Thursday, April 26, 2012
Mix Engineer Ken Newman Chooses Soundcraft Vi6 Console For Barry Manilow Tour
The current tour by Barry Manilow—his first U.S. tour of the decade—has front of house engineer Ken Newman providing the mix with a Soundcraft Vi6 digital console.
“In mixing this show, I have to make it sound exactly the way Barry wants it to,” explains Newman, who is also owner of Newman Audio, Inc. “While some artists leave the sound to their engineers, Barry is very involved in rehearsal and sound check and will sit right next to me and tell me exactly how he wants to hear something.
“He is very particular about what should be heard because he put together many of the arrangements and wants the audience to feel the music the way it is intended to be felt.
“We’re using a trimmed-down band setup, but we want it to sound like we have 30 to 40 musicians,” continues Newman, who worked with Manilow from 1992 through 2002 as his front of house mixer. “As a result, the biggest challenge of mixing this show is keeping up with the changes of a very active mix. There’s always something that needs attention. The logical layout and five illuminated touchscreens of the Vi6 make this part of the job much easier.
“Another key aspect is that the reverb has to be right,” Newman adds. “It’s critically important to him and has to sound good no matter what the venue. If I turn on the console and I don’t have the reverb up, Barry will say it sounds wrong. If the reverb is up and it sounds right, he is happy.”
Newman had to get ready for rehearsals quickly—and use a digital live console for the first time. “The last time I toured with Barry the console was analog, and from 2002 to 2011 when I was working for a corporate events firm I spent most of my time working on analog and smaller digital consoles,” Newman notes. “When I got the call for the tour, I wondered how I was going to be able to do it.”
The console selection process was quite involved, Newman points out. “I knew it would be totally impractical to use an analog console for the tour, and I looked at a number of digital consoles and what other music shows were using,” Newman said. “I didn’t feel confident that I’d be able to get the sound I was looking for with some of the consoles, as their internal effects and processing were marginal at best. With others, the control surfaces just weren’t going to cut it for an old analog guy like me. Some consoles seemed too complicated to learn in the short time I had, or were just not the right ‘fit’ for me.”
Newman asked the advice of Dave Lawler of Docktrdave Audio Inc. of Burbank, California. “My friend Dave Lawler suggested the Soundcraft Vi6. I could immediately see how operator-friendly it was with its five display screens, three user-configurable input fader configurations and other features. For me it was like the time I got my first Macintosh computer in 1984 after having used DOS-based computers.”
“I need to see what is going on one channel at a time, and the Vi6 offers great access to everything and not limiting me when I’m mixing, in a console that’s so nicely sized,” Newman added. “The Vi6 is also intuitive enough where if I don’t know exactly how to do something at first, I can figure it out easily enough.”
“I’m using all 64 inputs from the stage, as well as the majority of the local rack inputs and outputs,” Newman pointed out. “I’m using the board’s internal processing for most of the inputs, and I have two external tube audio compressors for the main and spare vocal mics. I’m using some other external effects because they’re the exact same units I had for the 2002 Manilow tour and I’m familiar with them. Given time and rehearsals, I might be able to eliminate some of those effects because the Vi6’s built-in Lexicon effects, compressors and gates sound so great.”
“This tour is the first time I’ve used the Soundcraft Vi6 for anything! Talk about putting something to the test – but I feel like I’ve found a new friend in the Vi6, and I look forward to using it for many years to come.”
Soundcraft
Harman
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Posted by Keith Clark on 04/26 at 01:21 PM
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Tuesday, April 24, 2012
Making It Bigger: Understanding Effects & Adding Them To Your Mix
Particularly in club sound, the proper use of effects can leave the audience with the impression that they’ve heard a full-blown concert
On rare days off from running sound, I get the opportunity to go to several local clubs to check out the work of other mix engineers.
This is really cool because I pick up tips that can help my own work, in addition to experiencing a wide range of gear.
One thing in particular that I pay close attention to is effects, and I find that in most every case, some type of effect is applied on almost every instrument and vocal.
Which leads me to the point that particularly in club sound, the proper use of effects can leave the audience with the impression that they’ve heard a full-blown concert.
Reverb, simply defined, is the result of many decaying reflections of sound in a room.
Reverb units simulate reflections of different types of rooms, and most units are outfitted with standard pre-sets for long or short reverb times, reverse gates, gated reverb, delays, flange, chorus and so on. These settings can usually be adjusted and saved for specific
More specifically, some adjustable settings include:
Reverb type. Common choices include room, hall, plate, and vocal.
Reverb delay. The time between the initial signal, such as a vocal, and the start of the actual reverb effect.
