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Considerations for a Sound Reinforcement Design.

What is the sound reinforcement design? Reproduction of the sound in a certain audience area by artificial means, which have the purpose of amplifying the sound to obtain a homogeneous sound pressure level (the differences of + -6dB are considered acceptable) in all the points of the room to sound, in addition to ensuring the intelligibility of the message to each of the listeners.

We will outline some considerations to take into account for the sound reinforcement design

 

 

ACOUSTIC PARAMETER RECOMMENDED VALUE
Average reverberation time (500 Hz – 1 kHz), full room

Average reverberation time (500 Hz – 1 kHz), full room

 0,7 ≤ RTmid ≤ 1,2 s

0,7 ≤ RTmid ≤ 1,2 s
Clarity of the voice C50 (“speech average), full room C50 > 2 dB
Definition D (from 125 Hz to 4 kHz), occupied room D > 0,50

D > 0,50
Relationship first reflections ERR, empty or occupied room 2 ≤ ERR ≤ 6
STI / RASTI, occupied room STI/RASTI ≥ 0,65

 

ENCLOSURE DESING REVERBERATION   (s)
Cinema 0.4 s

.4 s
Classroom 0.6 s
Theater and Music  autoamplified 1.0 s
Symphonic 2.2 s
Churches 3.0 s

 

 

 

 

 

 

3) Request for drawings of the design to be designed. At this point it is recommended to have measurements of the place by means of a scouting to the enclosure; Plans must be requested in AutoCAD, both in 3D, 2D, plant, and court views, in order to carry out a thorough analysis. Likewise, we must remember that this design will be carried out in practice, so we must not forget to ask ourselves different questions that allow us to determine the adequate scope of the project: what is expected from this sound reinforcement design by the applicant? Is there any possible visual obstruction? Is there a limitation regarding the weight of the equipment? Is it an open or closed space? At a subjective level, what is being sought or what is expected? What kind of system is requested: the linear arrangement or conventional system? All this aimed at determining the adequate scope of the project.

4) Coverage analysis. Different design techniques will be applied and tested, supported by a prediction software, such as MAPPXT, which is used to measure and quantify parameters. At this point we must be able to solve problems of interaction between speakers, selection of adequate sound pressure level, analysis of frequency response and phase at different points of the enclosure, vertical, horizontal coverage, location of speakers, angle of inclination and weight of loudspeakers, distribution of signals for an adequate adjustment of the system looking for a homogenous coverage in all listeners alike. Likewise, we must apply reference parameters or existing standards according to the type of application; for example: in cinemas with ATMOS playback format there are regulations by Dolby that offer specifications to be met regarding sound pressure level, on-screen speakers, speaker position, sound pressure levels in the low-frequency area, among others. In sports venues, there are regulations that FIFA offers as a guide to design. Likewise, the analysis of what kind of systems will be needed based on the speaker coverage needs must be carried out: main system, front system, balcony system, delay system, lateral system, low-frequency system, system multi-channel 5.1, 7.1, to mention a few. At the end of this analysis, a design memory is generated.

 

5) Assembly supervision. Once the previous stage is finished, the most important thing that should be considered and we must not forget is that this design will be carried out in practice, so we must ensure that the design is carried out as it was proposed. At that time we must have the right tools to monitor such assemblies, such as inclinometer, laser, tape measures and mounting memory.

Gabriella Galán Mendicuti studied audio studies as a telecommunications engineer with a specialization in audio and video at the Polytechnic University of Madrid. She has been involved in professional audio for last 12 years with a special emphasis on sound reinforcement design. She currently works at Meyer Sound Mexico as a Design Services Specialist Tech Support for Mexico and Latin America. She has participated in various sound reinforcement designs of the most important venues in various countries, such as theaters, churches, live shows, special events, and venues.

 

Missed this Week’s Top Stories? Read our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

May Feature Profile

Daniela Seggewiss – Time Flies When You Are Doing What You Love

The Blogs

What’s Your Plan B?

