February 28, 2005
PNW AES
Posted by Dave at 07:41 PM | TrackBack
Another Record Grossing Year for Touring, But Profitable?
PSN has posted the annual recap of the 2k4 touring season. According to Pollstar gross ticket sales were 2.8 billion and according to Billboard the gross was 2.4 billion. The numbers are pretty interesting because last year many promoters took a bath on shows that were expected to do well. Rather than grosses, I'd like to see how PROFITABLE the season was for not only promoters but sound companies, though the PSN story touches on it as well. Anecdotal evidenced indicates to me that sound people as well as sound companies and tour staff are working and buying more last year than in the few previous years.
The article comes to the conclusion that ticket prices are too high. THE HELL YOU SAY!!!. You don't exactly have to be a rocket surgeon to figure that out. It's one thing to pay sixty bucks to see something that is original and unique, perhaps a one of a kind act. It's another thing entirely to pay that or close to that for some "dig 'em up" band that's been flogging the sheds every season for the last decade. It's too expensive and there was too much mediocre stuff out or acts playing in venues way too big for way too much money. If that trend keeps up, sound companies and tour staff of all disciplines will feel the blunt swing of the correction. Acts that were doing poor business in sheds last year, particularly classic acts, will go down to doing the casino and corndog curcuit, which isn't too bad or basing the deals on half capacity shed venues and scaling the costs appropriately.
One thing the article doesn't include, perhaps because they don't want to poke a sleeping giant, but the impact Clear Channel or HOB have had in the consolidation of the major promoters in the country.
I've done scores of gigs they they have promoted and from my end it seems to be much the same as it was pre buyout at most places. Most of the same people are in the same slots and everything from the sound roadie's perspective seems not to have changed any more than normal. What would be interesting to me, is to see how things have changed from the booking and tour manager aspects. Back in the day, a five fiugre loss at a show could have put a regional promoter out of business, or at least in serious hurt. Could the glut of talent out last year be simply because the two main players are willing and able to "throw it on the wall and see what sticks?" In many instances they are competing with casinos that in many cases are using the shows as loss leaders to get people in the door for gambling, particularly with smaller and mid level touring acts.
At this point based on the contacts I've had, 2k5 is shaping up to be at least as busy as last season was. Let's see if anyone makes any money at it this year.
Posted by Dave at 01:52 PM | Comments (1) | TrackBack
February 27, 2005
Jef Raskin Succumbs to Cancer
Jef Raskin, creator of the Macintosh and pioneer of many elements of the modern computer interface (drag and drop for example) lost a lengthy bout to pancreatic cancer over the weekend. Didn't even know he was sick.
Posted by Dave at 11:51 PM | TrackBack
February 25, 2005
Audix Phil
Posted by Dave at 01:03 PM | TrackBack
February 23, 2005
More Grass
Posted by Dave at 11:44 PM | Comments (2) | TrackBack
Wintergrass
Posted by Dave at 11:42 PM | TrackBack
February 22, 2005
Looks Like Blink 182 Might Be Calling It Quits
From Pollstar and a post on the Blink site...
"For over a decade, Blink-182 has toured, recorded and done non-stop promotion all while trying to balance relationships with family and friends.
"To that end, the band has decided to go on an indefinite hiatus to spend some time enjoying the fruits of their labors with their loved ones. While there is no set plan for the band to begin working together again, no one knows what tomorrow may bring."
Posted by Dave at 07:56 PM | TrackBack
If The Shoe Farts.....
I heard this on Dennis Miller a bit ago,(and thought it was a bit until I Goolged it) an Orlando FL shoe company is suing a chemical distributor for selling them chemicals that turned the insoles of the shoes into whoopie cushions.
The suit claims Bell Chem Corp. of Longwood delivered a low-grade glycerin that was watered down in late 2002 and early 2003. That caused air bubbles to form inside the insoles, it said.
When people step down on them, the inserts produce "a flatulence-like noise," according to a report by a Goosebumps' chemist, Richard Cavestri.
It's not about pro audio but think about what kind of bus gag you could pull with something like that...
Posted by Dave at 06:12 PM | Comments (1) | TrackBack
February 21, 2005
Trade Show for Our Friends South of the Border
Our Latin American colleagues have Expo Soundcheck 2005 March 15-17 at the WTC in Mexico City. It's presented by Soundcheck Magazine, probably the most popular audio/ production periodical in the Latin market. I did an interveiw with them last year though I have no idea what it said. ;-) Info about the show is in a Flash presentation so I can't link directly to it. Among the exhibitors are Latin powerhouse Hermes Music, taking nearly a third of the available booth space, Meyer Sound Labs, Allen & Heath, Ashly Audio, Shure and d&b audiotechnic among others.
From a press release at World Wide Pro Audio Directory (apparently translated)
Its coming March, along with the opening ceremony of Expo Sound Check 2005, event that for the third consecutive year will keep the promise to focus all the aspects that requires the professional of the entertainment industry for the execution of a first level show. With more than 6,200 square meters of total extensión, the event will be composed by the already traditional exhibition area, such as demonstration rooms, variable activities room and educational conferences. Every and each room will show the most outstanding brands, and tecnological tendencies for the professional live audio , records, lighting, production, video and musical instruments the following 15, 16 and 17 at the World Trade Center Ciudad de México.
