.(JavaScript must be enabled to view this email address)
Article
Video
Monday, February 06, 2012
Community Delivers Sound Throughout New Salvation Army Kroc Center (Includes Video)
McDonald’s founders Ray and Joan Kroc were known for supporting a variety of charitable causes, and their legacy continues with a multi-billion dollar donation to the Salvation Army for the construction of several community centers in cities across America.
The latest Kroc Center, recently opened in North Philadelphia, is one of the largest facilities of its kind on the East Coast, with 130,000 square feet that includes a world-class aquatics center, fitness center, worship and performing arts facilities, café and culinary education center, as well as a wide range of programs for kids, adults and senior citizens.
Quality sound reinforcement was also a big part of the plan for the facility, explains Joe Zamborsky of RTS Unified Communications, which specified a selection of Community Professional Loudspeakers for the project, including R-Series, WET-Series and CLOUD6 in-ceiling systems to cover the pool areas, worship center, fitness center gymnasium and numerous other areas.
“In any major project like this one, there are a number of challenges,” says Zamborsky. Clearly, the project’s tight six-month schedule was a demanding one, as was the need to be exceptionally flexible in the face of numerous logistical challenges.
“On more than one occasion, plans had to be altered due to unforeseen surprises during the construction process. “The number one most important thing is communication,” he observes. “We maintained a daily, ongoing dialogue with everyone involved in the project, and that was key to our ability to keep things moving.”
The Community loudspeakers fit the bill on multiple levels, says Zamborsky, “particularly in the pool areas, which combined a tremendously reverberant environment with an exceptionally high humidity, the R-Series was the only choice. Not only do they look great, but they sound terrific.”
The competition pool area offered up additional challenges as well. “Aside from having to cover the pool area itself, we were tasked with creating a separate system to cover the stands, which are tucked away in their own alcove,” Zamborsky adds. “We chose the Community WET Series to cover that area, because they provided both a tight, focused coverage pattern and a high degree of intelligibility.”
Universal Audio Debuts Apollo Audio Interface With Realtime UAD Processing (Includes Video)
Universal Audio has introduced Apollo, a high-resolution computer audio interface that delivers the sound and feel of analog recording.
Apollo is a FireWire 800/Thunderbolt-ready interface combines genuine UA analog design with class-leading sound quality and onboard realtime UAD plug-in processing.
Designed to play a central role in a modern Mac- or PC-based studio, Apollo builds upon decades of UA’s analog hardware heritage. It offers extremely high-resolution sonics, with the lowest THD and highest dynamic range in its class.
Apollo’s premium mic preamps, top-end converters — and UA’s meticulous attention to circuit design — translate into greater accuracy and depth in recordings, from tracking and overdubbing, to mixing and mastering.
While Apollo’s “natural” sound is exceedingly open and transparent, it can quickly deliver a wide range of classic analog tones and color via its realtime UAD processing. Available with either DUO Core or QUAD Core processing onboard, this onboard DSP Acceleration allows for recording and mixing through UAD powered plug-Ins — with as low as sub-2ms latency — so that users can quickly monitor, audition, and “print” audio using classic analog emulations from Ampex, Lexicon, Manley, Neve, Roland, SSL, Studer, and more.
Apollo offers compatibility with Intel’s new Thunderbolt technology, as found on the newest iMacs, MacBook Pros, MacBook Airs, and next-generation PCs.
Available via a user-installable dual-port Thunderbolt I/O Option Card (sold separately), Thunderbolt provides lower latency, reduced audio buffer size, improved performance, and greater UAD plug-in instances versus FireWire.
And because Thunderbolt offers many times the bandwith of FireWire, it allows music producers to connect numerous devices in series with the Apollo interface — including hard drives, processors, and additional computer monitors — all with fast, flawless performance.
Apollo’s Core Audio and ASIO drivers ensure compatibility with all major DAWs, including Pro Tools, Logic Pro, Cubase, Live, and more.
Beyond this basic compatibility, Apollo’s included Console application and companion Console Recall plug-in (VST/AU/RTAS) provide control and recall of all interface and UAD plug-in settings within individual DAW session.
