Common Factors
With that in mind, here are some of the best things I’ve learned from each of these two facets of pro audio, beyond the initial truth about learning to pull a mix together quickly from the live world.
First, microphones matter. Simply changing the mic can make or break a singer’s voice, and in the studio, a lot of time was often spent finding the right one. And, as it turned out, the 1990s saw a revolution in mics for live sound.
It started with the incorporation of studio models on the road, followed by the development of purpose-made studio-quality mics like the Neumann KMS105 and Shure KSM9, to name perhaps the two that are most well-known today in live sound circles.
Next, if the artists aren’t happy with their cue mix, they aren’t happy, period. This applies both in the studio when tracking and on the stage when performing. The advent of wireless in-ear monitoring systems brought about another revolution in live sound, making it more like the studio experience. It’s resulted in happier artists, which certainly benefits their live performances. Sure, it’s made monitor mixing more challenging in some ways, but that’s the price of progress. And it’s been worth paying.
From the studio: careful choice of outboard gear can really enhance the mix. Outboard gear has long been used for live sound, of course. Perhaps the difference today is that with the incorporation of studio-quality stage mics, premium mic preamps, in-ear monitoring and superior loudspeaker systems, the sometimes subtle effects of great outboard gear can be heard much more clearly.
Speedy troubleshooting is critical. It doesn’t take long for live sound people to learn that the show will start on time, no matter what. Thus any problems must be solved, quickly and regardless of circumstances. On the other hand, studio people know that hours can’t be billed if the console won’t turn on.
High bit and sample rates make a difference – to a point. Sure, we definitely want to use the highest sample rate possible (within reason), and the largest bit depth. But the reality is that high-end playback equipment is rare among consumers. Most recordings are listened to in the MP3 format or in cars. This is not to say that recordings shouldn’t be a high-quality product! But it’s the reality, and therefore is a tree worthy of attention and consideration in the forest of sample/bit rate obsession that some exhibit.
In live sound, there’s a different challenge: cumulative latency, particularly noticeable in an IEM signal path. Any time analog audio signal is converted to digital, there’s latency. It depends on the sample rate, but is generally in the range of 1.5 to 3.5 milliseconds, round trip. If this were all, it would be fine for most artists in most situations.
But heaven forbid if there’s re-sampling going on, which adds at least another couple of milliseconds. Re-sampling happens when interfacing equipment running on different sample rates. So, in effect, what this means is that the system designer needs to run everything on the lowest common denominator, even it is “only” 44.1 kHz (and be aware of the master clock). This way, it’s possible to make the A/D and D/A round trip only once to avoid adding any further latency beyond the basic amount.
Win-Win
The point is that both sides face issues, even if they manifest themselves in different ways. And we can both learn something (actually many things) from each other, as has been proven.
We all share the same “industry” that’s called pro audio, so it’s best to try to stick together to address challenges in furthering both the science and the art. While there may be six degrees of separation between any two people in the world, there are probably only two degrees between folks plying the pro audio trade. Let’s treat each other like true colleagues, and we will all be the better for it.
Karl Winkler serves as vice president of sales/service at Lectrosonics and has worked in professional audio for more than 25 years.