Mix With the Masters Experience

The Sound of Cinematic Femininity

SoundGirls News

https://soundgirls.org/scholarships-18/

Line Check! Experience Sound Check a Grammy Nominated R&B/Pop Artist

Accepting Applications for Ladybug Music Festival

Representation on Panels – Music Expo – Boston

Philadelphia SoundGirls Chapter May Meeting – May 19th

SoundGirls Productions Meet & Greet

https://soundgirls.org/event/orlando-soundgirls-chapter-social-2/?instance_id=1273

Amsterdam SoundGirls Tour & Social

SoundGirls London Chapter Social – June 17

https://soundgirls.org/event/glasgow-soundgirls-meet-greet/?instance_id=1272

NYC – Location Sound Mixing Opportuntity

Shadowing Opportunities – Berlin

Shadowing Opportunities

Telefunken Tour & Workshop

Round Up From the Internet

https://www.themarysue.com/support-ladies-get-paid/

 

 

 

SoundGirls Resources

Directory of Women in Professional Audio and Production

This directory provides a listing of women in disciplines industry-wide for networking and hiring. It’s free – add your name, upload your resume, and share with your colleagues across the industry.

Women-Owned Businesses

Member Benefits

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

SoundGirls Scholarships

APPLICATIONS For 2021

We are awarding four $250 scholarships to be used for audio education and continuing education. Applications will open on June 1, 2021

WHO IS ELIGIBLE?

Any member of SoundGirls that is attending or plans to attend educational programs in Professional Audio. There is no age requirement and includes college programs, trade schools, seminars, and workshops. Applications are open to all genders and non-conforming genders.

HOW TO APPLY

Write a 400-600 word essay on the topic:  Why you love working or want to work in professional audio. Applications will open on June 1, 2021 – Apply Here

DEADLINE FOR SUBMISSION

The essay submission deadline is 12:00 midnight EDT July 30, 2021. The scholarships will be awarded in August 2021, and paid to scholarship winners. Scholarship winners will be required to send proof of enrollment in the educational program to SoundGirls or scholarship money must be returned.

SELECTION PROCESS & NOTIFICATION

The SoundGirls Board will review essays and will notify the winners via email.

ADDITIONAL DETAILS

The scholarship funds awarded can be used for educational programs related to professional audio. Scholarships are non-renewable. You will need to submit proof of enrollment in a program.

QUESTIONS?

Any questions on the scholarship essay can be directed to soundgirls@soundgirls.org.

 

 

 

 

Line Check! Experience Sound Check a Grammy Nominated R&B/Pop Artist

SoundGirls are invited to Experience Sound Check with a Grammy Nominated R&B/Pop Artist

Who: Young women between the ages of 18-26 who are actively pursuing a career in Live Sound Audio and/or concert production.

The experience will focus on Live Sound Mixing, Production Management, Professionalism Practices, and Life as a Tour crew member.

Please Apply here and then send a resume to linecheck@earshotagency.com.

Selected Candidates will be scheduled for a Skype Interview.

Deadline is to Apply is June 1st.

Cities available

Mix With the Masters Experience

I would like to begin with a huge thank you to SoundGirls for making this opportunity possible. I was selected in a raffle to win a spot with Mix with the Masters with Sylvia Massy. The whole experience was completely magical and eye-opening!

Mix with the Masters is a week-long seminar held in Southern France at La Fabrique Studios. Each week-long session is given by a number of legend status producers. The studio houses a Neve 88-R Console with tons of outboard gear, pres, and boutique microphones. There were 14 attendees from all over the world. It was such a mix of creative minds and brilliant ears and personalities that made the seminar even more special. I would like to take a brief moment to address the fact that there was a pretty significant turn out of women for the workshop. I was not expecting 6 of 14 attendees to be women. Gender was never an issue in this seminar. I personally believe it was amazing to see the inclusive nature between everyone and the fact that everyone was so supportive of each other. It honestly made me feel grateful and fortunate to be working in audio in such a time where women are now more prevalent in a “male-dominated industry”.

Some of the highlights of the seminar

We started out the seminar with experimental drum micing. Sylvia brought out her bag of tricks and quirky ideas to the table right away. We put microphones inside of hoses and submerged microphones underwater to capture a “filtered” room sound for the drums. Everyone was encouraged to get hands-on experience which allowed us to be a part of the creative process.

During the week we worked with Adrien T. Bell and his band from Prague. We watched the whole process from the concept of a song into the final product. During the tracking of guitar, the signals were passed through various objects like cheese and lightbulbs. The output of these objects was captured and created very unique sounds. The cheese made the guitar sound like a fuzz effect, and the lightbulb sounded like a distortion pedal. I also really enjoyed the dialog in the studio between Sylvia and the artists. It was an art in itself to see the interaction between artist and engineer/producer. Words of affirmation brought comfort to the artist, and Sylvia always made sure everyone was completely comfortable. The environment was definitely designed to be stress-free and a safe place for the artists to unleash their best performances.