One key feature of Apollo isn’t really a “feature” at all. It’s the numerous design details that provide a fast, natural workflow. There are physical front-panel controls for all the most commonly used features, including preamp and monitor level knobs, channel selection, mic pad and low cut, phantom power, and even dual headphone outs with independent level control.
Smart Hi-Z inputs on the front panel detect when you’ve connected your guitar or bass, and automatically enable hardware and software monitoring.
Sonically, Apollo’s mic inputs and monitor outputs are digitally controlled analog, so you don’t lose audio resolution when you adjust gain. High-resolution/high-contrast metering, derived from UA’s legendary 2192 interface, is designed to be viewable at nearly any angle.
Finally, standalone operation means that you can use Apollo’s audio connections, and last-used DSP mixer settings, even without a computer connected.
Key features: —18 x 24 FireWire/Thunderbolt-ready audio interface for Mac and PC —Realtime UAD Processing for low-latency (sub-2ms) tracking and mixing w/ UAD Powered Plug-Ins —Premium mic preamps, top-end converters, and uncompromising analog design —Front-panel controls for all commonly used features —Full recall of interface and UAD plug-in settings within DAW sessions via Console Recall plug-in (VST/RTAS/AU) —8 analog inputs: 4 digitally controlled analog mic preamps; 8 balanced line inputs; 2 front-panel JFET DIs —14 analog outputs: 8 balanced line outs; 2 digitally-controlled analog monitor outs; 2 dedicated stereo headphone outs —10 channels of digital I/O: 8 channels of ADAT; 2 channels S/PDIF; Wordclock I/O —Dual FireWire 800 ports (standard) —Thunderbolt I/O Option Card for connectivity to new Macs and PCs (card sold separately) —Available in DUO Core and QUAD Core processor models —Includes “Analog Classics” plug-ins: LA-2A Classic Audio Leveler, 1176LN Limiting Amplifier, and Pultec EQP-1A Program Equalizer
Sennheiser Launches “No Worries” RF Wireless Systems
Sennheiser launched its brand new XS Wireless Series at the 2012 NAMM Show. Designed for users who want to easily go wireless, this entry-level series offers complete sets with sturdy units, simple operation and high quality sound.
The transmitters have a battery life of up to 10 hours, while a switching bandwidth of up to 24 MHz allows for flexibility in the choice of frequencies. The series is comprised of two vocal sets, an instrument system and presentation sets with clip-on microphone or a headmic.
“With the XS Wireless Series, Sennheiser offers reliability and quality sound at an entry-level price,” explained Martin Fischer, Product Manager for Sennheiser’s wireless systems. “It offers good value for money and will benefit small event and conference venues, houses of worship as well as bands, vocalists and musicians.”
The designers have focused on ease of use: the systems are operated via intuitive menus, they automatically search for free frequencies, and transmitters are synchronized with their receivers via a wireless link. “We wanted to make sure that users can fully concentrate on their performance, their speech, etc. without having to worry too much about the set-up and technology,” Fischer said.
XS Wireless includes two systems for vocalists and one instrument set for guitarists. Vocalists can choose between a handheld with a super-cardioid condenser capsule and one that includes a genuine dynamic e 835 capsule. “The XSW 35 system takes the assertive sound of the cardioid e 835 to new user groups,” Fischer added.
For installed sound applications and presentations, users can choose between systems with a handheld transmitter or a bodypack transmitter with either a head-worn mic or an unobtrusive clip-on microphone. Mute buttons on the handheld and the bodypack ensure that speakers are in control of the transmission.
To withstand the rigors of daily use, the true-diversity receiver is housed in a sturdy metal case. In the transmitters, one set of batteries will last for up to 10 hours—not only good for energetic stage shows, but also for long events and conferences. The systems feature freely tunable frequencies within a switching bandwidth of 24 MHz (13 MHz for the E frequency range). This allows up to 12 wireless links to be operated simultaneously, ensuring trouble-free operation even at somewhat larger events.
