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Intern with Sennheiser at NAMM 2017

Sennheiser & Neumann are seeking two members of SoundGirls.Org to intern with the company during the 2017 NAMM show. Interns will need to be available from January 17-January 22 (there is some flexibility).

Duties will include:

Booth setup and tear down,

Equipment setup and demo for customers

Meeting and greeting customers when they are in the booth

Gathering badge information

And anything else that may happen during a busy trade show.  

Payment will be a pair of Sennheiser headphones and microphone:HD280Pro and e835. You will also receive a letter of recommendation upon successful close of show.  

It’s a great networking opportunity and we look forward to having SoundGirls join us!

Deadline to apply is Nov. 22

Please send a cover letter of why you would like to intern and a resume to soundgirls@soundgirls.org

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Bad to the Bone

When a system needs a complete overhaul, sometimes you just have to start fresh. Sometimes, you start a position or get contracted for a job and when you start digging into their audio systems, you find out just how badly they need you. I’ll share my experience with this and how I’m handling all of it.

I started a job at a small-ish church recently. They had never had anyone with real work experience or technical background running any of their equipment. The “tech” at the time was wanting to step down, and a colleague of mine asked me to take it on. When I first stepped into the booth, I darn-near fainted. It was a real horror story. Every piece of equipment running off a single circuit, daisy-chaining power strips and tri-taps off of other strips and tri-taps, wireless receivers thrown into cabinets, cables wrapped in figure-eights then tossed into a basket, stacks and stacks of CDs, wires twisted and tangled and mislabeled, weird routing, and a single Sub gently placed on a piece of plywood 20ft in the air in the back of the sanctuary with a + and – wire run in lieu of speakon (or even ¼” for goodness sake), oh and everything was covered in a pound of dust and cobwebs.

TL;DR: The tech booth was a switch-flip away from burning down the church and I’m not sure how they ever got any quality sound out of their system, if they ever did.

Clean Up

I actually really enjoy this part. As horrifying as walking into this particular tech booth was, part of me is so thrilled to dive in and start fixing it all. I feel like a kid in a candy store. So much to do! So much to touch! Every time I lift up one set of cables, 3 more unlabeled bundles surprise me! Oh! A wireless pack without a receiver! What fun!

After having toyed with the system for a few hours and learning the way that they’ve got it set up, I make a list of everything that needs to be done. Keep track of what you’ve done and what you haven’t. Take pictures of things as they were before you touched anything, that way if you need to troubleshoot because all of a sudden your new setup isn’t working, you can reference the photos to see where it might be wrong.

Grab a vacuum, some rubbing alcohol, some paper towels, a label-maker, a trash can,some zip ties, and a multi-tool.

Strategically begin taking all of the cabling out. Things that can be completely unplugged should be labeled (what they’re used for, not what the cable is), wrapped, and put off to the side for now. Don’t just haphazardly rip things out.

Wipe off flat surfaces, clean out cooling fans, wipe any goo you find off.

Sort all equipment into different sections. I did wireless units, misc. audio cables, video cabling, random stuff, and throw-away junk.

Reorganize

Draw out exactly what you want the final look to be. You need to have your goals set and clear. I knew I wanted to relocate the soundboard, move the graphics computer to the other side of the booth, re-patch the entire system, ring out the mains, equalize the room as best as possible, and come up with a whole new storage system. After cleaning off everything and getting everything organized into sections and piles, I began moving things. I moved the board, put the computer onto a different counter, placed the monitor wedges and mic stands in a temporary spot until I can get some cabinets built.

Then I plugged back in the things I knew didn’t need to be tested in order to actually function: computer, lighting board, power supplies galore.

Following that, I grabbed all of my wireless microphones and receivers and checked that all the RF was unhindered and the mics frequency matched the receiver, and was receiving signal.

I rerouted all of the power to everything so equipment I wanted to be power-independent could get power straight from the wall, and things I wanted to be power-dependent could be plugged into a power conditioner.

I also began making wraps of excess cable in the back of the equipment to keep things clean and easy to fix. I used some zip ties and coiled things up so there isn’t any rat nests.

Then I got out my label-maker and labeled all wireless packs, receivers, 1/8” adapters, and power conditioners. I went label crazy, I admit it. But I needed to make sure that volunteers and others can walk in and get a sense of what everything is.

Finally, all of the cables that were horrendously wrapped were treated to some massaging and reworking. I have to somewhat force them into over-under and then let them hang on a hook so that they can learn to lay flat once again. The cables are organized by size and hung for quick grabbing, the wedges are placed out of the way with easy access, mic stands get organized and put away, the mics are gently placed in an orderly fashion inside a drawer of their own.

Finishing Touches

Everything begins to come together: your trash piles are huge, the cables have found new homes, screens have been dusted off, you realize just how much junk a place can really collect. Now you may not need to do this next part, I most certainly did and still need to. I found and tested every installed line in the walls. It was a huge pain, but absolutely necessary.