At the end of the seminar, Sylvia took time for a critique of peer mixes. Every participant brought a Pro Tools session or a finished mix and had the opportunity of getting a mix from Sylvia herself. Sylvia offered expert advice and insight to everyone and at the same time provided encouragement to each one of us.

Mix with the Masters is such a unique educational experience. I never felt like I was in a classroom as a spectator but was very much allowed to be a part of this learning experience. The leisure time allowed us to share experiences and get know each other. I learned from every participant in attendance. Countless conversations were exchanged regarding philosophy, approach, and style. I really enjoyed the camaraderie among everybody. No one was secretive including Sylvia of their own personal mix or tracking tips but more than willing to share insights and discoveries.

It was truly an intimate environment for learning from the best in the business in a retreat-style setting with lots of time to mix and mingle with the rest of the engineers. Also, I cannot stress enough how fantastic the staff was at making us feel right at home and spoiling us with the finest meals I’ve ever had in my life. Just like one of my colleagues said, “It was like being in a dream”. It was magical, and the air in France was glorious coming from the LA smog city. I am looking forward to having another experience like this in the near future. I brought back a new air of confidence

Melissa Samaniego is a freelance audio engineer and works in film sound post-production, tracking, overdubbing, mix engineer. She also works a theater technician at Fullerton College and is a songwriter and upright bass player.

What’s Your Plan B?

So you’ve wanted to be a sound engineer since you were a little kid. You studied hard in school, slaved away as an enthusiastic, overworked and underpaid intern, and no matter what the setbacks, you remained determined to succeed. In such a competitive industry, you’d think you’d need to be focused on nothing but sound, but what happens when your dream gets derailed? It’s easy to believe that pure grit is enough to get to the top and stay there, but there are so many factors that can throw your best-laid plans out the window. The earlier you put contingencies in place, the softer the blow will be if something does go wrong. Believe me; I’ve been there.

Firstly, I can’t stress enough how important insurance is. It seems so expensive when you’re starting out, and you’re barely earning enough to pay the bills, but do not treat it as optional. The world of live sound is a high-pressure, fast-paced, physical environment and accidents happen. Your number one priority should be public liability insurance. This won’t keep you out of jail if you are criminally negligent, but it helps if you get sued. Even if you didn’t do anything wrong, could you afford to prove it in court? Plus, any company worth its salt won’t hire a freelancer without it. Most unions and professional bodies can offer PLI for their members at a discounted rate, just make sure whatever policy you get covers you for all eventualities. If you are employed, check that your boss has you covered, don’t just presume.

Next is injury and illness insurance. Unfortunately, it is extremely difficult to carry on working if you aren’t in full health. Even if you live in a country with good social security, there can be a long, frustrating application process that can leave you without any income for months, especially if you’re a freelancer. It can also be tough to show that you are unwell enough to qualify. For example, if you break your leg, you can’t load in gear or tip a desk, but as long as your hearing is intact, the person in the social security office may not see why you can’t work. Get a good injury and illness insurance policy from a provider that understands the nature of your job. It’s tempting to skip the illness part when you’re young, thinking it’s so unlikely to affect you, but you should seriously consider it.

I was 28 when I got ill. I went from being absolutely fine to having to leave work halfway through a load-in within a week. It turned out that I had gastroesophageal reflux disease, which is the term for severe, chronic heartburn. It doesn’t sound serious, but I got unbearable stabbing pains in my stomach any time I tried to lift anything. If left untreated it can lead to oesophageal cancer. It took 18 months to get the message through to my doctor that taking an antacid here and there and avoiding lifting wasn’t an option for me, get referred to a specialist, get officially diagnosed, have surgery and recover. If I had known that it would take so long, I would have taken a break from sound and done something else, but it felt like everything might get fixed at the next appointment. Of course, I didn’t have illness cover. I was 28! I stubbornly kept working as much as I could, but every gig hurt, and it made my condition worse. It also meant I wouldn’t have qualified for unemployment benefits if I had applied.