Renkus-Heinz Iconyx Helps St. Matthews Church Get Message Across (Includes Video)
Nestled in the rolling canyons of Pacific Palisades, California, Saint Matthew’s Episcopal Church is one of the area’s oldest and largest parishes.
The sprawling 42-acre grounds are home to multiple buildings including St. Matthew’s Day School and Pre School, as well as recreational facilities and the acclaimed Moore Ruble Yudell-designed sanctuary.
While wonderful to behold, the sanctuary’s stunning architecture, with its soaring ceilings and exquisite glass work, has long suffered from problematic acoustics.
As Daniel Bae, project manager for Sierra Madre-based Platt Design Group, explains, the room’s previous systems did little to alleviate issues of intelligibility and poor sound distribution.
“A lot of the complaints about the previous systems had to do with speech intelligibility and coverage,” says Bae. “The room isn’t very deep, but it is very wide, so time alignment was a major problem.”
“When the sanctuary was first built, we had two speakers on the ceiling,” adds Jeremias Mendez, plant manager at the church for more than 30 years. “One side of the room was completely dead - people were only able to hear the sermon from a few seats.”
“It’s my understanding that the sanctuary’s architecture was designed to make the most of the choir and organ, and not the sermons,” observes parishioner Jim Dutka, the project leader behind the drive to upgrade the church’s audio system.
Dutka and company contacted Platt Design Group, who recommended a pair of Renkus Heinz Iconyx IC-Live steerable arrays, one on either side of the proscenium. “The IC-Live enabled us to steer the sound where it needed to go - away from the walls and reflective surfaces and into the seats,” Dutka says.
Not surprisingly, aesthetics was also a major concern. “Renkus-Heinz provided custom paint for the IC-Live cabinets, helping them to blend almost invisibly into the sanctuary’s beautiful architecture,” says Bae.
“We have a number of older parishioners who have traditionally relied on hearing-assisted technology systems every week,” says Dutka. “Since we’ve installed the new system, many of them have come to us and informed us that they no longer need the assisted listening.”
Here’s an interesting development that could signal a major advance in stage and concert lighting - audio powered LEDs.
Yes, researchers at Hirose-Tanikawa Group at the University of Tokyo have developed an LED that can actually be powered by nothing but audio.
An experimental setup of the new system uses an off-the-shelf speaker to deliver an ultrasonic sound wave which is converted into power by a circuit board covered in microphones.
The power yield is only about 10mW at a distance of about 20 inches, and that drops to just 1 mW at 16 feet, but it’s enough to power low-energy electronics like LEDs.
Don’t forget, this is still experimental, so there’s lots of room for the eventual improvement in the technology.
This technology can eventually be used as a new way to deliver wireless power to all sorts of devices, not just LEDs, from greater distances.
But getting back to stage and concert lighting, imagine your whole lighting rig being powered by nothing but music!
Bobby Owsinski is an author, producer, music industry veteran and technical consultant who has written numerous books covering all aspects of audio recording. For more information be sure to check out his website and blog.
Philadelphia’s Whisper Club Makes Debut With Community Loudspeakers
"The Solutions Series is my 'secret weapon' for high-fidelity, high-output systems." - Adam Freemer, Sonic Solutions
Located in Philadelphia’s lively Rittenhouse Square area, the new Whisper Club presents unique audio requirements calling for creative solutions.
“Nightclubs are a demanding audio environment,” says Adam Freemer of Sonic Solutions LLC. “While their systems need high output and fidelity, durability also becomes vital. They must operate for six to eight hours per night without causing fatigue to the customers’ ears over an extended time frame.”
Freemer selected Community Professional loudspeakers for the Whisper Club’s sound system. He had used Community for several years in a wide range of applications, including Philadelphia’s popular nightspot G, and has had particularly great results with Community’s Solutions Series.
“The owners (of Whisper Club) wanted a top notch high output sound system with the fidelity of G Lounge, but with more output for a larger dance floor and a wide range of DJs playing different formats,” Freemer explains. “The Solutions Series is my ‘secret weapon’ for high-fidelity, high-output systems. It’s one of the best sounding cabinets out there, at any price, and it just happens to be extremely affordable. I’m a huge fan of horn-loaded speaker design, and the SLS960 has amazing fidelity, clarity and sensitivity, all rolled into one box.