I found dead lines, and lines to nowhere. I used an XLR SoundTools sniffer for some of the lines, and I had a colleague grab an SM58, plugged it into the snake and I grabbed the tail end near the board and checked every single line. None of the numbers matched on the ends of the snakes, let alone into the D-snake. It took a good chunk of time, and I still need to find where those lines to nowhere lead. I re-labeled the board and made everything nice and tidy and clean.

Final Thoughts

I still have things I need to do. I need to fix the choir mics they’ve got set up, I need to make an NL4 to ¼” so that I can physically relocate the sub with a more reliable signal path, I need to build some cabinets and shelving units, I need to ring out the lavs, and about a hundred other things. The list is never really done, and that’s fine! When you come into a new system and you’ve got the resources, sometimes just starting fresh is the best way. You can only fix so many issues with a system before the system needs to be replaced. 

Try to get some enjoyment out of this because sometimes all we focus on is the fun of actually mixing a show. As many of you know, 90% of the job is this kind of stuff: getting things ready and keeping things maintained. I get a lot of pleasure out of using a system just after cleaning the entire thing. I had a hand in making it better. I made the experience for everyone else better. It’s an art form just like mixing is. Take pride in it.

Audio on the 50 Yard Line

The Super Bowl is no doubt one of the biggest watched events across the nation. I’m not a fan of the sport but you betcha I’m there watching at someone’s Super Bowl party for three reasons. The food, spending time with friends and family and the halftime show. No matter who is playing and performing that night, I’ll be there to watch. As a child, I thought it would be the coolest thing ever to be a part of a major production like the Super Bowl. Doing audio, doing some cool stage designing, or calling the shots that go live to all the viewers out there watching.

Now I am working within a venue that gives me the opportunity to be a part of large productions (not as big as the Super Bowl) but each day is something new. One aspect of my job that was very new when I began working within this venue was heading audio in a stadium setting. High school football is a big deal to everyone here in Texas and at one of the biggest stadiums in the state, we like to do things big. College and professional leagues aren’t the only ones putting together big games and housing big crowds.

At Cy-Fair FCU stadium we can house 11,000 people at a time. All the district games and homecomings are showcased here along with the battle of the marching bands and activities like such. Being in the profession of audio can lead you many different ways. I want to share my experience heading audio on the field. There are a lot of challenges that are faced.

One being distance away from the source. We typically run everything audio-related from the 50th-yard line which is center field. In my case that leaves me even further away from the source which causes a very long delay. Our speakers are housed about 80 feet in the air, and about 240 feet away from the 50-yard line. So not only are you experiencing a long delay but depending on where a spectator is setting they can be experiencing an even longer delay.  

When mixing a choir down on the field for a national anthem or a production for homecoming, my best friends are my cans (headphones). This way I get a solid mix out to my house, I then set a proper mix for my choir monitor that lives right in front of them during the performance. This helps keep the focus off the delay that is accruing. Another thing that makes it extremely challenging is wind. If it’s a windy day I have sound flying every which way. Not only is sound being bounced around. I have wind hitting my microphones pretty hard which causes dropouts from time to time. On days like these, I use a gate to try and control when my mic’s open and close to catch the performance only with minimum dropouts and the loud howl of high winds.

Another major part of audio during the games is the Referee microphone. The red is equipped with a headset- countryman-styled mic with a bodypack each game. Connected to his headpiece and the bodypack is an in-line mute switch that allows the Ref to open and close his mic as needed, this takes some of the stress of your back by not having to mute the mic during actual playtime. You still have to pay attention and listen because sometimes a Ref will forget to cut their mic after a call and it’s on you to cut any unwanted chatter into the stadium.

Lastly, running audio from the press box is the most difficult for me. One, I can turn my monitoring system up in the booth, but I don’t know what it sounds like in the stands. Sometimes I have to rely on my camera ops to communicate with me and let me know if we need more or less volume in the house. The other option I have is to use an app to control my audio surface, which is most efficient when time allows.

I know Soundgirls are working in all areas involving audio. But if any of you specifically want to get into sporting events, or have experience within the sporting side of things. I would love to hear how you specifically deal with challenges. I’ve headed audio for the final four basketball events, slam dunk contest, and nothing has challenged me more than audio out on the field. Your challenges might be different than mine, maybe you’ve done gigs outside that weren’t sporting events. I would still love to hear how you deal with different weather conditions. The thing that drew me to this platform is the same thing that keeps me here. Being able to share experiences, learn and grow together. I can’t wait to hear from you all.

 

Soundgirls Europe Chapter Tour of The Church Studios

Back in August this year, members of our Europe Chapter were offered a unique opportunity to get an inside look at one of London’s most iconic recording studios, The Church Studios.

As the name suggests, the studios are located in half of a historic 19th-century church building in Crouch End, north London. The other half of the building is still a place of worship, as it has been for over one hundred years.

In the early 1980s, half of the building was purchased and converted into a film studio by animators Bob Bura and John Hardwick, best known as the creators of classic British children’s programmes Camberwick Green and Captain Pugwash. After a couple of years, the duo rented the huge upstairs room, which formed half of the original main church space, to another soon-to-be-famous duo: Dave Stewart and Annie Lennox of Eurythmics.kirsty-gillmore-oct2016-pic1 Eurythmics recorded their debut album Sweet Dreams in the studios in 1984, with the title track apparently recorded in an office room. Following the success of the album, Stewart and Lennox bought the entire studio facility and spent the next twenty years recording material, as well as opening the studio for artists such as Bob Dylan, Radiohead, and Depeche Mode.

