I think we all reach a point in our lives where we might feel a little lost on our path. All of us who are in the entertainment industry, know how lucky we are to have the opportunity to work in a creative field. The few of us who actually followed our dreams or perhaps just happened to stumble upon them.
However, like anyone else we can also feel a bit lost and unmotivated, feeling like there is no purpose in what we do. I recently felt like this, craving something new and learning new things. I felt like I wanted to move on from where I am currently at.
Writing this I felt a struggle, as I felt like I’ve been on autopilot the last two months, and therefore have nothing to say or write about, feeling generally unmotivated. Not because I had little to do, but because the festive season is approaching and having learned from last year, I wanted to get a head start on all the craziness that is waiting around the corner.
Looking back at these past two months, contrary to my feeling of lack of motivation, I have been very productive and done plenty! Is that perhaps why I felt like I wanted to move on as I know what to expect and the excitement (and stress) is not what it used to be? The adrenaline you get from the excitement of not knowing what is ahead of you? Maybe.
I guess that though we might feel stuck, unmotivated or lost, it does not mean that we actually are. Perhaps there are small changes we can do to change our circumstances, make things more exciting or possibly it is time to go, to move on in life and seek a new adventure?
Step back and evaluate
Look at where you are, what is going on around you? Are there things that could run better, smoother & more efficient? Is your workplace in order, do you have everything you need to do your job properly?
Sometimes you need to take a step back to take two steps forward. Identify what is causing you to feel unmotivated. Will moving on solve your problems or will it actually just make you feel more lost? Are you prepared to move on?
Can you change your situation?
Are you able to change things at work to make things more/less challenging? It is important to feel challenged and to learn new things, but if it is too challenging it can result in stress.
Challenge yourself, set goals in your work- and personal life. There is always room for improvement even if you are already doing a great job.
If things are too challenging and stressful, ask for help and maybe take a step back. Troubleshoot and take one thing at the time.
What is your purpose?
We all need a purpose to feel fulfilled in life. What are you working towards, do you have a plan?
Sometimes you need to walk away from situations that are not fulfilling. Sometimes it is about saying no and establishing boundaries. Sometimes it is not your job that is unfulfilling, but your personal life and that affects your work life. Sometimes you need to stay to grow.
What do you need to reach your goal? Are you in the right place, right scene, right city or even in the right country?
Deal with it
It took me a good couple of months to shake away the lack of motivation and decided to make a few changes in my personal life rather than in my work life. I felt like I wanted to leave and to move on just because I did not want to deal with things in my personal life. I took a step back, evaluated and changed my situation, and this is something we need to do regularly in life.
So the not so simple question is; will you stay or will you go?
Berenice Hardiman FOH Engineer/ Tour Manager
Berenice Hardiman is a veteran of the industry having first been inspired after seeing Pink Floyd at the Liverpool Empire, which was her very first concert. “I immediately knew that I wanted to be part of whatever that “thing” was that I had just witnessed, but of course I had no idea how to even start. I ended up doing computing at University in the late 70s, which of course, ironically, has actually ended up being very useful. I’d always gone to loads of gigs all over the world, and as I reached my late 20’s, I decided that if I was ever going to make the leap into the music industry, time was ticking away.” So taking a huge risk, Berenice decided to sell her house and buy a PA system with her partner Dave Claxton. From there they proceeded to mostly teach themselves. “We got books from the library and talked to anyone who would spare us 10 minutes. I’d been hanging around the periphery of the music industry for years so I had some useful contacts to press into service. Luckily, it transpired that I was able to achieve a good FOH sound and Dave took to doing monitors. We worked out very quickly that buying a monitor desk would give us the edge over other local PA companies.”
“We built up the company over the next ten years or so covering tens of thousands of miles, first in a Ford Transit and then building up to a 7.5 tonner (truck), doing the sort of gigs where you learn your trade and people generally seemed to like what we did. By the early 2000’s it had become obvious that in order to continue expanding would involve massive capital commitment, and by that point work with our main client, Midge Ure, had reached the point where really we didn’t have time for any other shows, so we took the decision to sell off most of the gear while it was still worth something, and put on our white gloves.”
Currently, along with being FOH Engineer and Tour Manager for Midge Ure, Berenice also handles most of Midge’s bookings, does contracts, invoices, designs his merchandise, runs Midge Ure’s webshop and website and whatever else needs to be done. “We started off providing the system; then he asked me to do FOH and TM as he liked what he’d heard me do for the support act on the previous tour. We carried on like that for a while until 1998 when I told him that he really should have his own website and online store as I felt that was the way to go. Somehow it ended up falling on my desk! Merch design followed on from that in an obvious sort of way. Then he left his manager of 25 years, and I decided it was time to stop being a hire company as it would have needed massive financial investment to continue, so it made sense for me to take over booking the shows. After all, we had been doing his shows for over ten years by that point so knew all the venues
The Show Must Go On!
As anyone who has been on tour knows, things are not always what they should be, and some gigs and productions leave a lot to be desired. The lack of attention to detail by some service providers/promoters is one of the things Berenice hates about touring. “We had a fairly prestigious festival show recently that descended into a total nightmare for me. The in-ears hadn’t been set up prior to our arrival, one of the keyboards didn’t have a power supply, the drum riser was the wrong size, half the rider was missing, and if that wasn’t enough I discovered the mix position was on a gantry in the roof of a round metal building. I literally couldn’t hear a THING I was doing. I also couldn’t get down to hear what it sounded like where the audience was.”
Clearly, Berenice has a history of doing whatever it takes and keeping a positive attitude, which are key to being successful. “Obviously we have done loads of gigs where it’s gone horribly wrong for whatever reason, but we’ve always managed to scrape by somehow! That’s what it’s all about though, making the best of things and getting the show done. Once, there was the time when the truck windshield wiper motor went on our way to a show in mid-Wales, some 4-hour drive away, and the only solution was to rig up some bits of wire and pliers so we could move them manually every now and again… we made the gig though!”
“Once, I nearly got stabbed when somebody pulled a knife on me at a show a long time ago when the only way to avoid our desk being stolen by a rioting crowd was to lie across it! We were doing a Soca band in a drinking club in Southall called the Tudor Rose. What we didn’t know was that there was a big boxing match being shown in the venue after the band and I suddenly became aware we were somewhat outnumbered! Not only outnumbered, but by people who REALLY wanted a load of audio gear!! They didn’t get it though.”