CONFERENCES:
At the conferences section, the WTC auditórium will fill with talent as the event couldn't be better:
El Cable, the virtual comunity of the professional audio and music opensour bar of activities as a round table about the use of the tecnology inthe musical production, all this coordinated by it founder, the creative Pepe Stephens March 15th 11.00 AM.
Meyer sound under one of its leadership experts in in trainning, the well-known Pablo Espinosa, will look at the audio subject, with it topic "Other view if the linear fixes". March 15th 13.00.
The first day will be closed with the special guest appearance of Bob Clearmountain, productor and mixing magician (Paul McCartney, Bruce Springsteen, Bryan Adams, Roxy Music, INXS ) Bob and Mexican enginners guests will speak about the exiting topic of mixture in the studio. March 15, 4.30 PM, courtesy of Apogge and Mágnum Digital.
The following day will open the conference with the distingished presence of one of the nicer Latin American musicians, and audio modernist and digital music: the great Charly Alberti, ex-baterist of Soda Stereo who will recote a king exchange of experiences and will assist to the public questions about the digital tools when making music. Mrch 16th, 11.00 AM. Steinberg and Mágnum Digital courtesy.
R. Bob Adams, Director of Technical Communication of the speakers company SLS and true guru in acoustics and audio, will give us an interesting conference about the use of the technology in transducers and their particular features in the sound system of enclosures of diverse sizes. Stage Acoustics's courtesy . March 16 1.00 PM.
The big day will be closed, only in the area of the technical production and specifically in the topic of the lighting. Recognized by his conceptual works in the seventhies and eighthies and for his new point of view of the lighting design in shows like those of Genesis, Yes, Def Lepard, Chris Isaak, Sammy Hagar or Peter Gabriel, the great Jonathan Smeeton will be among us to offer the conference The Art of Using Light to Entertain. March 16 4.30 PM.
On Thursday again we open up with the important topic of lighting, and in this occasion the word will belong to the Architect Gustavo Áviles, director of Light Team Mexico, one of the most reputed companies of lighting design in the country and with experience in projects in Portugal, Spain, Finland, etc.. Gustavo will guide his chat about the importance of generating emotional experiences starting from visual aesthetic concepts. To think of body, in the mind and in the spirit and to act in the color, the bright and the contrast: Lighting outside. March 17 11.00 AM. Since many years, the Mexican theater has demonstrated that as for production it can be at the level of anyone of the world and one of the responsible ones of keeping this promise is Morris Gilbert. Director and producer that has come to enrich the theatrical scene with a view of the knowledge to make with perfection. The master and his work group will offer us a view of OCESA Teatro and his justified success. March 17 1.00 PM.
We conclude the bar, with a round table that could not be more moving: Emmanuel Del Real (Café Tacvba), Alejandro Rosso (Plastilina Mosh), Paco Ayala (Molotov), Mr. González, Fratta and Alejandro Marcovich, moderated by Javier Lara in a panel about the changes of the musical production in Mexico in 2005. The music seen by its main characters. March 17 4.30 PM.
Do not forget the educational programs and technical upgrade that AMITRA will offer (Mexican Association of Engineers and Technicians of the Broadcasting) and AES (Audio Engineering Society) Capitulo México, both in the mezanine of the WTC, rooms Palenque and Montealbán.
STARS OF THE STAGES
Charly Alberti will also offer a clinic about Cubase in the booth of Yamaha-Magnum Digital; with the Japanese brand of the fingerboard will be Enrique González "Bugs", baterist of the regiomontano band Jumbo, offering clinical of battery. Lee Oskar famed session musician and part of the band War will be presenting its line of harmonic in the room of Vari Internacional. Fernando Toussaint and hisr group will liven up the concert that Meyer Sound will offer inside their demonstrations of linear arrangements.
Do not forget: Expo Soound Check 2005 the following March 15th, 16th and 17th at the WTC Ciudad de Mexico
Posted by Dave at 02:04 PM | TrackBack
February 18, 2005
It Was 20 Years Ago Today...
I was working at a sound company with a rehearsal sound stage. We were hosting one of the big time, big hair rock bands of the day. During rehearsal, I got a call from Cherie. She thought she might be in labor. I rushed to her parent's house where we had been living for the last eight months. Just after Carson started (Johnny, not Daly) Cherie's water broke. We headed to Anaheim General Hospital, not waking her or my parents or family. Just a bit after 2:00 AM, we welcomed Raven Isis Stevens-Holt to planet earth. I was in the delivery room, basically in shock though I'd had a few months of Lamaze training. It was the most single moving, life changing experience I've ever had, even 20 years later.
Happy Birthday Sweetie!
Posted by Dave at 12:20 AM | Comments (4) | TrackBack
February 17, 2005
PSW/LAB Forums Back Up
The forums at PSW seem to be more or less back to normal. It was pretty painful to watch. They basically didn't bring an "A" game for the migration and led to the outage. Totally avoidable and should have been able to be resolved in minutes rather than days but I'm not in the mood to harp on it any further.
Go back and post, they're open again.
Posted by Dave at 03:25 PM | TrackBack
February 16, 2005
Update on LAB Outage
I got word earlier that the LAB forums will be closed until they can resolve the issue. It's a mess and hopefully they'll be able to get it going again with minimal data loss. PSW will issue a mass email to forum members at the point when the forums are operational again. It makes sense to take them offline until they can sort the problem.