In 2004 the studio was sold to David Gray, who owned it until 2013 when it was bought by Paul Epworth. The award-winning producer of Adele and Florence and the Machine, among many others, rescued the studio from the threat of becoming luxury flats.

2013 saw the start of a major refurbishment for the studios, a move that would take it from an iconic studio to a world-class recording and production facility. As well as transforming the beautiful main church space into a unique tracking studio (Studio 1), the refurbishment included a total redesign of the SSL studio (Studio 2) into a state-of-the-art space and the creation of a separate writing room.

kirsty-gillmore-oct2016-pic2Walking into Studio 1, I was first struck by the space. Even knowing the building was a former church, the sheer size, and height of the room was still a surprise. The acoustic treatment is effective but not intrusive:  an acoustic ceiling suspended about the Neve desk and a few curtains, carpets, and baffles. House engineer Riley MacIntyre was kind enough to let us experiment with a binaural microphone so we could explore recording in the space.

The second thing I noticed was the gear. So much amazing, vintage gear. From analogue synths to outboards, it’s pretty clear that Paul Epworth is something of a collector. For a dose of serious gear-envy, there’s a full list of the gear available here. I was struck by a few notable examples.kirsty-gillmore-oct2016-pic4

The 72-channel vintage EMI Neve console is pretty unique. The only one in London, it is, in fact, two desks put together – one-half originated from Abbey Road and the other half from the Pathe Marconi studio in Paris. And it’s huge – you need a studio the size of The Church just to house, plus an extensive patch-bay.

Riley told me his personal favourite piece of kit was the1960s EMI RS168 dual limiter. I’ll have to take his word that it makes everything sound amazing, this processor is so rare I think the closest I’ll get to another one will be a virtual model.kirsty-gillmore-oct2016-pic5

We ended the tour with a quick look in the machine room to admire the Studer A80 and Otari MTR 12 1/4” tape machines and the EMT 140 Plate Reverb and to take in the unique décor (baroque-styled wallpaper and iron curlicues) leftover from Dave Stewart’s tenancy.

The infamous tartan carpet is long gone, but The Church continues to welcome famous faces – U2, Kanye, and Thurston Moore were all mentioned as being recent clients during our tour. Long live the regeneration.

With thanks to Riley MacIntyre and The Church Studios for being so welcoming.

 

 

Trevor Waite – On Monitor Teching and Mixing Monitors for The Who

20160919_211500Trevor Waite has been part of the monitor team for The Who since 2007. He has worked along side The Who’s two monitor engineers Simon Higgs and Bob Pridden. Trevor has recently taken over for Bob Pridden, who has recently retired from the road and has mixed monitors for The Who and Pete Townshend for 50 years.  Trevor has some big shoes to fill but with his experience working with The Who and his positive attitude he will step up to the occasion. Trevor was kind enough to share his experiences, advice and tips on teching with us.

What is your background and how did you get your start?

My career started out as a part time job in college.  Prior to college, I was an electronics technician in the US Navy, serving aboard USS John F Kennedy (CV-67).  After my 4 years (during Desert Storm), I left the Navy to pursue a degree in Electrical Engineering at Rochester Institute of Technology, which proved to difficult for my simple mind, and ended up dropping to Electrical Engineering Technology (essentially, an over-trained technician).  

The college had a small production company on campus that took care of stage, lights and sound for the smaller gigs, and provided labour for the larger acts that came through. Tech Crew, as it was called, was set up such that the boss taught the first batch of student employees, and they continued.  It was brilliant.  In order to advance, one had to get signed off on even the most basic of skills…cable coiling.  Probably the best way to learn. As I got better, I managed to start teching at a local club.  This helped hone my troubleshooting skills, as some of the gear needed attention.  

After college, I managed to get a couple of jobs in my field of study, but quickly got bored with it.  My final day of working a 9 to 5 happened after getting to run monitors for Ted Nugent at that same club.  I quit working in my field, and followed my passion.  I continued with a regional company, but still wanted more.  I sent out resumes to multiple sound companies, and only got one response.  But that response launched an amazing career.  Eighth Day Sound gave me a chance, sent me out on Prince with two really good engineers and another great technician, all of whom taught me the ropes of touring.  14 years later, here I am, loving every minute of my career and meeting some incredible people and the bands they work for.

Questions from SG Members:

When people ask what I do, I never know what to say because there are so many terms that can describe what abilities and knowledge I have. I didn’t even realize there were system techs. for Monitors and FOH until I read a blog on SoundGirls.org. I know that everything I have learned about sound and signal processing/electronics etc. would easily make me by definition a “system tech” already, but does that mean I should consider myself a sound engineer and technician?

There is a major difference between a sound technician and an engineer.  I consider myself a very good technician, but an average engineer.  I am fine with that, because a good engineer has a very unique gift…that of above average hearing. While I can hear well enough to EQ a monitor to get very loud without feeding back, a true engineer will make it sing. Sometimes a great engineer has no idea how the electronics work to create an amazing mix, and that is where a great technician is needed.  I am proud to have teched for some brilliant engineers, and have no regrets being “just” a tech.