Reverb time. How long the reverb can be heard after the input signal stops.
Gate time. The amount of time before the response is cut off. A gated reverb, typically applied for drums, cuts off the sound of the reverb more abruptly than the usual more gradual decay.
Reverse gate. Usually a gated reverb, but with a twist. Instead of simulating reflections that become quieter after the initial signal, a reverse gate simulates reflections where the sound gets louder over time, and then abruptly cuts off. Again, usually applied to drums.
In contrast to reverb, delay is simply a number of very distinct added repetitions to sound. These repetitions will usually be the same (or very close to the same) volume of the original signal, although many delay units now allow setting both volume and the decay of the repeating signal.
On most units, the timing of these repetitions can be set from milliseconds to several seconds. The user can also define “feedback” - the number of times it will repeat.
Delay can be used on almost any instrument, but most commonly on vocals. A short delay time used on a vocal can “fatten it up” nicely, whereas a long delay can create an echo effect.
Both delay and reverb run in stereo can also be used to create even bigger sounds and/or “ping-pong” effects. Some units also provide the ability to set different reverb or delay times for each side of a stereo system.
I always recommend running any effects in stereo in order to gain the biggest advantage from them.
Running effects in stereo versus mono is like comparing night versus day – the difference is quite substantial.
Now let’s switch to the application side. When adding effects to instruments and vocals, keep in mind that in most situations, it all should be done in a complimentary manner. (Except in very rare cases.)
For example, if mixing a slow ballad with a long reverb applied on vocals, then chances are that a short-gated reverb on the drums will sound awkward.
I’ve also heard different delay times and reverb settings on lead and background vocals. Again, for the most part this is not a good idea. If all vocals are intended to be part of a unified pallet, which is almost always the case, then they should be presented as unified.
In other words, adding a random setting to each vocal - without any specific artistic purpose - will result in vocals that are a jumbled-up mess.
I once found this out the hard way. Experimenting with a new, original song, I set up different delay times for the background vocals.
Everything sounded great - until all four vocalists started singing a certain passage together. Then it became three badly matched background voices topped by a lead voice that also didn’t remotely fit.
It suddenly sounded like a different song had started! (By the way, if you ever find yourself in this position, slap the side of your rack and act like the gear is causing the problem, not you.)
A very common question with effects: how much is enough? I think we’ve all come across mixes that were compromised or even ruined by the overuse of effects. (On the other hand, I’ve also heard some so-so bands that were saved by a good mix and heavy doses of effects!)
Particularly in a smaller environment like a club, certain elements of a mix tend to stand out: guitar lead, keyboard lead, thundering kick drum, and so on, while most of the time, the effects are not intended to stand out.
The audience should notice when there is no reverb or delay on the vocals, but not perceptibly notice when these effects are applied. Enhance with effects, don’t over-compensate.
Of course, there are exceptions to every rule. A good example is the gated reverb on the snare drum in a lot of Phil Collins songs.
Another can be found on “Bohemian Rhapsody” by Queen, which has a heavy flange on the vocals. And that same band’s “We Are The Champions” offers a reverse gate application that lends a great sound to the drums.
So particularly if mixing the same band regularly, make it your business to learn the songs inside and out.
This includes going to band rehearsals, where you can calmly evaluate where effects might add something special, and also talk with the band about it as well. (This might seem obvious, but I’ve talked to so many mix engineers over the years that never bother to attend rehearsals.)
The routing of effects is another key piece to the puzzle. If at all possible, they should be sent from an aux send, a pre-fade effects send, or a monitor send (if not running monitors from front of house). The reason is control.
The band I regularly work with plays in a different club every night. This means that every show I readjust my gain structure, fader levels and EQ in light of the specific club parameters and specified volume limits.
By running pre-fader, I’m able to adjust the input to the effects unit and leave it the rest of the night without worrying about clipping when I push up a lead.
I also return all my effects back to a channel on the house console - again for more control. This provides the ability to EQ the effects and control the output easily with the faders, and I can also turn off the effects when the band isn’t playing.
Running it back to a channel also allows me to easily add an effect in the middle of a song, and to more easily and effectively add it to the mix.
For example, let’s say there’s an echo that needs to happen in the middle of a particular song. I set it up and have it ready, then when the right time comes, slide up the appropriate fader and then back down, and it’s on to the next effect.
Four effects units reside in my own club rack - one for delay on vocals, one for reverb on vocals, one for reverb on drums, and one that I use to achieve certain other things.
This unit is programmed ahead of time with different delay times, echoes, flanges and so on that I want for that night’s show.
