Technician

Tuesday, March 08, 2016

Radio Active Designs Supports Communications During Super Bowl 50

CP Communications provides UV-1G base stations and 30 RAD packs in a difficult environment with over 1300 carriers in the air.

Communication during sporting extravaganzas like Super Bowl 50 is always difficult – the area is typically “RF challenged”, making the use of wireless particularly trying.

Fortunately, eleven Radio Active Designs (RAD) UV-1G wireless intercom systems were on site during numerous events leading up to, during and after the Super Bowl to ensure all lines of communication were kept open. 

CP Communications, located in Elmsford, New York, was responsible for wireless audio transmission for pre- and post-game events as well as during the game itself (except for the half-time show). The company provided six UV-1G base stations along with 30 RAD packs to ensure production went off without a hitch. 

To hear Loren Sherman, RF coordinator for CP Communications explain it, his job during the Super Bowl is to “work with the logistics folks and make sure we bring gear that can be coordinated with all of the other gear on site – and there is a LOT of other RF gear on site. We brought along six UV-1G wireless intercom systems because I never have any problems getting it coordinated. San Francisco has very little space open for RF and I knew deploying six base stations wouldn’t be an issue, and that meant communication wouldn’t be an issue, either.”

Radio Active Designs UV-1G features Enhanced Narrow Band technology, which is 10 times more spectrally efficient than current FM technology. As a result, the UV-1G offers RF channels possessing an occupied bandwidth of a mere 25 kHz the audio characteristics one would expect from a traditional FM system. In addition, the system utilizes the relatively unused VHF range for all belt pack portable devices, leaving more room for operation of other wireless devices, such as wireless microphones and in-ear monitors – exactly what was required during the Special Olympics World Games.

“Another advantage to the RAD gear is that you can move it around and not anticipate any problems,” Sherman adds. “We had units in use throughout the week leading up to the game and I had no concerns about other RF in the area.”

Brian Ready, account manager and systems engineer for CP Communications, was RF technician for the NFL pre-game events as well as during the game itself. Prior to the game he deployed one UV-1G unit at Super Bowl City in downtown San Francisco and another during the NFL Red Carpet Honors show held the night before the game. On game day he had one unit situated at the fan plaza outside of the stadium and two more in the stadium.

“The RAD gear was incredibly useful from an RF perspective,” Ready adds. “Without having band splits makes coordination much easier. The only UHF you have to worry about is for the base station, and that is minimal. The software provides options not available on standard BTR units which provides a lot of flexibility. I’ve used them consistently since the day we received them – it’s a great product.”

Jeff Watson was ATK Versacom’s RF PL engineer for Super Bowl 50’s pre-game, anthem, halftime show and Lombardi Award presentation. He utilized five UV-1G base stations with 30 RAD bodypacks to make sure everything went smoothly.

“Because of the UV-1Gs bandwidth efficiency as well as open RF spectrum in the VHF range, I was able to give each user of the RAD systems their own Receive frequency to give them full duplex communication, unlike the 24 users of my other UHF FM systems – which were all simplex,” Watson explains. “Due to the UHF spectrum being so saturated, we had to use a 2 to 1 ratio for frequencies on those systems. This means we get two transmit frequencies and one receive frequency per system. In simpler terms, all four users of each UHF FM system are “stacked” on the same frequency, so only one person can speak at a time or they cancel each other out – like a 2-Way Radio.  We didn’t have to do this with the RAD units. I also had a decent amount of spare frequencies for the RAD’s, which are hard to come by in an environment with over 1300 carriers in the air. Fortunately, I never had to use them as the VHF Spectrum remained very clean throughout the event.”

Watson, who had also used RAD systems during last year’s Super Bowl, adds, “Since the audio board upgrades, as well as some new firmware, there were significant improvements in audio quality of the RAD’s since last year’s Super Bowl. When using proper gain structure, everybody sounded really good and balanced. With our radio spectrum being continually auctioned off, RAD UV-1G’s are going to be the only system that is going to work on events of this size in the future.  I could see a rack of 10 x 6 Drop Systems on Super Bowl 51—or LI if the NFL returns to Roman Numerals.”
 
ATK Versacom also provided RAD TX-8’s for Transmit Combining and the new UHF/VHF DB-IC for Receivers along with an ATK Versacom proprietary RF over fiber system. “I had a “Hot Rod” of a system,” Watson concludes. “That is what is necessary for the scope of a project like The Super Bowl.”

ATK Audiotek provided sound reinforcement for Super Bowl 50’s pre-game, anthem, half-time and Lombardi Award events. James Stoffo was on site as ATK Audiotek’s entertainment RF engineer. His responsibilities included managing all of the wireless microphones, in-ear and intercom operations for the pregame show, anthem, referee, half time “Extravaganza” and post-game Lombardi Award presentation. Five UV-1G base stations were on site for communications throughout the day.

In addition, Radio Active Designs VF-1 VHF paddle antennas were also in use making is possible to cover the entire stadium with just one receiver antenna. A remote antenna was used in the tunnels for continuous coverage throughout the entire venue.

“This was probably the most difficult RF environment of any of the 17 Super Bowls I’ve ever done,” Stoffo notes. “Between the stadiums proximity to Silicon Valley, the abundance of white-space devices and an already crowded UHF spectrum, finding available bandwidth is a challenge. We used more RADs than UHF FM systems to keep RF as open as possible. As a matter of fact, we replaced a UHF FM system on site with a RAD because UHF was too congested. Communication is key at these events, it definitely saved the day.”

Radio Active Designs

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Posted by House Editor on 03/08 at 08:52 AM
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Monday, March 07, 2016

The Psychology Of Recording

This article is provided by Home Studio Corner.

 
A few years ago my friend Kevin and his wife flew all the way out to Nashville from LA to record vocals for his album in my home studio. We had one week to track vocals for 13 songs.

Of course, we spent a lot of time just hanging out and showing them around Nashville, but 7 days was an ideal amount of time.

It gave us plenty of time to focus intently on each song, and it also gave Kevin time to let his voice rest between sessions.

Many of us are using our home studios to record our own music, right? This has been especially true for me over the last few months, as I finished up recording my own album.

But I had been itching to get some clients in here so I could take off my “artist hat” and put on ONLY my “producer/engineer” hat.

I like that hat. 

After spending a week recording Kevin, I realized how important it is for us as engineers/producers to not forget the psychology behind the recording process. Music is a highly emotional event. When you’re recording a musician, you certainly need to focus on mic placement, gain structure, song arrangement, performance, etc., but a session can quickly go sour if you neglect the emotional side of the process.

Each musician is different, and if you don’t figure out how to create an environment he/she feels comfortable in, the rest of the process is going to be difficult. See Make the Singer Comfortable.