When asked what Berenice likes most about her job, “Nothing beats standing behind the desk with a great PA and making it sound fantastic!”
Michelle Sabolchick Pettinato and Berenice Hardiman at Rock Of Ages Festival in Rottenburg, Germany
What advice would you give young women wanting to enter the field of live sound or professional audio?
“Be very sure it’s what you want! Home life is bound to suffer. I’m lucky that I work with my other half because otherwise, we would never see each other. We worked every New Year’s Eve for about 15 years! The downside is that we never really switch off from “work” which is ok for us because we love what we do.”
As it is with most veteran live sound engineers, when Berenice started her mixing career, consoles were of the analogue format. If you understood signal flow, you could walk up to any analog desk and familiarize yourself with it rather quickly- a luxury that no longer exists in the current digital age. Coming from a computer background, Berenice made the transition from analogue to digital consoles fairly easily. “ My only issue still is that at the back of my mind I know that if an analogue board goes down, you can generally row to shore somehow, but the same is simply just not the case when you go digital. Having said that, there are so few old boards out there that work flawlessly now that it’s a small price to pay for being able to just simply load your show, and off you go with a few tweaks!”
The vast array of digital platforms and the complete lack of uniformity among them can be intimidating if not overwhelming to a less experienced engineer. Berenice’s suggestion for learning different consoles- “RTFM!!! and then install the offline editor and play with it… YouTube is a very useful resource.”
What is your favorite gear?
“I’m a big L’Acoustics fan! And I don’t like to go anywhere without a trusty TC Electronics D2 with a footswitch. I’m not really into carrying racks of valve compressors etc.”
What’s in your tool bag?
“Now? A bag full of XLR/jack converters, my headphones, a footswitch, and some lucky Chinese money a fan gave me in 2009!”
What do you feel is the biggest mistake you made throughout your career? What did it teach you?
“I once tried to fix a power amp during soundcheck and forgot to unplug it first! It taught me not to panic because things get forgotten!”
What would you say are some ‘must have’ skills?
“Calm, methodical thinking in a crisis, and keep your eyes and ears open all the time.”
“Being able to cope with very little sleep and crap food also helps!”
“As far as audio engineering goes, a very wise man once described a very well respected engineer to me… he’s a really great engineer, there’s nothing between his ears and his fingertips, and I think that’s still a very sage opinion. In my opinion, there are far too many engineers out there who overanalyze stuff rather than just feeling the sound.”
Knowing the theory of digital audio is all well and good, but how do you set all that stuff up on-site? First of all, both good and bad news about digital audio is a lot of the equipment looks after things like sampling and clocking for you. Word clock signal is often carried on the same path as the audio signal, so for a lot of systems, you don’t need to worry about plugging sync cables in separately at all. This automation makes it much more user-friendly and quick to set up, but it also means it can be tricky to troubleshoot because manufacturers will proudly proclaim that their system “just works!” This is also yet another subject where there is no consensus, and each brand has its preferred protocols, cables, and network topology. When using any new equipment, primarily digital, it pays to read the manual: you might find out about some crazy quirks you would never have thought of checking for. You are also likely to have several pieces of equipment from several different manufacturers; follow their advice about how to connect these together, including using the correct convertors or adaptors.
Practise best practice
If you want to avoid digital audio issues, keep your system as simple and neat as you can. Much like analogue, you usually want to minimise the number of connections and cable length between points in your system. For example, connect your devices in a “star” topology when possible – this means each unit gets plugged straight to one central device, like a network router for system communication or master clock generator for synchronisation (like in figure 1a). The alternative is a “daisy chain” topology – linking from one unit to the next (figure 1b). Even if you use a direct output from a device, each loop through introduces latency to your system. It may be a fraction of a millisecond, but if you have several units, those can add up to cause trouble. It can also mean that if one device or cable fails in the chain, everything downstream of that loses connection. If your devices don’t have the ability to link out, you’ll need to use a splitter or ‘T’ connector to carry the chain on, which is another potential point of failure or signal loss. However, certain manufacturers recommend leaving their section of the set up (e.g., a desk and its stage boxes) connected in a chain for syncing purposes. Their argument is if everything is clocked directly to an external master and it fails, everything will fall out of sync. Their equipment was designed to work together, so allowing it all to clock from one of its own units, which in turn is clocked to your system’s master, means that if the master goes offline all that gear will at least be in sync with each other, if not the rest of your system (figure 1c).
Figure 1: Different methods for connecting a live system
Figure 2: 50 ohm male and female BNC connectors (right) with their dielectric rings clearly visible, and 75 ohm male and female connectors (left) without. Source: By Kaback [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)], from Wikimedia Commons.
Figure 3: A BNC terminator connected to a T connector (left), a T connector (centre) and a terminator. As you can see by the dielectric material, these are actually 50 ohm connectors and would not be ideal for digital audio setup. Source: By Romantiker [GFDL (http://www.gnu.org/copyleft/fdl.html), from Wikimedia Commons.
Are you using the correct connections?
There are a whole bunch of different cables used to connect digital audio. Confusingly, several have the same connectors as other cables, and look and feel very similar. For example, your device might have BNC sockets, but should you use RG58 coaxial cable or RG59? What’s the difference? RG58 has a characteristic impedance of 50 ohms and is used for RF applications because it can deal with the high power involved in radio transmission. RG59 (you might know it as ‘video cable’) is 75 ohms and is what you need for digital audio connections. Its lower impedance will let the signal pass through it more efficiently and accurately.
