Nathan Lively's Blog, page 14

INFOGRAPHIC: How to Avoid RF Dropout and Overload with a Wireless Microphone Link Budget

In this video Stephen Pavlik walks me through how to create a link budget to find out if my wireless microphone system will work…or why it didn’t work.

Download the infographic and get all 3 training videos

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There is no single point solution.

Every point in the RF signal chain can either attenuate or amplify the signal. If it goes too low, we get dropouts. If it goes too high, we get overloads. Through maximizing efficiency at every point, we can avoid dropouts and quickly troubleshoot interference.

Don’t be intimidated! There is no difficult math. The only challenge is researching the loss or gain of each piece of equipment in your signal chain.

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Loved this post? Try these:Turn Your iPhone into a Wireless Microphone Frequency Coordination and Antenna Placement for a Rock-Solid Wireless Microphone System Real World troubleshooting tips for wireless microphone and In-ear-monitor dropouts and interference

3 Common Antenna Placement Mistakes and How to Fix Them [Infographic]

Stephen Pavlik walks me through three common antenna placement mistakes and how to fix them.

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Download the infographic.

This article 3 Common Antenna Placement Mistakes and How to Fix Them [Infographic] appeared first on Sound Design Live. Sign up for free updates here.

Loved this post? Try these:Why is wireless so hard?! Top 5 Common Mistakes When Using a DiGiCo Console Frequency Coordination and Antenna Placement for a Rock-Solid Wireless Microphone System

Real World troubleshooting tips for wireless microphone and In-ear-monitor dropouts and interference

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In this episode of Sound Design Live I talk with touring monitor engineer and RF technician for the Eli Young Band, Stephen Pavlik. We discuss troubleshooting tips for wireless microphone and in-ear-monitor interference as well as RF best practices to avoid dropouts.

I ask:

What is one RF myth you would like to never hear again?One of the most common wireless issues that everyone asked about during Wireless Workshop is how to avoid drop outs. At the beginning of your presentation you said, “There is no one solution. There is no magic box. We need to maximize efficiency and properly deploy every device and step in the chain! Only then can we blame the video guys.” If that’s the case, could you help me get started by giving me a prioritized checklist of things to look at to help me track down my wireless dropouts? What are some common pitfalls at each stage of the signal chain?Tell us about the biggest or maybe most painful mistake you’ve made on the job and how you recovered.What’s in your work bag?What is one book that has been immensely helpful to you?What podcasts do you listen to regularly?[image error]

Every point in the signal chain can affect gain. Too low and you have dropouts. Too high and you have overloads.

Stephen Pavlik

NotesAll music in this podcast by Steve Knots.Part 74 license: Legally you can shut down other unlicensed operators causing interference. Operate at 250mW. Must use a minimum of 50 channels on a regular basis to qualify. White space devices: use unused TV channels. LPDA: Shark fin. Wideband directional antenna. 7-9dBi of gain compared to an omnidirectional antenna. Wireless Workshop: Wireless Crash Course for Monitor Engineers Tips to avoid dropouts:Have the right cable. Video cable (75ohm): big debate, but you will experience some loss. Make sure the center pin is not extruding past the connector. Use RG8X or RG8 and you’ll be fine.Make sure you are wired correctly. You cannot cascade active antenna combiners. You must use a passive combiner.Antenna location: Line of sight and away from metal and power.Insure that SMA antenna connector is secure. If you see both A and B antennas stop receiving at the same time then you have a problem with the transmitter.Dropout: low enough signal that the squelch engages.Workbag: spectrum analyzer, Wilkinson power divider, tunable filter, QC 901S, TTI PSA 2702, Signal Hound SA44B, Senheisser A1031U, Professional Wireless LPDA, Lectrosonics SN9600, battery powered antenna distro PFC RF multiBooks: Yamaha Sound Reinforcement Handbook, ARRL Antenna Handbook, Secrets of RF Circuit DesignPodcasts: This Week in Radio TechQuotesDon’t be afraid to leave a good thing in hopes of something better.You cannot take the output of an antenna combiner and cascade it into another one to get more channels.Every point in the signal chain can affect gain. Too low and you have dropouts. Too high and you have overloads. The most loss is in the wireless path.Make sure the antenna doesn’t touch skin because that will take out another 20dB.

