Tuesday, June 23, 2015
New Soundcraft Vi5000 And Vi7000 Digital Consoles Hightlighted At InfoComm 2015
Offer optional 96 kHz processing, upgraded channel counts and more hardware
At the recent InfoComm 2015 show in Orlando, Harman’s Soundcraft showcased t he new Vi5000 and Vi7000 digital consoles, which offer optional 96 kHz processing, upgraded channel counts and more hardware.
The Vi5000 and Vi7000 replace Soundcraft’s Vi4 and Vi6 consoles, delivering technology and feature set improvements while retaining and building on the user interface and sound quality characteristics.
The Vi5000 and Vi7000 provide a choice of compact control surfaces with new local rack and active breakout box hardware, delivering simultaneous mixing of up to 128 inputs and 32 mono/stereo buses with up to 384 inputs and outputs in the I/O system allowing unlimited record feeds from all channels. Sound quality is enhanced with low-noise microphone amplifier designs and enhanced 96 kHz 40-bit floating point digital audio processing, with the digital implementation of the BSS DPR901ii dynamic EQ adding to the channel processing.
Effects contain eight independent Lexicon multi-FX units, and a BSS graphic EQ on every bus output. Both consoles also offer an additional dedicated 64-channel MADI interface for Realtime Rack; a collaboration with Universal Audio that gives users access to UA studio plugins.
Configuration via new encoder assign functions and shortcut keys are joined by a new extension to the Vi’s patent-applied-for VM2 radio microphone status monitoring feature, with Shure ULXD systems now recognized alongside AKG’s DMS800 and WMS4500 systems. The Vi5000 and 7000 consoles have configurable local and Stagebox I/O hardware, with ViSi Connect I/O expansion options available (EtherSound, CobraNet, Dante, MADI, etc.) plus a choice of Cat-5e or optical fiber Stagebox connection to suit budget and cable length. The Vi5000 and Vi7000 also feature the latest 3D Vistonics II and FaderGlow interfaces, plus an improved ViSi Remote iPad control interface completes the package.
“Our Vi4 and 6 consoles have been enormously popular with countless tour sound professionals, as well as theatres, houses of worship, and more,” says Dave McKinney, vice president and general manager, Soundcraft and Studer. “With the introduction of the Vi5000 and Vi7000, we are showing that we’ve listened to our customers and are offering a significant step up with the User Interface features they need and the world-class audio quality and processing tools they expect, so that any engineer can have the very best mixing technology at their fingertips.”
Monday, June 22, 2015
Soundcraft Spotlights New Si Impact Digital Console At InfoComm 2015
Combining analog workflow with digital flexibility for live sound and recording applications
At the recent InfoComm 2015 show in Orlando, Harman’s Soundcraft spotlighted the new Si Impact digital mixing console, which is designed to be as simple as an analog mixer but with workflow enhancements and DSP power for both live sound and recording studio applications.
The 40-input Soundcraft Si Impact offers live sound digital mixing with ViSi iPad control and built-in Stagebox connectivity for I/O expansion. In addition to its live sound components, the Si Impact has a 32-in/32-out USB recording and playback interface that provides multitrack recording and playback directly from a DAW. Right out of the box, you get a free download of Ableton Live 9 Lite.
The fully motorized faders come equipped with Soundcraft FaderGlow illumination technology and LCD channel displays or ‘scribble strips’ for visual feedback and easy operation.
The Si Impact provides 32 mic/line inputs, 40 DSP input channels (32 mono inputs and four stereo channels/returns) and 31 output busses (all with full DSP processing and GEQ) with 20 sub-group aux busses and four mono/stereo matrix busses. Eight XLR/quarter-inch combi-jacks are available for line inputs and instruments, while a 4-band fully parametric EQ is available for each channel and bus. The Si Impact also offers studio grade effects and dynamics from Soundcraft’s sister companies BSS, Lexicon and dbx.
The Si Impact supports up to eight VCA masters and eight Mute groups, plus 26 motorized input faders and LR/Mono (fully motorized with four fully customizable fader layers). The console also features a 5-inch color touchscreen display for access to show setup, patching, FX, and security.