Similarly, AES3 cable uses XLR connectors but is 110 ohms rather than mic cable’s 75 ohms. If you’re lucky, the grade will be printed along the length of the cable, but if not, RG59 and AES3-grade cables tend to be stiffer and less flexible than RG58 and mic cable (beware of RG213, which is even thicker than RG59! There are quite a few different cables with BNC and XLR connectors out there. If you are in charge of organising cables in your workplace, please store all these different ones in clearly marked places, far away from each other! It will save a lot of confusion). There are two different BNC connectors: a 50 ohm one with white plastic ‘dielectric’ rings and a 75 ohm one without (see figure 2). However, this isn’t a foolproof way of identifying the cable itself, because some manufacturers or repair people cut corners or are genuinely mistaken and can use the wrong ones. The shorter the distance, the less critical it is to use the correct cable, but if you’re having issues and you know you cheaped out and used let’s say mic cable instead of AES3-grade cable, swapping it for the real deal is a smart move. Make sure you don’t connect cables of different impedances too. Each time you connect a 50 ohm and 75 ohm coax together it can result in the loss of roughly 5% of your signal (this is also something to bear in mind if you know your cables have the wrong impedance connectors).
If you connect your devices to a word clock generator separate to the audio transmission, you also need to make sure that each path is terminated, to stop parts of the signal being reflected back down the cable and causing jitter. Some devices have a switchable internal terminator that you can select, or if you’re using BNC you can plug a T connector into the input of the last device in the chain, with the word clock plugged into one side of the T and a (75 ohm) terminator (see figure 3) on the other side.
Is everything singing from the same hymn sheet?
Once everything is powered up, make sure all your devices are running at the same sample rate. Most equipment these days has an internal sample rate convertor, which can switch between sample rates, called up or downsampling. Downsampling to the slowest device’s rate is the norm in live audio. This option is usually found in the system/settings menu, but sometimes there is a physical switch on the unit. If a device has a second brain/engine or fallback feature, make sure that it is also set to the correct sample rate. Some systems are now smart enough to choose the best word clock to be the master themselves and even switch to the second best one if something happens to the first, without interrupting the audio. If your system doesn’t do this, decide on a master clock and tell each device what it is. Again, this will be in the system/settings menu.
Is the network working?
If you networked units together, make sure they each have a unique IP address, that can be seen by the router (if you have a straightforward setup you may not need a separate router). If two or more devices have the same IP address, or any device has the wrong type of IP address, it will cause issues. Here is a brief rundown of the basics of IP addressing:
Static IP: You set the IP (‘internet protocol’) addresses of each device manually, and they stay the same until you change them. This is best for most live audio cases, so you can keep track of all your devices and can quickly identify which unit is faulty, for example, by its IP address.
DHCP (Dynamic Host Configuration Protocol): You let the router assign addresses. This is faster, and best if other units are likely to be added to the network without your knowledge (this is normally used for things like wifi networks in offices and cafes). As devices come and go, they are certain to have unique IP addresses and won’t clash. However, the same unit can be assigned different IP addresses over time, which can get confusing.
Subnet: The part of the IP address that a router looks at to see all the devices in a particular network. e.g., a desk might be 192.12.34.3, a stagebox might be 192.12.34.4, and they are both part of the “192.12.34.x” subnet. A laptop with the address 168.12.34.5 would not be part of that subnet.
Subnet mask: The number that defines the range of the subnet. For each section of the mask, if the number is 255, each IP address must match at that section exactly. If the number is 0, it can be any value between 0 and 255. For example, if the subnet mask is 255.255.255.0, each device’s address must match in the first three sections. 192.12.34.3 and 192.12.34.4 would be seen, but if an amp was set to 192.12.56.7, it wouldn’t be seen. If you expanded the subnet mask to 255.255.0.0 the amp would then be seen by the router, along with anything else that had an IP address starting with 192.12. (so that laptop would still not be seen as part of the subnet). It is best to avoid assigning IP addresses that end in 0 or 255 because these are often used by the router for its own system tasks.
It might seem like a lot to take in, but most of this only really comes down to setting up like you would an analogue system, then doing a few extra checks in your gear’s settings menus. Getting the fundamentals right will minimise the need for troubleshooting, which I promise I will get on to in my next post!
Quick Guide on Invoicing
Whether you are a freelance sound engineer, session musician, tour manager, or backline technician, what we all have in common is that we like to be paid for the work we carry out. If you are not on a salary, you will most likely invoice the companies you work for.
It is incredibly important to get your invoice right from the start; it will save you and the company a lot of time if you get it right from the beginning.
You can find loads of templates online, and invoices might vary slightly from country to country. However, the basics are all the same, and there is some crucial information you need to include in your invoice.
Here is a simple guide on what a basic invoice needs to include:
Your Name / Company Name: This one is quite obvious, it needs to be clear who is invoicing the company.
Your contact information: Your full address, including city and country. You will also need to provide your phone number.
Date: The date you are sending the invoice. This is crucial, this way you can keep track of whether your invoice is overdue or not.
Invoice number: This one is important, especially if you are invoicing a company regularly, this way the accounts team can keep track of which invoices have been processed and which are due to be processed. It also helps you to keep track of your own invoices and how many you have sent.
For: Project or service description.
Bill to: The Company / Person you are invoicing and their address. Add ‘Attention’ depending on what department or person you are invoicing.
Description of the work carried out: The more accurate description, the better, where you have been working, what department, what date and for how long.
The amount: The amount you charge for your work.
Value added tax (VAT): If you are a VAT registered business, you need to add VAT, which is usually between 15%-20% of the amount charged.
Total amount: Sum up the amount (and VAT if you have a VAT registered business) to a total amount.
Bank Details: Now do not forget to add your correct bank details. This might seem obvious, but I’ve seen plenty of invoices which did not include their bank details, or their details were incorrect.
Add your bank, full name, sort code, and account number.
Format: PDF is the way to go. That way your invoice can not be altered with. Name your PDF after your invoice number. Also, include your name and surname, i.e., Invoice#1001FirstnameSurname.
Email: Make sure you are emailing the right department/person. If you send your invoice to the wrong department/person, it will take longer to process your invoice. Worst case, it will get lost between people, which will delay the process even further.
When emailing your invoice make sure you write something along the lines of:
“Dear Sir / Madame / Name of the person,
Please find attached my invoice for my (description such as DJ/session musician/sound technician) services at your company. If you have any questions concerning this invoice, please do not hesitate to get in touch.
Kind regards,
First name Surname “
It does not have to be long, but it needs to be polite, professional and give them some information about the invoice they have just received.
It can take up to 30 days for invoices to be processed and paid which is standard. In the UK, usually, VAT invoices must be issued within 30 days of the date of supply or the date of payment (if you’re paid in advance).