I know what you’re thinking….”Dang…Joe and Kevin must have had some big fights, eh?”

Not at all. In fact, the sessions went extremely well, and I think there are three main reasons for that. I’ll share those reasons with you as 3 tips for working with musicians in your studio.

1. Develop a Relationship with the Musician(s)
If you do this, you’ll most likely bypass a lot of issues later. Kevin and I were already friends before he came to Nashville, so this wasn’t all that difficult.

But we don’t always get to record our friends, right? Sometimes we’re recording complete strangers. In those cases, it’s important to find some “connection points” with the musician. Spend some extra time talking while you’re setting up microphones. Get to know the musician until you both feel comfortable.

THEN start recording. Take as much time as you need. You may feel pressed for time. “We’ve got to get started RIGHT NOW.” Trust me, if you rush into recording and skip over the relationship, it’ll only get awkward, and the music will suffer.

2. Set Goals
The goal with Kevin’s trip to Nashville was simple — record vocals.

Kevin also wanted to work on other things, like keyboard parts, percussion, etc.

However, we didn’t let ourselves work on that stuff until the last day or two.

I knew that if we recorded two or three vocals and started goofing around with percussion, we’d end up rushing through the rest of the vocals at the end of the week…then we’d both be kicking ourselves.

So what happened? We really only got to add percussion to one song. The rest of the time we were recording vocals.

This was fine with us, because the primary goal of these sessions was to get the vocals recorded. Mission accomplished.

3. Set Expectations
This is a bit different from setting goals. What I’m really talking about is setting expectations for how much honesty is allowed in the session.

That may sound strange to you, but a lot of musicians can’t handle honest critique. You tell them that last line was a bit flat, and they just shut down. Musicians are an insecure bunch. (I’m one of them.)

So while you’re working on #1, developing a relationship, you need to have “the conversation.”

Kevin and I had this conversation the first or second day he was here. He simply said, “The number one priority for me is a great-sounding vocal. I need you to be brutally honest with me.”

I love that. He told me he didn’t want his pride to get in the way of the process. So that’s just what we did. If there was a line that didn’t work well – or that I thought he could sing better – we recorded it again until we got it right. “Get it right at the source” was a bit of a theme for the week.

Some musicians will never be comfortable with this approach. If you start stopping them in the middle of takes and making them punch in and out, they’ll just wither and melt. You need to feel this out for yourself and decide the best approach. For someone like this, it may be best to just record 3-5 full takes and comp from there.

This is the part where you also determine if they will be comfortable with using tuning software like AutoTune or Melodyne to fix any pitch issues. If they’re not okay with it, then they need to go back and fix those out-of-tune sections.

So…those are my 3 tips for working with musicians. What do you think?

Read and comment on the original article here.

 
Joe Gilder is a Nashville based engineer, musician, and producer who also provides training and advice at the Home Studio Corner.

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Posted by Keith Clark on 03/07 at 07:08 AM
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Friday, March 04, 2016

SoundGirls.org Announces Upcoming Slate Of Educational Sessions In California

Live Sound Camp for Girls in Modesto, another in Nevada City, plus Tour Managing/FOH Workshop and Introduction to Live Sound Workshop in Modesto

SoundGirls.Org has announced a series of educational events slated for this coming June in Modesto and Nevada City, CA. 

First up is the Live Sound Camp for Girls in Modesto on June 20-24, a one-week camp for girls age 12 to 18 who want to learn about live music production. The camp curriculum was designed by industry veterans and teaches the skills and technology to run live sound. 

Working in small, collaborative and hands-on groups, the girls learn:

—Live Event Safety
—Stage & Audio Terminology
—Signal Flow, Setup & Wire PA Systems
—Input Lists & Stage Plots
—Microphone Techniques & Wiring Stages
—Line Check, Sound Check & Mixing
—Running & Working A Real Show

Live Sound Camp for Girls will be held at the Rock & Roll Warehouse, 501 Bitritto Way in Modesto. Early registration discounts and financial assistance are available. Go here for more information and to register.

Another Live Sound Camp for Girls is slated for Nevada City, CA on June 27-July 1. It will offer the same curriculum as the Modesto camp, and will be held at Miners Foundry, 325 Spring St in Nevada City. Again, early registration discounts and financial assistance are available. Go here for more information and to register.

Next up is a Tour Managing/FOH Workshop on June 21, also to be held at the Rock & Roll Warehouse in Modesto. The primary presenter is Jessica Berg, an audio engineer and tour manager who has toured as a TM/FOH engineer for Quadron as well as tour managing Dr. John and Waka Flocka Flame. There will also be plenty of time for Q&A.

“When starting out as a front-of-house or monitor engineer, many tours require you to wear two hats,” explains Karrie Keyes, a veteran mix engineer and co-founder of SoundGirls.Org. “The tour manager and FOH/ME, or production manager and FOH/ME, are the most common dual roles you will find. Being able to handle both roles effectively makes you more valuable, increases your skill set, and allows you to gain the experience needed to tour solely as a sound engineer or tour manager.”

Go here to find out more and to register for the Tour Managing/FOH Workshop.

The next day (June 22), SoundGirls.org is presenting an Introduction to Live Sound Workshop, also at the Rock & Roll Warehouse in Modesto, slated for 6 pm to 9 pm. It’s for girls age 16 and up, and will cover the basics of running sound for a live performance. This workshop is geared for women interested in live sound, beginners, musicians, and promoters. Specific topics include:

—Basic PA Set Up
—Signal Flow
—Basic Troubleshooting
—Writing & Reading Input Lists & Stage Plots
—Wiring The Stage
—Running Sound Check
—Common Terminology

Go here for more information and to register for the Introduction to Live Sound Workshop.

The mission of SoundGirls.org is to inspire and empower the next generation of women in audio and music production by creating a supportive community,  providing the tools, knowledge, and support to further their careers.

SoundGirls.Org

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Posted by Keith Clark on 03/04 at 05:37 PM
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Project Runway Steps Up To DPA Microphones, Lectrosonics And Sound Devices

Lifetime Network's "All Stars" spin-off fashion competition series outfitted with new equipment package for fourth season.

When the Lifetime Network’s hit show Project Runway: All Stars hit the catwalk for its fourth season, A1 and lead board mixer Sergio Reyes-Sheehan and audio supervisor Adam Howell turned to DPA Microphones, Lectrosonics and Sound Devices to create an audio equipment package for the show.

Project Runway: All Stars is a spin-off series based on Project Runway. Season 5 featured 14 of the most talented Project Runway designers who returned to compete in the biggest and most competitive season ever. In this cut-throat season, former standout designers came back to New York to compete for runway gold.

