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I need to share this with someone else who would wonder along with me what led to this decision. It was set up this way yesterday, and it's still like this for day 2. The right side is set up the same way: two tall chairs with a speaker on them and an unusued tripod stand behind them. Blocking a marked exit door. 
cruft fucked around with this message at 13:45 on Mar 20, 2022 |
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Mar 20, 2022 13:07
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i am absolutely baffled, and chuckling at the same time.
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Mar 23, 2022 00:01
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Line Array speakers are just freaking amazing. I'm back from the first outdoor event I've ever tried to run with my new LD MAUI 5 systems. I brought both speakers, but took the second one down after an audio check revealed I didn't need it. Here's the crowd, taken from about where the speaker was: (The dancers were on the stage earlier.) Before you run out and buy this for your next event, know that I run sound for Celtic festivals and Renaissance fairs. At this type of performance, people want to hang out with their pals and chat with whoever they're sitting next to, with only one or two moments that the music is loud enough to demand everyone's attention. I haven't done enough different types of outdoor events to have a feel for whether one speaker would be enough for a larger crowd at the venue in the photograph, but I'm pretty confident that two would. Either way, I'm impressed with how well this setup is able to project, and it's just incredibly easy to carry around and set up. I wound up buying six of these for work, where we teach classes and run hacking competitions, because any idiot on my staff can figure out how to put it together, and the feedback suppression means they can even be trusted to operate a mic. If you're a small group, or especially a one-musician operation, and you can afford it, I think this is absolutely the type of system you should get, and you probably only need one. And I even (barely) qualify as a professional sound technician! cruft fucked around with this message at 02:19 on Jul 13, 2022 |
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Jul 13, 2022 02:13
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Something of a curiosity: Is it commonplace for a live sound FOH engineer to take impulse responses of a space? I worked as a stagehand yesterday setting up for a Roxy Music concert. When the PA was flown, they ran their standard tests of white noise and some tones through it, and then a couple of hours later I heard a lot of what sounded like impulses - short sinewaves rapidly ascending through the spectrum. The engineer had a couple of analysis-lookin'-microphones in front of his console. Is this actually just more PA testing, or was he actually taking an impulse response? If the latter, why? The concert was being recorded, is it to augment the arena's natural reverb for the video release? An aside, it was nice working again, and working so closely with Roxy's road crew, who are some funny guys. I'm currently pushing to get into the film industry to finally use my audio diplomas, but I'm now kind of on the fence about whether I'd rather move up in the stagehand union and end up a console operator.
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Sep 8, 2022 03:14
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i mostly do post, but i measure impulse responses to calibrate a space whenever i set up a smaller studio. once you have that you can apply a global eq curve to correct for any resonances or cancelations happening. i've never heard of it being used in a live room, but that's cool! (if that's what it is, i mean)
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Sep 8, 2022 03:39
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CaptainViolence posted:i mostly do post, but i measure impulse responses to calibrate a space whenever i set up a smaller studio. once you have that you can apply a global eq curve to correct for any resonances or cancelations happening. i've never heard of it being used in a live room, but that's cool! (if that's what it is, i mean) Oh drat, that's almost certainly what was going on. It's pretty obvious in retrospect, lol. Thanks!
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Sep 8, 2022 03:43
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Mister Speaker posted:Something of a curiosity: Is it commonplace for a live sound FOH engineer to take impulse responses of a space? It sounds like sin-sweep but more than likely, they weren't looking for any sort of RT60 data from the room for reverberations, pink-noise is usually good enough for that. On Lab Gruppen PLM amplifiers, you can use a sin sweep as part of a load check (impedance) to make sure all your boxes and drivers are connected and working properly. L'Acoustics LA12X amplifiers also use a series of sin-sweeps to achieve the same thing. https://www.youtube.com/watch?v=7uBBRloMlOc&t=1022s Then again, who knows. Some people do some weird poo poo. i am kiss u now fucked around with this message at 06:03 on Sep 8, 2022 |
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Sep 8, 2022 05:53
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Hi. Can I hang out in this thread? I mix live sports for 3-letter TV networks.  Please don’t dox me.
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Sep 26, 2022 13:56
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eddiewalker posted:Hi. Can I hang out in this thread? I mix live sports for 3-letter TV networks. Wow, that's a pretty tiny mixer you've got there, but I guess if it's working for you, that's great! e: so it's clear I'm joking, here's what I use most lately: 
cruft fucked around with this message at 14:05 on Sep 26, 2022 |
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Sep 26, 2022 14:02
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That’s a Calrec Apollo. It rules. Nothing else has the flexibility and routing capacity I need for a big show. Here’s the one that runs the Oscars broadcast every year. I filled both rows of top-surface faders for a golf event. 