Overdue fees: In the UK we have the ‘Late Payment of Commercial Debts (Interest) Act 1998′, which means that if a payment is overdue, you can claim a late payment fee. The statutory right to claim interest and compensation is not compulsory, and it is for the supplier to decide whether or not to make use of their rights.
Make sure to look up your rights and acts in your country and do not hesitate to get in touch with a solicitor to help you if you need further assistance with any claims or questions regarding any late payments.
Interfaz de Sonido
Es muy importante conocer más a fondo los diferentes componentes y equipo que necesitarás para montar tu home studio, y para ello nos adentramos en el mundo de las interfaces de audio.
Qué es una interfaz de sonido?
En primer lugar, vamos a aclarar qué son las interfaces de audio. Antes de meternos a fondo, una aclaración: es probable que hayas escuchado hablar de interfaz de audio, interfaz de sonido, tarjeta de sonido etc. ¡No te preocupes, es lo mismo! Tan solo son diferentes formas de llamarlas, pero el nombre más técnico y más extendido es interfaz de audio.
Explicado de una forma sencilla, una interfaz de audio es el hardware que te permite trasladar los sonidos que quieras grabar a tu DAW (recuerda, la estación de audio digital, o en otras palabras, el software de producción musical). Es decir, la interfaz de audio es lo que te permite pasar el sonido acústico, la señal analógica (por ejemplo, la que produce cualquier voz o instrumento), a señal digital, que es lo que tu ordenador puede leer y procesar.
Por qué necesitas una interfaz de audio?
Esta es siempre la pregunta que todo el mundo se hace al plantearse comprar una interfaz de audio. El motivo es precisamente el que ya hemos visto. La mayoría de los estudios de grabación en la actualidad (y mucho más los home studio), centralizan la producción musical a través de la computadora. Con el avance de la tecnología, hay una tendencia cada vez mayor de abandonar los equipos analógicos para pasar a lo digital. Por lo tanto, todo lo que queramos grabar debe poder ser procesado por la computadora y por el software de producción. Piénsalo así: una computadora no entiende el sonido, así que para que puedas trabajarlo, es necesario pasarlo a un lenguaje que pueda comprender, y este lenguaje es la señal digital. No te preocupes, de momento no necesitamos profundizar mucho más sobre esto. A medida que avancemos, ya habrá tiempo de entrar en más detalle sobre los tipos de señales y otros conceptos más técnicos. Pues bien, la interfaz de audio es el equipo que capta esas señales analógicas que emite un instrumento y las convierte en señales digitales, capaces de ser tratadas por la computadora. Por ese motivo, una interfaz es algo de lo que no podemos prescindir en nuestro estudio. Si queremos hacer música en casa, necesitamos una interfaz de sonido.
Siguiente pregunta: Por qué tengo que comprarme una interfaz, si en mi computadora ya viene integrada una tarjeta de sonido? La respuesta es muy sencilla. Efectivamente, en tu computadora seguramente ya viene integrada una tarjeta de sonido. El problema es que las tarjetas de sonido que vienen incorporadas en las computadoras comunes no están preparadas para realizar ese tipo de procesamiento de sonido, que requiere mucha potencia y muchos recursos. Piensa que no estás montando un estudio de grabación para reproducir un par de canciones en Spotify. Lo que queremos es hacer nuestra propia música, y para ello no es suficiente el equipamiento común, sino que necesitaremos componentes de buena calidad que estén preparados específicamente para el tratamiento de audio.
En qué fijarte para comprar una interfaz de audio
Ya sabemos qué son las interfaces y por qué necesitamos una en nuestro estudio. Ahora la pregunta es: ¿cuáles son sus principales características? ¿En que debo fijarme para comprarme una? ¿Cuál es la que mejor se adapta a mis necesidades?
No te dejes engañar. Todas las interfaces de audio tienen básicamente las mismas características y funcionan de la misma manera. Son estas:
Entradas y Salidas
Por una parte, debemos tener muy en cuenta el número de entradas y salidas de nuestra interfaz. Es fundamental que te preguntes lo siguiente: ¿Para qué la quiero? ¿Qué uso le voy a dar?
La regla es que necesitarás tantas entradas como líneas quieras grabar simultáneamente. Eso dependerá en gran medida de la forma en la que grabes.
Básicamente existen dos métodos principales de grabación:
Grabación por pistas: Hoy en día, hay mucha gente que graba por pistas, es decir, grabas primero una pista (ej. batería), luego sobre esa pista grabas la siguiente (ej. el bajo) y así sucesivamente hasta completar el tema. También podría llamarse grabación por capas. La técnica consiste en ir sumando capas hasta tener el resultado definitivo. Por lo tanto, si grabas por pistas (que es lo más habitual en un entorno de home studio), te será suficiente con tener una interfaz de audio con pocas entradas.
Grabación en Vivo: a diferencia de la grabación por pistas, para grabar en vivo necesitarás tantas entradas como líneas de sonido se estén tocando a la vez. Por ejemplo, si quieres grabar a un grupo de 4 personas simultáneamente tocando en vivo, necesitarás tantas entradas como sonidos quieras grabar: varias entradas para las voces y otras muchas para los instrumentos. Ten en cuenta que hay instrumentos, como la batería, que necesitan varios micrófonos para captar los diferentes componentes (bombo, tarola, platillos, etc.).
Mi consejo, sobre todo si estás empezando, es que grabes por pistas. Es una forma más sencilla de iniciarse en la producción musical y de conocer cómo funcionan los flujos de sonido. También es una técnica increíble para potenciar la creatividad mientras compones. Además, necesitarás menos entradas, ¡por lo que podrás ahorrar mucho dinero y espacio!
El siguiente punto que hay que valorar es el tipo de entrada o salida. No todas las líneas necesitan del mismo tipo de entrada. En términos generales, existen dos tipos de entradas:
Entrada de línea: este tipo de entradas sirven para conectar instrumentos como bajos y guitarras eléctricas.
Entrada de micrófono: como su propio nombre indica, sirve para conectar micrófonos. Sin embargo, debemos tener en cuenta que los micrófonos de condensador requieren una potencia diferente para funcionar (48v). La mayoría de las interfaces de audio ya llevan incorporados un botón para activar los 48v de potencia para cuando quieras conectar tu micro de condensador, pero te recomiendo que te asegures bien antes de comprarla.