Reyes-Sheehan and Howell have completed three seasons of Project Runway: All Stars together, and the two worked closely on the best way to handle a show of this nature.

“Our team was great and was picked specifically for their strengths,” says Reyes-Sheehan. “It started with our supervisor Adam Howell, a veteran location and studio sound mixer/recordist. He worked closely with the post-production team to help keep us all on the same page. This was extremely important given the many sources of audio and daily changes a competition reality show undergoes.”

With a cast of over 26 members, Reyes-Sheehan relied on DPA d:screet 4060 and 4061 miniature and necklace microphones for the production. The mics were used for the shows main hosts and special guests, as well as on the designers. The designers themselves presented some unique miking challenges. Among them were several loud talkers and many wore creative, skin-baring outfits and accessories, which a regular-sized lav mic would have been a distraction.

According to Reyes-Sheehan, “I purchased the DPA mics for specific use on another show. I came to completely rely upon DPA over the general reality show standard mics from other manufacturers. In addition, there are very few lavs on the market with such a small cable that can be hidden on jewelry and otherwise sheer clothing while also sounding natural, making them the obvious choice for the production.”

In addition to the DPA microphones, the team used a selection of Sound Devices mixers and recorders, including a rack-mount 970 recorder, a 664 and two 633 field production mixers, two 788T recorders, two 552 field mixers, and two MM-1 mic preamps.

To that, the team added four Lectrosonics Venue rack receivers housing five different blocks (19, 21, 22, 25 and 26) for the show’s on-camera talent. Reyes-Sheehan mixed the main board and Venue system into the Sound Devices 970. The board and racks were all on the Dante network, which served the teams’ needs very well. 

“When I became audio supervisor for Project Runway: All Stars season 2, the first change I made was to swap out the talent wireless brand to Lectrosonics from the previously used system. Having exclusively owned Lectro for over a decade, I can rely on second to none performance with solid stage coverage and exceptional range for location/field shoots,” adds Howell. “User friendly, well respected and highly dependable, Lectro is integral to each project that I supervise.”

“There was a lot of prep production on location to coordinate the frequencies in play,” adds Reyes-Sheehan. “There were also live frequency scans being done all day while on different locations to offer the most knowledge of what was happening around us. There were always anomalies, but we did very well in making quick decisions with the many years of knowledge between us all.”

The field mixing bags, used to mix and record on the fly, were each designated to a different camera. These signals were captured in IFB mode to simplify the amount of transmitters on site. The alternative was either mono or two-channel hops from each bag and an IFB transmitter for production to monitor the scene.

“The amount of wireless used had greatly entangled an already complicated production in the past,” says Reyes-Sheehan. “These days, a proper post mix is done with the main Sound Devices 970 tracks, not the field recorders. Limiting the amount of wireless has been very helpful, as it has allowed us to achieve clean frequencies for all the talent wireless.”

Reyes-Sheehan says the resulting sound quality throughout the latest season was noticed by all, especially the client. “For Project Runway: All Stars it was a fantastic partnership of DPA mics, Lectrosonics wireless and Sound Devices mixers/recorders that gave us an edge over previous years, which was ultimately recognized by production,” he says. “Having a client notice how much better things are sounding and how easy we were to work with is the best feedback one can aim for in this business. Our decision to use DPA, Lectrosonics and Sound Devices has worked out great and has created an all-star trio of its own.”

DPA Microphones
Lectrosonics
Sound Devices

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Posted by House Editor on 03/04 at 09:17 AM
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EAW Adaptive Systems Training & Product Demo Scheduled For New Jersey

The free training is scheduled for March 15-16 at PRG in Secaucus, New Jersey. Anna and Otto product demonstrations will be held on March 17.

Secaucus, New Jersey-based PRG will be the next locale for Eastern Acoustic Works (EAW) Adaptive Systems product demonstrations and Level 1 Training.

The free training is scheduled for March 15-16. Anna and Otto product demonstrations will be held on March 17.

The two-day training program provides attendees with a comprehensive review of the fundamentals of sound, as well as advanced topics in line array theory, EAW Resolution modeling, Dante, and analysis of the algorithms that drive the Adaptive Systems products.

The training concludes with a hands-on practical demonstration that will provide participants with the knowledge necessary to successfully deploy and use Adaptive Systems in any application.

A complete printed training manual is provided to each attendee. Upon successful completion of Adaptive Systems Level 1 training, participants receive Adaptive Systems Technician Certification and will be added to EAW’s registry of Adaptive Systems Certified Technicians. Space is limited for the free training program. Registration does not guarantee a spot in the program. A confirmation email will be sent by March 7 to accepted attendees. 

March 18 offers a full day of product demonstrations in order for area industry professionals to experience the capabilities and benefits of Anna and Otto. 

Register at the link below.

Eastern Acoustic Works

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Posted by House Editor on 03/04 at 09:05 AM
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Thursday, March 03, 2016

The Law Of Diminishing Return & The 90% Principle

This article is provided by ChurchTechArts.

 
I’ve been working on this article in my head for some time now.

The basic concept for the article is the law of diminishing returns.

This law states that as you continue to put time/energy/money/effort into a project, at some point the return you receive for the increased effort is no longer worth it.

It’s sort of like a compressor; put 2 dB in, get 1 dB out.

Turn up the ratio and put 4 dB in, get 1 dB out. You see, diminishing returns.

Oh, and no makeup gain has been used…

The 90% principle is an attempt to quantify the threshold. That is, at what point does it stop making sense to keep working on or spending money on something.

As you can guess, I suggest that point is 90%. But 90% of what? Let’s say that 100% is perfect, the best something can possibly be, whether it’s a product (like a speaker system), or a project (like a video edit).

My supposition here is that once we get to 90% of perfect, we can generally stop. To the perfectionists out there, this sounds like heresy, but stick with me for a few minutes.

Real World Example
Let’s take the case of a speaker system. I chose this for two reasons: A) The number of choices in the category make it easy to develop this illustration, and B) I’m in the market for a new PA so this has been on my mind a lot. So, let’s start off defining 100%.

The 100% mark is going to be the absolute best (most musical, most even coverage, flattest frequency and phase response, etc.) PA you can find. For this case, I’m not going to define it further than that. Regardless of what PA you choose as 100%, it’s going to cost you some coin.

What I’ve normally found is that opting for 90% instead of 100% will probably only cost 50-60% of the 100% system. So, you might save nearly half and still get 90% of the performance.

Here’s another one: Consider a video edit. I’ve edited a lot of videos over the years, both when I owned my own company and for various churches. We used to have a saying, “A video is never finished, it’s abandoned.”