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Sep 26, 2022 14:13
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Which channel is used for the fake bird sounds on the golf broadcasts? /s That would be quite a project, even with a ton of automation and grouping there is still a ton of channels to work with across something as big as a pro golf tournament. And it's all live, so you gotta do it in real time!
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Sep 26, 2022 14:17
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eddiewalker posted:That’s a Calrec Apollo. It rules. Yeah but did you see the one at the superbowl?  Okay seriously though, how do you arrange your channels to keep track of everything?
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Sep 26, 2022 14:19
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The Science Goy posted:Which channel is used for the fake bird sounds on the golf broadcasts? I know the guy.
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Sep 26, 2022 14:20
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eddiewalker posted:Hi. Can I hang out in this thread? I mix live sports for 3-letter TV networks. Idk, it’s a slippery slope to video and you guys mingle quite a lot but sure, c’mon in! The broadcast audio guys are usually super chill whenever we have to work together. I have very little insight to what happens after I send feeds off to the broadcast truck though. It’s like a weird hybridization between studio and live is kind of how I see it. Still only get one take to get it right (usually). That and we’re usually jealous of climate control.
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Sep 26, 2022 14:24
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cruft posted:Yeah but did you see the one at the superbowl? It comes with experience and doing things the same way every time to build muscle memory. Working on anyone else’s setup always feels like suicide. I group my people first because they go in the 5.1 center and can generally get compressed and Dugan’d together. From there I group people who might require lipsync adjustment (RF cameras tend to be 60-200ms late, for example) The “field sound” get laid out between “mics to establish ambience,” and “mics I ride to pick up cool situational sounds” Everything gets grouped so I can build aux feeds for IFB listens and such that need to be different for each listener, but still controlled relative to the main mix. The thing that’s compounded the difficulty in the last few years is maintaining audio sync with the video-gizmos that add significant processing delay. The ball tracer on golf, the virtual white line in football, the strike zone outline in baseball, the virtual signage painted on the ice for hockey. All of those things need to be delayed for, but only when they’re onscreen. The video switcher can generate GPI inputs to trigger that, but a lot of thought goes into structuring audio groups so the switch is seamless and inaudible. I hear those mistakes and hiccups constantly on local baseball broadcasts and it drives me nuts.
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Sep 26, 2022 15:00
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I’m surprised there isn’t latency compensation built into those feeds somehow. No doubt there’s a good reason why there isn’t, but it seems like a technical issue you could theoretically solve for through automation somewhere?
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Sep 26, 2022 19:09
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Think about some scenarios: a wireless camera is shooting a sideline reporter. There’s some processing delay in the RF transport, maybe half a second. The mic attached to the camera comes back embedded in the video and arrives in sync. The mic in the reporters hand reaches the truck in real-time. That’s an easy fix: delay the reporters mic 150ms to air, but not to the IFB. Lips are in sync, reporter doesn’t hear an echo. All is well. Make it a little more complicated and involve multiple cameras in a baseball game: Only one camera is sent through the processing to overlay the strike zone box. It’s a computationally intensive effect, and often needs a special tripod that sends a stream of tracking data. So now only our one special camera arrives 500ms behind the 20 or more other camera signals in the truck. I could just delay the mics behind home plate 500ms, but what happens when we see someone steal home seen on a real-time camera, but we hear it late off the same mics I’ve delayed? We could maybe delay *every* video source to match the slowest one, but that’s an expensive thing to do. Video is much more costly to delay than audio. The best compromise anyone has found is to use a GPI to insert “500ms” of delay onto the infield mics only when the special camera is on air. Crowd or ambient mics are kept constant to cover any sound of the switch. I also have to be careful not to make fast fader moves because if the director cuts from a real-time camera to a delayed one, it’s possible to hear that fader move twice. This is my favorite thing. eddiewalker fucked around with this message at 20:07 on Sep 26, 2022 |
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Sep 26, 2022 20:00
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Thank you! That's all super interesting 
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Sep 26, 2022 21:40
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Hello Live Sound thread. Is anybody in this thread familiar with preparing charts and backing tracks? I am 'helping' a friend / family member with a show or series of shows that really needs a Musical Director, and there is none. I know this will have to be paid work. Is this anybody's bread and butter who could chat for a bit?
