Recording From Your Digital Console: DigiCo and MADI- Pt. 1 Configuring the Console

SD9andUBMADIThe Rig For this particular example we're going to use a DigiCo SD9, with two D-Racks, and the digital snakes. This is probably my favorite set-up. It's super easy to use, and quick.

To interface the SD9 to the computer, we're going to use a DigiCo UB MADI- MADI to USB 2.0 interface. The computer of choice will be a 2010 model 13" MacBook Pro running OS X 10.7.5 "Lion." All of the Audio will be pumped into Pro Tools 10.

Configuring the Console

On the hardware side of things, you'll need a 75 ohm video grade cable terminated with BNC connectors to connect the console's MADI output to the UB MADI.

Configuring the console has to be one of the easiest set-ups I've ever seen. We are going to copy the inputs from the D-Rack to the MADI output of the console. This taps into the input channels just after the pre-amps, before any EQ or other processing. Here are the steps:

  1. Press the "Master Screen" button on the console.
  2. Select the "Setup" tab on the top right corner of the screen.
  3. Select "Audio I/O."
  4. Find "Rack 1" on the left column of the open window and select it.
  5. Find the "Copy Audio To" button on the top right area of the open window.
  6. Select "3: MADI" in the drop down menu.

Boom! You're done! If you're using 2 D-Racks you would just repeat the process to route the 2nd rack. We can now transmit our audio to the computer. Stay tuned for Part 2, when we will install the UB MADI software and configure Pro Tools 10 to receive the incoming audio!

Recording From Your Digital Console: Choosing Recording Software

Picking Up the Lingo I'm going to start off and just throw a few terms that I might use in the series out there. That way we're all on the same page, and I don't have to type the words "recording software" every other sentence. This may also help as you explore the interwebs and research what options might be best for you. So, without further ado-

The Terms:

DAW- This stands for Digital Audio Workstation. This is what we generally call the software, whether it's Pro Tools, Cubase, Studio One, Reaper etc.

ITB- This is simply an abbreviation of IThe Box. The box in this case is your computer. Some recording engineers prefer to mix out of the box, meaning they're using an audio console to mix their recording projects. Some prefer to mix in the box using the faders in the software.

Plug-Ins- Plug-Ins are virtual equalizers, compressors, reverb and other effect units.  In analog world we would typically patch or plug these into our mixer using cables. Many times ITB we just use a drop down menu.

DAW's- The Contenders:

I'm going to start by answering this question with a question. Which DAW do you like? There are free options like Audacity (which doesn't play nicely or at all with Audinate's Dante Virtual Soundcard. It could have been a problem on my end.) Reaper is a nearly free option ($60 for students or non-profits $255 for everybody else.) Both of these are distributed directly from their websites

Then there's the paid options.  Most people have heard of Pro Tools. It's an industry standard in the professional recording world. Then there's others like PreSonus' Studio One, Steinberg's Nuendo & Cubase  family of products, Sonar by Cakewalk, and Apple's Logic. Each one of these has it's own set of advantages and disadvantages.

So Which One Do I Choose?

It really depends on your end result, and your workflow. Personally I don't have a lot of hands-on time with the Steinberg family products, or Sonar. My two personal favorites are Pro Tools and Studio One. I typically use Pro Tools the most.  I'm just used to the workflow, the keyboard short cuts, and I like the routing matrix.  I would encourage anyone with a little time on their hands to download demo versions of any of  these software packages and try them out. See which one you like.

~Andy

Stop and Smell the Vinyl

the reading chair Introductory Nomenclature

This is going to be my first "non-technical" post on the blog. I'm actually sitting in the chair pictured above listening to The Postal Service's 2003 album "Give Up," on 180 gram vinyl.  I don't know that I could tell you the audible difference between 180 gram or whatever but I enjoy listening to it. Perhaps I could after my record collection grows a bit.  For those that are interested it's a Technics SL-D2 Direct Drive Automatic Turntable with a Shure M97xE cartridge mounted to a blue Ortofon headshell. The blue really makes no difference, I just liked it. The turntable is connected to an ART USB Phono Plus, which is then connected to a pair of Sennheiser HD-380 headphones. I need to make some new cables so I can connect the phono pre to my M-Audio BX8a Studio Monitors.