“The Si Impact is the first of its kind in that it truly combines analog workflow with digital flexibility at a lower price than ever before,” said Sean Karpowicz, product manager, Soundcraft. “Most importantly, the Si Impact features the absolute best sound quality of any product in its category, on par with consoles many times larger and costlier. And thanks to the USB interface, it’s equally at home in the studio or on the road.”
Trinity Central Upgrades With Mackie DL32R
The 120-strong congregation meets at a local independent cinema, setting up and breaking down their gear for each week's service.
Founded roughly three years ago, Trinity Central is a modern, non-denominational church that recently upgraded their portable worship system with a Mackie DL32R digital mixer.
The 120-strong congregation meets each Sunday at a local independent cinema in Vancouver’s Yaletown district, setting up and breaking down their gear for each week’s service.
“We bring in all our own gear, rather than running through the theater’s system,” explains Mark Peskett, Trinity’s guitarist and technical advisor. “We’ve got a good sounding PA system, and although the room isn’t really designed for live sound, we’ve been working on optimizing our system’s performance.”
As part of that process, Peskett recently helped upgrade Trinity to the new DL32R. “We had been using the DL1608, which served us very well,” he explains. “We were really excited about the DL32R and got our hands on one as soon as we possibly could.”
Peskett cites audio quality as a prime consideration. “We’re not a significantly large church - yet - but we really value the sonic integrity and production value of our meetings,” he says. “The DL32R is a major step up. The preamps sound absolutely pristine, with a great sense of dynamics, clarity and air. I’ve personally invested a lot into the signal integrity from my own guitar and pedalboard, but it’s all wasted if it’s going into a bad preamp.”
The DL32R’s DSP is another major plus, says Peskett. “We use compression and the EQ on essentially every channel, and use reverb and delay on vocals, snare, acoustic,” he says. “In some instances we’ve used presets, but typically we’re dialing them in ourselves. I often find myself misled by visual feedback, especially with EQ, so I’m using more vintage EQ modes, almost forcing myself to listen more.”
The band is typically a five-piece, with everyone on in-ears. “All of our musicians look after their own in-ear mixes - at least those who own iOS devices,” says Peskett. “Thanks to the DL32R, we can now run four or five stereo monitor mixes with no problem.”
Peskett is also responsible for the church’s podcast, and points to the DL32R’s multitrack recording capabilities as invaluable. “It’s just awesome - particularly the fact that you can just plug and play without any driver installation. My DAW immediately recognizes all the ins and outs, so getting set up is super easy.”
The new mixer’s debut was an auspicious one. “The first time we used it was for our Christmas Carol service, our biggest event of the year,” Peskett recalls. “We had an over-capacity crowd of around 260, and the DL32R was amazing. We had rented extra mics and monitors, and were using almost every input and output available. And even though the Master Fader 3.0 software was new to us, we were still able to pull off one of our most technically demanding services without a hitch.”
Peskett says the DL32R was clearly the right choice. “I foresee this mixer serving us for many years to come.”
Allen & Heath Releases Android Version Of Qu-You App
Qu-You release V1.70 is the Android version of the personal monitor mixing app for Qu mixers running V1.7 firmware.
Qu-You is a personal monitor mixing app for the Allen & Heath Qu mixer, giving you customized control of your own monitor mix on stage.
It is for remote control of a mix in the console. It does not pass audio. Qu-You connects via Wi-Fi to a Qu-16, Qu-24, Qu-32 or Qu-Pac mixer.
Up to 7 devices running Qu-You plus an iPad running Qu-Pad can be used at the same time.
Qu-You lets you:
- Choose the monitor mix (Qu Mix 1-10)
- Assign which sources to control (Channels, FX returns, Groups)
- View channels numbers, names and meters
- Assign up to 4 groups of sources to level trim wheels
- Create a ‘Me’ group for quick control of your own channels
- Name each group
- Control the mix master level and mute
- Control the mix master PEQ, Graphic EQ and Compressor
- Control the mix send levels and pan
- Lock the mix and/or processing to prevent user error
An Allen & Heath Qu-16, Qu-24, Qu-32 or Qu-Pac mixing console running V1.7n version firmware (n=0-9), with a wireless router (wireless access point) connected to its Network port.
The Qu mixer firmware and Qu-You app maintenance version numbers ‘n’ do not need to be identical, for example Qu-You V1.70 would run with Qu mixer V1.71.
Refer to the Allen & Heath web site for more information and to download the latest Qu mixer firmware.