Las interfaces incorporan entradas híbridas, que gracias a su diseño permiten conectar tanto instrumentos como micrófonos.
Otro factor por tener muy en cuenta son las salidas de audífono. Hoy en día prácticamente todas las interfaces de sonido incorporan una salida de audífono. Es una característica fundamental para poder intercambiar de una forma sencilla entre escuchar tus producciones a través de los monitores y de los auriculares. Un consejo: si puedes, adquiere una interfaz que tenga más de una salida de audífonos. Te aseguro que te será muy útil cuando estés grabando a otra persona, ya que de esa forma los dos podrán escuchar cómodamente mientras graban.
Preamplificadores
Los preamplificadores son probablemente el elemento más importante de las interfaces de sonido, ya que determinan la calidad de tus grabaciones. El objetivo es buscar una interfaz que lleve integrados unos buenos preamplificadores, fiables y, sobre todo, que transmitan un sonido claro y limpio. En la actualidad, la gran mayoría de las interfaces del mercado incorporan unos preamplificadores de una calidad suficiente.
Conexión
Existen tres tipos de conexiones:
USB: es la más usada actualmente, sobre todo en las interfaces de calidad media. Aunque no es la conexión más rápida de las existentes, es muy buena opción para home studios, sobre todo por su fácil conexión a las computadoras (todas las computadoras del mercado tienen forma de conectarse a los puertos USB). Además, con el USB 2.0 y USB 3.0, la velocidad ha aumentado considerablemente, haciendo que la conexión USB sea la preferida tanto por fabricantes como por usuarios.
Firewire: Antiguamente las conexiones firewire solían ser más rápidas que las USB, pero hoy en día, la conexión USB no tiene nada que envidiarle a la firewire, consiguiendo proporcionar muy buena velocidad.
Thunderbolt: es la conexión más rápida del mercado, ahora más frecuente en las computadoras actuales. Normalmente solo las interfaces de audio de mayor calidad (y, por lo tanto, mayor precio) incorporan conexión thunderbolt.
Precio
Como siempre, es importante tener en cuenta el precio de los diferentes modelos. En Tu Home Studio, el objetivo es aprender a producir música y montar tu propio estudio de grabación con el presupuesto más ajustado posible.
Actualmente hay interfaces de audio para todos los presupuestos. Claro que, también hay opciones mucho más caras, que normalmente ofrecen más entradas y salidas y unos preamplificadores de la mejor calidad.
Conclusiones
En mi opinión, la mejor opción cuando adquieras una interfaz es que se ajuste a tus necesidades ya sea utilizando USB o Thunderbolt. Hablando de las conexiones con USB, la velocidad es más que suficiente y ha mejorado mucho con el USB 2.0 y 3.0. En cuanto al número de entradas, mi recomendación es que empieces con una interfaz de mínimo 2 entradas, con la que podrás grabar cómodamente por pistas e incluso grabar algunas interpretaciones en vivo.
Aunque siempre es recomendable tener más de una entrada. Lo mejor es que tengas una interfaz de 2 a 8 entradas, una para micrófono y otra para línea. Además de cuidar la calidad de los preamplificadores ya que algunas interfaces no son de tanta calidad y no ofrecen un sonido tan limpio.
Carolina Antón es especialista en diseño y optimización de sonido, así como ingeniera de sonido independiente. Ha trabajado con varias compañías de sonido como la producción de 2hands, Eighth Day Sound, Britannia Row, Meridian Pro audio y Ocesa. Ha realizado giras por los EE. UU., México y América Latina con Zoe, Cafe Tacvba, Natalia Lafourcade, HaAsh. Carolina también es propietaria de Hibiki Production que proporciona servicios para grabación y transmisión en vivo.
First to Record Elvis – Marion Keisker
“Marion Keisker MacInnes (September 23, 1917 – December 29, 1989), born in Memphis, Tennessee, was a radio show host, station manager, U.S. Air Force officer, and assistant to Sam Phillips at Sun Records. She is best known for being the first person to record Elvis Presley on July 18, 1953. Keisker had a vibrant career in broadcasting, made inroads for women in a male-dominated media industry, and became an activist in the burgeoning women’s rights movement.” – Sun Record Company website
Radio years
Marion’s radio debut was in 1929 (at age 11) on WREC in Memphis. She attended Southwestern College where she studied English and Medieval French and graduated in 1938. She was married in 1939 and had a son before divorcing in 1943.
Marion went on to become one of the best-known female radio personalities in Memphis where she worked at virtually every station in town. By 1946, she was hired full-time by WREC where she hosted a daily talk show, “Meet Kitty Kelly.” Management suggested her show be a “woman’s program” based around homemaking, beauty or storytelling for children. She refused, wanted to make a show that interested her generally and not exclusively around her gender.
At WREC, Marion wrote, produced, and directed 14 other programs. She worked on a weekly music show (which broadcast big bands) where she met Sam Phillips. Sam was a broadcast engineer and on-air personality for WREC. Sam had ambitions to open a recording studio and asked Marion to come work for him (as his assistant and studio manager). Marion, a single mom who knew little about music, wanted to help Sam fulfill his vision.
Memphis Recording Service: The Birthplace of Rock ‘N’ Roll
Sam and Marion were together when Sam discovered the empty building at 706 Union Avenue he wanted for his studio. “With many difficulties, we got the place, we raised the money, and between us we did everything,” Marion recollected in an interview. “We laid all the tile, and we painted the acoustic boards. I put in the bathroom; Sam put in the control room – what little equipment he had always had to be the best.”
The studio, which opened in 1950, was named Memphis Recording Service. Marion was working part-time at WREC alongside her duties at the studio (as well as Sam’s record label, Sun Records, when it opened in 1952). In a later interview, Marion said of the studio, “I scrubbed the floors, did the publicity, the works.” While she was sometimes referred to as secretary, she said, “it’s ok if they’ll also say I was office manager, assistant engineer, and general Jane of all trades.”