To keep it in perspective, it's only a message forum and any real life impact on the participants will be minimal. OTOH, it's frustrating to some members particularly when we go for a couple of days without knowing what's happening. Many knowledgable people have put much time, energy and effort into making this the community that it is and I certainly appreciate, recognize and respect that. I only wish the current management would convey the same feelings to the community. I was asked earlier for suggestions and in addition to some potential technical fixes, I suggested that management communicate with the community in a more timely manner with more relevant information.
While it's unfortunate they screwed the pooch on this one, they have a vested interest to restore the forums as soon as possible. In the meantime, the Roaddog Touring Audio Forum is open just in case you feel the urge to post.
Posted by Dave at 11:06 PM | TrackBack
February 15, 2005
Nexo geo t
Posted by Dave at 12:58 PM | Comments (2) | TrackBack
LAB/PSW Offline Due to Technical Issue
As I'm sure you've seen, yesterday at about 1500 Pacific the forums at PSW went offline. They were trying to move to a new datacenter and to make a long story short, much wackiness ensued. I'm told it will be resolved as soon as possible. I'm no longer in the loop on such things so I can't really give an estimate on when it will be back up.
In the meantime, if you're really jonesing to post, the Roaddog Touring Audio forum is still open.
I was going to launch into a rant about the whole thing but instead I think I'll head to the shop and demo some Nexo Geo T Series.
Posted by Dave at 10:47 AM | TrackBack
February 14, 2005
New Napster Business Model May Not Fly With Consumers
I'd read a couple of things last week on the new Napster subscription model called Napster To Go. It's a flat rate pricing model where for as long as you maintain your US$14.95 you'll be able to download preselected playlists and tracks to your compatable WMA player. Consumers though may "Think Different". I know I am...
A central element of the strategy is is to take on the iPod directly with an aggressive campaign touting Napster as a better value. I don't particularly agree with that as when you stop your subscription, you can't play the music. A more fair comparison would be XM MyFi to Napster To Go or iTunes to traditional CD sales. In both of those cases, Napster To Go offers the least value. I went to sign up for a trial subscription but the service is limited to Windows XP, Windows Media 10 and requires using IE to connect to the service.
Napster CEO Chris Gorog was at MidemNet last month where he is quoted in this excerpt in Forbes...
"We're confident it will be the model the entire industry backs," said Gorog. "It's exactly what consumers want to do. Napster To Go is very similar to the P2P experience."
He believes the best way to market the new service is to emphasise its advantages over iTunes. He's particularly keen to highlight iTunes' iPod-only compatibility. "We're going to be communicating to people that it's stupid to buy an iPod."
I don't see it like being P2P at all. First, the downloaders will have to pay for it, which isn't a bad thing. The current driving force behind P2P is that people are sharing music and not paying for it. Those revenue streams help employ fat old roadies like me and keep my clients able to afford me. In a P2P environment, there is a choice that is purposely lacking in the Napster To Go model, the ability to port tracks to CD or other device. Napster To Go will allow burning of tracks, but at a rate pretty similar to the iTunes model, about a buck.
Using the Gillette razor and blade business model as a metaphor as Cringley, among others have, the iPod is the "blade" and the songs are the "razor" in the way Apple is executing the iPod/iTunes strategy. It's done pretty well, it's got more than 90% market share. The Napster model is more akin to Gillette, using low cost and at times free media players to entice people to subscribe. In that case, the player is the razor and song is the blade. Someone, somewhere, probably Napster is subsidising the cost of the loss leader players. Just like with the free or cheap cell phones you get when you commit to a plan. Depending on your usage pattern, the couple hundred bucks you save on that phone will easily be eclipsed by line and airtime charges. In most other parts of the world a growing number of the people using cell phones are using pay as you go phones. The phone costs a bit more, but in the end it's a better value as you only pay for what you use.
I'm not the only one that has this opinion. Parks Associates just released a survey where 40% of the respondents would perfer a download service, compared to 8% that would prefer a subscription. Perhaps the tide will turn though if it does, there will be nothing to stop iTunes from launching the same sort of service. They should have put Napster to bed long ago.
Posted by Dave at 12:44 PM | TrackBack
February 13, 2005
Parnelli Awards Voting Still Open
Just a quick plug to pimp you to vote for my pals in town who are up for a Parnelli Award at Pro Production 2005. I'm gigging at a festival during that week so I won't be able to make it. Best of luck to Mark, Jonathan and the gang.
Posted by Dave at 06:04 PM | TrackBack
Mix's Peterson on the End of the Compact Disc
Long time editor/ editorial director at Mix Magazine George Peterson comments in this Washingtion Post piece about the end of compact discs as a music medium. I don't doubt that eventually the CD will go the way of the 8 track or vinyl LP but it's not going to be any time soon.
Posted by Dave at 05:37 PM | TrackBack
February 09, 2005
SSL For Sale
From a story at Pro Sound News, Solid State Logic is for sale.
From a statement issued by SSL...
"Following a dispute between stakeholders over development funding, the shareholders of Solid State Logic Holdings Limited have agreed to offer the Company and its Subsidiaries for sale.
The current status, therefore, is that the business is being offered for sale. A number of expressions of interest have been received and the goal is to conclude a sale before 31 March 2005."
Could SSL be the next member of the Sennhieser, Telex or Harman families?
Posted by Dave at 01:11 PM | TrackBack
February 08, 2005
Gillmor Gang to Call it Quits?