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Loved this post? Try these:9 Tips for Easy In-Ear Monitor Setup Why is wireless so hard?! Frequency Coordination and Antenna Placement for a Rock-Solid Wireless Microphone System

How to Time Align Your Main to Your Front Fill Using Smaart Live IR

To time align your Main to your Front-fill using Smaart, first find the acoustic crossover point where they have matching level, then match their arrival times using the delay finder.

Setting the delay for the front-fill speakers is a very easy process using Smaart. The challenge is in choosing the correct measurement microphone location. If your mic location is too far into the audience, your front-fills will be too loud, tearing off the faces of the season ticket holders in the front row. If the mic location is too close to the stage, timing errors and comb filtering will worsen.

Here’s an overview of the process:

Set relative solo level and EQ for Main and Front-fill at on-axis positions.Find the acoustic crossover point.Set delay.

Crossover (acoustic): The frequency and/or location where two separate sound sources combine together at equal level.

ONAX: A mic position used for calibration located at or near the horizontal and vertical center of a given speaker or array.

Sound Systems: Design and Optimization by Bob McCarthy

A system can only be optimized as well as it is designed. For this example, we are going to assume that the system has been perfectly designed so that it has minimum level, spectral, and ripple variance from vertical top to vertical bottom of the audience area covered by the Main. In laymen’s terms: it sounds the same everywhere we expected it to.

Now, all we need to do is fill in the gap left in the front of the stage with our Front-fills.

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Let’s get a little more detailed.

Set relative solo level and EQ for Main and Front-fill at on-axis positions.

Another way to say this would be ONAXL (on-axis with left) = ONAXF (on-axis with front-fill). And it goes like this:

Measure the Left Main solo @ONAXL. Set EQ. Capture trace.Measure a single Front-fill solo @ONAXF. Set EQ and level to match ONAXL.

Before we combine the Left Main and the Front-fill, we need to match their solo on-axis response and level. Otherwise, it will be difficult to create a seamless transition at the acoustic crossover point.

Here are the solo measurements of my Main and Front-fills. Pink is the Left Main array and green is the Front-fill.

[image error]Find the acoustic crossover point.

Now that the sub systems are playing nicely alone, let’s schedule a play date. Where L solo = FF solo we will find XLF (crossover between left and right).

Start at the geometric mid-point between L and FF or wherever your ears find matching level.With both arrays playing at the same time, move the mic while watching the Live IR until the peaks match.[image error]

The way I used to do this was very slow. I would guess the position of XLF, measure each system solo, resetting the delay each time, look at the magnitude graph, then move the mic, over and over again until I found matching level.

A turning point for me was discovering the option in the Transfer Function Options page called proportional panes. This makes the Live IR graph bigger, which really helps for tracking it on an iPad screen.

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Measuring two sources at once can be tricky. If you don’t see two distinct peaks, they may be out of bounds of the graph, already on top of each other, too low in level, or something else. If I zoom out, zoom in, and still don’t see them, I’ll go back to solo measurements to track them down.

Set delay

Now that you have found XLF, the process of setting the delay for the front-fill is simple.

Measure Main solo. Use the Delay Locator to set the compensation delay in Smaart.Solo the Front-fill.Click Find in the delay locator. Observe the delta delay value. This is the difference in the current delay and the measured delay. Put this number into the delay line for your Front-fill.Click Find again to verify the change. Delta delay should be very close to 0.Measure L+F @XLF to verify summation.

You could also just mouse over the second peak in the Live IR window to see the time offset, but you have to get your mouse in the exact right spot. I find using the Delay Locator a bit easier.

Don’t worry if you don’t get a full 6dB of summation at every frequency. Focus on the areas where both traces have high coherence. If you suspect a misalignment, take solo measurements again, observe their phase relationships and adjust.

Have you tried this method for aligning Mains to Front-fills in Smaart? What were your results? Do you use a different method? Let me know in the comments below.

Bonus

If you’re curious, here’s my microphone map and system tuning checklist for the example above.

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This article How to Time Align Your Main to Your Front Fill Using Smaart Live IR appeared first on Sound Design Live. Sign up for free updates here.

Loved this post? Try these:What is the best sounding target EQ curve to use in Smaart on every show? 3 Simple Ways to Phase Align Main+Sub with SATlive How to flatten the phase for easier main+sub alignment

If you’re using audio over IT, but you don’t know how it works, you will fail.

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In this episode of Sound Design Live I talk with sound engineer, producer, and trainer on network technology and Lake processing, Bodo Felusch. We discuss practicing using your audio analyzer at home without a PA, identifying a comb filter, and the importance of understanding the network your audio is traveling over.