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Oct 20, 2022 21:07
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Forgot to post the other day when I learned what it sounds like in the audience when someone plugs an iPad playing "Thriller" into a balanced mono jack. Well, I almost learned. It was hard to hear over the prima donna dance teacher wailing loudly about how the dance was ruined. In related news, apparently I'm on call now for future county-government-run events that have amplified sound. (e: it sounds like almost entirely mp3 encoding artifacts put through reverb) cruft fucked around with this message at 18:37 on Oct 31, 2022 |
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Oct 31, 2022 18:31
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That just surfaced a buried memory of my first gig, where I was DJing off a desktop computer hooked to a 2ch scratch mixer, then out to a portable PA. The guys providing the PA hooked everything up on their end while I was setting up mine, but then my audio was barely audible on their speakers. “What input is it in?” I asked. “Phono!” “The gently caress? Why?” “Because you’re a DJ!”
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Oct 31, 2022 19:18
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^ Ugh that's brutal. Even as a kid I knew (from making mistakes) that Phono inputs are JUST for a single turntable without a preamp. In a similar but opposite vein, I was chatting with a friend who produces and also owns a local cafe the other night, about how much I appreciate the sound in the cafe, because not only did he install some quality speakers, there's also a limiter behind the bar that you can see is doin' some work, and he placed the subwoofer behind and close to the DJ 'booth' ("for DJs who always think they need more bass"). AND he always has his Pioneer mixer properly gain-staged, which if you've seen my posts in the DJ threads is something that is refreshing, because like 95% of DJs and soundguys alike don't seem to know how to do it. Is there a good primer out there for the science of speaker cabinet construction? It's something I've always been fascinated by, and should probably know more about (given my penchant for Drum & Bass, and who knows maybe I could leverage some of that into some soundguy gigs with the local systems). I get the seat-of-the-pants about ported cabs and constructive interference at a certain frequency, but the actual on-paper physics stuff has always eluded me a bit, as well as why you would want a volume bump to be at a certain frequency - again, seat-of-the-pants my guess is that it's all to taste, and that's why 'soundsystem culture' is as much about experiencing different rigs as it is about the music. But I don't know, it's something I'd love to learn more about though.
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Nov 5, 2022 03:41
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Mister Speaker posted:Is there a good primer out there for the science of speaker cabinet construction? It's something I've always been fascinated by, and should probably know more about (given my penchant for Drum & Bass, and who knows maybe I could leverage some of that into some soundguy gigs with the local systems). I get the seat-of-the-pants about ported cabs and constructive interference at a certain frequency, but the actual on-paper physics stuff has always eluded me a bit, as well as why you would want a volume bump to be at a certain frequency - again, seat-of-the-pants my guess is that it's all to taste, and that's why 'soundsystem culture' is as much about experiencing different rigs as it is about the music. But I don't know, it's something I'd love to learn more about though. Are you looking to construct cabinets or to learn the physics of cabinets? I know very little of the science but spend enough time around rigs and you start to recognize the pros/cons and qualities of the different designs. I personally don't see much use in designing from scratch as there's plenty of plans out there for all the applications I need (especially in pro audio / big SPL). I wouldn't know where to start with a blank design but it is nice to be familiar with say Hornresp or some other software if only too see response curves of other drivers. Some plans may use drivers that are hard to get domestically. NOT ALL 18" WOOFERS ARE THE SAME, or any size for that matter, learn T&S specs and what they mean, cabinets are very often designed with only a few compatible woofers. Manufactures of drivers will often include a suggested volume (space dimension) for cabinets so I guess I would start there if I was going from scratch. You need space, but as far as tools not much: Table saw with a good fence, drill/driver, jigsaw (you can do perfect circles with it trust), the best carpenter square you can get (bonus if metric, many plans are in mm), and LOTS of clamps. Great info, forum, faq, and a few plans that are rock solid here: https://www.speakerplans.com/index.php?id=home If you're venturing into cabinet construction first look at: What is your goal? A couple of bins for a small bar? A gym sized dancefloor rave? A I built a fully horn loaded system and a few basic reflex cabs with very little prior carpentry skill. Soundqualitywise homebuilt designs (can) poo poo all over JBL, QSC, Yamaha ect big brand boxes. Pre pandemic home built subs were still the way to go if you weren't loaded with cash but for tops it was almost as cost effective to find some old EAW, Turbosound (the old brand not whoever is using the name now), Meyer, ect, I have no idea if that's still true. There's a ton of hype right now for these quarterwave / paraflex / 6th order subs. I personally shy away from the sound of bandpass subs but there's a lot of plans/info at the moment. more good links: https://www.freespeakerplans.com/ https://www.diyaudio.com/community/forums/-/list#loudspeakers.22 I'd recommend Parts Express for cabinet supplies and woofers
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Nov 5, 2022 05:19
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Thanks! I'm not currently planning on building any cabs, but it couldn't hurt to know more about the physics of them in trying to get more of that kind of work.