You can do everything in your power to pursue your goals, and you can treat your body as a temple, but there are some things you can’t predict or control. Even if you’re lucky enough to stay healthy, you might have to take time out to look after a loved one. You might need to move somewhere with fewer jobs available, or the work might simply dry up. Our industry is frustratingly fickle, and I’ve seen talented, hardworking engineers lose long-term clients just because their new management wants to use their own team, or someone offers their services cheaper. It’s a smart move to make as many friends as possible and have a diverse client base, so you aren’t relying on one band or company too heavily, and you have an excellent network to call on when times are hard. Still, there will almost definitely be a point when you’ll need to make a living doing something else, even if it is temporary. Live sound, especially touring, is unlike any other job and can leave you institutionalised and stuck. What transferable skills do you have? What else are you passionate about? You need to sit down and seriously assess how you could make a living outside of sound. That Etsy shop you’ve meant to open to sell nose warmers for elephants isn’t going to cut it.

I know I’ve been pretty pessimistic here, but there are ways to stave off disaster if the unthinkable does happen. If you realise your skills are lacking, start working on them now. We’re lucky enough to live in a time where we can study online from anywhere in the world, whenever it suits us. Learn a language, learn how to code, figure out how those social media celebrities make a living. Find something you enjoy, treat it as a hobby, and if the worst happens, you know you have something to fall back on. It could even earn you some good money on the side in the meantime, and you can feel smug in the knowledge you’ll continue to do great things, no matter what life throws at you.

 

Missed this Week’s Top Stories? Read our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

May Feature Profile

Daniela Seggewiss – Time Flies When You Are Doing What You Love

The Blogs

How to Communicate About Audio With Non-Audio People

Take Care of Good People

SoundGirls News

Accepting Applications for Ladybug Music Festival

Representation on Panels – Music Expo – Boston

Philadelphia SoundGirls Chapter May Meeting – May 19th

SoundGirls Productions Meet & Greet

Amsterdam SoundGirls Tour & Social

SoundGirls London Chapter Social – June 17

NYC – Location Sound Mixing Opportuntity

Shadowing Opportunities – Berlin

Shadowing Opportunities

Round Up From the Internet

 

Sisters on Sound Podcast – Episode 5 Rachel Ryan

 

Los Angeles – May 6th

SoundGirls will be at this awesome event. Join Women in Music Los Angeles and Beats By Girlz on Sunday, May 6th from 2-5PM for an afternoon of networking and presentations from key women working in music and technology.

 

 

http://www.thewimn.com/rocks-talks-action-items-facing-adversity-diversity/

Sennheiser at ASCAP EXPO 2018

 

https://www.prosoundweb.com/channels/live-sound/organization-communication-anticipation-working-the-monitor-scene-at-a-large-festival/

 

 

SoundGirls Resources

Directory of Women in Professional Audio and Production

This directory provides a listing of women in disciplines industry-wide for networking and hiring. It’s free – add your name, upload your resume, and share with your colleagues across the industry.

Women-Owned Businesses

Member Benefits

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

Take Care of Good People

SoundGirls is a community by women for women, to enable greater gender balance in male-dominated audio and related fields. Groups like SoundGirls exist to provide women with space they need to develop and share the skills and experience necessary to work as professionals in music and audio.

It goes without saying that these spaces exist as women-only because their real-life counterparts are essentially male-only, though not officially or by definition. There is no rule of a soundboard that says you have to be male, and yet the majority of students, interns, teachers, mentors, and other people working soundboards are men. So men are provided with the experience of learning something new in an environment that feels somewhat familiar, and women interested in the same thing are not able to learn in an environment that feels familiar, except through programs like those that SoundGirls offer.

So, here we are with programming that is expanding, and a growing professional database of women in audio and music. How do we translate this to the real world, to actually being at work? There are many women-only collectives, labels, and studios & businesses propping up, which is very exciting. But not all people want to be surrounded by only their gender. Also, isn’t the goal equity?

One day I hope to work in a studio with as many women as men. I hope to produce male artists; I hope to produce women artists aside from myself. I hope to hand over skills that others want to learn, regardless of who they are as a gender.

When you love a woman, you take her seriously. You aren’t surprised at her skill level, and you encourage her to keep challenging herself. You let her learn from her mistakes. You let her go, switch jobs, leave for tour, meet new people. Just like we do men.

Good People – Naz Massaro

Working with all genders means that everyone understands they have strengths and weaknesses. One person may be good at something that someone else is terrible at, and that person may know much more about something than the first person. A young brain would feel threatened by this disparity, and try to compensate with egotistical actions. But truly, there is nothing to feel threatened by—your differences make you a stronger team. Embrace them. Challenge yourself to learn from the people around you! Challenge yourself to learn more about yourself by recognizing your strengths and weaknesses! Enjoy the beauty that is collaboration. Teach people around you to work from a place of love, so they too can spread that light.