What type of equipment do you use for room measurement? Mics, computer programs, audio interfaces, things of that nature.  

When I am teching FOH, room measurements are essential to put the PA in correctly. Half the battle is getting the PA hung right.  To do this, a Leica Disto capable of both distance and angle is essential for indoor venues, while an Opti-Logic range finder does very well in outdoor or amphitheater venues.  Once the measurements are taken, the manufacturer of the particular PA will have a program to design the building and PA to cover it.  

Once the PA is hung, I use Smaart, with a Focusrite Scarlett, to time align and get a general EQ going while running pink noise.  Once the curve is relatively flat (don’t over EQ using pink noise), listen to it with your favourite song.  It may irritate the lighting guys after the 20th show, but there is a point…consistency.  We need to hand our engineer a PA that sounds as close to yesterday as possible.  The engineer needs consistency, and that is the tech’s primary goal.  

What have you worked with in the past and how does it compare to what you use now and how you are able to do your job now? 

I got into the industry when there were no computer programs to design PAs.  We would stack and adjust chains on a trial by fire basis until the PA looked like it should cover the room.  Experience helped make fewer trips up and down as the PA was adjusted.  These days, you can accurately design a PA without stepping foot in the venue.  CAD drawings are available for most venues, and the prediction software for most major PAs can either directly import these drawings, or can easily be deciphered.  Then the PA can be simulated until the system tech is happy with the virtual coverage.

Then there’s the consoles.  The industry has come a long way in the time I’ve been in it.  If we knew we were going to work with a band again, we would have to manually chart every knob and fader position, which was painstakingly slow.  Now with digital consoles, simply throw your USB key in from the last show, and off you go.

What sort of ear training should be done to help in tuning monitors? 

The only way to learn your frequencies is to make a system feed back and listen.  I learned by rote.  After hearing a frequency enough times, you will know it the next time you hear it feeding back.  Once the feedback is done, learn the sound of your voice.  This may sound strange, but try this.  Record your voice, then play it back.  It is different than you perceive it to be.  Therefore, know what you should sound like, then make the monitor sound like you.  There you have it…safe then sound.

Have there been any helpful books or training courses that you would recommend? 

I got very lucky that my college had a production company that handled the smaller shows, and provided labor for the big acts that came through.  Essentially, The boss taught the first batch of students, then had them teach the new hires every year.  You start of with the very basics of coiling cables, taping cables down, proper lifting, etc. before moving on to bigger and better things.  To this day, he was the best boss I ever had.  Always there but never micromanaged.  He is still there today.  

The Yamaha Sound Reinforcement Handbook was also a very good reference.

SoundGirls.Org Questions 

What are the job duties of a stage tech vs. a monitor tech? 

Stage tech and monitor tech can be one and the same in some instances.  When I tech for The Who, I was both, but as it was far too much for one person, I had to rely on the SL PA guy to cable up stage.  In that case, the PA tech became the stage tech.  This is what I believe to be the difference:

A stage tech patches the stage, gets power out to backline, and cables up the monitors. Once everything is verified to be correct, the stage tech is done until load out.

The monitor tech’s job starts long before the tour does.  Once an engineer informs the company what is required, the monitor tech designs the racks, amps, stage patching and cabling to be as efficient as possible.  Once on tour, the monitor tech works closely with the engineer to ensure they have what they need to keep the band happy.  A good tech will go the extra mile and stand by the engineer to offer a second set of eyes to make sure all members of the band can communicate their needs to the engineer.  The monitor tech is also responsible for repairs or replacements if gear goes down.

You currently tour with The Who, and have recently taken over mixing monitors for Pete Townshend, do you carry production? If so what company are you using? Do you have a dedicated tech?

Eighth Day Sound has provided control gear (monitor system and FOH console and racks) for almost all The Who shows since 2007.  I have been their monitor tech since then, helping monitor engineers Simon Higgs and Bob Pridden.  It has been a fantastic ride so far, and it is an amazing honour to be able to continue Bob Pridden’s work as Pete Townshend’s monitor engineer.   As such, a tech has been added to take my place. Unfortunately, because of flight costs, it will not be the same tech I just trained back in the UK.  And with no production day to start our next leg, I have my work cut out for me.

Before Bob left the tour the three of you had a unique system of working together, can you explain how job duties were divided up before Bob left? And how you are working now with the loss of Bob?

Bob traveled with the band.  After being with them for over 50 years, I would say he earned that.  Because of this, setting up and EQ’ing fell to Simon Higgs, who also had to frequency coordinate all of the rest of the bands’ in ears.  Once monitor world was built, and stage was patched, I would put on ears and help Simon verify ear mixes, then watch Bob’s console during line check.  