When I think of nearly every video I’ve ever cut, I can think of things I would change. Subtle tweaks to edits, minor soundtrack fixes, graphic adjustments, the like. Those changes didn’t get made because we ran out of time or budget.

And honestly, the vast majority of people wouldn’t really notice them anyway. In many of those cases, we probably got 90-95% of “perfect.” The rest we had to let go.

Why 90%?
Now, here’s why I suggest that 90% is a fair stopping point: I believe that most people in the pews can’t resolve any differences above 70%, give or take.

Sure, there may be a few people out there that could see or hear the difference between the absolute best and 80%, but most of the time, it will only be us, the trained professionals, who can discern the critical differences.

Again, this idea may be raising the ire of perfectionists everywhere, and as a recovering perfectionist, I understand.

Here’s the deal; I’m not advocating mediocrity. I’m advocating excellence—but not extravagance.

And, if you stop and think about it, I’m actually suggesting going above and beyond what most people can see and hear by a margin of almost 30% (90 is 28% more than 70…).

Quite often, trying to push your way to the final 10% of perfection will take just as much effort and cash as getting to the first 90%. So what I’m suggesting is that we really stop and evaluate if that is worth it.

Returning To Examples
Now let’s go back to our examples. Take PAs; for our room, we could easily spend nearly $200,000 on a PA to get the absolute best there is. However, I’m pretty confident we can get 90% of that performance for around $100,000.

And the reality is, both of those systems would be a massive upgrade over what we have now. Moreover, I would suggest that almost no one in the congregation would be able to tell much of a difference between the two.

Would I be able to?

I would hope so; that’s what I’m paid for. But Sal and Sally Pewsitter? I doubt it. So is it worth an extra $100,000 for a difference most can’t hear? Perhaps not.

Or how about our video. Let’s say working a full day on the video would get it to 90% of perfection. Now, at this point, we can go home and spend the evening with our family or stick around until midnight and get to 95%.

Is that worth it? Again, I suggest that most people would have thought it was “perfect” at 3 PM.

It’s possible that in some cases it’s worth spending the extra time an energy to get to 100%. However, we have a limited amount of time and resources available, and perhaps it’s a better use of that time and money to wrap it up at 90%.

Consider; saving $100,000 on a PA might buy a really nice console, some great mics and have money left over to do some good in the community. In the big picture, that might be a better option.

This is not a hard and fast rule; but it’s one that I’ve spent a lot of time thinking about. What’s really important? What are we as a church really called to do?

How can we maximize what we’re given to the greatest good? Can we find away to get out from behind our desks and spend more time with volunteers? Or our families?

Give it some thought, see what you think.

Mike Sessler has been involved with church sound and live production for than 25 years, and is the author of the Church Tech Arts blog. Based in Nashville, he serves as project lead for CCI Solutions, which provides design-build production solutions for churches and other facilities.

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Posted by admin on 03/03 at 06:57 AM
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Tuesday, March 01, 2016

This Weekend: Church Sound Boot Camp Class Coming To McKinney, TX

Class also slated for Topeka, KS on April 22-23; registration open and early registration discounts available

Curt Taipale (Taipale Media System) is presenting his renowned Church Sound Boot Camp class in McKinney, TX on March 4-5.

The class will be held at Crosspoint Church (2101 S. Stonebridge Dr.) from 5 pm to 10 pm on Friday, March 4, continuing from 9 am to 5 pm on Saturday, March 5. More details about the class and registration are available online here.

Note that another upcoming session has been announced for Topeka, KS (April 22-23). Registration is open (here) and early registration discounts are available.

For well over two decades, Church Sound Boot Camp has helped church sound teams raise the bar of technical excellence—without stress—in equipping them with the knowledge and understanding to make clearly noticeable improvements to the quality of their sound.

Instructor Curt Taipale has more than 30 years of experience in audio as a church tech team leader, recording and live sound engineer, consultant, AVL system designer, design/build contractor, educator, author, and professional musician. He is also the founder of ChurchSoundCheck.com, author of “The Heart of Technical Excellence,” and a contributing author to Yamaha’s “Guide to Sound Systems for Worship.”

Taipale has taught literally thousands of church sound team volunteers, technical staff, worship pastors and musicians. In the classes, he’ll cover all the primary components of every sound system, exactly how they should be connected, how to feel confident in operating that equipment, and how to deliver a pristine, smooth, clear musical mix consistently at every worship service.

Attendees are advised to register as soon as possible, and early registration discounts are offered. For the McKinney, TX class visit here and for the Topeka, KS class visit here.

For those with scheduling conflicts or who can’t travel to attend a workshop, a stay at home version of the class is also available offering the opportunity for self-training as well as to bring this training home to an entire tech team. Find out more about it here.

Church Sound Boot Camp

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Posted by Keith Clark on 03/01 at 01:54 PM
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Thursday, February 25, 2016

Morris Adds Four New Team Members

Steve Land and Wade Russell join Integration division with Chris Malmgren and Frank Heinrich joining Light & Sound division.

Morris announces the addition of two new team members to its Integration division and two new team members to its Light & Sound division.

The Integration division has named Steve Land, CTS, as director of Business Development & Sales and Wade Russell as Relationship manager. In the Light & Sound division, Chris Malmgren will serve as Audio Department manager and Frank Heinrich as Operations manager. 

“At Morris, we pride ourselves on recruiting and retaining the best possible talent, and growing our team across both divisions allows us to continue offering our clients world-class expertise,” Morris president David Haskell said. “I’m excited to welcome Steve, Wade, Chris and Frank to the Morris family. Their combined decades of industry experience are a valuable addition to our diverse services.”

Land brings over 30 years of integration and A/V/L sales experience to Morris, most recently having worked as an independent A/V/L sales representative for numerous A/V/L brands.

Russell joins Morris from his prior position at Elite Multimedia, where he worked with churches to plan and execute technical production, as well as train clients on audio, video and lighting equipment.

Malmgren recently relocated to Nashville from Las Vegas, where he worked as a technician for Music Group’s Professional Division. Malmgren provided 24-hour technical support and system design for the brands Midas, Klark Teknik and TurboSound. He has over ten years of experience mixing and systems engineering for concerts, theater and corporate events.

Heinrich joins Morris with two decades of experience in the music industry, both as a musician and technician, and also brings a background as an electrician. Most recently, Heinrich worked in Las Vegas as an engineer technician for Midas, a division of Music Group.

image
(L to R) Chris Malmgren, Frank Heinrich, Steve Land, Wade Russell

Morris

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Posted by House Editor on 02/25 at 07:51 AM
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Want To Develop Golden Ears?

Can you recognize the difference between a major chord, a minor chord, or a 7th chord? Can you identify a song’s chord progression without seeing the sheet music?