So Why the Infatuation with Vintage Technology

Listening to a vinyl record commands your attention. It takes effort. Turntables are not portable. You can 't just stick a 12" record into a slot in the dash of your car. You also can't fit hundreds to thousands of songs on one record. You can't spin a 45 on a Sony Recordman while you hammer out a workout at the Y.  You pretty much have to stop what you're doing and actually listen to the album.  It becomes more than background music, or noise.

That's what I love about it. I'm so busy throughout the week. I actually work at a sound company. I'm around music, and noise all the time. It's great to just stop and listen. The music sounds so rich. Yes, there are some pops and clicks (ironically The Postal Service has simulated record pops on their album.)  But aside from that even the low frequency content is so thick. It might be possible to cave my head in if I turn my headphones up enough. I hear things in the stereo field that I don't hear listening in my car. Things that get masked by road noise. Things that the car's speakers just won't reproduce.  Finally the cymbals don't sound like crap. They ring out and sustain like they would if the drummer was in the same room with me.

yessongs The other thing is that it takes me back. Maybe I'm getting old and have some nostalgia for the past. But when I was a kid my parents used to play some amazing albums. Allman Brothers Band's Live at the Filmore, Pink Floyd's Dark Side of the Moon. Christmas albums with Bing Crosby and Frank Sinatra. Stuff by Carole King, James Taylor, Emmylou Harris, Gordon Lightfoot ( I absolutely loved "Sundown" when I was really little. It's probably a good thing I didn't undertand the lyrics.) Then there was Yes, Led Zeppelin, Nitty Gritty Dirt Band, and Little Feat.  So much variety.

Finally who can forget the artwork? An album sleeve for a 12" record provided a great canvas. There were albums that creeped me out like Emerson Lake & Palmer's Brain Salad Surgery's artwork by H.R. Geiger to the Alan Parson's Project I Robot which looked like some sort of odd shopping mall/airport concourse. I've never really wanted to stare at my iPhone for the artistic appeal of it.

thickasabrick

~Andy

Recording From Your Digital Console: Choosing A Computer

MacVPCCutting to the Chase Buy a Mac.

But Seriously

Buy a Mac. (Are we beginning to see a bias?) This article is a bit tongue-in-cheek.

My Case Against Windows

Have you ever been computer shopping? On the Windows side of things you have Dell, HP, Gateway, Acer and others. Then there's the specialized machines from companies like ADK, Alienware, or Music XPC.  That's seven different manufacturers that I've listed off the top of my head.  Some of those companies have as many 15 different product lines. Each one of these uses different chipsets, different USB and Firewire buses. If you want to see what's available feel free to go to a website like Tiger Direct (www.tigerdirect.com) or New Egg (www.newegg.com.)

My point is, the operating system, Windows, has to be compatible with all of these different machines. It also has to work with all of these different parts. That's a lot of programming code.  There's a great opportunity for something to just not work quite right. When things do go wrong, who do you call? Microsoft? Dell? The mother board manufacturer?

Finally, what version of Windows do you buy? Home, Professional, Ultimate? 7 or 8? Lots of choices. These choices can affect how your computer and audio hardware interface with each other. I will say this. If you are considering Windows 8 for a recording/production machine- wait. The various audio software/hardware manufacturers still need time to update software/hardware drivers. (I would actually say the same thing if Apple just released a new operating system.)