Allen & Heath
Friday, June 19, 2015
Allen & Heath Deployed For Slam Dunk And Download Festivals
Reel Recording selects the GLD Chrome digital console for recording and front of house duties.
Reel Recording Studio in Leeds recently employed its new Allen & Heath GLD Chrome digital mixer to record the main stage at the Slam Dunk festival in Leeds, and manage front of house for Download festival’s “secret band”, Young Guns, at Donington.
Footage at Slam Dunk was captured for Kerrang TV on the Chrome GLD-80, which was used to multi-track all bands on the main stage using Dante into Waves Tracks Live.
Situated onstage, Allen & Heath’s ultra-compact Qu-Pac mixer was also used to record front of house.
“The Slam Dunk live recording was actually the first time I had used a GLD and it was an absolute pleasure. The GLD is really intuitive, there’s no messing around - everything is exactly where you want it to be. The pre amps sound absolutely superb, which is imperative for a job like this, and with the added bonus of Dante, which is extremely flexible, it really performs well in the live recording situation. On top of all of this the footprint is tiny for such a powerful package. I’m most definitely looking forward to working on the GLD again,” comments Dave Boothroyd, house engineer at Reel Recording Studios.
The footage was later mixed down on the Studio’s Allen & Heath GS-R24 firewire recording mixer.
“The set up was A&H from start to finish.” concluded Reel Recording Studio owner, Ben Hammond.
Reel’s GLD Chrome, along with AR2412 and AR84 remote IO expansion racks, was also employed at the Download festival with Young Guns, the festival’s secret band. The system was also fitted with Dante networking to enable multi-tracking.
“I used all the outputs on the AR racks as a split to feed the guys in-ear monitor rack, so we were using absolutely every hole on the desk! I made good use of the mixer’s onboard FX - I’m loving the new 160 compressor which I use on bass, keys, and tracks,” explains Hammond.
Allen & Heath
Reel Recording Studio
Thursday, June 18, 2015
Lawo & Waves Introduce Waves SoundGrid Integration For Lawo mc²36 Console At InfoComm 2015
Console now provides extensive real-time signal processing in addition to its internal processing engine
Lawo and Waves are premiering the integration of Waves SoundGrid servers with Lawo mc² consoles at this year’s InfoComm 2015 show in Orlando. As a result, the Lawo mc²36 console now provides extensive real-time signal processing in addition to its internal processing engine.
The new Lawo mc²36 mixing console with the integration of SoundGrid is being showcased at InfoComm at the Technolgies for Worship Pavilion, booth 6878, and six additional consoles are being provided as part of the InfoComm Training Center.
The system gives operators access to Waves’ comprehensive plug-in library, allowing them to control reverbs, multi-tap delays, graphic equalizers and multiband compressors directly via the console’s keyboard and touch screen. No additional monitors or controls are needed, which results in a clean working space and less external hardware. All plug-in settings can be stored and recalled with the console’s snapshots.
Mick Olesh, Waves EVP sales & marketing, states: “Waves is delighted to collaborate with Lawo and is pleased to give their users easy access to Waves plug-ins on Lawo consoles. This cooperation with Lawo realizes our ongoing commitment to provide our customers with the freedom to use Waves plug-ins in all settings and environments.”
“The cooperation with Waves is very fruitful and also extremely enjoyable. Both companies are very focused and so our R&D teams were able to achieve the integration of Waves plug-ins with our consoles in very short time”, adds Christian Struck, senior product manager, audio production, Lawo. “Lawo mc² consoles are audio precision tools, and the Waves integration gives our customers access to Waves’ comprehensive plug-in collection. This is a perfect complement to our system, especially with regards to live and install sound applications.”
mc²36 consoles are designed for live, install and broadcast applications. Available configurations include 16, 24 and 40 fader models, all with built-in DSP and I/O that can be expanded with several stagebox configurations.
All consoles also include built-in AutoMix, dynamics processing, loudness metering, and snapshots with external offline and configuration control options, including remote connection of PCs, tablets or laptops to manage the setup and mix process. Designed to work in an IP-based environment, the consoles come equipped with the latest RAVENNA audio-over-IP technology as well as full support for AES67.
