shopping for a UPS to back up your studio it’s important not to make the common mistake I’ve seen time and time again; under powered UPS units. I once helped someone specify a new UPS several years after they had purchased their first. When I asked why wished to upgrade, they remarked that while the UPS kept their computer running long enough to save and shut down, it wasn’t enough to power the monitor. This left them having to save and shut down blind; effective yet extremely disconcerting to clients and engineers alike.
This is a very important lesson, and one often ignored until data has inadvertently been lost the first time. When specifying a UPS unit, you need to ensure that anything necessary to finish work, save, and shut down is powered by battery. Additionally, you need to leave sufficient capacity for expansion. Devices that commonly require power to allow you finish your work and safely save include the following:
It is extremely important that all equipment essential to finishing a mix before saving be protected by UPS, as a hard drive or audio interface going offline can easily lock up and crash your DAW, making saving your data all but impossible. You personally may prefer the ability to bounce down before saving, so your essential equipment could include a signature EQ and monitors, or it could be the bare essentials of just a computer, hard drive, and audio interface.
When it comes down to it, the equipment you backup is a very personal choice; however it’s worth remembering that a few hundred dollars for UPS protection is rather inconsequential compared to the cost of thousands of dollars worth of equipment and truly priceless data.
Let’s suppose for a moment that you’re sold UPS on protection. It’s advisable to routinely test your UPS, ideally twice a year, but every 18 months at a minimum.
While the unit may work great one day, a year down the road the road the battery might not hold a charge like it did when it was new.
If the performance isn’t up to par, replace the battery as soon as possible because you don’t want to be caught off guard.
Also, as a side note, it’s worth remembering that even if you’ve taken the steps to protect your studio equipment with a UPS, it is not a replacement for a power conditioner or sequencer.
It’s easy to say you can never be too careful, but in this case it’s true.
So, is an Uninterruptible Power Supply worth the cost? Well, that’s something that has to weighed by each individual when making the consideration to purchase.
For me, the savings is not only in protecting my equipment and data, but also in the brief ability to finish work when power fails. No matter your justification, if you’re considering power protection, a UPS is a tremendous asset.
Have an opinion on power protection? Found a favorite UPS and just want to share? Please let me know in the comments!
The Technologist, a.k.a. Kyle P. Snyder, is an audio engineer with innumerable credits in the public and private sector, writing about audio engineering, recording technology and a multitude of other topics. Find out more about Kyle at his website and blog http://kpsnyder.com.
Baking has gotten myself and many a colleague out of a sticky (ha ha) situation...
In late 2008 I was called out by a friend to repair a Studer tape deck; an A827, which I had never used before.
While I was very fortunate that the studio owned both the original alignment tape and tentelometer, the original (rather aged and unused) tape shed like crazy because of its storage conditions, and our inability to bake the tape before use.
Baking has gotten myself and many a colleague out of a sticky (ha ha) situation. However, I’ve run across my fair share of engineers who either don’t know what baking is, or who don’t have a tried and true method.
So, I thought I’d pass along this great article by Eddie Ciletti, If I Knew You Were Coming I’d Have Baked A Tape! It’s a remarkably thorough read, and full of information about tape baking for both novices and professionals. It has been cited as the definitive source of information in all manner of posts across the Internet, and even an Electronic Musician magazine feature.
While you’re there, check out some of his other articles on tape machine maintenance, which have all appeared in print, and include some great advice.
All in all, what a great resource!
What do you think about tape baking? Whether you’re a novice or a seasoned pro, share you thoughts or experiences in the comments below!
Kyle P. Snyder, is an audio engineer with innumerable credits in the public and private sector, writing about audio engineering, recording technology, and a multitude of other tropics for ProSoundWeb.
A quick and effective tip for exporting tracks from Pro Tools
You may be shocked to learn this, but there actually are DAW’s other than Pro Tools.
You’re stunned, right? I just knew you would be.
All kidding aside, I tend to do most of my work in Pro Tools, mainly because I just like the program better than the other options.
However, I do have occasion to mix in other DAW’s from time to time depending on the needs of clients.