The Argument for Mac

There was a period in my life that I worked in the Keyboard & Recording department at a chain music store. Typically if a customer purchased any recording, or music creation software from me, I'd offer to help them get it installed if they had issues. Granted at this particular time there was a version of Windows called Media Center Edition. That particular version would absolutely not work with external sound cards. Period. Ever. Other than that, it would often take multiple install attempts to get a particular software working. I rarely had Mac users come in with trouble. Things boil down to this. How much time to you want to spend trouble shooting your gear, vs how much time you want to be using it.

If you happen to visit the Apple website, you'll notice there are only five series of computers.  That's considerably less than the plethora of  Windows options. Your choices are two laptop lines, and three desktop lines. Then you have to take into consideration that Apple builds it's own computers, and their operating system (OS X.) That has to guarantee a certain level of cooperation between the software and hardware.

My final argument is that OS X, Apple's operating systems supports Aggregate Audio Devices.

What Do Aggregate Devices Do for Me?

In simple terms they allow you to use multiple sound cards within OS X or within applications that support it. Why is this useful? Well, let's look at our scenario from the previous post in this series. In this case there was a digital audio console at front of house, pumping 32 channels of audio to a computer back stage via a Dante network.  The computer was using Dante's Virtual Soundcard. Unfortunately, because it was a Windows based machine the only audio device it could use was the virtual sound card.

This was extremely problematic for using local audio monitors. One work around would be to close the session, and then re-open it.  Then an Avid M-Box, PreSonus Audio box, or similar device could then be used to connect studio monitors. This would not offer real-time monitoring of input. A second option would be to add another Dante device to the network, in the broadcast room to connect a pair of studio monitors to.

By setting up an aggregate device inside Pro Tools, you can then use the Dante Virtual Soundcard (in this particular case) for input, and select an M-Box or other small interface to use as output for local monitoring.

~Andy

Recording From Your Digital Console: A New Series

digitalrecorder Introducing a New Series

I've decided to take a short break from the lighting world to focus on two other parts of my field: live sound and recording. I may have mentioned before that I work at SE Systems in Greensboro, NC.  SE Systems is a pro audio, lighting and video sales and production company.  A month or so ago we had a customer that was setting up a recording system for a house of worship. He was having some issues getting things working together well so he gave us a call.  I ended up walking him through the setup over the phone. I have since decided to write about it so that others may benefit from what we learned figuring out this job.

The Set Up

All of the church's stage inputs were sent from the stage to the console via an analog snake. The console, a Yamaha LS9-32, had two Audinate MY-16-AUD Dante Network Cards installed. The console's direct outs were routed through the Dante cards. The Dante cards fed 32 channels of audio, via Cat 5 network cable,  to a custom built computer in a broadcast room backstage. The computer used Dante's Dante Virtual Sound Card to interface with Pro Tools 10.

The Problem

Dante Virtual Soundcard turns the computer's network card into an audio interface, allowing the computer to bring in audio from devices using the Dante format. The church had an Avid M-Box to connect to the computer for connecting a pair of studio monitors in the broadcast room.  Unfortunately with some computers and some recording software, you can only use one sound card or interface at a time. This meant that there was no local audio monitoring for the recording engineer to listen to, unless he saved the recording session, and re-opened it using a different audio interface on the computer. Another option would have been to get a Dante device for the broadcast room, but that would have been rather expensive.

The Solution

For now, this particular house of worship is simply just recording their services and saving the session. Then mixing the recording down later using the Avid M-Box for monitoring. It works but, I think it could be better. I'll unpack how to do this well over the next few post.  My plan right now is to break this down into a few sections:

  1. Computer Selection- What to look for in a recording computer
  2. Digital Audio Workstation Selection- This is the actual recording software. We'll reffer to it as the DAW or DAW softare just to save space from here on out.
  3. I'm running into two digital audio formats pretty often at work. A lot of people use Yamaha consoles, and the Dante cards are widely available. DigiCo is also making huge in-roads into the industry. They use a digital audio format called MADI.  I'll take some time and break down how to set up each type.
  4. Finally I'll go over some tips on how to set up your DAW, how to patch things, and some cool tricks we can use to solve monitoring problems.

