Studio Acoustics

The link below is for my Studio Acoustics presentation.

https://docs.google.com/presentation/d/1qhIJgaJmIEIjd7x16N7BSoN31pU8ZGBj5CarFwKqxqw/edit?usp=sharing

Types of mixing Desk references

https://www.absolutemusic.co.uk/community/entries/206-digital-vs-analogue-mixing
http://www.audiomasterclass.com/newsletter/an-inline-mixing-console-what-s-that
http://www.dilettantesdictionary.org/index.php?search=1&searchtxt=split%20console
https://en.wikipedia.org/wiki/Reel-to-reel_audio_tape_recording
https://en.wikipedia.org/wiki/LP_record
http://www.factmag.com/2013/09/24/the-pros-and-cons-of-vinyl-cd-cassette-and-digital-in-2013-and-how-to-get-started-releasing-them/3/
https://whatis.techtarget.com/definition/DAT-Digital-Audio-Tape
https://en.wikipedia.org/wiki/Compact_disc

Lee Scratch Perry Remake - Unit 34

The 3rd track we are creating is a reggae dub track. We will be using instruments and emulating effect used by Lee Scratch Perry on his track Blackboard Jungle Dub. This track was produced in a era before DAWs, digital Synthesisers & Plugins. This means all the instruments are real and any effects applied are from outboard effects units. 

18/05/18;

Today we began choosing instruments to use and created a starting point for the track. Although we are going record live instruments for most of the track we created a template of what we wanted it to sound like using guitar, bass, flute & drum samples/VSTs.

For the bass we wanted to emphasis the first beat of every bar so we kept it simple on the first

For the drums we used the 'One Drop Rhythm' style of playing. This gives our track the rhythm associated with the style of music we're recreating. We are going to replace the drums with live drums at a later point.

Off beat guitar chords play throughout the track and add a rhythmic element to it. We added these offbeat guitars to show the live guitarist how to play it.

Health & Safety at Live Events

In this post I will give an overview of the health & safety procedures that happen at live events.

When planning for a live event you have to identify any risks and work on reducing them. To do this you have to do a risk assessment. 

By composing a table such as this one risks can be categorised by Likelihood and consequence. People tend to start by reducing the yellow section first and then working on the others as appropriate for the event. A stage collapse would be considered catastrophic and a liquid spillage would be considered negotiable. 

Live shows are split into 2 sections. The load in/load out & the performance. The risk assessments for these will be different. During the load in & load out Hazards will be things such as objects falling from hight and moving vehicles inside the venue where as during the performance they will be things like drunken related injuries and liquid spillages.

Anyone working on the show has to be provided with appropriate . HSE suggests the the average shouldn't exceed 107dB and the peak shouldn't exceed 140dB. They also suggest 'Where practical, the audience should not be allowed within 3m of any loudspeaker'(1). 

In all when planning for a live event you have to remember each event will have different health and safety requirements based on the audience profile, genre of music, size of the venue and many other variables. While it can seem like a tedious thing taking proper health and safety percussions can save you and others from injury.

1 - http://www.hse.gov.uk/event-safety/noise.htm
Chart from - http://tspwiki.com/index.php?title=Risk_Assessment_and_Mitigation

Mono Vs Stereo mixing & sound on stage

When it comes to live sound mixing in stereo isn't very effective. As hard panning will result in people who aren't in the stereo sweet spot not being able to hear instruments/vocals on the panned opposite to the side they're listening from. With mono mixing everything is central and it should sound even no matter where you're listening from. However a lot of engineers use panning but very minimally pushing them no further than 10 & 2 O'clock. 

Information collected from https://www.soundonsound.com/forum/viewtopic.php?f=26&t=33413

Power

https://www.soundonsound.com//sound-advice/power-electrical-safety-stage

Critical Distance

In live sound the critical distance refers to the point at which sound reflecting from around the room begins to overpower the direct sound from the FOH speakers. This is shown in the diagram below. 

https://www.astralsound.com/speaker-position.htm

At this point you would add another set of 'delay speakers' to re-enforce the sound to this part of the venue. Because the direct sound from the FOH can still be heard at a low level the audience will hear the sound from the 'delay speakers' and then milliseconds later the sound from the FOH speakers. To get rid of this delay you work out how long it takes for sound to travel from the FOH speakers to your critical distance. Then applying a delay to the 'Delay Speakers' will mean they produce could just as the sound from the FOH reaches the critical distance. 

This technique is mostly used is larger venues but could also be used in smaller venues that aren't purpose built for music.

Info on critical distance from http://education.lenardaudio.com/en/04_acoustics_2.html

Positioning Monitors

Stage wedges are angled speakers used give musicians individual mixes on stage. These are usually very directional so if placed correctly are only feeding the ear of the musician and make it easier to control feedback. They are great for small to medium size venues but the larger the stage and the more movement of the musicians the more monitors you will need.

Side fills are large speakers placed at either side of the stage and feed all musicians one mix. These add to stage noise and can create more problems in the way of feedback. Musicians can't have individual mixes.