This just in from Steve Gillmor,(well, last Friday) the wonderful Gillmor Gang podcast is on pretty much permanent hiatus and " will return in some new incarnation at some point" according to a post on Steve Gillmor's Inforouter. Gillmor Gang was easily one fo the best podcasts on the Web. Most podcasts, including podcast "fathers" Adam Curry and Dave Winer are amateur at best, lacking production value, flow and cohesive content. Most podcasters can learn much from traditional broadcasters so they at least don't sound like a low budget version of a Beavis and Butthead episode. The Gillmor Gang was class all the way. Insightful, intelligent and always interesting.
Hopefully something will come of it, perhaps a PBS, NPR, XM or Sirius broadcast so I don't have to download 35MB and wait to listen to the broadcast. That's an issue with most podcasts (other than weak production value and no content) is that it's not on demand so much. Podcasting, or for a better term, "Long Tail" broadcasting is poised to be a significant advancement once there is a better than amateur production value and content that doesn't sound like a high school radio. The Gillmor Gang was one such excellent broadcast and I for one hope they return, at least in some form.
Posted by Dave at 12:19 AM | TrackBack
February 07, 2005
Pollstar Awards Announced
The Pollstar Awards were handed out at The Wiltern in LA last Friday night. Lewis Black was the host. I worked with him a couple of years ago and enjoy his appearances on HBO and Comedy Central's The Daily Show with Jon Stewart.
The awards went to...
Major Tour of the Year:
Prince
Most Creative Tour Package:
Bob Dylan / Willie Nelson
Most Creative Stage Production:
Prince
Best New Touring Artist:
Josh Groban
Music Festival of the Year:
Coachella Valley Music & Arts Festival
International Music Festival of the Year:
Glastonbury Festival
Nightclub of the Year:
House Of Blues, W. Hollywood
Theatre of the Year:
Ryman Auditorium
Best New Major Concert Venue:
Glendale Arena
Red Rocks Award / Best Small Outdoor Venue:
Greek Theatre, Los Angeles
Best Major Outdoor Concert Venue:
Hollywood Bowl
Arena of the Year:
Madison Square Garden
International Small Venue of the Year:
Royal Albert Hall
International Large Venue of the Year:
Wembley Arena
Nightclub Talent Buyer of the Year:
Sean Striegel, House of Blues Anaheim
Independent Promoter of the Year:
Another Planet Entertainment
Talent Buyer of the Year:
Jim Glancy, Ron Delsener Presents
Facility Executive of the Year:
Michael Marion, Alltel Arena
Bill Graham Award / Promoter of the Year:
Debra Rathwell, AEG Live New York
International Promoter of the Year:
Mojo Concerts
Booking Agency of the Year:
Creative Artists Agency
Boutique Booking Agency of the Year:
Little Big Man Booking
International Booking Agency of the Year:
Helter Skelter
Third Coast Agent of the Year:
John Huie, CAA
Bobby Brooks Award / Agent of the Year:
Chip Hooper, Monterey Peninsula Artists
Personal Manager of the Year:
Brian Avnet (Josh Groban)
Artist Development Executive of the Year:
Harvey Leeds, Epic Records
Road Warrior of the Year:
John "Bugzee" Hougdahl (Prince, Bon Jovi)
Lighting Company of the Year:
Bandit Lites
Sound Company of the Year:
Sound Image
Staging / Equipment Company of the Year:
All Access Staging & Productions
Transportation Company of the Year:
Rock-It Cargo
Video Company of the Year:
Screenworks
Posted by Dave at 08:13 PM | TrackBack
February 06, 2005
It Ain't Me, I Ain't No Fortunate Son
I tuned into the Superbowl pre game and broadcast this year hoping for a possible wardrobe malfunction from Gretchen Wilson or Fergie from Black Eyed Peas. What I got was an assault of one of the most embarassing music mixes on an event of this scope in the near 25 years I've been in the biz. Normally, I don't like to second guess the guys in the truck or in the booth because I know all too well what it's like and what it takes to do something of that scope. Though rarely as a broadcast mixer, I have done scores of such events in varying capacities (lately as Ear Boy for the most part) and have had an opportunity to work with some of the best in the biz. I know what it takes to do the gig and hate to second guess in most cases but in this case I've had the pleasure of working with most of the artists involved (a couple of them on several occasions) and they didn't sound like that when we did them. In this case I may be an armchair quarterback, I'm at least one that's been able to get out of the armchair and sit in the "Big Chair" (tm).
I tuned in just in time to catch Jon Fogerty's somewhat ill timed introduction by model/weathercaster/sports commentator Jillian Barberie for his appearance at the NFL Superbowl Tailgate Party. Fogerty, in a word, rocks. Given Fogerty's politics, it's no surprise he chose "Fortunate Son" as the opener and featured number. I'm glad to see him doing some of his original CCR stuff, much of it is timeless. The performance started with a mix featuring blaring lead kick, snare and hat, with vocals over that. The bass eventually came in though the guitars were incredibly distant as if there were ambient noise though a talkback mic that was errantly left open. It sounded like a board tape that wasn't compensated for the mix or acoustics of the room, and I suspect it may be.