Skills of this type are great for musicians who sing or play an instrument, but can they help a sound mixer?

Mixing live and/or recorded sound requires a different set of critical listening skills - skills that are often acquired from many years of experience, by trial and error, or from being mentored. However, can these skills be learned more formally and effectively?

“Listen… Do you want to know a secret?” A lyric from a classic Beatles song, of course, but for audio professionals, perhaps this musical question is asking if we can hear the secrets of the music just by listening - secrets of proper balance, EQ correction, distortion removal, and others.

Do we understand how to really listen - “to discern, measure, analyze, and express the physical qualities of musical sounds accurately.” (Golden Ears User Guide, Dave Moulton, 1995)

Is Something There?
What secrets are we hearing but can’t identify? Compare this situation to the scene in the movie Charade, when Cary Grant dumps the contents of an airline bag on a bed, telling Audrey Hepburn, “I mean, it’s there. If only we could see it. We’re looking at it right now. Something on that bed is worth a quarter of a million dollars.”

How frustrating for them, and how frustrating for audio professionals to hear audio and know something is there, but lack the skills to discern it with their ears and identify what it is.

So many qualities of music are hiding right there in the open, but can we recognize them and make good mixing decisions based on our critical analysis?

Stephan Jenkins, producer, songwriter and vocalist of the band Third Eye Blind, offers his take. “As sound geeks, we can talk about this (how music is recorded and mixed), and think it doesn’t matter to other people. But it does matter; they just don’t know that it’s bothering them. They don’t know why it is that they don’t listen to that album anymore. I think it’s because there are little burrs and jags in the sound that are bothering (them).” (ArtistPro Magazine, Sept/Oct 2003)

I’ve been performing comedic impressions for most of my life. In order to do these impressions, I’ve had to listen critically to the characters in movies, on TV, to my teachers, professors, and many of my current colleagues and students. I really enjoy recreating these “voices’” for comedic effect to add humor and variety to my engineering lectures.

But how do I do this? How do I make my voice sound like that of another person? What goes on in the brain?

I usually see the person in my mind, performing distinctive actions and mannerisms, and I try to copy what I see in my mind. Then I hear with my mind’s ear what the visual image is saying, and copy that with my voice.

While I perform the vocal impression, I monitor what I’m saying to check if the impression is similar to my mind’s impression, and correct my voice parameters (timbre, pitch, inflection, etc.) to achieve better accuracy. Thus, in overview, I’m trying to create an accurate impression based upon my mind’s sensory observations.

Good From Poor
What hearing skills does an audio engineer need to mix live and/or recorded sound?

It may be that many sound mixers do not possess a “golden ears” level of critical listening skill. However, does this directly lead to a lack of audio mixing skills? I don’t believe so.

Many (if not most) mixers know what the live or recorded sound “should” sound like. At least they know “good” sound from “poor” sound, and probably correct many types of problems because of their experience.

This situation is somewhat similar to an electric bass player (like myself) who can read chord charts to a blues song and play a credible bass part, even though I can’t play “by ear” (reproducing anything I hear or think without mistakes and without hesitation).

I can play bass lines of songs and sound decent, and therefore participate as an active viable musician. But if I could play “by ear.” I would have more control over the sound and more freedom to create and improvise music.

In this regard, I firmly believe that a highly developed set of “golden ears”- type critical listening skills would free the sound mixer from many limitations, allowing for greater control over producing high quality sound, as well as fixing many types of audible problems (within the electronic control of the equipment, of course).

So just what is critical listening? A definition found in a glossary at the Foundation For Critical Thinking, “Critical Listening: A mode of monitoring how we are listening so as to maximize our accurate understanding of what another person is saying.”

Perhaps this definition can be modified for sound mixing. “Critical Listening: A mode of monitoring how we’re listening, so as to maximize our accurate discernment and understanding of the physical qualities of the sound we are hearing.”

The sound could be a voice, a musical instrument, acoustical characteristics of a room or space, a musical group, a play, a movie, a worship service, etc.

While “monitoring how we are listening,” we’re not simply listening for enjoyment, but instead we’re focusing our ears and minds to constantly check the physical qualities of the sound. Is the EQ right? Is there distortion? Wait, what’s that instrument behind the lead vocal? And so on.

What Is Right
As we seek to “maximize our accurate discernment and understanding,” we use our ears as a measurement tool—objectively as well as subjectively—to analyze what is right and what is wrong in the sound. This analysis can direct us to make the proper adjustments.

Personally, I don’t possess “golden ears,” the high-level ability to discern and identify, say, octave bands by center frequency. As I mentioned earlier, I also can’t play my electric bass “by ear.”

However, one of my long-term goals has been to develop critical listening audio and musical skills. This quest dates back to 1979 when I first started playing guitar and began mixing live events (worship services and local solo performers), and has continued since 1997 when I switched to playing electric bass.

Similar to a guitar player in search of “ultimate tone,” my ear-training quest has been a long journey involving the study of many books, magazine articles, CDs, computer programs, Internet material, and even completion of two college-level ear-training courses in hopes of being better able to both play “by ear” and hear audio with “golden ears” skill.

My quest has recently become sharply focused, and on parallel paths. First, I’m course for two very motivated students, combining training in critical listening skills, auditory perception concepts, audio mixing skills, engineering science and math, and DSP computer projects in order to blend the art, science and practice of listening to audio.

Second, I’m using two computer programs to develop my electric bass “playing by ear” skills. (For the record, these programs are Guitar and Bass Trainer, and Absolute Fretboard Knowledge.)

I’ll be reporting the results of the course soon in a follow-up article. For those interested a sneak peak, we’re used an EAR Q Reference Hearing Analyzer to establish a baseline reference and the Golden Ears Audio Ear-Training Course for the actual training.

Hopefully through careful study and observation, we’ll all learn something truly useful along the way.

 
Mauro J. Caputi is an associate professor of electrical engineering at Hofstra University, Long Island, New York and has been involved in live performance and production audio for over 25 years.

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Posted by admin on 02/25 at 07:09 AM
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Wednesday, February 24, 2016

Church Sound Files: Evaluating Equipment Acquisitions

This article is provided by Behind The Mixer.
Guest Post from Duke DeJong

 
A frequent question I’m asked is, “what are the most important things I should look for in a piece of gear?”

I have three answers to this question regardless of whether it’s audio, video, lighting, or any other gear.

The first two are pretty obvious and related: What do I need a specific piece of gear to do both now and in the near future and what will give me the most bang for my buck.

When I’m helping someone determine the right item for them, the first thing I’m looking for is all of the things this new item needs to do.

