The Onstage Sound Tipsheet (continued) |
|
|
Anderton's "Cutting Through the Equalization Jungle" in the January 1987 EM and his article on mixers in the February 1990 issue.) ’ΔΆ Sonic enhancers, or "exciters," can help instruments stand out, but don't go overboard-that trademark sizzling sound can promote listener fatigue. These devices are usually most effective when contrasted with other, less punchy elements. This suggestion also applies to effects in general; like a good hook, effects work best when they are set up by what comes before and what follows. ’ΔΆ In rooms where the bass tends to "mush out," use EQ to bring out more of the pick sound and midrange. This gives the bass more definition. ’ΔΆ Be extremely careful when boosting high, bright frequencies. Your ears are sensitive to damage in this region, and boosting treble boosts hiss as well. Cables ’ΔΆ For many reasons-for example, to keep your rack gear away from heat and prevent induced hum-it's wise to put your power amps and line conditioners in a separate rack from your synth modules and effects. ’ΔΆ Mounting all necessary power strips in each rack results in only one power cable per rack. ’ΔΆ Get in the habit of running power from the right-hand side of a rack (where most power cables attach to rack-mount gear) and running audio out the left. ’ΔΆ When using a dedicated effects rack, make a multiconductor snake (and a spare!) to connect the rack to the mixer, thus obviating coils of wire for effects sends and returns. This approach costs some money but drastically speeds setup and tear-down times for your rig. (Remember, club employees and managers love a band who can set up and load out quickly and professionally.) ’ΔΆ Formulate a set of wiring practices that work for you, and apply them consistently throughout your stage work. Group cables and create "snakes" (multiwire cables) with Velcro or plastic cable ties and secure them to the stage with duct tape. |
Unsecured cables not only look highly unprofessional, they're extremely hazardous to intentionally attached equipment and accidentally attached personnel. Use wrap-on labels to identify cables and their destinations. Color- and number-coding can reduce setup time and help avoid needless errors; label each cable end, with a matching label on the corresponding jack. This is especially important if you have roadies. ’ΔΆ A rechargeable soldering iron can help when splicing cables stuck in out-of-the-way places. In emergencies, wrap the connection with low-melting-temperature solder tape, and heat it with a match until the solder melts.
’ΔΆ If you have to stack gear, be especially careful. Tumbling stacks of speakers and electronics are no joke, so secure stacks against vibration, instability, and, in outdoor venues, wind. If you "fly" (suspend) speakers and lights, you may have to meet local legal safety standards. Aside from the legal requirements, it is essential that you understand how to do the job properly. You can get solid information from JBL Technical Notes Vol. 1, Number 14, "Basic Principles for Suspending Loudspeaker Systems" (JBI. Professional, 8500 Balboa Blvd., PO Box 2200, Northridge, CA 91329); much of this information will be published in the April, May, and June 1990 issues of Mix magazine. In many large venues, you must hire union stagehands and gaffers from the International Alliance of Theatrical Stage Employees (IATSE). (Thanks to Charles R. Fischer for contributing tips.) |
return to top |
|
For The Beginner: By George Petersen A spectrum analyzer (sometimes referred to as a real-lime analyzer or RTA) is a device that can simultaneously display the amount of sound energy present at a number of frequencies in the audio spectrum. Available in rack-mount, handheld, and computer-based versions (displaying 5 to 31 frequency "bands"), RTAs provide a quick and fairly simple method of adjusting a sound system to match the acoustical character of a room. In practice, pink noise (a test signal containing equal amounts of energy at all frequencies and tailored to match the human hearing response) is played through the sound system during a sound check, while an omnidirectional, calibrated microphone with a "flat" frequency response "listens" to the reproduction in the room and sends this information to the spectrum analyzer. Depending on the type of analyzer used, the results can be monitored visually on an LED display, viewed on a computer screen, or printed out as a hard-copy representation. At this point, corrective steps-re-aiming speaker stacks or adjusting equalization-can be taken to improve the system's response. While spectrum analyzers are an invaluable aid to "tuning" a room before a performance, the acoustical nature of most venues can change dramatically once filled with an audience, and some adjustments may be necessary during the performance. Many sound engineers leave an RTA set up near the mix position during a gig; if feedback occurs, the analyzer's display reveals the offending frequency, and the problem can be corrected with a quick touch of the equalizer. |
By Steve Oppenheimer Always carry extras of as many items as possible. I keep a medium-sized metal case onstage (which doubles as a small table) that holds extra cables and adapters of all types, including adapters with high-impedance/low-impedance transformers. Since I can seldom run to the parts store between late-night sets, stashed in my van is a padlocked trunk filled with parts and tools. The trunk holds every type of connector I use; extra wire of assorted types and gauges; the incredible Swiss Army knife; lots of assorted nuts, bolts, and screws; medium-sized tools such as hammers, C-clamps, pliers, wrenches, and a hacksaw; special parts (when I used a Rhodes 88, I stocked up on tines and damper pads); and a variety of small electrical tools, including needlenose pliers, wire cutter and stripper, assorted screwdrivers, soldering gear, etc. |
<<first <previous |