Once the band and Bob arrived, I would wear one ear to help Simon with the rest of the band, and listen to Bob’s cue wedges with the other ear to help Bob with Pete’s wedges. Doing this, I managed to learn key parts of songs that Pete needed adjustments during the show. I was able to help Bob keep up with Pete’s needs.  Also, my eyesight was better, so I could see Pete’s requests for changes when it was almost completely dark.  At the same time, while Simon was concentrating on Roger Daltrey, so I would also keep an eye out for the rest of the band and let Simon know if one of them needed something.  

What equipment are using?

Currently, Simon Higgs is mixing Roger Daltrey and the rest of the band on a Digico SD7. I have inherited Bob Pridden’s Midas XL3.  I have been given permission to change to a digital console, and will go with another SD7 to keep the integration simple.  We will wait to make the change until after the Desert Trip shows, as there is no production day to get it right.  

How do you prioritize your job duties and tech duties?

I still show up on an early call.  Although I have a dedicated tech, I have always known this to be a two man job, so in the morning and at load out, I am the monitor tech, which eases the burden on the stage tech.  Monitor world is huge, and therefore built on a rolling riser in the middle of the arena.  I set up both consoles, and get Simon Higgs temporary power so he can start frequency coordinating when he comes in.  Until monitor world is rolled into position, getting Simon started is the first priority.  Once in place, I change hats and become Pete’s monitor engineer.  At this point, the stage tech becomes the monitor tech, and helps Simon with verifying in ears and stands by on stage during line check to fix any mis-patches.  I start EQing Pete’s wedges (something Simon used to have to do on top of everything else), and line check what is now my own console.  

Teching for a FOH or Monitor Engineer requires a certain set of skills. What do you feel are important skills a monitor tech should possess?

Monitor techs should have a basic understanding of troubleshooting skills. Unfortunately, this is not taught in most sound company shops.  A tech needs to know how to meter power and why, how to half split a fault (make a logical starting point to find a problem), and to know the job is not done until the truck doors close at the end of the night.  

FOH and Monitor techs are often required to help the engineer achieve their vision and goals. How can tech help the engineer see their vision come to fruition?

Providing consistency under all but the most extreme conditions can go a long way to helping an engineer create their magic.  If the engineer walks up to a console and everything feels the same way it did the show before (assuming that was good), then the tech has done the job properly.

What can a tech do to become irreplaceable?

I always provided the candy in monitor world.  That went a long way.  Otherwise, I suppose going the extra mile, as in any job, to show you are there for more than just a paycheck.  I find that is easy when you like the crew and band, but it is also true if you don’t.  Give each client 100%.  It makes you invaluable to your company, so you will get more calls, and you can always say no once you’ve established yourself (don’t do that too often, though).

How  important is it for FOH and Stage to be working together?  

There’s a reason we keep them 100 feet away.  They are a strange lot, those FOH people, but  a necessary evil.  Kidding aside, it is essential FOH and Stage work together, because the sound from either one greatly affects the sound of the other.  

Some performers get distracted when there is too much low end coming from the PA, so the monitor engineer and the FOH engineer must work together to find a compromise that reduces the low end felt on stage while still giving the audience a good mix with a bit of punch.  The same is true if sidefills or drum fills get too loud, or are out of time with the FOH mix.  Sometimes playing with phase on certain channels can make it so the stage sound adds to the FOH sound, instead of detracting from it.  FOH and Stage are intertwined, and it is very important for them to work together.

As systems become more technically advanced, how necessary is it to have training or  to be certified on the different systems? 

It is essential to fully understand how and why you are putting up x amount of boxes to cover a certain area.  It is just as important to get the angles between the boxes set correctly, or the system as a whole reacts very differently than anticipated.  

Prediction software is necessary to get the most out of whatever PA you are using, and the software requires training to understand how to use it.  Manufacturers have been very good at providing training programs around the world to ensure any system tech that is flying their PA is doing it in a way consistent with the way the manufacturer intended their product to be used.  This is extremely helpful when a band uses different companies on different continents.  If everyone is being trained the same way, an engineer can expect a lot of consistency wherever he/she goes.

If so what training would you recommend on a large scale touring production? And for medium and small sized productions?

On all productions, training is the same.  If the company one works for doesn’t offer the training, go to the manufacturer.  The size of the PA doesn’t matter, as it is essential to set up a small PA properly as well as large PA.  To get to the point of becoming the system tech, start at the bottom and learn cable management, PA flying in general, amp patching and how to get along with the other departments that make up a production.   The best way to learn the basics is to do it (preferably with a seasoned crew to help you along).

Working in a festival situation what do you feel is important?

Speed and a proper prep.  If the monitor tech has laid out everything he/she needs on stage in a logical way, setting up and striking should be fairly quick.  Keep mindful of the other acts, even if they are on before you.  Give everyone as much space as you can so that all get a chance to do their gig to the best of their ability as well.

What equipment and tools do you feel that every monitor tech needs to know how to use? 

A multimeter.  Sometimes a cable checker is very handy, especially if it’s one that has a transmitter end and a receiver end for when the cable to be tested is stretched out. Whirlwind makes a Q Box that can serve as either a tone generator or a headphone amp. A pair of headphones.  And basic tools in case you need to pull gear out of a rack to troubleshoot.  It would be very useful if the tech could solder, but without real training in that, I’ve seen some very poor solder skills, so I don’t recommend it for everyone.