As we discuss what they know they need, my job is to help figure out what they don’t yet realize they want as well.

So many churches don’t have anyone knowledgeable on staff nor involve a capable integrator to help them buy the item that will help them for years to come as opposed to just what they see they need now.

For larger purchases and projects I highly recommend working with a good consultant or integrator for this very reason. Their job is to help you figure out what you need now as well as in the foreseeable future and then help you narrow down the products that can meet both needs.

This step is so critical because a little forethought into what you will need in the foreseeable future can save you a great deal of money in the long run.

If you were looking at video switchers and went with one that had just enough inputs now, but then needed to expand in three years, you would have been better off by purchasing what you would need up front instead of purchasing both.

The second response is that you must figure out which item option gives you the most ability and flexibility for the money you will spend. For larger purchases this should absolutely include getting hands on time with the item before purchasing.

Sticking with the video switcher analogy, if you’ve found 3 switchers that will meet the needs and all have a variety of added features, functionality and usability, those all need to factor in.

For instance, one switcher may take all of your inputs, your preview and your program output and combine it to one screen for you. This can be a valuable function as one of the other switchers could require video splitters and numerous monitors in order for you to be able to monitor the inputs.

Go through each item feature by feature and determine which one will get you the most usable bang for your dollar.

In my experience the cheap one rarely does enough, the expensive version does way too much but there is frequently a mid-range version that has a lot of feature and functionality for the price.

The last answer I give is the one I believe most churches miss, and that is to make sure you get the gear that is appropriate for the people you have to run it. This is where knowledge of your teams is critical (hopefully you have an idea of what they are capable off).

You should reconsider purchasing a high-end digital sound board if your team can just barely run the old analog one you have. You should consider holding off on purchasing intelligent lights and lighting consoles until you have someone capable or at least shows the promise of capability of learning how to program as well as maintain the lights.

I have seen many churches buy gear that is essentially over the head of those who will be required to use it. If your teams can’t run it, it’s a waste of resources.

A few years ago I recorded a podcast with Mike Sessler about all of the new things that came out at Infocomm and I realized later that every item that grabbed my attention were items that were packed with many great features yet were very user-friendly and extremely trainable.

Whenever I’m evaluating gear one of the questions I always ask myself is, “Can my average volunteer learn and run this?” If the answer is no, I don’t need it. While there are exceptions to the rule, if my team won’t be able to learn something and be proficient on it, I don’t want it.

My job as a ministry leader requires challenging people, but I still must set people up for success. If they can’t be successful on a piece of gear, I have failed them as a leader if I expect them to use it anyway.

So there you go, three things to look at when you are purchasing new gear. When picking out what you want and need you should not just think about the now, but the near future as well. You will save a lot of money in the long run.

The second is to get your hands on the options and make sure you get the most bang for your buck. It’s good stewardship of time and money.

Last, make sure the people who will need to use it are capable so they can be successful servants in your ministry. It doesn’t do any good to spend money on gear you don’t know how to use.

What new purchases are you considering for your church? Have you ever regretted one?

Duke DeJong has more than 12 years of experience as a technical artist, trainer and collaborator for ministries. CCI Solutions is a leading source for AV and lighting equipment, also providing system design and contracting as well as acoustic consulting. Find out more here. Also read more from Duke at dukedejong.com.

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Posted by admin on 02/24 at 02:24 PM
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Tuesday, February 23, 2016

Coffee Beans & Mic Techniques

So I’m standing in the kitchenette at Imperative Studios, my hair still wet from the shower taken in the ladies’ bathroom, when in comes one of the studio interns - a really good kid at heart, but heavily steeped in the “overconfidence” of youth.

He catches me retrieving my container of coffee beans from the freezer. A half-smile crosses his face as he declares with an air of absolute authority, “You know, coffee beans shouldn’t be put in the freezer.”

Eyebrows arched, I reply, “And how do you know this?”

“My buddy works at Starbucks and I read his employee manual, and they say you’re not supposed to freeze coffee beans” came his answer.

(The next thought flashing through my head included images of my foot, his rear end, and the nearest hospital.)

Never mind that I buy three-pound bags of beans from Costco, and when I store them in the cupboard, the flavor of the coffee is in serious decline by the time I get about halfway through the bag. When stored in the freezer, however, the beans retain their flavor.

Yet according to a recording studio intern, my method of storing coffee beans is completely invalid in the face of Starbucks’ authority. 

In his limited (to this point) worldview, there’s only one right way and all others are wrong. He’s yet to learn that the desired result determines the method employed.

I’ve frequently seen this same perspective regarding microphone technique. Everyone agrees with the idea that you point the mic at what you want it to pick up, and additional isolation can be achieved by positioning the mic as close to the source as possible.

But beyond this basis, there’s another side to the coin: pointing the mic away from what you don’t want.  This perspective applies both for using a particular polar pattern to eliminate undesired pickup or miking unconventionally to find a desired sound.

Take drum miking. Snare bleed in the hi-hat mic can blur the snare in the mix, especially for those drummers who know how to play the brass sweetly.

Some time ago, I picked up the method of turning a small diaphragm cardioid condenser nearly horizontal above the hi-hat and pointing it away from the snare.  Having the snare in the “nulling area” of the mic’s polar pattern is very effective in reducing bleed.

But the million dollar question: how many drummers or techs then try to “fix” my positioning of the mic? Too many to count. Having the mic positioned this way is just “wrong” -  they’re firmly convinced that it’s supposed to point directly at the hi-hat.

A young band I regularly worked with in the past had a guitarist using a Line 6 Spider guitar amp. (I know, I know… don’t say it.)  I’d already resigned myself to the sound we were getting with a (Shure) SM57 and heavy EQ on the console. 

Then one day I walked in via backstage during a rehearsal and immediately thought that he’d gotten a new amp. But surprise of surprises, it was still the Spider! 

The only difference was that the house assistant, not knowing the “right” way to mic a guitar amp, put the SM57 smack dab in the middle of the cabinet, pointed at nothing more than the cabinet baffle, inches from the nearest driver.

The assistant, having yet to be tainted with the ideas of center, edge, on-axis and off-axis miking techniques, just intuitively stuck the mic in front of the cabinet with no thought as to “proper” and it sounded great! 

I swallowed my pride and learned something.

Then there was the Saturday of doing a parking lot youth gig with four bands throughout the afternoon. I kept it simple on this, choosing for drums to just use mics on kick and snare, along with a pair of overheads for the complete kit. 

Being outdoors, I’ve found that the drum overheads can really be pushed for a whole kit perspective in a way that’s not wise indoors. This plan worked just fine with the maximum of five-piece drum kits that were showing up - until the last set.