Whisper has approximately 50 loudspeakers, including 22 on the centrally located main dance floor. They range from subwoofer cabinets to hanging super tweeter arrays.
Four main clusters frame the dance floor. Each cluster has a three-way Community Solutions SLS960 top cabinet paired with a Community SBS22 double 12-inch mid bass cabinet.
The DJ booth is covered by a pair of Community iBOX iHP1296 two-way loudspeakers, with low-end thump handled by an iLF218 subwoofer. And two of Community’s VERIS 8 loudspeakers provide fill for the venue’s rear bar.
Freemer chose Thrive, a custom amplifier line designed and built by Summit Audio, to drive the loudspeakers.
The sound system also uses BSS Audio Soundweb London for processing. Freemer selected a pair of BLU-160 DSP processors because of their extremely quiet and high-grade A/D and D/A converters. He knew they had the ability to run at 96 kHz due to their excellent DSP processing headroom.
“The response to the sound system has been extremely positive,” concludes Freemer. “Everyone from the club’s owner to the club goers who have heard the sound system have been very impressed.”
For more about the project, have a look at this video:
Video: Meyer Sound MILO Hangs With Michael Bublé‘s “Crazy Love” Tour As It Reaches 150th Show
Provided by Solotech, the system includes two hangs of 14 MILO and two MILO 120 line array loudspeakers, and two side arrays with 12 MICA line array loudspeakers
A chart-topper in Europe, Australia and his native Canada, singer Michael Bublé played the 150th show of his “Crazy Love” arena tour at the HP Pavilion in San Jose. The tour has utilized Meyer Sound MILO line array loudspeakers throughout.
“With eight horns in a 13-piece band, there’s a wide range of dynamics and a lot going on,” explains front of house engineer Craig Doubet, whose credits include k.d. lang, Sergio Mendes and Luis Miguel. “MILO is really the only system I trust to deliver the show with clarity and accuracy. Mixing on MILO after using another system is like pulling a wool hat off your ears.”
Provided by Montreal-based Solotech, the touring system includes two hangs of 14 MILO and two MILO 120 line array loudspeakers, and two side arrays with 12 MICA line array loudspeakers each. Six M1D line array loudspeakers cover front fill, with eight M3D-Sub directional subwoofers on the deck.
Four CQ-1 loudspeakers sit atop the subs for spot fills. A Galileo loudspeaker management system with three Galileo 616 processors control the system, with as many as 14 zones per side. On stage, ten M’elodie line array loudspeakers provide foldback.
With an itinerary that includes large arenas, Doubet relies on MAPP Online Pro acoustical prediction program to minimize setup time. “The first thing I do is walk in with my trusty laser tools and measure the room. Once I’ve got the data from MAPP, the rig goes up quickly. I can’t imagine having to set up without it.”
Doubet also gives high marks to Meyer Sound’s flexible hardware design. “The rigging on the MILO and MICA is incredibly versatile. You can do very extreme side hangs and cover challenging areas. The biggest challenge in arenas is height; the upper seats can be 90 feet in the air and there’s always a section of glass in the middle. With the Meyer rigging we can aim the arrays so precisely, and compensate for whatever the hall throws at us.”
In this video, Doubet and crew chief Louis-Philippe Maziade talk about how the audio team connected the audience with the artist on this year-long arena tour.
Unlike a compressor, Bass Rider works note by note, without disturbing their inner dynamics, so they sustain and decay naturally
Waves Audio has unveiled Bass Rider, an easy-to-use plugin that rides bass levels automatically.
A companion to Waves’ popular Vocal Rider plugin, Bass Rider does not change the natural sound of bass.
Optimized especially for the frequency range and envelope characteristics of bass instruments, Bass Rider covers all the “basses” - DI, amplified, acoustic, synth, upright, etc.
Unlike a compressor, Bass Rider works note by note, without disturbing their inner dynamics, so they sustain and decay naturally.