After some more "festivities" including an appearance by former Presidents Daddy Bush and Clinton where at one point Terry Bradshaw nearly leaped at Bush to put the mic in front of him as he was giving his game prediciton, we segued the NFL Pre Game Show where we were to be treated to performances by country star Gretchen Wilson and country legend Charlie Daniels. Same thing, primary vocal clear and on top, with the band and non primary vocals sounding like they were in Jax Beach rather than Alltel Stadium. Wilson did the title track from her Grammy winning "I'm here for the party" album though unless you knew the lyrics you'd have never recognized the tune. At this point I could see a consistent problem and changed my stereo TV to mono to hear if this was some sort of polarity or phase issue. Nope, same washed out wimpy music mix with dry vocs WAY on top. I then turned on the "spare TV", terresstrial signal, no cable, in mono. Same, same.
Apparently every time Charlie Daniels appears on national broadcast TV he has to perform the legendary tale of young Johnnie battling the Devil with a fiddle of gold in the balance, "The Devil went down to Georgia". It must be some sort of International law or perhaps a condition of parole. It's a catchy tune, balancing story telling and one hell of a fiddle part. When a guy in boots, a hat and beard plays it's a fiddle, when a woman in a long black dress plays it's a violin. Basically the fiddle duel is the crux of the story. The fiddle part is just as important to the tale as it the narration. It's not singing so much as chanting in verse, a sort of Redneck Rap, if you will. Again, primary vocal dry, loud and clear and when poor ol' Charlie went into the fiddle part, almost nothing, zippo, bubbkis. I can't stress this enough, YOU HAVE TO HEAR THE FIDDLE DURING "THE DEVIL WENT DOWN TO GEORGIA". It's just as much of a part of the song as the vocal, IF NOT MORE. To add insult to injury, poor Gretchen now only singing backup was nearly out of the mix, to the point where if you weren't listening critically, you couldn't tell if she was saying anything at all. I was beginning to wonder if a first semester Full Sail student with a Behringer mixer in a water closet with a set of blown 7506s could have done better. There were still two more pre show acts plus the much hyped Paul McCartney halftime performance.
Next up hip hop/ urban favs Black Eyed Peas. A great act, musical, entertaining, intelligent lyrics and Fergie isn't hard on the eyes either. Performing "Where is the Love", BEP rendered a somewhat sanitized version for the Superbowl show, though not surprising given last year's "decency" uproar where as we are all well aware, a brief, unfocused exposure of a woman's breast kept people from getting the regular fill of alcohol promotions, fart jokes and boner pills. The BEP mix was butchered, the mixer didn't know the material or have a feel for the artist. They were then joined by Earth, Wind and Fire who did one of my favs, "Shining Star". The mix was basically vocals and conga, though I thought I could hear some horns in the distance. It's Earth, Wind and Fire, you gotta hear the groove and you gotta hear the horns. Sadly, you couldn't. If it was this bad for this, what would McCartney be like?
The Ray Charles tribute of "America the Beautiful" with Alicia Keys and signed by students of the Florida School of the Deaf and Blind, Charles' alma mater, was a nice touch. Charles had the reputation to stop a show in the middle if he heard something he didn't like and take the audio crew to task, over the mic, during the show. To make matters worse, he never carried a guy. I was present a two such tirades, one early in my career mixing him at a large jazz and blues festival and again nearly ten years later as a tech for a performance in an arena. One of Charles' critical perferences was the balance of the piano and vocal and were he alive today, he probably would have stopped this show to chastise the audio crew, though this wasn't as bad as the previous artists mixes. The number was pretty tasteful and moving, a fitting tribute though when they went to a video roll it appear that Charles' was either to sing along or add comments but you couldn't tell because it was so buried in the mix. Had Charles been there, he would have stopped them and had them do it over.
I was pretty surprised at this point because the people producing the entertainment portion of the pre show and also the halftime was Mischer Productions. (I believe the Tailgate Party was produced by Fox) While not specifically known for music events or shows, Mischer is no slouch when it comes to big time TV extravaganzas. Based on previous shows, they do things right.
The performance of McCartney at the halftime show was a pleasant surprise. It sounded pretty good, better than many of those kind of events sound. He did "Drive my car", "Get Back", "Live and let die" and a version of "Hey Jude" that included a nice, if not campy crowd participation schtick at the end. All in all, very appropriate for the event and presented very professionally. Just the sort of thing on might expect from the most watched television program and most watched single day sporting event and from a performer the stature of McCartney. There was a pretty significant attenuation of overall level after the fireworks display during "Live and let die", though given the circumstances where there was most likely a music truck, production audio booth or truck, control room and uplink truck it can be somewhat of a pie fight to coordinate some aspects of the production, particularly in the heat of battle, in real time. The people that did that should be pleased, it came off very nicely.
If the McCartney segment was good, then why did the the rest of it, well, suck. I wasn't there so anything from me is ASSumption, speculation and conjecture. But I'll take a stab at it anyway. Since the Tailgate Party was produced by Fox and not a focal point of the broadcast it's possible, and likely that they were taking a board feed from FOH for the music. The Fogerty band had ear mons so I would suspect they were carrying mixers as well. The mix could be attributed to an inappropriate mix for the broadcast from FOH under less than desirable circumstances. Compared to the butchering the pre show artists got, Fogerty got off pretty easily.