I'm going to wrap this up by saying that these aren't the end-all/be-all solutions. They are tips to get started fast. I will also warn you that I am extremely opinionated. I've been helping people get recording systems set up for many years. I've run into all kinds of problems. There are some systems and some DAW's that I have run into problems with. There are other systems that I have run into fewer to no problems. I have a heavy bias toward the latter. I also prefer certain things just because they fit my particular workflow or I like the way they look or feel.

~Andy

Out In the Field: When Things Go Wrong...

View From The Desk

The Backstory:

One of the other hats that I wear is volunteering on the production teams at my church, Salem Chapel in Winston-Salem, NC. Typically, once a month, I serve as the audio engineer for three services over one weekend.

Salem Chapel is a mobile church.  In many aspects it is like working for a small production company.  Every Saturday we show up at a local middle school at 2:00 PM, and unload a trailer full of equipment.  Teams of people work around the school setting up different areas of the church. My primary job is to unload the road case that contains the audio consoles, and plug it all in, and have it ready for the worship team to practice at 3:00. Our first weekend service kicks off at 5:00 PM. Things wrap up at 6:30 and the production team and church staff are usually leaving around 7:00 after debriefing.

Sunday morning the production and worship teams arrive at 8:00 for a short practice. The first Sunday service runs from 9:00 to 10:30, and our final weekend service runs from 11:00 to 12:30. Then we pack everything back up, and load it back onto the trailer.

The Problem(s):

Our equipment rides in the back of a 16 foot trailer, bouncing up and down with every bump in the road.  Things shift in road cases. Sometimes gear fails. Then add the fact that we get the get the equipment out and have to connect audio, lighting and video connections,test the system and have it ready to roll for practice in about an hours time. Sometimes we just forget to plug stuff in. Whi is where our first problem this weekend entered.

 "I Can Hear You, But I Can't Hear the Rest of the Band."

This is not something I really want to hear anyone in the band say. It means there's a breakdown somewhere in the signal path. There was a very valid reason that my friend Jake couldn't hear the rest of the band. I could look at the meters on the console and tell I had input on all of the channels. I looked at the lights on the front of our Aviom Personal Monitor input module. It was powered on. I also knew that the Aviom system was on, because Jake could hear me. Then I remembered, during set up, I had not plugged in the DB25 connectors that feed the monitor system. The reason that 3 vocals, 2 acoustic guitars, 2 electric guitars, an electric bass, and two channels of keyboards could not be heard was that their direct outs were not connected.

The DB25 Connectors I forgot to plug in...

Fortunately, it wasn't a huge deal. We caught the problem early, really even before practice started. What can we learn from this?

  1. At some point we might want to consider making a checklist or punch-sheet for setting up the system. That way we set things up quickly and consistently every single time.
  2. To quote one of my college instructors, Thomas Johnson, "It's all about signal flow."  It is absolutely critical to understand how signal flows through your PA system. Where does that sound come from, and where is it supposed to go? If I can hear this, and I am supposed to hear this and that, and I cannot hear that, then why can't I hear that?

Take the time. Learn your system. Ask questions. Read manuals. Even take the time to look at the block diagrams in the manuals. It can save you from having a really bad day, or at least save you a bit of stress.

~Andy

Illuminating DMX: Part 3 B- DMX Protocol Charts vs Faders

lights and charts and stuff What Are We Trying to Accomplish?

In my last blog we talked about DMX Protocol, or implementation charts. They're basically a list of parameters that can be controlled with a DMX controller. In this post we're going to look at how faders on a basic controller transfer to controlling parameters on a moving head light.