The final band didn’t have a teenage drummer, but rather, employed a grizzled veteran who’d been through rehab and was playing for redemption. Via a 12-piece kit.

This band brought their own roadie as well. (I snickered at first, but to be fair, these guys were worthy of a roadie.)

So my method had to evolve to include the second kick drum. The roadie and I conferred. Not having another (Sennheiser) e602 in my bag, or for that matter, any other “proper” kick mic, the roadie grabbed another SM57 and went to work. 

And in short order, my level of respect for the guy went way up.  He pointed the 57 one way, listened, then drastically changed the position of the mic and listened again, while the drummer kept up a double-kick beat.

He did this probably a dozen times, randomly re-positioning the mic until he was satisfied with the similarity between the sound of the two. He looked at me. I matched the levels, applied some gentle EQ, and marveled at how identical the two completely different mics sounded.

He found success by pointing the mic at the sound he wanted, and away from the sound he didn’t want.

Whether reducing the snare in the hi-hat mic, finding a good guitar sound from a frowned-upon amp, or using a non-kick specific mic to match another mic - it can all be accomplished as long as we don’t confine ourselves to the self-imposed limitations inherent in viewing one technique as “right” and all others as “wrong”.


Since his start more than 35 years ago on a Shure Vocalmaster system, James Cadwallader remains in love with live sound. Based in the western U.S., he’s held a wide range of professional audio positions, performing mixing, recording, and technician duties.

More articles on PSW by James Cadwallader:
Feedback: A Big Necessity In Developing Quality Live Mixing Skills
How And Why Unity Mixing Can Make All The Difference In The World
No Slave to Gear: Maximizing What You Get Out Of What You Have

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Posted by Keith Clark on 02/23 at 12:09 PM
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Friday, February 19, 2016

Old Soundman: Chuck It All For A Sound Career?

Dear Old Soundman:

I’ve been asked to be the “sound dude” (or “concert operations manager” as I prefer to call it)...

That’s kind of funny, but also kind of silly. Don’t get me wrong, when I was a young pup like you, titles meant a lot to me too.

...for a local band, since once upon a time I was a “roadie” for the likes of Brooks & Dunn, Randy Travis, Sammy Kershaw and others.

Hey, what’s Randy Travis really like? Why’d he marry that old babe, anyway?

I’m sorry, do you have an audio-related question, or are you just here to drop names?

However, I did not work as a sound tech. (I was a “lighting/video dude.”) I guess the band thinks that l would just automatically know live audio because I’ve been to a lot of concerts.

Aren’t people great? Like maybe I should be a cop, because I’ve gotten so many traffic tickets. Or maybe I should be a cow because I’ve consumed so much milk! Mooooooo!

You’re probably too young to have heard the old saying, “I­f my grandmother had wheels, she’d be a truck!”

I know the basics of mixing live audio…

As do I, Stevo, as do I. See? We’re really buddies, total brethren, hail fellows well met. Workers of the world unite—we don’t need no stinking line arrays!

...but would like to acquire a serious working knowledge of pro sound…

As would I, Steverino, as would I! Did you ever see the old clip of Steve Allen interviewing Lenny Bruce? That rocked! Now, what are you babbling about?

... and perhaps pursue a career in the field. (The telcom company I work for is bankrupt, and my job as a video tech is getting boring.) Oh wisest of the wise, where do I start?

Thanks,
Steve

Dude, if you’ve got a salary and benefits, do not, I repeat not, walk away from it! You must not be a parent. See, me with the wife and the young soundman, I don’t have the option of spitting in the face of my salary, and running away to join the rock circus all over again.

I do have to admit that you get some points for addressing me as the “wisest of the wise.” The old soundwoman has a few other terms she uses to describe me, with wiseass probably the only one that can be used in a family publication.

Here’s the big question, Stevie boy: do you really enjoy coiling XLR cables? Because you’re going to have to ­coil about a million of them over time.

The shows are a bitch, and then you coil cables. You’d have to be clinically insane to choose a lifestyle like that. I know I was!

Here, just bite down on this rubber block, and let me smear a little conductive paste onto your temples, this won’t hurt a bit!

Luv -
The Old Soundman

There’s simply no denying the love. Read more from the Old Soundman here.

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Posted by Keith Clark on 02/19 at 04:14 PM
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NSCA Releases 2015 “Financial Analysis Of The Industry” Report

New report details the industry’s performance based on data collected from the 2015 Cost of Doing Business survey.

The National Systems Contractors Association (NSCA) has released an updated Financial Analysis of the Industry report for 2015, providing information that systems integrators can use when benchmarking costs, profits, sales, and other data against industry peers of similar sizes and systems focus.

The report details the industry’s performance based on data collected from the 2015 Cost of Doing Business survey. Several new metrics were collected and reported on this year, including:
—Number of sales staff
—Prime contractor status
—Revenue from new customers
—Work backlog

This additional information allows NSCA to provide a more in-depth look at company operations and dynamics, and helps NSCA members better understand the financial health of their own companies. The report also includes verbatim responses about the biggest challenges integrators anticipate in 2016.

“The Financial Analysis of the Industry is a valuable tool in measuring the effectiveness and efficiency of our organization as compared to others in our industry,” says Craig Lubbers, NSCA member and CFO at Tech Electronics. “The resulting data not only gives my team excellent financial and balance sheet ratios segmented by region and company size, but the specific sales data captured in the industry-specific revenue categories provides our sales and marketing group great insight into trends that allow us to more strategically deploy our resources.” 

This report can be used to:
—Benchmark financial information with industry data
—Discover the true costs of doing business as an integrator
—Establish metrics and parameters to manage and increase accountability

NSCA members are already realizing cost-cutting opportunities through the information available in the Financial Analysis of the Industry for 2015. Integrators can compare numbers of full-time and part-time staff based on company size, as well as balance sheet and financial ratios, and sales ratios.

The NSCA Financial Analysis of the Industry report is free for Gold and Platinum NSCA members. Members who completed the Cost of Doing Business survey will receive a customized copy of this report with additional valuable information and insight exclusively for their organizations. Survey participants also receive admission to a webinar led by NSCA executive director Chuck Wilson, who will address the survey results and provide tips on applying the data.

The report can be purchased by non-members for $399, or non-members can become NSCA members for only $595 and receive the report as part of their membership, which offers access to discounted education and training opportunities, updates on regional and national government affairs issues, free monthly industry webinars, business tools and resources, and other exclusive industry research.

NSCA

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Posted by House Editor on 02/19 at 12:32 PM
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Church Sound: The Differences Between Golf & Production Work

This article is provided by Gary Zandstra.com.

 
Several years ago, I golfed 18 holes on a tough course and shot 100.