For instance, the other day I was mixing across town for a client and the session had been tracked in Logic.
However, a separate session existed in Pro Tools in which some effects had already been edited,
So, what could I do to get everything working together in one session? Well, I had a few options…
Unfortunately, I didn’t have my iLok with me which contains my DigiTranslator license, so that scrapped any chance of using OMF.
The Logic session contained several times more tracks than the Pro Tools session, so apparently I was going to export all my files individually from Pro Tools an reassemble them within Logic.
However, they were already edited with fades applied and had been laid out properly within the timeline. How can you migrate all that data without losing something?
Very simple. Region Consolidation!
That’s right, the answer really is that simple!
Who would have though it could be so easy to salvage the session? Of course, you do have to import your files into your other DAW of choice and drag them to Bar 1, but that’s fairly easy, if monotonous, work. For those looking for a more streamlined alternative to the above described there is, of course, DigiTranslator, which I highly recommend.
For those seeking a swiss-army-knife session conversion tool, there’s also the very intriguing SSL Pro Convert. While I haven’t tried this offering, it certainly appears to be a cost effective alternative.
Of course, if you’re trying to be thrifty or you’re stuck without your conversion software like I was, region consolidation is definitely a solid choice
Have an opinion on session interchange options? Please let me know in the comments!
The Technologist, a.k.a. Kyle P. Snyder, is an audio engineer with innumerable credits in the public and private sector, writing about audio engineering, recording technology and a multitude of other topics as Associate Editor of ProSoundWeb. Find out more about Kyle at his website and blog http://kpsnyder.com.
Have a tried and true method of troubleshooting these masters of darkness?
Sometimes, despite the best of intentions, things just go wrong. I know because that’s exactly what happened to me today.
I sat down at a workstation that worked perfectly the day before (OK, not perfectly, but you get the point), opened up Pro Tools with my MBox 2 Pro attached, and that’s when the trouble began.
To rewind a bit, there’s a light on the front panel of the MB2 Pro. Mine is green because I use the power supply, however, it can also be amber if it’s drawing bus power.
Yep, that’s the pesky little power light, right above the External Clock and MIDI lights. But for some reason, mine was blinking consistently on and off.
I knew that if no lights were lighting, then the firmware was compromised, but I could find nothing that explained away a blinking power light.
So I decided to launch into Pro Tools and see if it would just go away.
Nope… I was greeted at the splash screen with an error. Not just any error, mind you, but one I had never before encountered; DAE Error 700.
Being no stranger to DAE Errors, I figured my best bet (and yours, if you’re ever in a similar situation), was to first head to the Digi User Conference (DUC) and do a little searching. Unfortunately, a search yielded two pages of fairly unrelated information.
However, there was one helpful post that reminded me to delete all my preferences and reboot. Nothing I didn’t already know, but a welcome suggestion at this point.
Moving on, a search on the Digidesign Support Knowledge Base yielded 55 pages of possibilities, none of which had anything remotely to do with DAE Error 700.
Onward I marched…
Deciding to use what advice I could from the DUC, I fired up the extremely helpful ProTools Prefs & Database Helper by Jean-Charles Deshaies, which greatly expedites the process of deleting the multitude to Pro Tools and Digidesign databases across a system.
While using Mr. Deshaies’ excellent utility certainly saved me some time, I was still receiving DAE Error 700 even after running the utility, emptying the trash, and rebooting Pro Tools. So I was at an impasse.
After some serious Google searching, I ‘d discovered only one post even slightly related other than what I’d found on the DUC, which pertained to the engineer receiving the same error immediately after experiencing a terrible feedback loop.
So, I got to thinking… And I remembered that my MBox 2 Pro also has a Preference Pane in System Preferences.
I didn’t recall it controlling much, but as I couldn’t get Pro Tools to launch, what did I have to lose?
Yep, there it was, lurking under “Other.” Upon inspection, I found that I had only two, maybe three options. I could learn about my Firmware version, change my Clock Source, or I could Mirror Analog 1-2 or S/PDIF.