Artists like McCartney, and even artists of lesser stature can generally write their own tickets when it comes to high profile broadcasts. Usually someone like Guy or Kooster brings the truck and mixes or perhaps someone like Quack comes into mix with another truck. In any case, the artist has control over the aspects of at least the audio production even though it's a TV show where the artist is a guest. Another aspect is that the pre game and the half time were almost certainly two production crews. The local stagehand labor and PA could have shared some aspects, but it's likely the mixers, broadcast techs, producers and even OB facilites were separate. It appears that a mixer familiar with and possibly experienced with McCartney's music did his show, while perhaps a production mixer did the pre show. The pre show appeared to me to be mixed by a production mixer that was not either familiar with the artists or perhaps wasn't that familiar with mixing live music for broadcast. Once tale tell sign of a production mixer doing music is only one vocal mic up at a time, a weak music bed and an unfamiliarity with the artists. For the most part all of the performances for the pre show seemed to suffer from those traits.
While I don't necessarily like to comment on the work of others, with the exception of the halftime show the rest of the music reproduction was unacceptable and the results of the halftime show as well as numerous other shows indicates that tasteful mixes can be acheived with proper execution and a bit of luck. The point though, is weather armchair quarterbacks and super fans of the act are the only people that notice.
Posted by Dave at 07:24 PM | Comments (1) | TrackBack
February 04, 2005
Kathi Evans To Leave Neutrik
Kathi Evans posted to the LAB yesterday that after 15 years she'll be leaving the marketing and communications position she's held at connector giant Neutrik Feb 11. Mark Boyadjian will start in the position on Feb 14. Kathi was good folk and we'll miss her around the LAB. She plans to start an event planning business in the Ocean County area of New Jersey.
Good luck Kathi!
Posted by Dave at 08:06 AM | TrackBack
February 03, 2005
What Color Is Your Umbrella?
It's Grammy time again kids and this time last year your's truely was working on some of the festivities leading up to the gig. No such luck this year, I'm camped out at Roaddog Manor waiting to see if I get some of the gigs I'm up for, doing local gigs and writing the blog to pass the time. During my usual trolling looking for worthy items to become part of A Barking Dog I ran into this on Mix Online announcing that JBL was to receive a technical Grammy. According to a statement issued by Recording Academy President Neil Portnow this Grammy is awarded to “recognize music people who have made a lasting contribution to culture around the world. These profoundly inspiring figures are being honored as legendary performers and archetypal musicians, cultural ambassadors and technical visionaries. Their outstanding accomplishments and passion for their craft have created a timeless legacy that has positively affected multiple generations, and will continue to influence generations to come." Well, err, umm, OK, but specifically why these guys? Why now?
Fortunately for me in that same article the Recording Academy noted that, “JBL has been preeminent in high-end loudspeaker technology for all facets of professional sound since its formation in 1946. As broadcast, recording and motion pictures entered the stereo era in the early '50s, JBL was there with the world's first 4-inch voice coil cone drivers and commercially available compression drivers. As the rock movement gathered momentum during the late '60s, JBL eventually became the preferred manufacturer for both musical instrument loudspeakers as well as music reinforcement activities. In recent years, JBL's introduction of VERTEC™ line array systems has been heralded as the leading edge in array technology and system synthesis, and has been the sound reinforcement system of choice for the Grammy Awards shows.”
JBL is a stalwart and pioneer in the industry, but others have been demonstrating significant prowess. Particularly lately. Let's look at this again... "In recent years, JBL's introduction of VERTEC™ line array systems has been heralded as the leading edge in array technology and system synthesis". Pardon me? Let's rewind a little further back. In the '80s and '90s JBL was receiving a royal ass kicking in the pro space by EAW and others as JBL was late to the premanufactured professional speaker box market and could only offer solutions such as the Concert Series and HLA which at the time were not on a par with other offerings in the industry. It's true that the raw driver business was still doing pretty good and they were producing some great drivers but compared to the engineers at EAW, Electro-Voice, Nexo and L'Acoustics, JBL was getting it's ass handed to it in the preassembled commercial market for most fo the '80s and '90s.
For the last couple of decades JBL was playing catch up to a pretty significant degree. To be fair, the VERTEC is a good box, a great box infact but if anyone is going to get a technical achievement award for bringing line array to the commercial sucess it is now it should be Jeff Cox and not JBL. Jeffery should be getting that Grammy because had he not pioneered the concept of marketing the modern line array craze I think it's doubtful VERTEC would have even seen the light of day. Christian Heil may have developed modern day line array technology and waveguides, but Jeff Cox was responsible for bringing it to the masses. Even the composite construction of the enclosure wasn't a JBL idea or technology and only threat of legal action enabled the proper owners of said technology to benefit. Add to that, VDOSC was available nearly five years (FIVE YEARS!) prior to the introduction of the VERTEC and there is really nothing ground breaking here to me. Good stuff sure, but nothing significantly different than what others were already doing. Or as a guitar player explained his mix to me last year, (I'm paraphrasing) "it's the same cafeteria food, the consistency of the gravy is the only difference". Most high performance loudspeaker systems when deployed properly aren't too different in terms of suitability for the task. The manufacturers wouldn't like you to know that, but it's really the truth. While there are differences, they aren't what many would like you to believe.
While I think VERTEC is a great box, I wouldn't exactly call it "the leading edge technology" though I'm a real sound guy and not a marketing wonk. I would consider it A leading example of technology. There are also other reasons that VERTEC has achieved the penetration it has, and they have NOTHING to do with technology and everything to do with marketing and product placement. It's no secret that JBL has been very aggressive in an attempt to conquer the sound reinforcement market. In fact, until the VERTEC JBL hadn't had a worthy contender in the premanufacturered pro market. NEVER. EAW's KF850 set the standard until the current line array craze in the mid '90s and VERTEC didn't gain critical mass until a couple of years ago. As good as it is, much of that penetration I think is due more to the aggressive, some say preditory nature of JBL marketing as of late. Anecdotal and Internet tales of off sheet deals, low cost placement and providing systems to operators that would not normally be able to afford and in some cases even properly operate those systems for high profile events abound. I'd love to hear if this is really the case or not, though I suspect the truth is somewhere in the middle. Perhaps not. Perhaps it's all true or not true at all.