Sam’s business card carried the motto, “We record anything–anywhere–anytime.” Sam’s vision was to record and produce black musicians – a progressive attitude for the time. What’s considered by some to be the first rock and roll single, “Rocket 88,” was recorded and produced by Sam in 1951 (it hit number 1 on the Billboard R&B chart). Blues and R&B artists like B.B. King, Howlin’ Wolf, and Ike Turner recorded at the studio in the early 1950s.
On Saturday, July 18, 1953, Elvis Presley stopped by the studio to make his first demo recording. Marion was the first to meet him, and the story has become folklore with Elvis fans. Marion asked, “What kind of singer are you?” Elvis said, “I sing all kinds.” Marion asked, “Who do you sound like?” He responded, “I don’t sound like nobody.”
Elvis recorded two songs on a 10” acetate disk, “My Happiness” and “That’s When Heartaches Begin” for around $4. There’s some dispute on who did the recording (more on that later). By Marion’s account, Sam was out of the studio when Elvis arrived, so she operated the studio’s Rek-O-Kut direct to disk lathe and also ran the mono recorder. Marion, who kept notes on artists for future opportunities, wrote next to his name in the studio’s records: ‘Good Ballad Singer – Hold.’
Marion tells her side of the story recording Elvis
The next summer, Sam needed a singer for a song called “Without You,” and Marion encouraged him to try Elvis. While Elvis wasn’t right for the song, it opened the door to singing other tunes for Sam. Elvis was then introduced to a friend of Sam’s, guitarist Scotty Moore, and bassist Bill Black. On July 5, 1954, the three were in the studio recording. Elvis’s first record came from that session (“That’s All Right” and “Blue Moon of Kentucky”), and the songs were on the radio less than a week later. Elvis was 19 years old, had never played a professional gig, and hadn’t played with his bandmates until that session.
Another video of Marion talking about the studio.
All-women radio station
On top of working at the recording studio and record label, Marion helped Sam launch WHER-AM, the first all-female radio station in the country. Both talent and staff were almost entirely women. WHER launched in 1955 with Marion being the first voice heard on-air. She read the news for two years at the station. Sam’s wife, Becky, was one of the first DJs at WHER.
Air Force
Sergeant Elvis Presley With Marion Keisker
After her relationship with Sam became tumultuous, Marion left her job in 1957 and joined the US Air Force (where she was offered a direct commission as captain). After training, she was assigned to Vance Air Force Base in Oklahoma where she was the only female officer other than nurses. She was transferred to Ramstein AFB in Germany where she was Commander of the largest armed forces television facility in the world.
At the television station, American TV programs were copied and shipped overseas weekly. Staff members were responsible for the news, weather, and sports. According to the Air Force’s Historical Support Division, “German television sets could not receive the station because they could not pick up the MHz frequency. German radios, however, could tune in to American broadcasts from the American Forces Radio Network. Many Germans learned English by listening to the Armed Forces Radio Network.”
In 1960, Army private Elvis Presley was in Germany doing a press conference when he stopped to say hello to one of the few women in the room, Captain Marion Keisker MacInnes.
Elvis told her, ‘I don’t know whether to kiss you or salute!’ She responded, ‘In that order.’ She was reprimanded by an army captain for over-familiarity with a noncom. Elvis defended her and said, ..’ we wouldn’t be having a press conference if it weren’t for this lady.’ (https://www.elvis.com.au/presley/marion-keisker.shtml)
Marion went on to serve at Patrick Air Force Base in Florida (Cape Canaveral is controlled and operated by this base). She was stationed there during a lot of the space activities of the 1960s including manned and unmanned space programs.
Marion retired from the Air Force in 1969 after 14 years of service and returned to Memphis where she became a key figure in the local women’s rights movement.
Women’s rights advocate
Marion was co-founder and president of the Memphis chapter of the National Organization of Women. She fought to change the classified ads in the local newspapers so jobs would not be separated by gender. She was a member of the Women’s Media Group where she fought discrimination against women in the media.
In the 1970s and 1980s, she was known for her broadcasting and theater work in Memphis. Marion frequently wrote letters to the editor to address issues of discrimination against women. Marion died on December 29, 1989, after a long battle with cancer.
Elvis recording controversy
i.pinimg.com
Marion’s claim to be the first to record Elvis dates as far back as 1955. Her story did not waver (other than minor details) from that time until her death in 1989. Conversely, Sam didn’t comment about the recording until 1979. In 1986, Sam Phillips did an interview with Rolling Stone Magazine where he said of the recording, “Well, I would love to say Marion did it. She did an awful lot for me, man. I mean we painted floors together. I wouldn’t take anything away from Marion Keisker. And I think she made the statement inadvertently. I don’t want to make Marion look bad on the thing. I wish you’d just drop it, ’cause I don’t care who it was. But it was simply me. That’s all.”
Author Peter Guralnick, who was friends with both Sam and Marion, discusses the controversy in his 2016 book, “Sam Phillips: The Man Who Invented Rock ‘n’ Roll”:
To test Sam’s contention that Marion had never recorded anyone in that studio, I tried without success to find someone she had. I spoke to numerous people familiar with the Sun operation over the years, and all agreed from what they knew of Marion and the technical operation of the lathe, that not only could she have operated it, she probably did. But none could recall ever seeing her do so. I tried to contact her son, who she said was frequently in the studio with her, but was unable to get a response from him. I even asked Marion if she could suggest someone I might talk to if she could give me the name of someone she had recorded—which I thought could at least settle the equipment question once and for all—but although we remained in frequent contact right up until her death, she never directly addressed the question. And so I am left with my own discomfiting conclusion. . .
All I can offer by way of explanation is Marion’s view of memory as a fleeting and fungible thing. “I’ve really become very much conscious and preoccupied with the subject of memory,” she said to me one time. “How subjective it is, how protective it is. It wasn’t that we didn’t know that things were happening, it’s just that there wasn’t enough time and energy [to write it down]. So I don’t know, it’s sort of like, whatever I may have suggested, it’s quite possibly not accurate.
Marion’s legacy
While it’s probable that Marion Kreisker could add “tape op” to her job duties at Memphis Recording Service/Sun Records, there are no known witnesses to her actually doing it. But, both Sam Phillips and Elvis Presley publicly expressed their gratitude to Marion – Elvis saying more than once Marion was a pivotal person in his career and Sam acknowledging many times he couldn’t have done it without her.