In ear monitoring removes any worry of monitor feed back and musicians can hear the mix they want to hear perfectly so are great for large venues. However they isolate musicians from each other and the audience. They also reduce the volume on stage.

information collected from https://www.soundonsound.com/techniques/stage-monitoring-monitor-mixing

Live Sound for small venues Index (Unit 23)

Handling feedback - https://antsmusictechblog.blogspot.co.uk/2018/02/feedback-destroyer-effects-soundcheck.html

Setting up for live sound - https://antsmusictechblog.blogspot.co.uk/2018/02/setting-up-for-live-sound.html

Setting up for live sound evaluation - https://antsmusictechblog.blogspot.co.uk/2018/04/setting-up-for-live-sound-evaluation.html

Three dream set ups for live sound - https://antsmusictechblog.blogspot.co.uk/2018/04/three-live-sound-set-ups-unit-23.html

The critical distance - https://antsmusictechblog.blogspot.co.uk/2018/05/critical-distance.html

Positioning monitors - https://antsmusictechblog.blogspot.co.uk/2018/05/positioning-monitors.html

Power for our set up - https://antsmusictechblog.blogspot.co.uk/2018/05/power.html

Mono vs Stereo - https://antsmusictechblog.blogspot.co.uk/2018/05/mono-vs-stereo-mixing-sound-on-stage.html

Health and safety at live events - https://antsmusictechblog.blogspot.co.uk/2018/05/health-safety-at-live-events.html

Three live sound set ups (Unit 23)

Small set up (100 people)

FOH Speakers - HK Audio E210 Sub As (Active sub woofer with internal crossover, made up of 2 10" cones) HK Audio Elements E435 x2 (150w RMS active speaker made up of 4 3.5" Cones) 

Both are very portable.

Monitor Speakers - SubZero SZFP0212 x3 (These monitors can double as FOH speakers if needed)

Mixing Desk + Effect Units - Mackie ProFX16v2 16-Channel Professional Effects Mixer (this mixer had effects built in)
Microphones + DI boxes - SM57A beta x2, SM58A beta x2, Shure Drumkit mic set, BSS AR-133 Active DI Box x2

Power - 20 kettle leads, 5 extension reels, 5 extension cables. 

Cables - SubZero 20 Channel Stage Box, 40 XLR cables, 5 XLR gender changers, 4 1/4 Jack Cables, 5 XLR to 1/4 jack converters.

Medium set up (300-500 people)

FOH Speakers - HK Audio L SUB 1800 A x2, HK Audio L5 115 FA x2
Monitor Speakers - L5 112 XA x5 (Can double as FOH speakers)

Mixing Desk + Effect Units - Behringer Eurodesk SX2442FX (Has a onboard Feedback detection system, 4 Aux Sends, 2 independent FX processors.)

Microphones + DI boxes - SM57A beta x2, SM58A beta x2, Shure Drumkit mic set, BSS AR-133 DI Box x2, beyerdynamic M 88 TG (Kick Drum/Female vocal)

Power - 30 Kettle leads, 10 extension reels, 10 extension cables.

Cables - Soundcraft MSB-32R Mini Stagebox 32, 70 XLR cables, 10 gender changers, 10 1/4 Jack Cables, 10 XLR to 1/4 Jack converters.

Large set up (1000+)

FOH Speakers - JBL PRX418S x4, HK Audio L5 115 F x4 

Monitor Speakers -  Shure P3T Transmitter + 5 P3RA Receivers & SE215 In-Ear Monitors

Mixing Desk + Effect Units - SSL Live. L300

Microphones + DI boxes - Audix DP Elite 8, Audio-Technica AT4033/CL, Telefunken M80

Power - Behringer iNuke NU4-6000 Power Amplifier x 7, 40 Kettle leads

Cables - SB 32.24 Stagebox (This stagebox offers easier connectivity to digital mixers)

Speakers: 

Active speakers are good for smaller venues. Their built in amplifiers mean they don't require external amplification. This makes the signal flow to them simpler and also easier to transport as you don't need amplifiers. Crossovers are also built into the speakers. 

Passive speakers require external amplification and sometimes an external crossover system. You also have to pay more attention to the power require by the speaker. However Passive speakers are much lighter than Active speakers which is good when you need a lot as you would in a large venue.

Monitors

Stage wedges are angled speakers used give musicians individual mixes on stage. These are usually very directional so if placed correctly are only feeding the ear of the musician and make it easier to control feedback. They are great for small to medium size venues but the larger the stage and the more movement of the musicians the more monitors you will need.

Side fills are large speakers placed at either side of the stage and feed all musicians one mix. These add to stage noise and can create more problems in the way of feedback. Musicians can't have individual mixes.

In ear monitoring removes any worry of monitor feed back and musicians can hear the mix they want to hear perfectly so are great for large venues. However they isolate musicians from each other and the audience. They also reduce the volume on stage.

Mixing Desks

Analog mixers are great for small and medium sized venues. From 4 channels to 24 most of them come with Gain, EQ, Aux sends and Pan controls. The signal flow through these mixers is relatively easy to understand. However any effects such as reverb, delay and compression require outboard rack gear and extra cabling. 

Digital mixing desks are great for large venues as they use less space compared to a large analog desk that would be needed to do the same job. They are also great for performances with a lot going on such as band change overs and level changes/effect adjustments between songs. These usually have built in effects meaning there is no need for out board effects (these can still be used if wanted). However the signal flow through digital desks is harder to under understand and visualise. 

Microphones + DI Boxes

Dynamic microphones are the standard for live sound. They are more durable compared to Condenser microphones and don't require phantom power.

Wired microphones are great if musicians aren't moving around much. But in medium sized and large venues where musicians move around more wireless microphones are more suitable because cables wont come lose and can't be tripped over.

Clip on microphones are very easy to set up and make stages look much cleaner.

DI boxes are great for blending acoustic guitars with non acoustic instruments.

(1) - https://www.bhphotovideo.com/explora/audio/buying-guide/basics-live-sound

(2) - https://www.soundonsound.com/techniques/using-mics-di-boxes-stage