If you know anything about me, you know that any day that I shoot 100 or less is cause for minor celebration. (In other words, it doesn’t happen very often.)

Now, I must add that the score included a mulligan (or two), and it was my first outing of the year (and hopefully not my last).

Now, if I were serious about breaking 100 on a regular basis, what would I do?

1) Study up: Learn a bit more about the mechanical elements of the game, like how to swing properly
2) Show up: Practice on a consistent basis
3) Listen up: Seek the advice of those who are better than me
4) Play up: Speaking of those better than me, play with those people as much as possible
5) Shut up: Close my mouth, never brag about my game, and camp on Point 3 with very open ears (and I can’t resist the pun – the proof is in the putting… sorry!)
6) Think up: Prepare and have a positive attitude that fosters always acting in confidence
7) Burn up: Keep alive the burning desire to constantly improve

You’re probably already making the mental jump of how this applies to your ministry and working with sound and other production.

Regardless, let’s review.

1) Study up: Stay current on what’s new, know your craft - and know it well! 
2) Show up: Be involved on a consistent basis in general, and don’t miss rehearsals thinking you can just pull it off on Sunday morning
3) Listen up: Absorb all of the relevant advice of those around you, and don’t discount their opinions about how you’re doing – good and not so good
4) Play up: I’ve touched on this before (playing out of my league) - when you’re around people more skilled and/or more dedicated, your own game improves
5) Shut up: Talk less, do more – our excellence shines in our actions, not our words
6) Think up: Use what we do well as the basis for accentuating the positive with all aspects of our role
7) Burn up: If you don’t have a “fire in your belly,” find a ministry that indeed lights that fire, or, resolve to help light the fire in your current situation

For me, golf is just a chance to get out with friends and enjoy the outdoors. Whether I play well or not is quickly forgotten both by me and my playing partners.

Because of that attitude, I end up playing to my weaknesses, but that’s O.K. – it’s just a game, after all, and one that I use for fun and socialization. 

Our ministries also should be fun and social, but there’s so much more to it, and it should (and does) mean so much more not only to me, but to many, many others.

So my question: Can you, do you, or should you approach ministry with the same attitude that I approach golf?

Gary Zandstra has worked in church production and as an AV systems integrator for more than 35 years. He’s also contributed numerous articles to ProSoundWeb over the past decade.

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Posted by Keith Clark on 02/19 at 07:10 AM
Church SoundFeatureProductionAudioBusinessEducationEngineerTechnicianPermalink

Thursday, February 18, 2016

DPA Microphones, Lectrosonics, Sound Devices, K-Tek To Host Sound Summit Orlando

Series of informal networking and educational presentations for the audio community coming to Full Sail University.

On Wednesday, March 9, 2016, DPA Microphones, Lectrosonics, Sound Devices, and new partner K-Tek, will host The Sound Summit Orlando at Full Sail Live 1, located at Full Sail University.

This event is part of the Sound Summit series of informal networking and educational presentations by these companies for the audio community. Past cities have included New York City, Chicago, and Atlanta, with additional new locations added later this year. 

These manufacturers specialize in professional location audio capture, with leading products commonly used in the field. Primary products include:

DPA’s d:screet 4061 and 4071 miniature microphones, d:screet necklace microphone and d:dicate 4017B shotgun microphone;

Lectrosonics’ SSM “Super Slight” micro and HMa transmitters, Venue 2 wideband receivers with IQ Filtering and the latest version of Wireless Designer software.

Sound Devices’ 688 field production mixer with SL-6 powering and wireless system, the 6-Series CL-12 linear fader controller accessory, the 788T recording system, the compact 633 portable mixer/recorder and the rack-mount 970 64-Track Dante and MADI audio recorder.

K-Tek’s Stingray audio bags and harnesses, graphite boom poles and microphone shock mounts and windscreens.

Hosted by Mark Johnson, Full Sail University’s show production program director, The Sound Summit Orlando will be held from 3 p.m. to 8 p.m., with short informational presentations from each of the manufacturers from 4 p.m. to 5:30 p.m., followed by food, refreshments and social/networking time. Representatives from all four manufacturers will be available throughout the event to discuss the best practices for utilizing all four brands during a production.

Gabriel Antonini, National Sales support/business development manager of DPA Microphones will speak about polar patterns, frequency response, off axis linearity and best practices for placement of lavalier and shotgun microphones. To highlight these topics, Antonini will be using the company’s d:screet miniature microphones and d:dicate 4017B shotgun microphone.

Alongside Antonini will be Christopher Spahr, VP of sales & marketing, Leonardo Romero, sales director, Latin America and James Capparelle, marketing manager, USA of DPA Microphones. “We can’t thank Full Sail enough for hosting this event,” says Capparelle. “Being a Full Sail alumni myself, I can’t think of a better platform for our fifth consecutive Sound Summit, and hope that the students who attend will take away as much as the industry professionals do.”

“The Sound Summit has proven to be an excellent event for all involved,” says Karl Winkler, VP of Sales and Service at Lectrosonics. “At the events in Chicago, Atlanta and New York last year, we enjoyed sharing ideas and learning from our customers and the professional sound community in a relaxed setting. Now, with the addition of K-Tek we are adding even more exciting, professional solutions for production sound professionals. I’m very grateful to Mark Johnson and Full Sail University for offering to host the event.”

On stage for Sound Devices will be Jon Tatooles, co-founder and chief business development officer. Tatooles will discuss Sound Devices’ MixAssist technology, which is now integrated into its latest 688 mixer/recorder. In addition, Tatooles will also explain the workflow benefits and control capabilities of the 688 when combined with the optional SuperSlot-compatible SL-6 powering and wireless system as well as the CL-12 linear fader controller accessory.

“We look forward to bringing valuable knowledge to both new and experienced audio engineers at the next Sound Summit at Full Sail University,” says Tatooles. “The Sound Summit events have proven to be an excellent opportunity to speak with our customers face-to-face. We learn just as much from customers as they do from us manufacturers.”

“We are excited to join the Sound Summit family of leading Pro Audio manufacturers in 2016, as we are celebrating our 20th anniversary. In our 20 years, we’ve continually innovated while staying true to our customer and application focused roots,” says K-Tek owner and president Brenda Klemme. “The Sound Summit is a great opportunity for us to meet with users and discuss our products and share additional information about them – all while learning more about the day-to-day demands of working in the field. This dialog is the keystone for our product development that allows us to continually improve our product lines.”

Full Sail Live 1 is located at Full Sail University, 3535 Forsyth Road, Orlando, FL. To sign up for this free event, please register at the link below.

The Sound Summit Orlando

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Posted by House Editor on 02/18 at 03:32 PM
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