Something To Note:

I have forgotten to mention this important fact in previous posts.   DMX transmits data in 256 steps, in numbers ranging from 0 to 255. So if your fader is all the way down at zero, you're sending number value 0 down that DMX channel.  If your fader is at 100 %, all the way to the top, then you're transmitting number value 255. Certain parameters in a lighting instrument are looking for a specific value to perform a specific function. For example on a Chauvet Q-Spot 360, if you transmit between values 10 and 19 on channel 6, you tell the color wheel to rotate so that the light's output will be red.  If you change that value to 47, the color wheel will turn to blue.

What Are We Using?

I initially thought about using a higher end instrument like a Robe Robin DLX Spot, and a Chauvet controller for our example. I thought about it, I decided to go with a more affordable lighting instrument that a band or small club might have. I also decided to go with a non-programmable controller that would still be fairly common. This wouldn't be the ideal situation at all, and we'll get to why eventually. Here's what we're using

Light:

I recently special ordered a Chauvet Q-Spot LED 360 (www.chauvetlighting.com) for a customer. They are using for a travelling trade-show booth.

Controller:

For our illustration, I'll use an "Super Basic 5000 mk MCDXII Universal DMX Controller." It's a completely made up 16 channel controller. They don't really exist but it was easy to draw in the software I use. I chose this because I can create a basic drawing with faders and label them. This will help you visualize how the faders will correlate to parameters on the light.

We'll pretend it's similar to aLeviton (Formerly NSI) N7016-D00 Console (www.leviton.com) because it is a fairly common console to find in houses of worship. It's a basic 32 channel DMX controller. You can either use it to control 32 channels, or control 16 channels and have two scenes.  That's it. 32 channels of control. No programming. Two scenes. They were really designed to control dimmers, but today we're connecting a mover to it.

What Do We Need To Know?

I always recommend reading the manuals first. This will at least get you in the ball park on how to operate your gear. For our example we'll assume the manuals have been read.  Let's take a look at our equipment.

  1. Our pretend 16-channel controller controls 16 DMX Channels. Since it's not a very fancy controller, there's no LCD Display to tell us what value we're transmitting on each DMX channel. The basic Leviton controllers work the same way.
  2. The Chauvey Q-Spot 360 can operate in two modes. On this instrument they're called personalities. Other manufacturers call them modes. It's important to note that we can run this in an 11 Channel mode or a 14 Channel personality (mode). This dictates how many DMX channels the instrument uses. (Manual Here.)

How Do We Do This?

  1. We'll need the DMX Protocol Chart for the Q-Spot. It's in the manual. We'll need to look at the 14-Ch personality.
  2. We need to connect the power cables, DMX cables and power things on.
  3. We need to properly address the Q-Spot. Since our controller only goes up to 16channels we have to stay under address 016. We also have to keep in mind that we're running the light in 14 channel mode, so, for example,  if we address it at DMX Channel 013, then then we'll only be able to control 4 of the light's parameters. That means there's 10 things kinda hanging out there that we have no control over what so ever.  For this example, we'll address the light at DMX address 001. That way fader one will control the first parameter, fader two will control the second parameter and so on.

The picture below shows our basic controller. Each fader is numbered, and labeled indicating what parameter of the Q-Spot it will control.  Hope this helps!

Lighting Controller

~Andy

Illuminating DMX: Part 3 A- DMX Protocol Charts

DMX Protocol Charts What is a DMX Protocol Chart?

In basic terms you could think of a DMX protocol chart as an address book. They list what paramater of a lighting fixture is controlled at each DMX address. The charts are usually found in an instrument's owners manual.

Why Do We Need to Know This?

If we look back at  "Illuminating DMX: Part 2- Addressing", there's an example using a simple controller, two dimmer packs, and some par cans. One lighting instrument was controlled by one fader on the controller.  This was a typical system a few years ago.

Recently  however, LED lighting systems, and moving head (often referred to as movers) lights have gotten extremely affordable. These instruments use multiple DMX channels, and therefore multiple faders. The chart will tell you what fader to move to control which function of the light.

What Are We Controlling?