I ask:

What is your favorite test track for checking crossover alignment between main and sub?How did you get your first job in audio?In your exercises for FFT (The Ultimate System Tuning Homework) you suggest that I shouldn’t be wasting my client’s time learning how to use my audio analyzer in the field, but this is one of the biggest challenges with learning system tuning, how do I practice at home when I don’t have a PA?One of the very first things I learned from your FFT self-guided homework is that I can find the frequency and the time period of a comb filter by 1 / Frequency of first dip / 2. So if I find the first dip at 50Hz, that would be (1 / 50Hz / 2 = 10ms. How does this information help me in my sound system setup? On coherence you say, “Now you don’t have friends in catering because your measurement signal is too loud.” How loud does my measurement signal need to be? Or how quiet can I make it so that I don’t loose friends in catering?What is a Lake Controller? What is one of the most common mistakes people make who are new to Lake Controllers?Why do I need to understand audio networks? Isn’t Dante and AVB just another fad that will go away in a few years?[image error]

Technology fails and you need to make decisions, fast, and fix it. Without knowing what is going on in the network, you will fail.

Bodo Felusch

NotesAll music in this podcast by Bodo Felusch.Hardware: Lake processorCRE = Chief Redundant EngineerBooks: Factfullness from Hans RoslingGapminder TestQuotesNow you don’t have friends in catering because your measurement signal is too loud.Do your homework at home.If you measure 10dB above the noise floor you will have a 3dB ripple. If you measure 20dB above you will have a 1dB ripple.Once you transport your show relevant signals over IT, and only IT, it makes sense that you know how a network works. Without knowing what is going on with the network, you will fail.We could both be replaced in an hour, and that’s good. There is no superstar in audio.

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6 things I’m looking forward to at Live Sound Summit 2019

I’m bringing together some of my favorite teachers for two full days of online live sound training and networking that will cover topics from mixing to sound system tuning. Sign up here.

[image error]#1 – Laughing with Jon

One of my favorite sessions from Live Sound Summit in 2018 was How I Approach a Soundcheck with Jon Burton. His technical training was great, but the best part was really that Jon has stories to back up everything that he teaches and most of them are hilarious.

#2 – Networking with Bodo

Networking is definitely a weak point in my training. I have some templates for how a few things work, but if there are ever problems I’m not good at trouble shooting.

Why does console control need to be a static IP address, but Dante should use DHCP? Can I run them both on the same network? Will my little D-link switch do the job? Do I need a redundant backup for every step in the signal chain?

Bodo’s session is titled Don’t panic! …it’s only a network, which is perfect for my mild anxiety.

[image error]#3 – Console prep with Pooch

I’m a fan of the Digico consoles. I’m looking forward to learning how Ken ‘Pooch’ Van Druten sets up his SD7 for the Iron Maiden tour. Also, we’re working on the audio connections. Hopefully you’ll even be able to hear what’s happening in the console.

#4 – Gain Structure with Pat

At the end of some training events the only takeaway you have is, “I have a lot more to learn.” That’s a good thing, but I’m always a bit disappointed if everything was so far over my head that I leave with no new actions I can try in the field.

This is not so when training with Pat Brown. One of my biggest takeaways from attending SynAudCon’s Sound System Design seminar is that Pat is an experienced teacher. He knows how to step you into complex subject in a way that is not overwhelming or pedantic or unnecessarily scholarly.

#5 – Wireless with Stephen

Last year Stephen Pavlik blew me away with his demos. I had no idea that you could (and should) test a coaxial antenna cable for transmission problems. His presentation opened my eyes to how much more I can do to create a rock solid wireless system and I’m looking forward to this year’s session called Digital RF: The Future of Wireless?.

#6 – Pyro with Aleš

Aleš Štefančič has a lot of great stories about shows gone wrong. One of my favorites is when a pyro surge made him think that all of the speakers in one array were blown. There are a lot of laughs and surprises and of course, lessons to be learned with each.

This article 6 things I’m looking forward to at Live Sound Summit 2019 appeared first on Sound Design Live. Sign up for free updates here.

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What’s the difference between Broadway and Rock ‘n’ Roll to a system tech?

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In this episode of Sound Design Live I talk with touring system technician and Master Sound Engineer at the Guthrie Theatre, Alex Ritter.