Assuming that my DAE Error didn’t have anything to do with a long-standing feud between Analog 1-2 and S/PDIF, I decided no worse a fate would befall me if I changed my clock source from Internal to Word Clock.
It’s worth noting at this point that the only connections between my MB2 Pro and my mixer are two TRS cables.
Lo and behold, suddenly my power light locked solid and the External Clock light began to blink because it couldn’t find an external sync.
Hoping for a second stroke of luck, I changed the Clock Source back to internal and the power light remained solid.
Emboldened, I launched into Pro Tools without incident and continued along without incident.
What was the real cause of the problem? I may never know…
Is there a lesson in all this? Absolutely! Knowing where to go when any program, especially Pro Tools, gives you errors is crucial.
My first stop is always the DUC because it provides real-world solutions and advice from Pro Tools users, followed by the Digidesign Support page, which allows you to search by error number and error phraseology.
If I still haven’t found an answer, that’s when I hit Google. Hopefully, if your issue isn’t documented in the DUC or the Digidesign KB, then someone has documented their experience in a blog post.
Who knows - maybe that’s the precise reason you’re here? Either way, I hope you’ve found this information useful, and happy error quashing!
Have a thought on DAE or other errors? Have a tried and true method of troubleshooting these masters of darkness other than Knowledge Base spelunking?
The Technologist, a.k.a. Kyle P. Snyder, is an audio engineer with innumerable credits in the public and private sector, writing about audio engineering, recording technology, and a multitude of other tropics for ProSoundWeb. Find out more about Kyle at his website.
Identifying “Go To” Sources For Important & Necessary Microphone Data
Easy interfaces to speed in finding the microphone info you need
It’s no secret an engineer’s knowledge of his tools is a source of great power.
Any time I’m preparing for a recording session or live sound gig, the first thing I set upon once I determine the makeup of the ensemble and the equipment at my disposal is to determine how best to utilize the available microphones.
One of the best tools any engineer has in this task are manufacturer specifications.
However, many microphone manufacturer websites are laden with Flash applets that are difficult to navigate and which can make it tough to find the correct information.
Thankfully, websites exist that provide an interface far more convenient than most manufacturer websites, and provide data for almost every modern microphone in and out of production.
Microphone Data
From Rycote, the makers of wonderful windshields, comes Microphone Data (free login required). They’ve compiled an extremely comprehensive database of microphone data which can be easily compared across manufactures and microphone styles.
When it comes to planning for a gig, this is always my first stop.
“The Microphone Data website is the successor to the original Microphone Data Book - the truly comprehensive free online database & guide to microphones in professional use today. The Microphone Data site deals in facts, not opinions, with pictures, response curves and technical data from the manufacturers themselves for every currently listed microphone (and even a few that aren’t).” - from microphone-data.com
Recording Hacks Recording Hacks, the online magazine about recording gear and techniques, also maintains a wonderful database of current and out of production microphones.
As well, they maintain the official TapeOp Microphone Review Archive which is a fantastic source of microphone information.
Personally, I tend to “re-discover” these microphone data resources about once every six months, typically after becoming horribly frustrated that I can’t find the specifications I’m looking for, or after a futile attempt to compare specifications from different manufacturers.
Whether you share my frustrations or you have reasons of your own, I hope that you’ll find value in these resources.
What’s your take on the currently available microphone resources? Do you swear by the Rycote database? Would never dream of using data that didn’t come right off the manufacturer’s server?
Whatever your thoughts of experiences, let me know in the comments below!
The Technologist, a.k.a. Kyle P. Snyder, is an audio engineer with innumerable credits in the public and private sector, writing about audio engineering, recording technology, and a multitude of other tropics for ProSoundWeb. Find out more about Kyle at his website.
The Loudness Wars: A Graphic Look At “Hypercompression”
When a label heard one of their songs that sounded quieter next to another on the compilation, they would freak out and demand that the mastering engineer on the next record pump up the level...
The loudness wars have been going on since pop radio began in the 1950s.
If a record sounded louder than the one that just played over the airwaves, many listeners would perceive it as “better,” so the labels were always trying to make their records louder as a result.
Since the music delivery method at the time was a vinyl record, there was a built-in physical limitation to just how loud you could ultimately make it.