The functions of a lighting instrument vary from manufacturer to manufacturer. They can also vary depending on what mode the instrument is operating in. Some units even allow you to change the number of channels they use. Let's take a look at some of the parameters.

A Robe Robin DLX Profile, a Chauvet Intimidator Spot 150, and a Robe Robin DLX Wash

We'll start with some typical mover parameters:

  1. Pan- this turns the head of the mover. Like shaking your head "No."
  2. Tilt- moves the head up and down. Like shaking your head "Yes"
  3. Zoom- changes the size or diamater of the projected beam of light
  4. Focus- Changes how sharp the projected beam of light or image from the light appears. Similar to focusing a projector
  5. Color Wheel(s)- Some instruments have a wheel with fixed colors such as red, blue, green, violet, etc. This paramater would turn the wheel to the selected color. Others use a series of three wheels to mix colors.
  6. Gobo- A Gobo is a metal or glass piece that has a pattern on it, that Goes Between (hence the term Gobo) the lamp and the lenses that project an image, or can break the light beam up so it makes neat patterns in the air. A classic yet semi flawed example of this is the search light Commissioner Gordon uses to signal Batman.
  7. Dimmer- This one's pretty straight forward. It changes the intensity of the light blasting out of the instrument.

And now some typical LED wash light parameters:

  1. Red- Changes the intensity of the Red LEDs from 0 to 100%
  2. Blue- Changes the intensity of the Blue LEDs from 0 to 100%
  3. Green- Changes the intensity of the Green LEDs.
  4. Color Macros- Depending on what DMX value is transmitted, this will change the light to a pre-set color. This paramater usually overrides the Red Blue & Green (RGB) settings.
  5. Strobe- makes the instrument flash.
  6. Auto Programs- this will engage some built in color change patterns
  7. Speed- This will change how fast the auto-programs cycle.
  8. Dimmer- This would function as a master dimmer for the instrument

So What's Next?

For the next post in this series we'll take a look at an actual DMX Protocol chart and break down each paramater and how that relates to faders on a controller...  Stay tuned!

~Andy

See Illuminating DMX: Part 2- Addressing here.

Continue to Illuminating DMX: Part 3B- DMX Protocol Charts vs Faders here.

Coming Up...

Found this on Flickr, pic by Cordey: http://www.flickr.com/photos/flygraphix/3244828717/ I just wanted to take a moment and throw out a quick teaser of what's coming up.

Before I continue with "Programming Inexpensive Controllers", I'm going to revisit the  "Illuminating DMX" series. I want to take some time to go over DMX protocol charts, which are found in the manuals of most lighting instruments. In short these charts explain what parameters of the instrument are controlled by what DMX channel. I feel like it's important to understand this, so that you can develop a strategy for addressing your instruments, as well as programming scenes.

I would also like to take a trip through audio world for a little while.  Some of this will probably sound like a foreign language to some of you, but that's ok.  I'll try to unpack this stuff in depth sometime.  I recently had a customer purchase two Dante-MY-16-AUD digital network cards. These cards allow the user to take 16 channels of audio, bi-directionally into and out of a console via Gigabit Ethernet. They were installed into a Yamaha LS9 digital audio console. The goal was to take 32 direct outs from the console at front of house, and feed a computer in a broadcast room in another part of the church, then record that using Pro Tools 10. I'll take some time to explain how we had to patch the direct outs in the console, set up the Dante Virtual Soundcard on the computer, and build an aggregate audio device in Pro Tools so we could have local monitoring in the broadcast room.

~Andy

Programming Inexpensive Lighting Controllers- Part Two A: Programming Scenes

Obey 40 and Obey 70 Scene Buttons In my last post in this series, "Fixtures" I discussed properly addressing lights so that they would correspond with the proper fixture button on the Chauvet Obey series controllers. I've decided to break the scene programming posts into two sections. In the first part I'll just talk about actually programming the scenes. Which buttons to press, and in what order.  The second part I'll actually go over some strategies for creating scenes, so that the controller really works for you, rather than against you.