InfoComm 2015: Bose Professional Expands FreeSpace Amplifier Line With Four New Models
Designed to provide high-quality amplification (2 x 120 watts) for either high or low impedance applications and enhance installations using Bose FreeSpace loudspeakers
At InfoComm 2015 in Orlando, Bose Professional (booth 859) has broadened its FreeSpace amplifier line with a set of four dual-channel amplifiers optimized for commercial applications such as retail, restaurants and hospitality.
There are two mixer amplifiers (IZA 2120-HZ, IZA 2120-LZ) and two expansion amplifiers (ZA 2120-HZ, ZA 2120-LZ) each at 120 watts per channel. FreeSpace amplifiers can be quickly configured without a PC, enabling each installation to be customized easily and intuitively. In addition, FreeSpace amplifiers offer a range of models and features to enhance audio installations using Bose FreeSpace loudspeakers.
The IZA models include an integrated audio DSP providing Bose loudspeaker EQ, Bose Dynamic EQ, Opti-voice paging/ducking, audio mixing/routing, bass/treble adjustments, remote control options and an auto standby feature. The ZA models support sound system expansion when using front-end Bose products such as FreeSpace integrated zone amplifiers and ControlSpace engineered sound processors.
FreeSpace Integrated Zone Amplifiers (IZA 2120-HZ and IZA 2120-LZ)
For background/foreground music and paging applications, Bose FreeSpace integrated zone amplifiers elevate the audio experience when using FreeSpace loudspeakers. Optimized for commercial applications, FreeSpace IZA amplifiers feature selectable loudspeaker EQ to enrich audio quality, Opti-voice paging for clear speech intelligibility while providing smooth transitions, and dynamic EQ that ensures full and balanced music at any volume level.
Additionally, the IZA 2120-HZ offers true two-zone capability, providing two independent outputs that each support volume/source selection remotes, EQ, tone controls and paging/auxiliary routing options.
FreeSpace Zone Amplifiers (ZA 2120-HZ and ZA 2120-LZ)
Bose FreeSpace zone amplifiers are designed to provide basic amplification and sound system expansion when using front-end Bose products, such as FreeSpace integrated zone amplifiers and ControlSpace engineered sound processors. ZA zone amplifiers offer excellent audio quality from a reliable, high-quality Class-D amplifier. When connected to an IZA integrated zone amplifier, the ZA zone amplifier allows for easy system expansion. Chained amplifiers will function together as a single expanded system, sharing the same music, paging sources, master volume control and optional loudspeaker equalization. Each ZA zone amplifier comes in a compact, lightweight design for uncomplicated installation in a range of locations.
Ashraf Elghamrawi, Bose Professional product line manager, amplifiers, states, “At higher power levels, our four new 2 x 120W IZA/ZA amplifiers greatly expand the size and complexity of the venues for which FreeSpace amps can be used. These models don’t need a PC or programming and with just a few switches can be tailored to almost any commercial installation. As one of our dealers said, ‘There are not many places where these amps can’t be used.’”
Availability is expected around October 2015.
Solid State Logic Presents New V3 Software For SSL Live Consoles At InfoComm 2015
Release includes new L500 Plus model and adds more than 40 features
Solid State Logic is presenting the SSL Live console range with new V3 software, which introduces over 40 software and hardware features, at the ongoing InfoComm 2015 show in Orlando (booth 579).
In addition, the L500 now becomes the L500 Plus to mark the ongoing evolution of the console and increasing the power from 192 mix paths to 256, with a doubling of effects processing power (depending on the effects selected). The L300 also offers a power increase from 128 to 192 mix paths.
SSL Live V3 software is now standard on all new consoles, while upgrades are available to existing consoles.
V3 also provides the new Super-Q feature, an optional Dante interface card, Remote Control software, Console Expander Mode, user interface changes, new effects, enhancements to the solo system, as well as a collection of features designed for customers who broadcast their productions.
Dante Interface Option
A new Dante card option offers up to 32 x 32 channels of I/O at 96 kHz over a redundant Dante connection. The card can be set to operate at 48 kHz or 96 kHz independently of the rest of the console. The card expands the maximum inputs and outputs for SSL Live consoles from 568 to 600 for an L300 and from 976 to 1008 for an L500 Plus.
Console Expander Mode
Where two operators wish to control the same audio environment, or when more physical faders are required, a second console may be connected to the main console. This expands the control surface available and allows multiple surfaces to share the processing and I/O power of the main console. The active automation scene is automatically synchronised between the two control surfaces for simultaneous but independent control.