I ask:

How did you get the system tech job on the Lady Antebellum tour?How did you get the job at the Guthrie?What is a system tech?Walk me through a day in your life while you were working on the Lady Antebellum tour.One of your responsibilities at the Guthrie is to prepare the sound system for new shows and sound designers. System optimization is all about managing interactions and you are managing many interactions in these rooms. How do you keep it all straight?What’s in your work bag?[image error]

You get the work you get because of the people you know and what they think of you.

Alex Ritter

NotesAll music in this podcast by Sulagna Handique.Alex on LinkedIn and FB.The Guthrie TheaterMaster sound engineer = production sound engineer = top of the union ladderIf you want to work in theatre, build relationships with sound designers and general managers. If you want to work in concert sound, build relationships with production managers, FOH engineers, monitor engineers, and artists.Shows: Wicked, Noises Off, West Side StorySoftware: AutoCAD, OmniGraffle, VectorWorksHardware: Stagetec Nexus, Outline NewtonWorkbag: Q-box, M30 RTA mic, Leica disto/range finder, Nikon forestry pro, Sound Devices USB Pre 2, Motu 18i2, iSemCon 7150, Lectrosonics R400 wireless transmittersBooks: Sound Systems: Design and Optimization, Yamaha Sound Reinforcement HandbookResources including an empty delay tracking spreadsheet, an example delay tracking spreadsheet, and CAD blocks.QuotesYou get the work you get because of the people you know and what they think of you. I made the decision to be nice to people and create contacts and cultivate those as best I can.We’re in a service industry. The day you realize that is the day that you get more jobs.I want to make sure that what I do will reflect a show condition. It makes no since to just tune a front-fill by itself and say “Hey, it looks flat.”Part of my job is to make sure that what the engineer hears at FOH is replicated for the other 16,000 people that are there.I feel like if I did six EQ cuts in a system, I did something wrong.If you’re going to change the system on an engineer. They should should know about it before you do it and don’t do it in the middle of a song.

This article What’s the difference between Broadway and Rock ‘n’ Roll to a system tech? appeared first on Sound Design Live. Sign up for free updates here.

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How to maximize gain before feedback of a podium microphone using Smaart

To prevent feedback from your podium microphone and create the most natural sound, measure the sound system in Smaart, but use the podium mic as the measurement input.

Podium microphones can be a struggle. It’s nice that they are generally reliable and everyone knows how to use one, but they are also static. They don’t track anyone’s height or movements. This means wildly different levels for the sound engineer. While Darryn might stand at an ideal distance from the microphone, giving you sufficient gain before feedback, Pedro might stand or perform in a way that drives the sound system into feedback.

Luckily, the transfer function in Smaart can measure any two inputs against each other. Most commonly we use a reference input from the mix console and a measurement input from a measurement mic. But, if you switch the measurement input to the podium microphone then you can measure sound system bleed and room reflections entering the mic, then treat it with EQ.

I first heard the idea during my interview with Chris Leonard who saw it used on the presidential inauguration. Here’s how I have adapted it:

Measure a transfer function using the vocal group as the measurement input and the console output as the reference input.Insert filters to equalize response.Adjust filters during soundcheck.

I like to take my reference input from the output of the mix console and before the system processor. If I’m doing the system processing in the console, I’ll tap the reference just before the system processing. Then, I’ll connect the monitor output from the console into an input on my audio interface and use that as the measurement input.

Now I can solo the podium microphone or the vocal subgroup to satisfy the transfer function.

Sometimes it can be really hard to get a lock with the delay locator. I usually need to search more than once before I can find a delay setting that will show actionable data. Coherence will be low because you are measuring a combination of energy from the back of the speakers plus lots of reflections.

Here’s a measurement from the podium of the last show I worked on.

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Here’s the EQ I inserted to compensate.

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Here is the post EQ measurement.

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During soundcheck I adjusted the low shelf until it sounded natural. Here’s the result.

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This gives me better gain before feedback on my podium mic and creates a great starting point for all of my vocal mic inputs.

I see a lot of possibilities for this measurement. Have you tried it yet? What were your results?

This article How to maximize gain before feedback of a podium microphone using Smaart appeared first on Sound Design Live. Sign up for free updates here.