Note: SoundGirls is inclusive and open to anyone who has a desire and drive to succeed in professional audio. The ratio of women to men members is approximately 65% women and 35% men.

How to Communicate About Audio With Non-Audio People

The language we use to do to do our jobs spans across a lot of areas (audio, acoustics, electronics, technology, psychoacoustics, music, film, and more). Our clients, on the other hand, may not have much language to convey what they want. The mix notes I get may be as broad as, “I don’t like that” or “something doesn’t feel right.” My job is to fix it and deliver a product they are happy with but how do you do that without language?

Everyone has preferences for sound even if they don’t have the language to convey it. It takes time to uncover these preferences, and that’s part of our job. It’s like a painting where you can see the outline of what to paint but don’t know what color palette to use. Some people like bright colors and others prefer pastels. Some people know their favorite colors right away, and others want to see you paint a bit then have you change it (and maybe change it again). It takes some trial and error to discover their “color palette,” but once you know it, you can make choices that will likely be in their taste (or at least close enough to have a discussion about it).

In music, this is knowing that the drummer will want less vocals in the monitor before they ask. It’s knowing that the lead singer wants a slap delay on her voice on the album. In post, it’s knowing that a producer wants to hear every footstep or doesn’t like a particular cymbal the composer used in the score. Having this knowledge of someone’s taste builds trust because it lets them know that you understand what they want. It’s what gets you re-hired and over time establishes you as “the” engineer or mixer for that person (or group).

Finding these preferences takes investigation. Our job, in that sense, is like a doctor and a patient. For a doctor, there’s a lot of questions about symptoms, recent health, etc. because the patient doesn’t have the same expertise. The approach is the same here with a mix note: “Are the guitars loud enough for you? Is it something about the dialog bothering you? When you say it doesn’t feel right, is it a balance issue or a timing issue?”

Sometimes the message can get conveyed without using proper language. For example, non-audio people may use the word “echo” to mean reverb. One common note is something is “too loud” or “too soft.” But, the problem might be something else (is it perceived as too loud because it’s bright? Is it too exposed vs. too loud?). With notes, you have to ask yourself: does this need to be taken literally or is it an observation that might be pointing to another issue?

For example, a producer I work with likes to give me a sound design note: “Play around with it.” Does that mean he likes what’s already there but wants more? Or, does he want something totally different? I’ve learned that’s his way of saying “I don’t know what I want or like yet.” I sometimes do more than one version including one out of his normal taste (a different “color palette,” so to speak). I find that helps him define what he likes (or doesn’t) by hearing two contrasting ideas.

You can adapt to a client’s strengths, too. A filmmaker I work with doesn’t know audio well, but he’s very good at conveying moods. We talk about the moods of the film and specific scenes, and I interpret that into audio. He might give a note like, “I want to feel the car wreck.” I know what that means (in audio terms) is he wants a lot of detail in the sound design, and the car crash should be at the forefront of the mix.

Talking about moods is a useful technique with musicians, too. Should it be intimate, polished, rough around the edges, massive, etc.? Do they like clean studio recordings or does it make them uncomfortable? Should it feel like a private living room performance, a rowdy bar or a stadium? You obviously won’t be adding bar patrons to a music mix but knowing that will influence the approach to the mix from vocal treatments to EQs, balances, reverbs, and effects.

Where this gets tricky is when people use words that aren’t audio words at all. Sometimes we can translate or offer other words. “When you say it sounds too ‘shiny’ do you mean it sounds bright or shrill? Or too clean and you want it more gritty?” If someone is struggling to convey what they want, they might be able to think of an example from somewhere else (an album, movie, or Youtube video). It might be totally unrelated, but it can help figure out what they’re asking for.

The most effective way to be a good communicator with clients is to have a diverse audio language yourself. It’s a great skill to talk about audio using words not related to audio. You can make an exercise of this by asking, “what words could I use to explain what I hear?” Walking on leaves could be crispy, crunchy, and noisy but it also could be like Pop Rocks, crinkling paper, or eating cereal. So, the next time a client asks you about the “gaggle of Girl Scouts”** in the mix, you’ll have a better idea what they’re talking about.

(**This was a real note I got from a client. The sound was actually a pan flute.)

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