Super-Q is the next generation of Live’s Query function, offering unprecedented workflow flexibility from the touch of a single button. Just like the original Query function, Super-Q allows the user to ‘spill out’ the contributing elements or destinations for a selected fader/path across the control surface. Pressing a channel’s ‘Q’ button shows the mix busses to which the channel is routed. Querying a mix bus will show only the channels that are contributing to that mix. Pressing a VCA’s Q button will show all channels under its Control.
Super-Q also shows the send levels to and from mixes, allowing instant and accurate mix control, either from a channel- or mix-centric view. These contributions can be displayed either on the rotary encoders at the top of each fader strip, or automatically ‘flipped’ onto the faders.
Super-Q has two modes: ‘Compressed’ mode shows a focused view of only the audio paths contributing to or from the queried path, and ‘Expanded’ mode offers user-defined layers and banks, allowing the user to lay out exactly where they want each channel to appear on the surface. The modes are configurable on a per-path type basis, giving the user complete control of their workflow. These new features operate in conjunction with the console’s Follow modes that allow any combination of Select, Solo and Query buttons to be linked.
Remote Control Software
SSL’s SOLSA (SSL Offline Setup Application) software allows creation and editing of Live console showfiles on a laptop, desktop or tablet PC. Almost anything that can be done on a console can be manipulated and configured using SOLSA, including console architecture configuration and setup of Fader Tile Layers and Banks.
Stage boxes and I/O routing can also be assigned along with the creation of scenes and other automation editing. SOLSA also allows you to add effects, manipulate channel processing settings, bus routing and VCA assignments. SOLSA includes the same inline Help System as the Live console software, offering a built-in user guide with tutorials and reference sections.
The SOLSA PC application can be connected to a console using a wired or wireless connection* for real time control of the console from a laptop or tablet PC. SOLSA can also be used ‘offline’ when access to a console is not possible for preparation of show files. *Wireless access point required.
V3 software includes a 48kHz mode to facilitate integration. New 5.1 and 4.0 audio path formats have been introduced with all of the necessary routing and monitoring required to support them. The Pan system now includes SSL’s Surround Panner and a selection of the Insert Effects now have 4.0 and 5.1 specific versions. Multichannel Fold-down options have been added with settings available to control the steering logic when routing 5.1 or 4.0 formatted paths onto mono, stereo and LCR buses. Solo Dim mode has been added to the newly enhanced Solo system, which now also includes six external solo sources.
The V3 release also contains a significant collection of individual additions and improvements to the consoles user interface and processing tools. Some highlights include; VCA control of matrix channels, new implementations for the user assignable buttons, a superb new stereo version of the Fixed Point Per Octave Analyser called the FPPO-lyser, which includes a difference mode, allowing the difference between two signals to be monitored and two sets of crosshairs to track the maximum level/frequency and the level of a specific frequency. BPM and Note-based editing has been added to delay modules and stereo channels now have balance and mono sum controls.
Solid State Logic
Tuesday, June 16, 2015
First Calrec Audio Artemis Console For Channel One Russia Worldwide
Channel One Worldwide purchased the console as part of a facility-wide upgrade to HD in order to meet Russian digital broadcast requirements.
Channel One Russia Worldwide, the international arm of Channel One Russia, has installed a Calrec Artemis Light digital audio console in its Moscow production studio.
Channel One Worldwide purchased the console as part of a facility-wide upgrade to HD in order to meet Russian digital broadcast requirements.
The Channel One Worldwide purchase marks the 32nd Calrec console installed in Moscow.
“Not only must we adhere to strict government standards for HD broadcasts, but as the most widely distributed and trusted Russian-language channel in the world, we also have an obligation to our viewers to deliver broadcasts of the highest quality,” said Stanislav Goncharov, technical director of Channel One Russia Worldwide.
“That means equipping each of our channels with high-performance equipment like the Artemis. The console lets us effortlessly produce multitrack HD programs, change show memories quickly, and connect two shooting areas to one control room over fiber — things that were impossible to do before. The console has proved to be the perfect balance between cost and quality that will help us easily expand our live production down the road.”