Since Bass Rider keeps levels steady with automatic gain adjustment, users can focus on the feel and flow of their bass, and use compression if desired to add color and character.
Bass Rider is now available at a U.S. MSRP of Native $200/TDM $300. Special intro price is Native $99/TDM $149.
It is also available at no additional charge to owners of Waves Mercury with current Waves Update Plan coverage.
(click to enlarge)
Features: —Rides bass levels automatically —Optimized for bass instruments —Retains the natural character of the bass —Dedicated studio and live components —Up to 24-bit 192 kHz resolution —Mono and stereo components —Supports TDM, RTAS, Audio Suite, VST, AU —PC- and Mac-compatible
Controls: —Target Energy Meter shows the energy of the input signal. —Target Slider sets desired bass level range and calibrates Rider Fader “0” position. —Sensitivity controls the note detector sensitivity. —Response controls the note detector response. —Spill controls the amount of spill that the detector should ignore. —Artifacts controls the note detector’s tolerance to artifacts. —Max Range sets the upper boundary of the Rider Fader movement. —Min Range sets the lower boundary of the Rider Fader movement. —Rider Fader is Bass Rider’s automatic fader control. —Output trims the vocal output gain, post-auto riding. —Idle Arrow sets the Rider Fader value when there is no bass activity. —Effective Range displays the total gain range available for automatic riding.
Joe Mabbott is an engineer who has directly and indirectly influenced me in many ways.
I remember years ago in high school, blasting Atmostphere – Seven’s Travels in my car, basking in sonic hip-hop bliss. It’d only be years later in class with Joe at McNally Smith College of Music, where I’d find out he actually mixed and recorded that album (among many others I enjoyed).
Joe is the owner/engineer at The Hideaway Studio and a faculty member at McNally Smith College of Music. He records and mixes some of the best and most respected artists in the Twin Cities, including but not limited to: Atmosphere, Brother Ali, Doomtree, Dessa, POS, Toki Wright, Heiruspecs… the list goes on.
I recently caught up with Joe and asked him a few questions:
Career highlights?
Buying the studio that I managed and starting fresh. Owning my own studio was one of my “10 year goals” when I started working in this business. It happened in 8 years, so I was really happy it all fell in place the way it did. I felt a sense of accomplishment and panic all at the same time. Great feeling.
Defining moments as an engineer?
When I started getting recognized for the records I was recording and mixing. I was always in bands and making my own records with my own groups, but when I started getting asked to make records for people that hadn’t heard the groups I was in at the time. But instead having heard records I worked on that had nothing to do with the scenes I was involved in as a musician.
How has being a drummer and musician helped you be a better engineer?
I think it helps have some type of musical background to better the flow of making records. The more you understand music in general I think the more you can communicate with artists and producers about the end goal or a recording.
I’m not schooled in theory as well as I should be, but I feel I have a natural knack and ear for what works and doesn’t work in creating music. I do have a good understanding of drums and what makes for a good drum sound, so it doesn’t hurt to have the backbone be strong, that and I have a great drum tracking room, so that helps too. : )
What current and/or recent projects are you involved in?
Just finished mixing a bunch of records in the last month. 3 Full Lengths:
- Big Quarters “Party Like A Young Commie”
- Dessa ” Castor, The Twin”
- Doomtree ” No Kings”
- 3 EPs for Big Quarters, Prey For Paralysis, and Literali. Not sure what the titles of those records are yet.
Any other upcoming projects/releases you’re excited about?
Started mixing the new Brother Ali record that is due by the end of September and a group called The Thank You Notes that I am recording, mixing, and co-producing. Pretty pumped about both these projects.
Tell us about the recent upgrades you did to the Hideaway Studio.
Earlier this year I completely remodeled and rewired my control room and set it up in a way that is much more user friendly for outside engineers. I’m making a push to open the studio up to the public more and welcome engineers and producers to come work out of a great room. I’ve held it too close and personal for the last 7 years. There’s way too much cool gear and the space is where I want it now. It needs to be shared. Plus there’s a bunch of new gear coming this year too… always new gear : )
If you could only keep 3 pieces of outboard gear what would they be? Why?