So How Do We Do This?

Starting off we have to remember that the Obey 10 doesn't have scenes. So we'll skip that one for now. The Obey 40, and 70 do use scene memory, as does the Elation DMX Operator. We need to find the program button.

On the Obey 40 look for the big "Obey 40" logo on the right side. There are two columns of buttons directly to the right of the logo. The Program button is the third button down, on the second column from the right.

Obey 40 Program Button

The Obey 70's Program button is the top right-hand button, just under the LCD display. If you look for the Obey 70 logo on the right hand side of the console, you'll see two faders directly to the left of the logo.

Obey 70 Program Button

Now that we have located the Program button, hold it down for three seconds. Boom! Now we are in program mode! This will be indicated by a little light blinking in the lower left hand corner of the LCD Screen.

Programming a Scene

First, select the fixture you want to control. Adjust the faders to create your look. To adjust the first   Then press the "Midi/Add" button.  On the Obey 40, it is located just below the "Program" button.

Obey 40 Midi/Add Button

The Obey 70's "Midi/Add" button is the top left button in the group of buttons located just below the LCD screen.

Obey 70 Midi-Add

After you press the "Midi/Add" button, press one of the scene buttons to store your look to a scene. Lights on the controller will blink to let you know the scene is stored. Congratulations! You've programmed your first scene! Now simply repeat this process to create additional scenes.

But Wait, There's More!

If you've created eight scenes and decided you need more, don't worry! The Obey 40 and 70  can each store 240 scenes. There are 30 banks of scenes that you can use. (30 x 8 = 240.) So you can select other banks to store to even after you press the "Midi/Add" button.

To access those other banks, simply locate the "Bank Up" & "Bank Down" buttons. The buttons are located right above the "Program" button on the Obey 40, and to the right of the "Midi/Add" button on the Obey 70. Then press "Bank Up" to move from Bank 1 to Bank 2, and so on. The LCD screen on the controller will indicate what Bank you are currently in.  "Bank Down" will move your bank selection in the opposite direction. Please note that if you are in Bank 1 and press "Bank Down" the controller will move to Bank 30.

That pretty much sums up how to program scenes into these controllers. In the next part of this series I'll discuss some ideas on building scenes that can maximize the use of these controllers, and your lights.

For more information on the Obey Series Controllers, check them out at SE Systems, here: Obey Series Controllers

~Andy

Out In the Field: Console Tape & Sharpies

by Andy Barnhill

Console Tape and Sharpies

Console Tape and Sharpies

Two things every audio engineer should have with them at all times are console tape and a Sharpie. This can be super handy for the volunteer audio engineer in a house of worship.  Why console tape? There's a few reasons:

  1. It's whiter than masking tape, so there is better contrast between the black marker and the white tape. This is especially helpful in low-light situations. Blue painters tape can work in a pinch, but the contrast between the tape and the ink is terrible. Note that I emphasized "can" and "in a pinch." Blue tape isn't the best option.
  2. It (typically) doesn't leave residue on the console, or remove the paint. I say typically, because if you do leave the tape on the mixer for a long period of time, it can gum up a little. I will also add that one Sunday, the tape did pull some of the gray paint off of the console in the picture above.
  3. It's a really great way to develop rapport with the worship team. You might be asking yourself, "how is this so?"

I typically use 3/4" tape, often two strips just below the faders. On our console, we already have a strip of tape above the faders that label the inputs with things such as "Lead Vox," BG Vox 1," BG Vox 2," "AG 1," (For Acoustic Guitar) and other inputs.

What I like to do is put the persons name below the fader. This can be especially helpful when there are new members in the worship team, or even different members each week. It gives me a reminder of the person's name at each position in the band.  I don't have to think about it, I can just look down.  I could ask, "Hey, backing vocalist, would you mind singing a little louder?" On the other hand, if I have the person's name under their input, I can make a more personal connection, for example, "Jake, would you mind turning the output on your acoustic up a little bit?"