Even with those accolades, Marion Keisker is often presented in the Sun Records story as merely a personal assistant or secretary to Sam Phillips. While Marion has been recognized by women’s rights organizations, Elvis historians and fan clubs all over the world, her contribution to the audio and radio community has largely gone unknown. We would like to recognize Marion Keisker as one of the pioneers of women in our community.
“I think that if women stand behind women – both women as an audience, women as listeners and viewers, and women as co-workers within the broadcast field – we’d just be supportive and give each other a little encouragement, it would make all the difference.” Marion Keisker MacInnes
The Elvis record today
In 2015, Jack White anonymously purchased the acetate disk of Elvis’s 1953 recording in an auction for $300,000. The recording was digitally transferred by Alan Stoker. A video of the process is here
Special thanks to Peter Guralnick, Jon Hornyak, J M VanEaton, Maureen Droney, Wes Dooley, and Billy “The Spa Guy” Stallings, and Air Force Historical Support Division
“It’s ok to be wherever you are in your career. There’s no “right” way to get to certain jobs.”
SoundGirls recently held an event on Career Paths in Film and TV Sound at Sony Studios in Los Angeles. The main theme of the night was how to get past the early hurdles of a career – whether it’s trying to get started in post-production or how to build a career when you’re not where you want to be yet. The panelists were Karol Urban, Onnalee Blank, Kate Finan, and April Tucker. Anne-Marie Slack moderated the discussion.
Each of the panelists had different experiences and paths how they got to their current day careers. What was interesting is there were a lot of similarities in the lessons they learned along the way and their philosophies about work and the industry.
Onnalee used persistence and creativity to land her job on Game of Thrones.
Karol talked about the power of networking to find work. When Karol came to LA, she met with people she had connected with before she moved. Volunteering with the Cinema Audio Society helped her meet professionals she might not have had access to otherwise.
Kate talked about the importance of having experience at a professional studio for someone in the field today. There’s a lot of opportunities to work on your own (and value to learning on your own), but there are other skills needed in a studio environment. When you’re self-trained, it can be harder to adapt to the technical needs of a studio, to workflows, or even know studio etiquette.
Anne (who co-owned a post-production studio for almost a decade) said it’s good to show job history for an entry level position even if it’s not audio-related. Even if you’ve worked at Starbucks, it shows you have the work ethic and experience of working with a company.
April talked about the importance of taking jobs with good learning opportunities even if it’s not exactly on the path you want to go. April’s first studio job was assistant scheduler which allowed her to work up to machine room operator, ADR & Foley engineer, sound editor, and mixer.
The audience had a lot of questions about specific career choices, but there was a common thread: What can I do to get where I want to go with my career? The panel all talked about the importance of making connections – to get to know people and ask for advice or guidance (versus asking for work). Onnalee suggested looking for companies with a reputation for supporting women. Kate said she started her business in part because she wanted to work with and help support women in the field.
One takeaway we heard from a number of women in attendance was that it’s ok to be wherever you are in your career. There’s no “right” way to get to certain jobs. An audience member asked a great question: “What do you need to do differently now to get started than when you all got in the field?” It’s no longer about working at a prestigious facility or a major studio. You can work on great content or get credit on a show or movie that turns out to be popular or win awards. It’s always in hindsight that you can see the path.
SoundGirls would like to thank our panel:
Anne-Marie Slack, Executive of Organization Services for Motion Picture Sound Editors (MPSE)
Karol Urban, CAS, MPSE – Re-Recording Mixer
Onnalee Blank, CAS – Re-Recording Mixer, Formosa Group
Kate Finan, MPSE – Supervising sound editor and co-owner, Boom Box Post
April Tucker, CAS – Re-recording Mixer
We’d also like to thank Sony, Tom McCarthy, Timothy Kuzniar, Lane Burch, Gredel Berrios, Steve Urban, Jett Galindo and Jaymes Quirino of the Bakery, Bill Dannevik for filming, and our volunteers.
Five Quick Sound Design Tips from Game Sound Design
In July I attended Develop: Brighton, the UK’s biggest conference for game developers, held in Brighton, England. One day of the conference is dedicated to audio in games, with lectures from audio directors and sound designers covering everything from how to get the best performance from voice actors, to sound effects creation and video game music tropes.
Every year I come away from the lectures with useful tidbits which I’ve found can easily apply to sound design in general. Here are five short and sweet takeaways from this year:
It’s not always about the noise
I know I often fall into the trap of feeling a soundscape has to have a ton of layers to be effective. Shannon Potter (Formosa Interactive), who worked on The Last of Us and Uncharted 4 talked about how sparse sounds can help to enhance a particular emotion, and it was a good reminder that sometimes the most effective sound design for a scene includes a lot of space and silence. In a particular cutscene that she played from The Last of Us, a low drone, the background whistling of winter wind and an intermittent sink drip were all that was needed to create an intense feeling of isolation, which supported the bleak nature of the scene.
To get the best out of voice actors, tell them how to feel, not what to say
Line reads (where you perform the line to the actor and ask them to mimic you) will never give you a truthful performance. Experienced game voice director and actor Stephane Cornicard discussed how helping an actor to understand character location (outside/inside, far away/up close) and intention in a scene (what does the character want?) will produce a far more connected performance than saying “just read it like this.”
Transitions are your friend
Effective audio transitions can help maintain immersion in any media and particularly in VR, where scene transitions between environments can be jarring for the player. Listening to Andrew Quinn’s (Rocksteady) lecture about how he and his team used audio to support the story Batman: Arkham VR, I was reminded how important a seamless transition could be even for non-visual experiences like audio drama. It’s so easy to throw a listener out of the experience with a clumsy transition, and a classic whoosh won’t always cut it.
Get creative with your sources
Philip Eriksson (EA Dice) talked about creating unique audio signatures for the signature power move (weapon attack sound) for characters in Star Wars: Battlefront 2. Baby alligator roars, slinky movements, and kittens all contributed in some way, which certainly demonstrated some out-of-the-box thinking. I was particularly interested in Eriksson’s description of how he used his own vocalisations to capture a rough idea of the pitch and sound envelope, as a starting point for many of the eventual designs.