That’s like asking a parent which kid is their favorite. Not cool. But backed into a corner I would say my Empirical Labs FATSO.
Ever since I bought this thing from my friend Bruce at Magneto Mastering, it’s been used on every mix I’ve done. The way it makes drums sound is so good and meaty, I love it.
I just recently bought a Retro Instruments 176 and it shot past most of my compressors as the new go to. That thing sounds amazing on pretty much anything I’ve tried it on. It shines on Vocals and makes them sit exactly where you want them to. I need another one!
Third would be a tie between my 2 Cranesong pieces. The STC 8 Compressor and the IBIS EQ. Those 2 strapped across my mix buss equals awesome. Period.
Thoughts on ITB vs OTB mixing?
Big fan of both worlds. I’m kind of a gear head so I use a lot of outboard gear for tonality, but the speed and ease of Pro Tools is where it’s at. I teach on large format consoles, but by no means do I think it’s at all necessary to need a console to achieve a good mix. That being said I use a summing mixer by SPL that gets me out of the box a bit and I like the sound of that box a lot.
Biggest mistake you see newcomers make?
Expecting things to be handed to them and when they don’t getting frustrated and giving up. There is no guarantee in this business. You’re gonna have to work your ass off and if and when you’re lucky enough to get any kind of break you need to know how to run with it.
Best piece of advice for up-and-coming engineers?
Work hard and be prepared to sacrifice. It takes a lot to get anywhere in this business but if you have the drive, dedication and the love for music, there’s no telling where that can take you. I live music, have from day one. It’s all I thought about and did when I was starting out.
I’ve learned to balance things out now that I’m established, finding time for family and rest, but it seriously still takes a ton of energy and if you don’t go at it full throttle someone else behind you will.
In addition, here’s another video with Joe talking about the new POS record:
About The Hideaway Studio - Minneapolis, MN (pictured above). Nestled along the Mississippi in Northeast Minneapolis, The Hideaway Studio is one of the Twin Cities’ premier recording studios. The Hideaway was founded in 2004 by owner/engineer Joe Mabbott and quickly established itself as a home for local, national and international artists. Its comfortable yet professional environment has yielded hundreds of records from hip hop to punk rock to traditional Irish folk music and all points in between. With multiple tracking rooms, two control rooms, and a huge selection of the finest outboard gear, The Hideaway Studio is an extremely flexible recording facility that can meet most any budget.
About McNally Smith College of Music. McNally Smith College of Music premier music school in St. Paul, Minnesota. McNally Smith recognizes that music is a dynamic art form, and prepares students to engage, adapt, and thrive as leaders of change in music and society. The school offers Associate, Bachelor, and Master Degrees in all areas of music, including performance, music business, and composition. McNally Smith is one of the only schools in the country to offer a Diploma Program in Hip-Hop Studies. Visit the school’s website to learn more about a preparing for a life in music.
Dan Comerchero is the founder and editor of the ProAudioFiles.com, a community blog where audio professionals from around the world share pro audio related articles, techniques, and advice on recording, mixing, production and more.
Listen Technologies Introduces New ADA Compliance Assistive Listening Calculator
Simplifies determining the minimum number of assistive listening devices and neck loops needed to meet new 2010 ADA requirements
Listen Technologies has introduced a new ADA Compliance Assistive Listening Calculator in response to customer requests for assistance in calculating their requirements to meet the standard.
The calculator formula is based on Table 219.3 Receivers for Assistive Listening Systems from Section: 706 Assistive Listening Systems of the Department of Justice Title III of the ADA.
The table outlines the minimum number of receivers/ALDS required based on the capacity seating of assembly areas; and the minimum number or receivers/ALDs that are required to be hearing aid compatible.
Listen’s ADA Calculator allows you to enter the number of seats in a venue to calculate the minimum number of assistive listening devices and neck loops needed to meet new 2010 ADA requirements.
“I knew there had to be a quick and easy solution to repeatedly answering the question ‘What do I need to do to meet the ADA’s assistive listening requirements?,’” said Craig Paller, Listen’s Wireless Listening Product Group Leader. “Now, we don’t waste time on the mathematics, we get right to supporting our customers with the information they need.”