I'm not looking to throw brickbats at JBL. There are some good folks there that do good work. Congratulations gang, you've got a rich history and do perhaps deserve the award though I think there may be others at least as deserving. Perhaps instead of a Technical Grammy, we could award a Marketing Grammy.
Posted by Dave at 12:06 AM | Comments (7) | TrackBack
PNW AES To Host Microphone Comparison Workshop
From a press release from the Pacific Northwest Section AES
Subjective Microphone Comparisons with Juergen Wahl
Sennheiser /Neumann Microphones
Co-Sponsored by the AES PNW Section
&
the AES Student Section at the Art Institute of Seattle
Art Institute of Seattle
7:30pm, Monday, February 28, 2005
Abstract
The purpose of this workshop is to analyze the variables that make it so
difficult to predict a microphone's performance in actual applications,
and to understand why microphones with seemingly identical technical
specifications sound differently, even when used under the same
circumstances. The seminar will demonstrate how to concentrate on less
complex segments of performance behavior. For example, when evaluating
electronic performance, we can concentrate on good signal-to-noise
ratio, low self-noise during very quite passages, and minimal distortion
components in the non-linear operating range. To evaluate the
microphone's acoustic behavior we listen for the imaging of instruments,
how it captures room acoustic, reverberation, ambience, and distant
instruments. When we analyze the tonal characteristic of the microphone
under test, we may include the natural frequency response for all
instruments, the extended frequency range, the transient response, the
uniform polar pattern, the detailed resolution of harmonic components,
and how the microphone works together with other microphones.
Introduction
Microphones have been with us for more than 70 years. We have become
dependent on their ability to convert acoustic energy into an electrical
signal. The design engineers provide us with a long list of
specifications for each microphone. This usually includes a detailed
explanation of their working principles and operational characteristics.
Acoustic and electrical specifications are the basic information
available to us. From that, we need to decide which microphone to select
for the task that we want to accomplish. The purpose of this discussion
is to analyze the variables that make it difficult to predict a
microphone's performance. That includes the formidable task to
understand why microphones with seemingly identical technical
specifications sound differently, even when used under the same
circumstances.
Objective tests and evaluations
There is a big gap between the uses of microphones in the "real" audio
world when compared to their design and manufacturing environment. We
can create an ideal situation for the development of microphones in the
laboratory. There is sophisticated test equipment available and the
properties of the microphone, as an acoustic transducer system often
with sophisticated electronic circuitry, take shape during many
generations of prototypes in a laboratory and an anechoic chamber. This
situation is far removed from the intended use in a recording studio or
in a concert hall. However, we need this controlled and predictable test
bed to evaluate our progress and to finalize the design parameters. This
R&D environment also allows us to make scientific comparisons between
different microphone types and transducer principles. Finally, it is
possible to standardize the artificial surroundings and use them for
quality assurance. The results, whether published or internal, are very
objective.
Real world applications
Naturally, the environment in which performers, artists, talents,
Tonmeister, application engineers, and all other microphone users work
is anything but standardized. There have always been and still are great
difficulties to transpose the engineering data from the specification
brochure to the user's world in a comprehensible method - mainly due to
the multitude of variables. As an example, we have no universal
specification that describes the dynamic behavior or transient response
characteristic of a typical studio microphone. Therefore, any attempt to
characterize and evaluate the performance of a microphone in the natural
acoustic space with real performers must be a matter of very subjective
impressions. The question arises: How can we narrow the differences
between the purely objective technical specifications and predicted
performance characteristics based on those specs, and the seemingly
different or unexpected results that we routinely achieve when using the
microphones in audio applications?
Subjective microphone evaluations
The key to a meaningful subjective evaluation is the understanding of
variables that are in the acoustic environment and the recording chain.
We also have to stay away from poetic descriptions, whether
complimentary or acidic, that evaluators often use when their technical
vocabulary is insufficient to describe the sonic impressions they
perceive and would like to convey. Again, the intention of this argument
is not to eliminate the variables, but to understand and be aware of
their influence on the behavior of the microphone. Let us start with the
acoustic environment, for example in a recording studio. There is a
ratio of direct to reverberant sound depending on the room and the
distance of the mic from the sound source. We recognize that various
polar patterns either reduce or take advantage of the acoustic
properties in space. No sound source radiates its own frequency spectrum
with uniform directivity. The arrangement of the microphone will have a
profound affect on the captured tonal spectrum due to its distance and
absolute position.
Most microphones work very well and predictably when not stressed past
their linear transfer characteristic. During an overall evaluation, it
is important to subject the mic to its limits, both at the top of the
dynamic range with maximum sound pressure level, and at the extreme low
signal level, where noise artifacts eventually will become apparent.
Most notable causes for variables are the sound sources themselves. Not
all sound sources strain the microphone to the limits of frequency
range, frequency response, and transient response. In the lab, we use
pink noise, electrical high voltage sparks, and other test signals.
