IREMOTE DIAGNOSTIC SUPPORTI / O PAT C H I N G & D E S K C O N F I G U R AT I O Non theair, on stageDominant StringsJerry’s guitar is so massive – melodically,it’s the whole band besides thevocals. Will’s tone, which is capturedby a Palmer PDA-09 and a Heil PR 30,is a little more of a rock and roll tone,while Jerry’s tone errs more on theside of a metal tone. Will is straight upthe middle when he plays, but Jerryis really wide stereo, because in 50 or60 percent of the songs, it’s just oneguitar. Jerry has four guitar lines, twoPalmer PGA-05 lines and two Heil PR30 lines, and those combine to makeone guitar sound. That one guitar soundgets panned to one side, and that samecombined guitar sound gets panned toone sound and delayed. It’s an age-oldtrick, but it sounds huge.Tom Abraham, FOH Engineer, Alice in Chains<strong>Audio</strong> <strong>Media</strong>, February 2010Wireless WisdomWireless microphones have more and more becomethe responsibility of the monitor engineer. It isimportant to understand antenna placement – line ofsight to the talent is best, which usually means gettingthe antennas up above head height. Understandcable losses – you ideally want unity gain betweenantennas and receivers. Only use an RF amp if youhave more than 4dB of loss through your cable –any gain stage can add noise and potential intermodproblems. Frequency coordination is critical forflawless performance. There are software packagesavailable from free to about US$600 that help agreat deal in accomplishing this goal. Have a plan A,B, and C, and be ready to adjust to any changes ata moment’s notice.Karl Winkler, LectrosonicsCompress To ImpressRather than just being useful for ‘level housekeeping’,compression has much more musical use than it is oftencredited for.Ben Hammond, FOH engineer, The Blackout. C/O <strong>Audio</strong>-TechnicaKeep It RealMake sure you are EQ’ing theright thing. Before sound check,make sure any channel or groupdynamics processors are switchedoff, particularly any dynamicEQ or compression. Once you havea vocal sound that works tonally,then you can add compressionand dynamic EQ to move itfrom good to great.Gareth Owen, Theatrical Sound Designer,<strong>Audio</strong> <strong>Media</strong> Feb 2010Theatrical AuditionsGet the sound right at source.There are lots of different types ofminiature microphones. If you havethe resources, try different mics ondifferent cast members to see if theysound better with any particularmake or model. The mics themselvescome with different lengths of capsto adjust the high-end presence. Experimentwith these before jumpingfor the EQ.Gareth Owen, Theatrical Sound Designer,<strong>Audio</strong> <strong>Media</strong> Feb 2010Balanced ViewIf your cable runs are only a few metres long,unbalanced versus balanced audio doesn’t makea lot of difference, providing you’re careful toavoid earth loops, which well designed equipmentwill help you achieve.JoeCoWireless GainProper gain structure is just as important to a wireless microphone setup asit is for any other element of the sound system. Start with the transmitter andset the gain so there is adequate modulation level (the audio meter showsgood movement).Karl Winkler, LectrosonicsAPOLLO, FROM CALREC.FORM AND FUNCTION, SEAMLESSLY MATCHED.LOW POWER CONSUMPTIONCLEAR AND EFFICIENT METERING. TFTS. FULLY CONFIGURABLE. SEAMLESS THIRD-PARTY METERING. COLOR CHANGING POTS TO DISPLAY FUNCTION. INTEGRAL 8192X8192 HYDRA2 ROUTERPutting Sound in the PictureRESPONSIVESLEEK MODERN ELEGANTMAINS, GROUPS, AUXES, TRACKS, INPUTS, APFL, METER SELECTORS, CRLS, MIX-MINUS. LOW HEAT GENERATION. COMPACT DSP. ASSIGNABLE OR IN-LINE CONTROLLEXIBLE CO N SOLEEG NSPILL CONTROLHYDRA2OFFLINE CONSOLE SET UPO DERN. RESPONSIVE, SCALABLECONTRO LA L L I / O N E T W O R K E D O V E R H Y D R A 2 V I A A R A N G E O F H Y D R A 2 I / O B O X E SToday’s broadcasters need more and more audio channels at ever-higherresolutions, more power to handle this increased channel count and moreergonomic control surfaces to manipulate them.Naturally, Calrec has the answer.With the same levels of reliability for which Calrec are world-renowned anda remarkably intuitive control surface which still manages to add enormousflexibility, Apollo is nothing short of revolutionary. Able to operate at multiplesample rates, Calrec’s Bluefin2 DSP engine equips Apollo with more than1000 channels for 5.1 Surround production and its internal 8192 ² Hydra2router turns the console into a powerful networking tool.The world’s most successful broadcasters rely on Calrec consoles.Apollo is the first of Calrec’s new generation.LOW HEAT GENERATION. COMPACT DSP. ASSIGNABLE OR IN-LINE CONTROL.SINGLE 5.1 CHANNELS WITH ELEGANT SPILL CONTROLPOWERFUL SCALEAB LELOW POWER CONSUMPTIONINTUITIVE CONTROLcalrec.comCOLOR CODED CONROL CELLSAPOLLO
on air, on stageBig SqueezeRather than just being useful for ‘level housekeeping’,compression has much more musical use than it isoften credited for.Everything starts with carefully chosen microphonesand placement of course – and obviously the rightsource sound is of paramount importance. Don’tstand at front of house endlessly hacking at the EQ;with the right mics, a well-tuned PA, and a goodstage set-up you should be able to dial in your gains,push the faders, and be 90% of the way there.Compressors’ attack and release controls hold the keyto the BIG drum sounds we’re all now accustomed tohearing. Using these controls to shape the sound cancreate an illusion of power in your mix, rather thanhaving to over-EQ and push things hard resulting ina loss of headroom.The tools we have at front of house are sweeteners,not a back line tech’s ‘get out of jail free card’.Ben Hammond, FOH Engineer, The Blackout,c/o <strong>Audio</strong>-TechnicaDial 0800 PAEverything starts with carefullychosen microphones and placementof course – and obviously the rightsource sound is of paramount importance.Don’t stand at front of houseendlessly hacking at the EQ; withthe right mics, a well-tuned PA,and a good stage set-up you shouldbe able to dial in your gains, pushthe faders, and be 90% of the waythere.Ben Hammond, FOH engineer,The Blackout. C/O <strong>Audio</strong>-TechnicaVocal TrickFor vocals I alwaysuse a Manley VoxBox.Not only does it havea great pre-amp,compressor, and EQ,but what makes itso stand out is itsfrequency-dependentcompressor. For livesound this is a hugeadvantage. You cancompress only the 2-3k regions in the vocal through thePA, so when you mix loud, instead of the compressorbecoming more aggressive, the more you compress, thesofter it gets – and your voice is still where you want itto be in the mix.Patrick Demoustier, FOH Engineer<strong>Audio</strong> <strong>Media</strong>, May 2010iLive ExtraiLive Mixing System: If you are called on to providebroadcast mic splits and don’t have additionalactive/passive stage-box outputs, you can addin a second or third MixRack fitted with
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