Installed in the Channel One Worldwide studio inside the Ostankino Television Technical Centre, the Artemis has 32 multilayer faders and is equipped with Calrec’s Bluefin2 and Hydra2 networking architecture.
“As part of Channel One Russia Worldwide, which has more than 250 million viewers worldwide, Channel One Worldwide is a critical source of programming for Russian-speaking audiences everywhere, and the Artemis met the criteria for a compact digital console with powerful internal routing capabilities,” said Michael Reddick, Calrec’s European sales manager. “With this deployment, Channel One Worldwide joins a growing number of stations in Moscow that have adopted Calrec consoles since 2012.”
OKNO-TV, Calrec’s partner in Moscow, handled the sale and installation.
Monday, June 15, 2015
Neon Trees On Tour With Allen & Heath’s iLive T-112
Production manager/front of house engineer Neal Duffy, and monitor engineer Justin Roberts depend on the iLive for consistent results.
“An Intimate Night Out with Neon Trees” is touring the U.S. this summer, using the Allen & Heath iLive T-112.
Neon Trees, an alternative rock band who climbed the Billboard Hot 100 and Alternative Rock chart with hits such as “Animal” and “Everybody Talks” is thrilled to have the iLive T-112 on tour with them.
Branden Campbell, bass guitarist for Neon Trees, said, “The most important thing to me is consistency and to get that every night. Every venue we play is different and we are at the disposal of so many things. It’s important to have that consistency and it offers that.”
Neal Duffy, production manager/front of house, has been using Allen & Heath equipment on tour for four years, specifically the iLive T-112 and the iDR-48 MixRack with 48 Mic/Line inputs and 24 XLR line outputs.
Duffy says,“The multi band compression is great, really accurate in use. I absolutely love the sub-harmonic synth. Sounds great, easy to use and very intuitive. All around a great piece.”
Justin Roberts, monitor engineer, states “Everything the band is hearing is coming from the in-ears. This gives us excellent control over both the left, right, and panning stereo imaging for every individual on what they want to hear. Everything is customized and the faders flip as I switch from each individual. One fader can control two stereo left/right channels, which is convenient because you can select their mix. It’s nice, you can make changes on the fly during the show or rehearsal.”
Above all, Duffy is a proud supporter of Allen & Heath products. “I love working with Allen & Heath and American Music & Sound. The support and loyalty I get from them is great. If I have a problem they are there right away to help me troubleshoot.”
The band will be performing at small venues until they end their tour at the Paradise Rock Club in Boston Massachusetts on Sunday, July 26, 2015.
Allen & Heath
A Great Mix? Sometimes It Depends On Who You Ask…
Mixing sound in the live realm is not rocket science. In fact, it’s probably closer to voodoo. A studio engineer creates a masterpiece that will (hopefully) live forever in permanent hard copy existence. But the very nature of a live mixing dictates that every show will be unique - and that none will be perfect.
A front of house engineer is in the business of creating a memory. Impact, excitement and anticipation form the landscape of the journey you’re guiding the audience through. Perception is everything.
“That was the most amazing show I’ve ever heard!” When someone walks out of a concert saying this, is it accurate?
Are they referring to fidelity, tonal balance, and mix perfection? Or is it possibly the impact, anticipation, and excitement that affected them in an emotional way?
We can’t force the audience to have fun, but we can make sure the audience hears the most important aspects of the music while doing our best to mask and acoustically downplay any negative issues that arise.
Imagine mixing a show with the utmost finesse, articulating a series of precision and complex cues, and then an irritating knucklehead from the audience leans over the console and says, “Hey man, can’t hear the keyboard.”
My first thought is to strangle the annoying punter. He obviously knows nothing about the intricacies of mixing or he’d be behind the console, right? Well, maybe not. Sometimes as engineers we get so wrapped up in displaying the depth of our skills that we forget exactly what is most fundamental and important.
Have you ever heard an engineer fumbling with effects while the mix sounds tragic? Don’t kid yourself - 95 percent or more of the audience has no idea and really does not care whether you used a macro-pristine-ultra-chamber or a $20,000 tube comp on each of the 12 vocals.
What they do care about:
—Can they hear the vocals?
—Can they also hear the vocals?
—Can they hear everything else?
—Does it capture their attention, take them to a state of bliss, happiness, rage, or whatever direction that particular music is supposed to take them, so they can stop worrying about whether they can hear the vocals?