Again at risk of stepping into the land of the obvious, I always name these effects according to the song they’re to be applied to. This way I don’t have to try to try to remember different setting names in the heat of the mix.
The extra unit also means I can leave my main reverb and delay settings untouched while adding the extra effects where and when I want them.
Many of the more common and affordable effects units now on the market come with the ability to pre-program several different effects on one channel, eliminating the need to purchase several units.
What effects units does Tim use? Top to bottom: TC Electronic M-One on vocals; Alesis MidiVerb 4 for a quad chorus on sax and some special effects on guitar, drums and vocals; Yamaha SPX 990 on drums; and an “old reliable” Roland SDE2500 for certain vocal reverb as well as delay on certain songs. (click to enlarge)
Keep in mind, though, that this can present some limitations.
To bring up the volume of the reverb, but not the delay, requires doing so in the effects unit settings rather than just pushing up a console fader.
And there is access to only the effect “sounds” and features/options provided by the given manufacturer of the unit. Still, the majority of units offer plenty of effects options.
One key difference is sound, which is where you come in, because as we all know, sound “quality” is a subjective evaluation.
Experiment by listening to various units to find the one (or ones) best for your operational needs and sonic situation.
If possible, rent a unit for a week or two to check out before buying, and never be afraid to ask the advice of others.
Tim Andras is a mix engineer with well over two decades of experience working with sound.
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Monday, April 23, 2012
DiGiCo’s Training Seminars Reach Russia
As important to digital console manufacturer DiGiCo as the quality of its products is the support and education it provides its customers.
The company runs a series of well-attended training seminars both at its UK headquarters and around the globe.
The latest location added to its roster is Russia, with its first seminar for the territory held in February at the recording and performance studios of the famous artist Igor Sandler by its Russian distributor, Aris Pro.
DiGiCo’s Vice President of Sales Ian Staddon was joined by highly respected engineer Dave Bracey, known for his work as Front of House engineer for artists such as Robbie Williams, Massive Attack and Bjork, with whom he is currently touring.
The evening prior to the seminar saw Ian and Dave interviewed live on Igor Sandler’s famous late night rock radio show, which, according to the network, had some 1.4 million Muscovite’s watching the live web feed.
On the day, the pair presented a mixture of technical theory and hands on practice, with the seminars covering DiGiCo’s entire range of products, from the flagship SD7 to UB MADI, the latest ground-breaking offering from the company’s Solutions division. The sessions were rounded off with a Mixing Master Class from Bracey, where he demonstrated why the SD7 is his console of choice and emphasizing the use and value of features such as snapshots when using digital consoles.
As a finale to the event, all the attendees were treated to an enjoyable evening of food, drink and a live performance by an AC/DC cover band mixed on the SD7.
“The seminar was well organized, and I had a lot of time to discuss my questions with the DiGiCo and WAVES specialists,” recalls Alexander Odelevsky,Head of the Sound Reinforcement department
at The Moscow International House of Music. “We were able to fully explore the consoles. For new users it was a great experience to be able to study on DiGiCo consoles, and a great opportunity to address a few challenges and discuss some deep hardware and software nuances for pro sound engineers like me, who are experienced in DiGiCo consoles. Thanks to the DiGiCo/WAVES/Aris Pro teams for a great event.”
“Everybody really liked the seminar,” says Yaroslav Udovik, managing director of Aris Pro. “In fact, we plan to do more, as we have identified a need to provide more information to the end users in the Russian market.”
“It’s fantastic to be able to support exciting markets in this way,” adds Staddon. “The feedback we’ve had from the attendees was extremely encouraging and we’re looking forward to a return visit in the near future.”
DiGiCo
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Guitar Center Opens Two New GC Studios Facilities
In the first quarter of 2012, Guitar Center expanded operations at two of its stores – Highland Park, Illinois, and Tucson, Arizona – by adding Guitar Center Studios, an in-house, state-of-the-art lesson facility, which will create unrivaled opportunities for area musicians of all ages and skill levels.
Guitar Center Studios provides music lessons from beginner to advanced featuring certified instructors teaching world-class curriculum as well as one-on-one courses on Pro Tools, Logic Pro and GarageBand. Guitar Center Studios is now the most modern and affordable lessons facility in the area.
“The opening of our new GC Studios at our Highland Park and Tucson stores is an important moment for musicians in these areas,” commented Gene Joly, Guitar Center Executive VP of Stores. “As arts programs are consistently being downsized at schools across the country, we feel it’s important to create these opportunities for the next generation of musicians.”
“Many of our recent store openings over the last year-plus have featured GC Studios, and those facilities have been a huge success across the board. We look forward to serving the music communities of these areas in this increased capacity.”
