Life Inside Audio Production

Proudly endorsing and supported by sE Electronics!

Wed, 19 Jul 2023 19:47:37 GMT

o Russell-Ashmun Audio is proud to share our support for sE Electronics! When I (Chris) was browsing at Sweetwater a couple years back, I came across an unusually-shaped microphone in the live audio department. Professional curiosity overtook me so, while looking over my shoulder for a sales rep, I disassembled this sE V7 microphone. I was intrigued by the mic element which was attached not to the body of the microphone, but on a 'stalk' giving it amazing shock resistance. Well, the price point was very nice ($79, at the time) and since we needed another mic in our gear, I bought one.

Fast forward about three months...We're supporting a female artist who did not have a mic (rider specified SM57 or equivalent). I offered

her the option to use the V7 and she agreed. At soundcheck, I 'preset' the EQ for a feminine voice as I would for an SM58. Surprise, surprise, the EQ was absolutely too harsh. I reset the EQ to neutral (0) across the spectrum and started over. Two small cuts were all that I needed both for FOH sound and Wedges. Much less work for a female vocal than with an SM58.

Researching the curve I find that the 'industry standard' mic scoops out the frequencies for the feminine in favor of the masculine vocal

whereas the V7 is much flatter, making it more versatile for both male AND female vocals. I have since replaced all of my 58's (minus one) with the V7 and several of our clients have moved to purchasing the V7 for their personal load-out.

The sE7 condenser mics are phenomenal, as well. I have ordered a percussion mic kit and will test it out soon (currently using the

Sennheiser e604's for kits, and will possibly remain with the B52 for kick) and let y'all know.

If you want a very good, dependable, non-rolling (did I mention that the circumference of the windscreen has cutouts so it doesn't roll

away?), easily EQ'd microphone that costs a third less than the 'standard', check it out for yourself! Best mics on the market price/pound! of your post goes here. To edit this text, click on it and delete this default text and start typing your own or paste your own from a different source.

It requires more than just great FOH speakers to make great sound...

rusashllc@gmail.com (Chris Ordiway) — Mon, 24 Oct 2022 19:23:01 GMT

...But it doesn't have ears...

We can't begin to count the number of times that the artist inquires about the quality of the sound 'out front'. We have a saying: As much as we can MAKE it suck, we can't FIX suck. Audio production is as much experience as it is SCIENCE. Stage monitor placement is just as important as FOH placement, if not more. Stage volume (sound coming acoustically off the stage) can destroy the mix at FOH quicker than the drunk drummer trying to keep meter. Placement of amplification (which we will chat about later) and monitor speaker placement can make or break this.

Standing ‘on top’ of your monitor is the first wrong step. Multiple times when I have set up for incoming performers/groups, I have set the wedge where it is acoustically (scientifically) correct, only to have the musician pull it “to their toes”. Is this an exaggeration? Only slightly. If you’re one of these folks, here’s why it’s not a good thing.

If you’ll excuse the crudity of the following saying, I believe you’ll get the point: “Yes, you have a head down there but no, it DOESN’T HAVE EARS.” Yes, I know not all performers are of the XY persuasion. That being said, the spirit of the quote still applies. Standing on top of a stage monitor will require 2.5 to 3-times the volume for you to hear it. Why, you ask? You’re not on axis to the physics of the cabinet. If you can’t just simply move your eyes down/left/right to see the cone of the speaker, you’re not in the wave of sound. Most, not all, vocal microphones are designed to have dead areas or “drop-outs” in their polar map. Most of these are at the back (cord) end of the mic (we’ll call that point zero degrees) to about 45-degress both left and right. Best monitor placement is AT that 45-degree point (left or right) and far enough out that you can see the cone. Distance from you will be greater if you’re 6’1”, less if you’re more diminutive in stature. In this configuration, not only can you hear more (at lower volume) but the microphone is off-axis of the speaker, and you’re not killing the drummer with your mix to the point he can’t hear theirs.

In these days of "big PA", i.e. micing all instrumentation, stage volume kills the mix at FOH. The biggest advantage is this: You don't go home with such a severe case of tinnitus.��

Our First Blog (attempt LOL)

Fri, 10 Jun 2022 01:20:44 GMT

What gets under an audio engineer's skin?

Here's just a few things (for laughs(?))

LIVE AUDIO ENGINEER’S “LIST”

PET PEEVES:

Lighting engineers

5-minute changeovers

105-volts

Load-in via elevator/stairs

Volunteer/unpaid stage hands

Mix positions WAY off-axis

Band-owned gear

3x3-foot "stages"

DUMB COMMENTS FROM AUDIENCE:

“What if I did this?” (Miming twisting knobs/pushing faders)

“This would sound great in my living room.”

‘Do you know what all those knobs do?”

“Are you the DJ?” (This one's a DOUBLE-whammy)

“Where is the ‘talent’ knob?”

“Can I keep my coat back there?”

“I can’t hear the vocals!” (Generally from the lead’s girl/boyfriend during the first 5-measures of the first song)

“Do you get to meet the band?”

“It’s too loud!” (While sitting in front of the stacks)

FAMOUS LAST WORDS:

“Oh, sorry. That’s the wrong stage plot/input list”

“Sure! There’ll be plenty of stage hands.”

“Absolutely! You’ll get a T-shirt at the end of the gig.”

“Give me your address and I’ll send you a T-shirt.”

“Oops, the merch guy just put the T-shirts on the bus”

“I’ll fix it before the next gig.”