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SoundGirls Workshops – Rat Sound Systems

Soundgirls.Org Workshops – Dec. 2016 and Jan. 2017

All Seminars are held at

Rat Sound Systems

486 Constitution Ave

Camarillo, CA 93012

Seminars taught by Ivan Ortiz

10 am to 2 pm

Cost per seminar $40

20% discount for two or more seminars

Financial Assistance Available

Dec. 10 – Workshop on Best Practice for Throw and Go FOH and MONs

Seminar will cover:

Venue Limitations (Stage dims, proximity effect, House gear)

Priority in dialing a mix

Foldback mixing

Microphone selection and placement

File Storage

Digital console file management

What size USB, Virus protection

Festival file management for guest engineers (output patching, global, scenes, etc.)

Overview on different consoles – Hands on

Digico

Midas

Avid

Soundcraft

 

Dec. 17 – Power / Networking – Workshop on Best Practice for Power

Seminar will cover:

3 phase power vs. single phase

Clean power source

Isolating transformers

Battery backups

What you must know

Multi-meter

Dynamic Load

Generator power

Load Balancing

Networking

TCP/IP and the dot whatevers

Audio via Cat5 (Dante, AVB, etc.)

 

Jan 18th – What skills You Must Have

Seminar will include:

Listening/Mixing

Technical

Bring your many hats

People Skills

Communication

Know your place in a production

Working with Stage Crew

What are Sound Companies looking for in a technician

Qualities

Knowledge

Personality

 

Jan 14 – Understanding RF

Seminar will include

Transmission

Antennae

Cables and Impedance

FCC regulations

Active / Passive / Helical

Best Practice

Ideal and not so ideal scenarios

What not to do

Having a plan of action

Coordination

US Major cities

Tools / Software

Reality check

Limited Spectrum

 

Registration – Space is limited

If you would like to register for these seminars – please email soundgirls@soundgirls.org with the following info.  We will send you an invoice to pay for the seminars. You will not be registered until payment is made. We will send you confirmation of registration.

Please include

Name:

 

Phone:

 

Email:

 

Seminars you would like to register for:

Dec. 10 – Workshop on Best Practice for Throw and Go FOH and MONs

Dec. 17 – Power / Networking – Workshop on Best Practice for Power

Jan 18 – What skills You Must Have

Jan 14 – Understanding RF

All seminars are $40, there is a 20% discount if you register for two or more seminars.

Financial Aid is available.

 

The Modern Church Sound

I’ve been to my fair share of church services, and more than my fair share of contemporary/modern church services. Some of the mixes I hear are fantastic! Some of them, however, are less than stellar. Many times, churches don’t have a dedicated audio person and rely on volunteer help to run the service.

Here are a few things to keep in mind when putting a mix together either as a volunteer, or as someone who wants some tips on how to clean up their own mix.

Vocals

Vocals are the number one priority, and it’s a disaster if they get buried. If no one can understand the vocals, then nobody is receiving the message. Cutting out most of the low end is always a great start. Don’t be afraid to really get in there. Perhaps cut a lot more than you might normally, but it’s necessary to make plenty of space for instruments whose fundamental frequencies reside below 500. So I place a HPF at about 150 and a low-end cut at about 500 to get rid of any boxiness. I’ve also noticed that vocalists and speakers can be a little bit throaty, so doing a notch cut around 1k really helps clear the air. Business first, though, as any problem frequencies should get ousted and the octaves just below and just above it. Parametric EQs are great for this sort of thing.

The vocals should most definitely fit right on top, right in between any melody carrying instruments.

Guitars

I love a robust and prominent guitar sound, but there’s a time and a place (read: solo) for strong loud guitars. I wouldn’t consider contemporary Christian services as that place. I can already hear the crowds boo. I regret nothing. In general, though, I whole-heartedly believe that guitars can’t always be the main instrument. They have their spot and I love really ethereal licks, but this isn’t a metal show and there are often many more instruments on stage that could use some love.

Now, if it’s a nice acoustic guitar, let it ring out and carry a larger part of the mix. So let the acoustic take center stage (aside from vocals. Never, ever push the vocals away). I like my guitars with just a little meat at around 250-300, and plenty of sparkly high end without getting too much fret noise. When I notice the fret noise is really prevalent, I can’t un-hear it. The biggest difference between acoustic and electric guitars are that electric guitars can be really sharp and intrusive if you let them get away. Acoustic guitars have a tendency to be softer and percussive. If you have an acoustic guitar and an electric guitar coming in at the same level, you’d hear the electric guitar more because it is so “in your face”. The low end of guitars can tend to be a little tedious when you begin balancing it with the rest of the low end. Try cutting at 400 or 500 while still trying to keep that previously mentioned beef at 250. This is all a balancing act most of you are familiar with.