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Nov 11, 2022 01:11
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Inexpensive limiter solution for a karaoke setup? A guy I know runs a weekly karaoke night at a local bar where he works, and as usual he's messaging me because he needs help with something audio-related. They have the most basic of setups; a small 4-input mixer with two mics and a laptop running YouTube karaoke instrumentals. We've talked about upgrading the mixer to one with some onboard effects so he can apply limiting to the mic and worry less about turning up or down mic levels. I feel like a better mixer is probably out of their budget though; last time they 'consulted' me about this stuff they just ended up buying the 4in mixer (and some cheap SM58 clones) even though I recommended something larger. Would a guitar limiter pedal through some XLR/TRS adaptors be an absolutely stupid janky thing to do in this situation? Are there other options I haven't considered? Thanks.
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Jan 21, 2023 02:43
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Mister Speaker posted:Inexpensive limiter solution for a karaoke setup? Find a used DBX compressor 166X or 266X model
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Jan 21, 2023 04:00
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Does the DBX 166 take mic-level signals or is it line-only? The problem is that the small mixer they have here doesn't have insert taps for any channel. I found this which seems to fit the bill as it's both a preamp and a comp, so it could sit comfortably in between the mic and mixer. I should have known ART would have something cheap like this that would work for these purposes. Unless there's something glaringly wrong with it, I think this is what I'll recommend.
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Jan 21, 2023 04:26
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Yeah it would need a preamp or line; decent units tho like the ak47 or technics 1200 of compressors. That ART interface would prolly be best solution and less knobs to mess up.
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Jan 21, 2023 05:17
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I posted a soundguy story to Tiktok today and thought some of you might enjoy it. https://www.tiktok.com/@grampageoff/video/7215213700448259370?lang=en
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Mar 27, 2023 15:01
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Gramps posted:I posted a soundguy story to Tiktok today and thought some of you might enjoy it. D'aww  Relatable!
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Mar 27, 2023 15:24
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cruft posted:D'aww Anyone who runs sound long enough is gonna have stories almost exactly like this one, probably a lot of them.
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Mar 27, 2023 15:29
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Gramps posted:Anyone who runs sound long enough is gonna have stories almost exactly like this one, probably a lot of them. The mistakes and oopsies are what give my gigs that personal touch!
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Mar 27, 2023 15:37
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cruft posted:The mistakes and oopsies are what give my gigs that personal touch! Nothing like running a dj playlist at a wedding off of an Ipod and accidentally skipping to a different song when loving with your playlist while Journey is playing and the whole wedding is singin' and dancin'. There's a reason I'm not a DJ and will never work another wedding again.
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Mar 27, 2023 15:46
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Gramps posted:Nothing like running a dj playlist at a wedding off of an Ipod and accidentally skipping to a different song when loving with your playlist while Journey is playing and the whole wedding is singin' and dancin'. There's a reason I'm not a DJ and will never work another wedding again. Friend, there are hundreds of other reasons. I think it's probably significant that most of the wedding DJ's I've seen are full of themselves. The crushing guilt of messing up during someone's wedding reception (no, *multiple* réceptions) still keeps me up at night.
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Mar 27, 2023 16:02
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There's a reason I only do weddings for friends. I'm dirt cheap, I'll script and stage manage your reception, but man, I'm only doing this so I can be at your reception and drink at your open bar. I know friends'll forgive me if I miss a song during the party. My favorite worst memory was having a cd sound cue for comedian Pablo Francisco at an event years and years ago. Our cd player decided to skip 90sec into the cue and ruin his whole bit. I was devastated.
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Mar 28, 2023 08:32
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This lady I'm helping next weekend keeps telling me she's getting help from an "experienced DJ friend" and it's starting to make me really nervous about setup taking twice as long as I have to work through the experienced DJ's ego to explain why, no, I disagree that we should do the idiotic thing you want to do.
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May 29, 2023 19:29
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Aaaand it’s gone. burdt fucked around with this message at 07:47 on Jul 31, 2023 |
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Jul 30, 2023 21:50
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So I'm at the conference and I'm discovering that we didn't bring one. single. mixer. We do have six powered speakers, though. And only three inputs... In closing, if you see a post on some other audio engineering forum saying "lol what idiot set this up", it's me. I'm the idiot. cruft fucked around with this message at 13:16 on Aug 9, 2023 |
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Aug 9, 2023 13:13
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Last band I was in, we had a booking agent who was great and got us live shows out the wazoo. New band... Has a larger online following than the last Band, but no booking agent due to bring a new band... Nearly impossible to get live shows. This is my rant.
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Aug 19, 2023 00:50
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quote:If youre not red-lining, youre not headlining big problem
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Jan 13, 2024 01:06
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