No matter what goes wrong sound-wise during a live performance, if it’s noticed from the audience perspective, then the problem belongs to the house engineer. There are no excuses.
Here’s the important point for engineers: “NOTICE.”
The show starts and all seems good, but then I realize there’s no guitar microphone in PA left. I can immediately turn it on and “fix” the problem, also thereby instantly letting 10,000 people know about the goof.
Or, I can slowly pan the guitar mic to center, then left, and back to center. If I dialed it up correctly, then for the next song the odds are that the problem has now actually become a cool guitar effect. It’s not about hiding mistakes; it’s about giving the audience the best show possible.
“That snare sound is my sonic signature!” Yes, someone did tell me this once, and yes, it’s got to be one of the most irritating things I’ve ever heard.
If the audience is focused on the way we mix, we’re fighting an uphill battle. I realize that there are many situations where the sound engineer is an integral part of creative process of the show. But the point remains - don’t muck with the frill until the basics are dialed in.
It all comes down to this: drawing attention to the mix, rather than the performers on stage, is often good for the ego. But it can be bad for the career.
Dave Rat heads up Rat Sound, based in Southern California, and has also been a mix engineer for more than 30 years.
Friday, June 12, 2015
Allen & Heath’s iLive Control Surface And MixRack Selected For Summerland Tour
T-112 console surfaces and iDR-32 mix racks set to support the alternative rock bands for the 2015 Summerland Tour.
Reminiscent of the 1990s, the Summerland Tour will include alternative rock bands such as Everclear, Todies, Fuel, and American Hi-Fi supported by Allen & Heath.
The bands will travel to more than 30 cities in North America starting June 11th in Fort Myers, Florida and will wrap August 16th in Riverside, California.
Derek Steinman, production manager/front of house for Everclear/Summerland Tour, is looking forward to using Allen & Heath’s gear because of its ease of operation and superiority of sound.
“We carry two Allen & Heath iLive T-112 console surfaces and two iDR-32 mix racks. The sound quality is excellent. Many of the local house engineers I worked with last year on this tour were amazed at how good these consoles really do sound. I usually end up showing them around on the board a little and letting them take a test drive,” Steinman said.
Steinman also likes the way Allen & Heath designs their equipment. “The clean layout and dedicated knobs allow you to mix with your head up watching the band instead of watching a screen. It really allows you to be part of the show. On a few occasions we even had the local engineer mix the first band even though it was their first time on an iLive. That’s how easy it is to dial up good mixes.”
Allen & Heath
UC Surface 1.3 Brings New Features To StudioLive AI And RM Mixers
Mac, Windows and iPad can now control StudioLive AI-series digital mixers as well as StudioLive RM-series rack-mount mixers.
PreSonus announces the release of UC Surface 1.3 multi-touch mixer-control software.
Mac, Windows, and iPad can now control StudioLive AI-series Active Integration digital console mixers as well as StudioLive RM-series Active Integration rack-mount mixers.
To celebrate the release of this update, between June 1 and July 31, 2015, PreSonus is giving away a free PRM1 precision reference microphone with any StudioLive AI console or StudioLive RM rack-mount mixer purchase. (Go here for more information about the giveaway offer.)
“With UC Surface 1.3 we wanted to make the transition between the physical mixer and the software control an intuitive and seamless experience for StudioLive AI console users,” commented PreSonus senior product manager Ray Tantzen.
“We improved the workflows and made them more flexible in order to support the console mixers and incorporate feedback from RM users. With the ability to hide the master fader, improvements to navigating and managing mixes, and a new Quick Access panel, we’ve made the software even more battle-ready.”
In addition, UC Surface now includes Rational Acoustics Smaart measurement technology audio analysis software. Previously implemented in PreSonus VSL-AI control software for StudioLive consoles, Smaart includes a spectrograph, a real-time analyzer, and three Smaart System Wizards that enable you to easily view the frequency response of a venue, quickly calculate and set delay-system timing, and verify output connectivity.
PreSonus is the only company to integrate Smaart into a control application that is included with its mixers.
The update to UC Surface also adds new features for the StudioLive RM mixers. Mix options let you change any aux mix into a subgroup, complete with A/B Fat Channel processing. New AVB options are integrated to provide flexibility when using an RM mixer as a stage box and monitor mixer with an AI console mixer networked at front of house. The software maintains the same workflow with Windows, Mac, and iPad and supports iPad and Windows 8 multi-touch.