Make your music meaningful
We know that music should be more than just a background element in any narrative audio medium, be it film/TV, audio drama, or games. Effective use of music can transform the experience for the viewer or player, just as ineffective usage can destroy it. What I hadn’t considered is how the active integration of music within games can lead to a more meaningful experience. Watching composer Oliver Derivative’s examples of how musical elements were placed within the game environment for Get Even, I could clearly see and hear how the tight integration between the music and the gameplay (door knocks and gunshots timed with music, for example) really helped to draw you into the game as a player.
I’ve seen great examples of similar cohesion of music and sound design in film and TV, and it made me consider how the same approach could be applied to audio drama. Sound designers and composers often work quite separately on an audio drama – both liaising with the director about the design and music, but only with each other at the mixing stage. Are audio dramas better served by sound designers and composers working more collaboratively from the start? I’m sure there are several that work in this way already, not to mention the sound designer/composers that perform both roles. It would be an interesting exercise to compare the different styles of working to hear the differences.
I’m a big fan of learning from other disciplines and my day at Develop always inspires me to try new things in my own sound design projects. If you get the chance, go out and listen to experts in a different field speak about their projects. If nothing else, it could make you hear things in a different way – and that’s always worthwhile.
Grabación y audio binaural
Un poco de historia…
Théâtrophone
Su creador fue Clément Ader, reconocido por ser pionero de la telefonía en Francia, y fue presentado por primera vez en 1881 en París, aunque el término Théâtrophone fue utilizado hasta 1889. Fue la primera forma de difusión cultural recurriendo a una tecnología de comunicación eléctrica, siendo un antecesor de la estereofonía.
En las obras de teatro, conciertos y sobre todo óperas se conectaban una serie de aproximadamente 80 transmisores telefónicos en el frente del escenario, pudiendo así transmitir una señal estéreo.
Primera Guerra Mundial
1914 – 1918. Durante la primera Guerra Mundial se utilizaban dos receptores a varios pies de distancia conectados por tubos de goma a las orejas de un operador para rastrear y localizar aviones.
Oscar
En 1933 AT&T presentó en la Chicago World Fair la primer cabeza binaural llamada “Oscar”, fue utlizada para experimentos realizados por Bell Labs con la ayuda de la Orquesta Sinfónica de Filadelfia.
Dummy Head
En 1972 Neumann expone en Berlín en la Exibición Internacional de Radio y TV la primera generación de Dummy Head (KU-80), diseñada para hacer pruebas acústicas. Posteriormente salieron los modelos KU-81 y KU-100, que es el que se utiliza actualmente.
Cómo funciona?
Las grabaciones binaurales nos permiten crear sensaciones de espacio y perspectiva mucho más reales ya que los seres humanos podemos entender y ubicar o localizar en un espacio tridimensional cualquier fuente sonora gracias a que nuestro cerebro detecta las diferencias de volumen y tiempo que existen entre nuestros oídos, éstas diferencias se ven influenciadas por la obstrucción de la cabeza y la nariz, la forma del pabellón auditivo y las condiciones acústicas del espacio en el que nos encontremos.
Para una grabación binaural se necesita un dummy head, éste tiene en cada oreja un micrófono onmidireccional, de esta forma al escuchar la grabación se pueden localizar los sonidos en cualquier direccion (al frente, atrás, a los lados, arriba, abajo, etc.), a diferencia de una grabación estéreo, en la que solamente podemos distinguir izquierda y derecha.
El dummy head puede colocarse en cualquier lugar dependiendo de la experiencia que se busca generar, sin embargo hay algunas recomendaciones que puedo darte:
Cuando vas a grabar un concierto de música clásica al situarlo a un metro hacia atrás y un metro hacia arriba del director, así lograrás captar mejor la interacción que tienen los instrumentos con el recinto.
En conciertos en donde se utiliza un sistema de P.A. es mejor situarlo en algún lugar del público, solamente a mayor altura para no capturar el ruido que éste produce. O puede utilizarse solamente para capturar el sonido del público.
Para grabaciones en estudio de un solo instrumento te recomiendo colocarlo con una perspectiva de público y no de músico, es decir, de frente al instrumento.
Al grabar coros con un solo cantante puedes hacer varias tomas y en cada una ir cambiando de posición al dummy o puedes pedirle al cantante que vaya cambiando de lado en cada una de las tomas, así tendrás mucho material para usar durante la mezcla. Solamente ten cuidado con el nivel de monitoreo que utiliza el músico, ya que por la sensibilidad del micrófono si se encuentra muy cerca de éste puede escucharse en la grabación.
Cuando trabajas con varios cantantes a la vez puedes jugar más con el espacio, ve alejando y acercando el dummy sin cambiarlos de lugar, esto te ayudará a dar una sensación de estar en un cuarto más grande, así mismo puedes hacer tomas individuales para darle mayor claridad.
Dummy Head En 1972 Neumann expone en Berlín en la Exibición Internacional de Radio y TV la primera generación de Dummy Head (KU-80), diseñada para hacer pruebas acústicas. Posteriormente salieron los modelos KU-81 y KU-100, que es el que se utiliza actualmente.
Cuando vas a grabar un concierto de música clásica al situarlo a un metro hacia atrás y un metro hacia arriba del director, así lograrás captar mejor la interacción que tienen los instrumentos con el recinto.
Para grabaciones en estudio de un solo instrumento te recomiendo colocarlo con una perspectiva de público y no de músico, es decir, de frente al instrumento.
Otras aplicaciones actuales del audio binaural.
Grabación y transmisión en vivo de conciertos, óperas y obras de teatro.
Evaluar y monitorear las condiciones acústicas de salas de conciertos y los resultados de un sistema de P.A.
Documentación de sonidos de animales y ambientales.
Documentación de contaminación auditiva.
Evaluación de sistemas de sonido en automóviles.
Medición y análisis de audífonos.
Ana Karen Robles – Originaria de la Ciudad de México. Mostró gran interés por la música desde los 10 años cuando comenzó a tomar clases de violín. Empezó sus estudios de audio en el 2014 y a partir del 2015 trabajó en estudios de grabación como Estudio 19 como asistente de grabación, mezcla y masterización. Actualmente se dedica al área de ventas en la empresa 3BlueHouse.
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