The ADA Compliance Assistive Listening Calculator is available as a free download here.
The same questions present themselves for every show, large or small
All microphones are not created equal. Cardioid, supercardioid, hypercardioid, condenser, ribbon - literally dozens of choices. (It’s enough to give you a cardioid cardiac!)
In many situations, our budgets just won’t allow the top-of-the-line models in our mic cases.
Meanwhile, the same questions present themselves for every show, large or small. What kind of mic(s) on the backline? What to do about the softly singing angel at lead vocal? What about the singer that can never ever stay on mic but needs the highest monitor level in the history of the world?
I come from a generation that used a handful of (Electro-Voice) 635A and RE 16 mics, along with a (Shure) SM57 or SM58 here and there. We actually made it all work with 16 channels, and sometimes less. These mics still float around the industry, and for good reason: they were (and still are) true workhorses.
So let’s talk about the basics.
Topping the list: don’t buy into “more is better” when it comes to mic’ing smaller stages. Rare is the situation when you really need 32 mic channels for a 4-piece band in aclub setting. It might look cool (and I know band brought all of theirs to try), but it can leave you well before the end of the gig. Things like feedback, crosstalk and total loss of dynamic range can make your evening one to remember – and not in the good sense.
Your audience doesn’t care about how many mic lines you run, they care about the distinct sound between the recording they’ve already heard versus what they’re hearing live at the venue. Are the instruments distinct? How about the vocals?
Take drum mic’ing, for instance. Most drummers can “get over the top” of most everyone else in the mix. So try mic’ing drums sparingly to begin with – another mic or two can always be added at sound check. Don’t have a “kick drum mic” in the case? Use a decent vocal model. Its response will surprise you.
Stand-mount a couple of decent unidirectional dynamic mics overhead to capture cymbals. If the drummer is also a vocalist, chances are that the vocal mic will also capture the snare just fine. In fact, many times in smaller venues, I’ve little or nothing on drums. It really depends on the drummer’s intensity and/or the overall stage volume.
One thing’s for sure: overkill on drum mics is a guaranteed way to push the first five rows of your audience to the back of the house.
Speaking of which, stage volume should always be kept at a reasonable level. Guitar amps can be a driving headache in a small venue - not only for you but your nearfield patrons.
A little communication goes a long way. Keeping the band informed about stage volume has always been a challenge for sound engineers but is absolutely necessary for a good mix out front. It might sound great in the garage or rehearsal hall, but a big lead/rhythm guitar amp feud is a real pain out front.
I’ve put an ATA case in front of an amp to soften things a bit, and have also angled the amp upward so that it points at the back of the artist’s head rather than the front row. The artist still “feels his/her tone” while the paying customers are spared a dose of tinnitus.
And try to resist hanging mics by their cords in front of amps, which means that the mic elements are facing the floor. We’ve all done it, but we want to capture the amp, not the reflections from the floor, right? Invest in some mic stands and/or cab grabbers – it’s well worth it.
One other note: study the mics that you own. Learn about polar patterns, transient response, sensitivity and gain before feedback - these characteristics are very important. Also study monitor placement versus mic placement for maximum rejection - Dave Rat has a great video here on ProSoundWeb demonstrates a straightforward approach. (Click here to view the video.)
Check it out, and have a great next show!
Greg Stone has worked in live sound since 1976 and is the owner of Hill Country Ears Sound Company in South Texas.
A pair of audio heads with a studio based outside Tokyo recently contacted me with their first recorded mic preamp comparison tests.
I was impressed and happy to have made friends from studio trenches far far away.
Let’s take a look at what they came up with.
The guys at Studio J conducted their preamp test by recording two songs through the following preamps: —Chandler Limited TG2 —Chandler Limited Germanium —Chameleon Labs 7602 —Focusrite Red 6 —Grace Design 201 —Sound Devices MP-1 —TC Electronics Konnekt 24D —Yamaha 02R
The Acoustic Guitar Test
Check out the video below for results and impressions:
A detailed discussion on which types of microphones are best suited for choir mic'ing, how many mics should be used, and how they should be positioned
Audix has released a new “How to Mic a Choir” instructional series of videos. (View video series below.)