However, most musical instruments, including the human voice, cannot
produce the range that will stress modern microphones.
A musical instrument that comes close to the mentioned requirements is a
grand piano. If we document carefully the circumstances of a test setup,
we can repeat and compare most of the elements, necessary for a
meaningful evaluation and comparison of different microphones. (There
will be a demonstration of such possible approach during the
presentation.) Contrary to a textbook, where all chapters are in
sequential order, the laws of physics always work simultaneously. We
have to keep that in mind for any microphone evaluation. For example,
proximity effect, inverse square law, propagation of sound, speed of
plosive sound energy, physical size of the microphone construction, and
so on, are all active at the same time. That makes it difficult for the
human ear (more the brain's interpretation) to differentiate the unlike
contribution of each phenomenon.
To ease with this task we can listen for distinct segments of the
overall sonic picture. For example, when evaluating electronic
performance, we can concentrate on good signal-to-noise ratio, low
self-noise during very quite passages, and distortion components in the
non-linear operating range. If we evaluate the mic's acoustic behavior
we listen for the imaging of instruments, how it captures room acoustic,
reverberation, ambience, and the capture of distant instruments.
Separately we analyze the tonal characteristic of the microphone under
test. That may include the natural frequency response for all
instruments, the extended frequency range, the transient response, the
uniform polar pattern, the detailed resolution of harmonic components,
and how does the mic blend with other microphones.
It takes some practice to isolate and concentrate the attention on the
smaller assignments, especially since they do overlap and interact.
However, it is worth the effort, because, after analyzing each of the
three clusters, it is usually easier to arrive at a subjective summary
that can be a fair evaluation of the microphone.
Summary
A subjective evaluation of microphones is possible, meaningful, and
approximates the design engineer's objective, if we are attentive of the
variables that may alter our impression during an application test. If
we can reduce the variables and keep a record of the setup and other
conditions so they can be repeated independently, the evaluation has a
significant importance for the user. Finally, such an approach will
train the listener to observe detailed microphone characteristics.
Juergen Wahl
Mr. Juergen Wahl holds degrees in electronic engineering and economics.
He received his early education in Germany and studied at UC Redlands,
UCLA Extension, and CSUN (Northridge) in California. He has been
principal applications engineer for Neumann and Sennheiser microphones
in the USA for many years.
>From early youth his interest focused on electronics and music, which
later determined his professional career. For several years, he worked
at Thomas Organ on basic research of electronic keyboard instruments.
Later he joined the engineering team at UREI where he was involved in
the development of audio signal processing equipment, some with now
legendary reputation. After additional years with JBL as applications
engineer, he joined Gotham Audio. It was in this capacity that he also
specialized on the use of microphones.
Mr. Wahl is a Fellow and Life Member of the AES and, until recently,
served on the Board of Governors and Membership Committee. He is past
chairperson, vice-chair, and committee member of the Los Angeles
chapter, and acted as paper session and workshop chair during many AES
conventions. As a visiting lecturer, he has presented numerous papers,
has given many technical seminars, and conducted workshops for AES
chapters and interest groups of diverse backgrounds in the USA, Canada,
Latin America, Europe, and the Far East.
He has been with the Aspen Summer Music Festival since he joined the
faculty of their Recording Institute in 1989. His lecture tours and
Master Classes included most music conservatories, universities, schools
for audio engineers, and selected audiences, such as NARAS, the US Air
Force, and the Voice of America. Mr. Wahl is a Life Member of the
Society of Broadcast Engineers.
Posted by Dave at 12:03 AM | TrackBack
February 02, 2005
Pro Production 2005 Just Around the Corner
Pro Production 2005 is slated Feb 24th through Feb 26th at the Long Beach Convention Center. The opening keynote is Kevin Lyman, founder of the Warped Tour on "You have to strike when the opportunity is there". I worked with Kevin when he was with Golden Voice. It should be a good presentation. Other notable seminars and conferences include the Rocky Paulson led rigging seminar with "Uncle Bill" Sapsis and others. Bill Chrysler is moderating the
"FOH and Monitor Engineers: Does it Take Two?" panel, including Dave Rat, Paul Owen, William Nealie and Ted Leamy, all touring heavy weights. "Digital Consoles: Why do I need one" with Dave Shadoan and Harry Witz among others. There are also a trio of business related seminars on hiring and training, planning growth and exit strategies and bidding strategies with Bennie Collins, Patrick Stansfield and Stuart Ross.
Pre reg is still open and compared to other seminars and conferences, this one is a deal.
Posted by Dave at 12:54 PM | Comments (4) | TrackBack
February 01, 2005
Integrators on Ice Slated Again This Year
The fourth annual Integrators on Ice expo is slated for Feburary 7th and 8th at the Sheraton Gateway Suites presented by midwest rep firm Strategic Marketing Group . It's free but you must pre register. Presentations that interest me include Jim Brown's preview of this summers noise workshop presented by Syn Aud Con that I covered previously. The presentation from Duran Audio on beam stearing looks interesting as does the Digigram's look at Ethersound digital snakes, line array presetation from Renkus Heinz, Charlie Wicks from Proco discussing the future of cable and branch circuit surge protection from SurgeX, LCS showing the CueConsole control surface, a demo of EASERA and a look at the Terrasonde's Audio Toolbox ATB-3c. There are also several others, though they are geared primarily toward installed media systems and the like.
Posted by Dave at 02:00 PM