Registered StudioLive AI-series console and RM-series rack mixer customers can download UC Surface for Mac and Windows from their My.PreSonus accounts. UC Surface for iPad will be available soon from the Apple App Store.
Aviom Unveiling New D400 And D400-Dante A-Net Distributors At InfoComm 2015
Up to eight personal mixers can be connected to each D400 or D400-Dante A-Net output, and an unlimited number of distributors can be used when creating larger systems with more than eight performers
At the InfoComm 2015 show in Orlando, Aviom (booth 721) is introducing the new D400 and D400-Dante A-Net distributors, designed to distribute power and digital audio data to Aviom personal mixing systems at a reduced cost.
The standard D400 has an A-Net input and is for users with an analog input module or a digital console card as the front end of their system, while the D400-Dante has Dante I/O instead of the A-Net input.
The D400-Dante allows up to 32 Dante channels to be routed to the personal mixing system, which makes connecting to a Dante-enable digital console or audio network as simple as plugging in a Cat-5 cable.
Up to eight personal mixers can be connected to each D400 or D400-Dante A-Net output, and an unlimited number of distributors can be used when creating larger systems with more than eight performers.
“The D400 and D400-Dante make designing a new Aviom personal mixing system even easier and more affordable,” explains Ray Legnini, Aviom product research and development manager. “For users with existing systems, the D400 and D400-Dante offer additional flexibility when it comes time to expand or upgrade a system.”
The D400 and D400-Dante are fully compatible with both the original Aviom Pro16 version of A-Net and the new Pro16e version of A-Net, the technology driving the A360 and A320 personal mixers that alsoh allow multiple 16-channel banks of monitoring content to be delivered over a single Cat-5 cable.
Hungarian Sound Recordist Ottó Oláh Relies On Lectrosonics SMb Transmitters
With over 30 years of experience in film and broadcast, Hungarian engineer believes in using only the best technology available.
Sound recordist Ottó Oláh has been in the movie business for more than 30 years, and has worked as a location sound recordist on more than 25 films internationally, including several blockbuster American and European films, as well as several television shows and commercials.
He has come to rely upon the Lectrosonics SMb transmitters to help him meet the challenges of location sound work.
According to Ottó, the duties of a production sound engineer in Hungary are challenging like everywhere else in the world, consisting of shooting sessions in extreme weather conditions, or on heavy terrain or in a very dark studio.
In Hungary, according to Oláh, “It is required that I know the A to Z’s of the sound profession – from recording to supervising post-production, which is an overall knowledge that is very useful in my approach to work.”
Recently, Ottó recalled the challenges of working on the film, Álom.net (Dream.net) for director Gábor N. Forgács, which captures both the action of a boys’ high school basketball team and high school cheerleaders rooting for them.
While capturing the sounds of the basketball training and dialog was difficult enough, Ottó’s real challenge was getting the sound right for the cheerleaders. The difficulty was not only that the cheerleaders were often simultaneously, cheering, chatting, jumping and shouting – their tiny costumes for the film consisted of very short miniskirts and half tank tops.
“The Lectrosonics SMb transmitters were the perfect solution, says Ottó, who purchased them from Lectrosonics’ distributor in Hungary, TWELCO.
“The SM Series transmitters are so small that we could hide them in the tops; we just had to be careful when taping down the mics so the girls were ready for exercise. The unique RM remote control helped in setting the frequency and audio gain, sleep, wake, lock and unlock modes. The RM was working fine but the boom operator always looked for the SM transmitter on the cheerleaders, Sound quality was, of course, beyond reproach and with a 12-track file-based recorder, we could also handle the scenes with many actors.”
With this experience with Lectrosonics, Ottó was confident when working together with this director during the shooting of their next film together, Pillangók (Butterflies), even when shooting a scene where the little boy in the lead role was talking to his friends while playing soccer on the field.”
In terms of choosing Lectrosonics and other equipment to help him master the challenges, Ottó has a firm motto:
“My motto is: Move with the times. This is the reason why I always have the latest, state-of-the art-equipment available, which, along with my experience and knowledge, allow me to work on any number of varied international film, commercial and television productions.”