Guitar Center Highland Park is open seven days a week. Store hours are 11 a.m. to 9 p.m. Monday through Thursday, 10 a.m. to 9 p.m. Friday, 10 a.m. to 8 p.m. Saturday and 11 a.m. to 6 p.m. Sunday.
Guitar Center Tucson is open seven days a week. Store hours are 10 a.m. to 8 p.m. Monday through Friday, 10 a.m. to 7 p.m. Saturday and 11 a.m. to 6 p.m. Sunday. Guitar Center Studios hours at both locations follow the same schedule as their respective stores.
Guitar Center
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Thursday, April 19, 2012
Soundcraft Vi1 Delivers It Strait For Matthew Manasse
When members of Dire Straits got back together for a one-off charity event at the Albert Hall, sound engineer Matthew Manasse was asked to look after the front of house mix.
The incredible response to the event led to repeated demands for the band to play again—and so ‘The Straits’ took to the road. This culminated in a full European tour recently that saw Matthew Manasse mixing the shows on a Soundcraft Vi1.
Having toured with some of the biggest names in the industry, from Dave Brubeck and Katie Melua to Rufus Wainwright and Pink, Manasse is highly regarded in the world of professional audio.
However, in a world of ever tightening budgets he had become disillusioned with the touring market and left it to concentrate on running his new venture, Bluefish Live Events, to service the corporate events market.
But The Straits tour proved irresistible and as an early champion of Soundcraft’s Vi6, he had no hesitation in turning again to the company’s digital platform.
The Vi1 was provided by Sound Technology, Harman’s distributor in the UK and ROI.
“I really loved the Vi6 so when the Vi1 was suggested I was initially a little concerned that its compact size might make it difficult or slow to navigate,” he admitted. “There are only 16 input faders visible at any one time and with 44 inputs from the stage I was worried that I’d be constantly switching between the layers and that this would take my attention away from the mix.”
Fortunately, Soundcraft was one step ahead.
“There are five user definable fader layers so I’ve been able to group together the inputs that I need for different elements of the show,” Manasse said. “Accessing the right channel has never been so easy. With sound levels ranging from around 70dB up to the dramatic peaks of around 108dB, I needed a digital console that was versatile, small and flexible and that could handle that dynamic range without running out of headroom.”
The system has been programmed so there is a page for the opening number, a different page for the rocky songs and a third for the more acoustic ones.
“On each of these fader pages I have the key input channels visible that I know I’ll need to access quickly,” Matthew continued. “Obviously some channels, such as the lead vocal, will appear on all these pages but that’s what makes this desk so flexible. I always have the inputs I need at my fingertips.”
Whereas previously he would simply recall a snapshot for every song, with the user definable layers he’s decided to mix the show on the fly, making the experience a lot more fun.
“This has the effect of keeping the whole mix fresh as I have to stay completely involved.”
The other area where the console scores highly is on the output section. Concert Sound Clair, which has a long history with both Manasse and Dire Straits, is providing a monitor system and FOH control for the tour.
“As we aren’t able to carry a full PA system, CSC had given me an advanced processor as part of the package so that I could take complete control of the house systems that I’m using—but due to the number of matrix outputs on the Vi1, all with delay and EQ, I haven’t needed it once,” Manasse added.
CSC also provided a Vi stagerack, adding 64 mic/line inputs on stage to the 32 on the back of the console, which was a further bonus. The sound engineer noted that since the Soundcraft preamps are modelled on the Studer, this provided him with “an exceptional sound.”
The Vi1 also offers four Lexicon effects engines, which Manasse has been using sparingly on percussion, acoustic guitar, sax, vocals and the signature National steel guitar. “I am a huge fan of the built-in Lexicon effects,” he said, “and the Vistonics interface on the Vi1 makes it is so much more flexible and intuitive.”
One facility on the Vi1, which he regards as essential, is the input channel delay.
“A few years ago I started to experiment with time alignment and now apply this to every mic on stage; it’s time consuming but the results speak for themselves as there is a marked increase in clarity and depth within the mix. The big advantage is that I can keep the acoustic guitars sounding like acoustic guitars, I don’t have to use the EQ to make them cut through as I’m already creating the ‘space’ with the time correction. By reducing the amount of ‘mess’ onstage I can keep the whole band sounding more natural.”
With Gareth Lewis on monitors and Nick Belshaw tour managing, the house engineer reflects on a thoroughly enjoyable tour of duty, before he again replaces the world of circuit venues (averaging out at around 1,500 capacity), to four and five star hotel conference and banqueting rooms.
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