Drums

Drums can be considered the 2nd most important piece of the band behind vocals. Sometimes, congregants in churches have issues keeping on beat, so we need to make sure that a nice crisp clear drum set can be heard. Kick and snare, like most of the time, are vital. I like a very fat low end with a cracked snare. I boost my kick around 60 or 80 hz depending on what the feel of the song is, and boost just a tad at about 1k to keep some of that pedal in. When I’m able to have the top and bottom of the snare mic’d, I try boosting the top at about 250 or so with a deep cut at 500 so I can have that warmth. Then the bottom of the snare has a sharp boost at 1k to really give it that snappy cracked sound. I typically blend the two with slightly more top than bottom. I would recommend experimenting with the blends of the top and bottom, and even try flipping the EQ to see what that sounds like. Never be afraid to do something really strange. If it works and it sounds good, don’t question it.

I like my toms present, but not overwhelming. I enjoy my cymbals bright, but not harsh. If you aren’t slapping HPFs on things, you’re asking for some trouble.

I find a lot of churches use drum enclosures which adds a certain level of complexity to the mix. I love the isolation, but I really hate how boxed in it can sound. You’ll have to fight that in almost every mix on your kit. Start at 500 and sweep the low-mids until you find that ‘sweet’ spot. As far as miking goes, you shouldn’t put the overhead/cymbal mics too far away from the source. The further away you get, the more room you’re getting, which in this case is not a good sound. You should always do some pretty close miking to drums in live situations (at least more so than you would in the studio) but you just need to be very cautious when your drums are in a tiny Plexiglas case. Look anywhere from 250-1k on all your drum mics, a lot of grossness will be hiding there. If you have any say in it, I would recommend not completely enclosing the drum kit. Leaving the back unenclosed can give you so much more space while still directing a bulk of the sound away from the audience. With the back open, you’ll get less muffled bleed, and you can get nice deep meaty sounding low-end without having to erase the entire low-mids. With some of the smaller rooms, that may be difficult, but it makes a significant enough difference to maybe rearrange the stage plot.

Bass

I love a smooth bass line. I am a bassist, and I really enjoy when I can’t pick out weird sounding (or overpowering) bass in mixes. And by that I mean a nice round low end (I don’t always like the sound of frets on a bass) with a HPF on 60 with just enough finger noise around 2k or so to distinguish accented notes without overpowering the kick, or worse, the vocals. The kick and bass should be working harmoniously, not stomping all over each other. Don’t be afraid to use ducking to get them to behave. Multi-band compression, if you haven’t gotten to play with it yet, is a fantastic tool. Use it to punch through some of the lows while leaving the higher octaves a little more airy.

Keys

Pianos have been in churches for as long as they have been in existence. Nothing can replace a really incredible pianist. I envy those of you who can tickle the ivory fingers. Pianos are so naturally beautiful that there often isn’t much needed. That’s not to say I don’t slap on a HPF every now and again, but you should try to stay true to the piano and let it do it’s thing. The only thing I can say is make sure everyone can hear it in the mix.

Everyone mixes differently, and every congregation likes their music a little bit different. Because of the generation I grew up in, my mixes tend to sound a lot funkier and modern than some generations before me. As you should, I try to keep that in mind when I’m mixing.

You won’t always be mixing for a “funky” crowd. Sometimes you may need to mix a little bit outside your favorite or most comfortable style to suit the room. You should also try to be very careful about taking care of your ears. Sometimes, churches like their music really loud, and often times they like it really really quiet. Don’t rely on volume to make your mix sound better. Go and explore. Churches are great communities to express yourself without having any lash back. Play with that New York style compression in your live mix, see what happens! Don’t discount anything until you try it.

If I had to stress only a few points to take away from this, it’s that listen with your ears. If you just walked in off the streets, could you understand what the vocalist was saying even if the words weren’t on screen? Would you be able to hear every instrument? Would you want to come back again and listen to music in this room?

 

What is a Sound Design Associate?

A Sound Design Associate works closely with the Sound Designer and Director, undertaking much of the work. It can include finding music and sound effects dictated by the Sound Designer and Director, maintaining the paperwork, and assisting the Sound Designer in cuing the show. The Sound Design Associate may also work with the Sound Board Operator providing instruction, and assistance in making changes to the cues during rehearsal.

Each designer has their way of doing things and being able to be the associate for more than one Sound Designer has been an invaluable education. It puts me in a unique and privileged position, as I get to see different techniques and how they are used by excellent designers. Did I mention I also get paid.  It’s interesting to see how another designer programs a cue list, sets up a system, or interacts with the rest of the design team.

The role is very different depending on the designer I’m working with. Sometimes I handle all the paperwork and translate the designer’s ideas into a spec sheet for a hire company. Sometimes I’m taking care of the SFX while the designer is looking after the system, and the band or the reverse situation can happen. I tune the system and work with the operator on the desk while the Designer is creating the soundscape.

I have recently been the Sound Design Associate for John Leonard. I’ve been John’s Sound Design Associate on more than one occasion, and it is always an excellent opportunity to learn from someone who is well respected and has been doing this a long time. 

My Approach to being a Sound Design Associate

I usually am hired as an associate when a Sound Designer I have worked with before has production periods that overlap, or if there is a big project that needs to be produced in a short time frame.  Designers can hire an Associate, and they can take on more than one production. An Associate will be their representative and manage the designers’ interests in their absence.