Loved this post? Try these:Where do I put the measurement microphone? What do all of those squiggly lines mean? (a short intro to the graphs in Smaart) 6 Smart, Proven Methods To Control Feedback Onstage (Without EQ)

This secret weapon will make a Profile sound like no other Profile you’ve heard before

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In this episode of Sound Design Live I talk with touring FOH mixer and system tech Sean Quackenbush about how he got the job on the Brandi Carlile tour, his input and output setup, system tuning process, and secret weapon to make the Avid Venue Profile sound like no other profile you’ve heard before.

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75% of touring is not so much the skill you have, it’s can you get along with these people that you’re going to be in a bubble with.

Sean Quackenbush

NotesAll music in this podcast by Rudolf Smetana.Roadie Free RadioBrandi Carlile Software: SmaartHardware: Galileo 408, Venue Profile, Telefunken M60, SIM3, Audix TM1, Telefunken M80, Sennheiser 914, Audio Technica 8300, Radial PZDI, Neve 511, Neuman 105, Sennheiser 935, Shure 901 and 902, Sonic Farm Creamliner 3Sean’s system tuning checklistMeasure left main solo. EQ to match target curve.Measure left sub solo. Observe phase relationship.Measure right main solo. EQ.Measure front-fill solo. Time align to Main.Listen at front rows to set front-fill level.Measure combined systems.Quotes75% of touring is not so much the skill you have, it’s can you get along with these people that you’re going to be in a bubble with.I came from a company where they handed you a 58 and a DN360 and you just talked into it and just carved it up. That’s how you EQed a PA.Once everything is phase aligned you’re like, Oh wow, all of that EQ I used to put into the 58 at a graduation is gone. You put on a high pass filter, turn the mic up, and it sounds better than if you had spent 3 hours trying to make it sound like that.[image error]

This article This secret weapon will make a Profile sound like no other Profile you’ve heard before appeared first on Sound Design Live. Sign up for free updates here.

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Create a sound system tuning checklist and map before your next show

One thing I do to prepare for every show is to create a sound system tuning checklist and map. That way I know what to do and where to do it.

Make a plan. Work the plan.

Pat Brown

Why?

First, it allows you to think through your actions. What system tuning procedures must you complete and in what order? How can you arrange those actions for maximum efficiency? (aka minimum number of microphone moves)

Second, it allows you to be more creative and flexile in the field. We all know once we arrive on site tomorrow, many things will change. Speakers will get moved and timelines will adjust. But, since you thought through your process the day before, you’ll be able to respond to challenges and adapt to changes more quickly.

What?

There are hundreds of potential sound system tuning procedures you could choose from, but you have a limited amount of time. You need to choose the ones that will create the most significant results.

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Here’s an overview. (download the roadmap here)

First, I label all of the speakers. For a very small system I like to use easy to identify letters:

L = Left MainR = Right MainS = SubFF = Front-fillD = DelayR = Relay

For larger systems I’ll use Bob McCarthy’s lettering system:

A, B, C, D for asymmetrical elements like Main, Sub, and Front-fill.A1, A2, A3 for symmetrical elements like Main Left and Main Right.

Second, I write out every action I might want to take. Then I edit and rearrange the list so that the most important steps (like verification) come first.

Priorities:

What order will make me feel confident that the client could walk in the room at any moment and I would be ready for soundcheck?What order will allow for the minimum number of microphone moves?

Lastly, I draw in my microphone positions with labels to identify their location in relationship to the audience shape I am attempting to cover. Since the audience is the thing I can’t change, I want to work backwards and adjust my speaker placement and aim to match.

Example

Here’s a small show I worked on recently in a hotel ballroom. As you can see, I’m expecting left and right mains with subs underneath. I investigated a center position for the subs, but found it unlikely.

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Now that I have the outputs labeled, I’ll write out a big list of everything I want to do during system tuning, starting with verification steps and usually ending with a measurement of combined systems at FOH so that I can continue measuring during the soundcheck and show. Then I edit and rearrange the list based on the priorities listed above. The more detailed the better. You can see that mine is very sparse, but I still include some reminders like copying the EQ from Left Main to Right Main.

Pro tip: Print out your list and map so you can access it quickly and take notes.

Bonus

If you want to be a badass, you’ll open up MAPP XT, and go through every step on your list. This is not in an effort to predict the data, but to practice the moves so that they will feel more natural in the field tomorrow.

The only step you can’t practice in MAPP XT’s Measurement Viewer is averaging, but you can export your traces and do the averaging in Smaart. Here’s how.

The results

I got into the room the next day and guess what happened…

Everything changed.