The series offers six chapters, featuring Dean K from Audix and guest Travis Cibolski, engineer and technical director for Sunset Presbyterian Church in Portland, OR, providing a detailed discussion on which types of microphones are best suited for choir mic’ing, how many mics should be used, and how they should be positioned.
Additional subjects covered include microphone basics, polar patterns, the 3 to 1 rule, and the complexities involved with mic’ing a large choir in a contemporary setting where music is an integral part of the service.
Audix VP of sales and marketing Cliff Castle explains, “Today’s contemporary houses of worship have integrated elements of audio and video into their services to the degree where new challenges must be met. In addition to the typical audio challenges facing technical directors, there are now other issues to contend with, for example, choir set up requirements may change from week to week and there will likely be music added to the mix.
“Also, the choir microphones may need to have very low profile due to the integration of video screens into the service,” Castle continues. “As a result, choosing the correct choir microphones are critical. Audix began developing products for overhead choir applications 10 years ago.
“With the introduction of the Micros and the MicroBoom system, we have simplified the process. We find that it is extremely helpful to use video to demonstrate how to go about miking a choir every step of the way. These videos are beneficial to all viewers, regardless of their level of audio expertise.”
Jerry Remy’s Sports Bar & Grill Relies Upon Symetrix Zone Mix 760
Audio processing at new seaside location is intuitive, dependable, and less expensive than anticipated
Last year, former Boston Red Sox second baseman Jerry Remy partnered with Cronin Group Restaurants to create Jerry Remy’s Sports Bar & Grill just outside of historic Fenway Park.
The venture was so successful that a second location at Liberty Wharf on Boston Harbor was recently opened.
Like its predecessor, the new restaurant promises a game-day experience that rivals Fenway itself, with a 32-foot monster HD video wall (New England’s largest) and forty-six additional large HD plasma screens distributed strategically throughout the open-air facility.
Rob Soluri of Custom Cable got the nod to design and install the all-important AV system, using the Symetrix Zone Mix 760 to deliver easy-to-use, reliable, and cost-effective digital signal processing.
“The AV system is a critical component of the original location’s success,” explained Soluri.
“The owners definitely wanted a well-differentiated system at the new seaside location as well. Visuals are what grab your attention when you enter Jerry Remy’s, but I knew that the audio quality had to be commensurate with the brilliance of all those screens. It’s the perfect job for the Symetrix Zone Mix 760, which, apart from sounding fantastic, is competitively priced, quick to set up, and steadfastly reliable. Paired with Symetrix ARC wall panels, I can tailor those aspects of the system that the user has control over. Thus, from the user’s viewpoint, the audio system is intuitive, dependable, and less expensive than they anticipated.”
Concomitantly with the new Jerry Remy installation, Soluri installed an AV system at the adjacent Temazcal Cantina, as both establishments are under the same ownership.
The two systems are approximately paralleled, excepting a few different zone definitions and loudspeaker counts as called for by the particulars of each space. Each has its own Symetrix Zone Mix 760, which provides a wealth of inputs for DirecTV receivers, iPod, iTunes/Pandora, wireless microphones, live web, radio, and TV broadcast, as well as six outputs for location-specific zoning.
The systems deliver precise volume and equalization requirements to bar, restaurant, bathroom and hallway zones. Tannoy V12 loudspeaker provide the bulk of the content, with a few Tannoy CMS 801DC loudspeakers for fill. Tannoy VS 15DR subwoofers convey the low-end, and Lab.gruppen C 10:4X and C 28:4X amplifiers provide the power. Users select input sources and adjust zone volumes with strategically placed Symetrix ARC-2 wall panels.
Quote meon an estimate et non interruptus stadium. Sic tempus fugit esperanto hiccup estrogen. Glorious baklava ex librus hup hey ad infinitum. Non sequitur condominium facile et geranium incognito.