There may be days of Tech or Preview that the Designer cannot attend and I will represent the Designer. In this case, the Designer needed someone to look after the show from Preview 1 to Press night.  I went to a couple of run-throughs and I sat with John during tech to get a feel for Johns and Iqbul Khan’s (the director’s) vision for the production.  I then took over the lead after preview one.

As an Associate, I think it is important to remember this is not my show. I may have artistic input, and if the director asks for something, I will work hard to make it happen. But I always keep the designer aware of any changes I have made. When working with John, he always gives me a free hand, but I do remember I am representing the reputation of another designer as well as my own.Looking across to the Musicians Gallery

For the recent production of Macbeth, there were a lot of changes after the first preview. John trusted that I would make the necessary changes and also keep him in the loop, providing detailed notes. Although being an associate isn’t the lead role in the design process I find learning from and being exposed to different techniques a deeply satisfying experience.

More on the job duties of a Sound Design Associate

The Sound Design of Brideshead Revisited

Brideshead Revisited is a co-production between English Touring Theatre and York Theatre Royal. The play reopens York Theatre Royal after its refit and then it will tour theatres around England.

Brideshead was adapted for the stage by Bryony Lavery it’s based on a book written by Evelyn Waugh and first published in 1945. Brideshead Revisited is set around the life of an aristocratic family in England between World War I and World War II. The play is presented from the point of view of Charles Ryder, who is an army officer in World War II. When the play opens with Charles remembering the events around the countryseat of Brideshead. It is his memory of events that the play centers around.

Here are some things we worked into the sound design.

Memory is a major theme of the play; in design meetings we discussed how memories are triggered and what happens in your mind at the time. There was a discussion of the language of memory portrayal in the film, which often utilizes reverb and the sense that memories sometimes seem to approach from a distance. I knew that would mean playing with a sound heavy with reverb and then getting closer and dryer and landing a moment before the action on stage took up the dialogue or sound in real-time.

A lot of the creative team had memories from childhood that were attached to certain sounds and birds seemed to dominate this. I grew up in the East End of London, and I have memories of lying in bed in the early morning listening to seagulls. (The sound of London birds is the sound of seagulls for me. I know they don’t often make it into the collective agreement of how London sounds, but if you are within a mile of the river then there are seagulls) So I knew birds would feature in the sound design. Memory in relation to sound often revolves around phrases that we play to ourselves over and over in our heads. Doubling of dialogue was also something I thought we could work into the
sound design.

We wanted the process of storytelling to be visible to the audience; the cast handles the scene changes on stage, setting up and changing the props. They also set microphones on stage and perform some on-stage Foley.

Alcohol is a big part of the first section of the play, and we worked on amplifying the sound of wine being poured to emphasize that point.

brideshead-york-theatre-royal-last-780x520-2

We decided to amplify the sound of a projector vs. working to silence it and cover it with a sound effect.

We used radio mics, but not every cast member received a dedicated mic. Ryder, who did a lot of the narrating/ remembering of the play, wore a radio mic. His mic was used to change the tone of his narration and to put him in a different space for those bits of the play rather than for amplification. I was using it in a different way than when I would use a radio mic for `musical theatre. If you can imagine BBC radio drama announcer, that’s the kind of sound I was going for.

Some of the play took place in Venice in an old house. As this was a static talking head moment of the play, I used one of the two 414s on a stand to pick up the voices and send it to some gentle short reverb to help give the sense of being in a big stone house.

Scene changes were marked with music and soundscapes were woven together. The composer (Chris Madin) and I worked closely together to get the tone of these transitions right and to carve out or give room to the dialogue that surrounded the transitions.

The plot of Brideshead takes us to Oxford, London, to a country house in Venice, Manhattan and aboard a ship. The moments on board the ship were potentially challenging; there was a lot of dialogue in this scene as well as a big storm, and I had to make sure the storm sound effects allowed enough room for the dialogue as well.

There was a division in the way sound effects were reproduced compared to the music in the show. The SFX tended to come from onstage SFX speakers, and the FOH system was primarily reserved for music playback.

The pre-playback was a selection of pre-recorded excerpts of dialogue from the cast. They had been asked to mull over lines of dialogue that they thought were particularly representative of their character. I used these lines in the pre-show to create a repeating slowly building round of whispered memories. The pre-show builds and builds and culminates in a sudden cutoff that leaves Ryder in Brideshead at the end of World War II.

I was fortunate to work with the company during rehearsals. We were able to discover things about the play in a much more cohesive way than if I had just joined the production for technical rehearsals. It was great to be able to play sound and music in the rehearsal room. It helped the cast to build a relationship with the soundscape and for us to integrate the use of microphones into the play. There were a few moments in the play of whispered conversations that the rest of the characters in the play weren’t supposed to hear. They obviously needed to be heard by the audience, these were mostly spoken into a couple of 414’s and routed to FOH.

One of the best discussions I had in my early days as a sound designer was with a vocal coach. We use to discuss listening to the whole play rather than just the elements of the sound design. I found this useful for this production where the amplified and un-amplified voices had to be woven together and although they needed to highlight different moments in the play they all also needed to sound like they were part of the same world.

 

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