Make it too loud and the stylus would rattle right out of the grooves and the consumer would ask for his money back, so “hypercompression” never became an issue during this period.
This physical limitation to level essentially went away with the introduction of the CD in the 1982, but the level war broke out again in an unforeseen way.
There used to be a weekly compilation of singles from all the major labels that was sent to radio program directors in the ‘80s.
When a label heard one of their songs that sounded quieter next to another on the compilation, they would freak out and demand that the mastering engineer on the next record pump up the level so it was at least equal to the loudest track on the CD. As a result, a loudness war broke out to an even greater degree than it was with radio.
Just to see how we’ve come to this commonplace hypercompressed era, take a look at some graphic excerpts from my book “The Mastering Engineer’s Handbook” that illustrate this perfectly.
At right are waveforms from a typical hit record from 1985, 1995 and 2005. Notice that the ‘85 waveform is not too loud and there’s plenty of peaks and valleys indicating a fair amount of dynamics.
The ‘95 waveform is a lot louder but still has some dynamics to it. The 2005 version is starting to look like a square wave, with hardly any dynamics. And now, it’s even worse and looks just like a solid block. It’s become quite an art to make something like this sound even remotely good.
Be cautious when pumping up the level on your songs as it comes with a price. You may make it louder but studies by broadcasters have shown that the listener generally hates the hypercompressed sound and won’t listen for long!
Bobby Owsinski is an author, producer, music industry veteran and technical consultant who has written numerous books covering all aspects of audio recording. For more information be sure to check out his website and blog.
Tracking guitar can be extremely tricky even under the most perfect of circumstances.
However, not every session is ideal. In reality, they’re often far from it.
So, here are a few tips to keep in mind when you’re tackling that next guitar session.
1: Guitar Selection
Every brand and style of guitar has a different sound - Yamaha vs. Martin, a full size Dreadnought or a smaller Parlor style.
They all sound different, and the artists favorite or most expensive guitar may not be the best for every situation.
You may not me able to have a say in instrument selection but having a few choices available will make it easier to get a lot closer to the sound that’s right for any song.
2: Tuning and New strings
This is very simple yet often overlooked.
Before an important recording session, make sure the artist has recently changed the strings on their guitar.
Before every take make sure it’s perfectly tuned. If they use a capo, that’s something which requires compensation in their tuning.
3: Listening
Instead of just putting the mic where you think it will sound good, actually get up and walk around and listen to the tonal changes in each part of the guitar.
When you find a favorite spot, put your mic there. This is a great starting point for a mono (single mic) recording as well as a good warm-up for your ears.
If the song calls for a stereo acoustic guitar part, you still need to find the sweet spot for the mics. How high or low, close or far, you won’t know until you take the time to listen.
4: Mic Choices and Positioning
In the studio it’s unlikely you will prefer the sound of a dynamic mic on acoustic guitar compared to a condenser.
However, if you’ve never heard it, by all means try it. In fact, if you have the time, try all your mics!
Large diaphragm condensers and small diaphragm condensers are the most common choices for acoustic guitar recording. Again, listen to the differences between mics and where you place them.
The closer the mic is to the instrument the more ‘Proximity Effect’ (an exaggerated low frequency boost in the mic) there will be.
Avoid using mics that might exaggerate lows, mids or highs in an already too dark, middy or bright guitar. Pick a mic that complements or balances the sound, for example, a dark mic on an overly bright guitar.
5: Processing
After you’ve done your best to capture the guitar, you still may need to do some work to make it sit well within the mix with all the instruments.
It’s not at all uncommon to need a bit of processing to make room for other instruments, as well as to control dynamics. No matter how good a job you did in recording the instrument, be prepared to cut the very low frequencies, shape the mids to make room for vocals, compress a few dB to even out the performance and add a little reverb to give it space.
Be sure to try out some of these tricks the next time you record guitar. If you do, let me know your results in the comments below!
Jon Tidey is a Producer / Engineer who runs his own studio, EPIC Sounds, and enjoys writing about audio on his blog AudioGeekZine.com.
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