It keeps me from having to stop and ask something, like, "Hey, I'm sorry, what's your name? Oh yeah, well could you ...." Any time you can connect with the worship team on a personal level, it helps create unity between the band and the technical team.

Think about it like this: are you more prone to respond positively to someone asking you to do something by name, or if someone asks," Hey, sound guy, umm can you turn up my monitors?"

Documentation Is Key

by Andy Barnhill

As a technician, designer, or engineer documentation is absolutely critical. Missing information can bite us in the future. Detailed information can be extremely helpful.  Recently Peter Gabriel released a 25 anniversary edition of the album So.  In an excerpt from Peter Gabriel's website, Richard Chappell shared the following:

"Ian made some experimental changes but both he and Peter agreed that it sounded great as it was. Incredibly Ian actually had the original notes from the session 25 years before! They ended up approaching the mastering in the same way that they had at the very first session."

For more about Peter Gabriel's So 25th Anniversary, check it out here: http://petergabriel.com/so25/

Illuminating DMX: Part 2- Addressing

Control Screen with DMX Address of a Robe Robin DLX Spot moving head instrument Why is it So Complicated?

The simple truth is, DMX isn't that complicated. We just need to take some time and understand our equipment. Different lights or dimmers use different quantities of DMX channels. For example a Lightronics AS-40D uses four DMX channels.  A Robe Robin DLX Spot moving head fixture uses up to 35 channels.

The trick is to make sure you have enough control channels to control the number of lights you have. For example an NSI/Leviton N7008-D00 is a common 8/16 Channel DMX controller. Maxed out, this little guy will control up to 16 DMX channels.  It wouldn't be wise to attempt to control the Robe with this controller. But the Leviton should work just fine for a small band playing at a local bar.

A Look at a Basic System:

As an example let's break down a "Weekend Warrior" rig from a few years ago. This would be the typical bar band set up:

(8)  PAR56 Can lights with gels(color filters)

(2)  50 ft DMX Cables

(2)  Four Channel Dimmer Packs

(2)  Lighting Tree Stands

(1) Eight Channel Lighting Controller

Let's set it up. We've got four lights on each tree. There is one dimmer pack on each tree. The controller is in the back of the room near the audio console. Each fader on the controller controls 1 channel of DMX. So fader 1, is DMX channel 1,  fader 2 is DMX channel 2 and so on.   Our signal path for our DMX signal would look like this:

Controller  => 50ft DMX Cable => 4 Channel Dimmer Pack One => 50ft DMX Cable => 4 Channel Dimmer Pack Two

Example One- Dimmers With the Same Address:

Each dimmer pack has 4 outlets on it connected to one dimmer each.. Each dimmer is controlled by one channel of DMX data. It is also important to note that because of this each dimmer pack uses four channels of DMX.  If I give both dimmer packs the address of 001, then when I push fader one on the lighting controller, then light one on both dimmer packs will come on. That patching would look like this:

Example 2- One Fader Controls One Light:

If we want one fader to control one light, then Dimmer Pack One should control lights 1-4, and Dimmer Pack Two should control lights 5-8. So our patching should look like this, if we address the dimmer packs with addresses 001, and 005:

Example 3- Overlapping DMX Addresses:

 

Here's another example illustrating what might happen if we make a mistake assigning addresses. Let's say we gave Dimmer Pack 1 the address of 001, and Dimmer Pack 2 the address of 003, some of our control channels will overlap like this:

Note that fader channels three and four control lights on both dimmer packs. If I push Fader 3, then it will control lights 3 and 5, and fader 4 will control lights 4 and 6.

Wrapping It Up:

Again, we're taking a very simple look at things right now.  We'll continue to look at things more in depth over the next few months.

~Andy

See Illuminating DMX: Part 1- The Basics Here

Continue to Illuminating DMX: Part 3 A- DMX Protocol Charts Here