News – 27th March 09

Production Audio now shipping the EAW MW 15

This new member of the EAW family of speakers is certainly going to be well recieved. The wedge is a nice clean looking, low profile wedge sutaible for events ranging from sorparate to full concerts.

To quote the Production Audio Newsletter “The EAW MicroWedge MW15 is collaboration between original MicroWedge Series inventor Dave “Rat” Levine (owner of Rat Sound Systems, Inc.) and the EAW Engineering Department, resulting in dramatically upgraded performance and ergonomics. The coaxial design pairs a 15-inch woofer with a 3-inch (diaphragm) HF compression driver on a horn that provides full yet controlled 90-degree horizontal dispersion. The large port on the front of the cabinet enhances LF response in coupling with the floor, and it houses both the carrying handle and the passive/active mode switch. The port also contains dual input connectors. Integral rigging hardware mounted on the enclosure bottom facilitates easy flying.”

I am certainly looking forward to using this new monitor in the near future.

for info contact Production Audio

Aviom stars at the Oscars

the 81st Academy Awards were certainly exciting, but for audio people it was more exciting with the use of the Aviom Pro 16 monitor mixing system. This is a very versatile system that allows you to do a custom monitor mix. Each band member was fed audio this allowed them to select which parts of the audio they would like to hear, helping to keep everyone on cue. They could listen to the mix or only parts of the mix. The Aviom system is very versatile, and more and more venues and event in Australia are using it.Aviom pioneered personal mixing with its Pro16® Monitor Mixing System and continues to break new ground with the revolutionary Pro64® Series of audio networking products. With tens of thousands of products in the field today, Aviom has set the standard for high performance, scalable digital solutions.

for info contact Production Audio

Golden Grove goes Digital

Golden Grove Arts Centre in South Australia has just taken possession of a Yamaha LS-9 digital mixing console. This will make it a very update metropolitan in the Adelaide suburbs. The LS9 is the ideal solution for such live scenarios as small to medium venue installations, concert tours, FOH, monitoring, sub-mixing, houses of worship, education and corporate events.n addition, the LS9 introduces a new and exciting feature to Yamaha’s digital mixing console range: MP3 format digital audio recording and playback. For the first time, users can capture virtually anything – stereo, mix, matrix, or direct channel outs – on an external USB flash drive inserted via the USB Storage port on the side of the LS9’s raised display panel. The LS9 performs real-time MP3 encoding on-board and stores audio recordings on the inserted flash drive for future reference or distribution. The LS9’s playback function allows effortless playback of MP3 audio stored on a USB flash drive, giving users the ability to play back any pre-recorded material without the need for external hardware. The USB memory player is compatible with MP3, AAC and WMA file formats at 96, 128 or 196 kbps.

for info  contact Golden Grove Arts Centre

Starplex goes MAXIM

The Starplex Theatre at Trinity College in Gawler has taken deliver of the LSC Maxim XXLP. This will give them a worldclass lighting desk which is ideally suited to this large 1200 seat venue. The desk has come with the usb upgrade which means that it can work with the CAPTURE software. It will also accept an input from a pointing device, which will be very helpful with moving lights. The PaTPad™ Moving LightController with 6 encoders and text displayers. Full Effects engine for instant creation of movements and custom shapes. Up to 90 physical playback faders for instantaneous control of memories in a live situation. Built tough to cope with the rough life of a touring console. It is great to see another SA venue upgrading and improving theatre in South Australia.

for info contact Starplex

Venue Techs: Are they easy targets?

How often have you done a show were you have had to wear many hats? It is not easy doing multiple tasks as a technician. But it seems like the client cannot afford to pay the extra for more techs but they expect to have everything. Where does the fault lie. This is a difficult area. The venue could be at fault for not advising the production company that they really should have more technicians on, based on the info that the client supplies. But there are a lot of times that the client does not supply all the information. As they are not to sure what they want. But on the day that they arrive they want it all. This can lead to frustration from all sides. A basic simple solution is to have a production type meeting as soon as the client arrives. Sit the client down with their tech people, some coffee and go over their tech requirements in detail. By this time the client should know exactly what they want and should be able to articulate it to you the technician. You are the one that is going to make the magic happen. you need to be able to tell the client if what they want to happen is able to happen and what it might require in the way of equipment and costs. In theory this meeting should have taken place a few weeks before the event. But as we all know that it is not always going to happen in the real world. Both sides of this equation need to be flexible. Sometimes it would be worthwhile explaining to the client to try and keep it simple. If the event is to complicated and not enough resources are thrown at it, there is the possiblity that it is going to look worse than the client expected. And even the audience are going to notice that as well. If you are having a repeat costumer it might me worthwhile looking at what they did prevoiusly and then trying to anticipate what they are going to need this time around based on their latest paperwork. It is a good idea to keep the information that clients provide and other notes. This will give you a basis to start from. A lot of clients do things in similar ways and often expect similar resources.  Do not be afraid to tell the client that they need extra crew or resources, they will appreciate that you are trying to help make their production a good one. If they cannot afford extrra crew see if they have some volunteers willing to help, on the understanding that sometime will have to be put aside to train them. If they cannot afford to hire/buy extra resources be willing to suggest other ways to do it, using your extensive experience or calling others for ideas. As a venue tech you are wanting to make the show great, the venue look great and the client happy so that they will want to return.

Why do people like MP3 (crap) music

MP3 players are a retrograde step in the quality of music. More and more we are asked to play music from an mp3 player and the quality is not as good as a CD. Do people not care how good it could sound?It strikes me as rather strange that you have a fifty thousand dollar PA system and then you play 128k/bits MP3 file through it. You might as well use a high quality cassette tape. If you are going to use mp3 please at least encode them at a higher bit rate, so that they sound more like the CD. If you do an A/B test with an mp3 file and a CD you will definitely notice a lack of sound quality in the mp3. You often find with a mp3 file that time resolution can be too low for highly transient signals and may cause smearing of percussive sounds. Also you might find that some players have better encoders and decoders than others and that this also will have an effect on the percieved quality of the the sound. In general it is better to encode your mp3’s at the highest possible bitrate of 320k/bits. TheName of the game is high quality not how many songs you can fit onto a disk or in memory.

Stage Manager’s Checklist

When you are stage managing a production it is sometimes useful to have a checklist to run through. This is an aid to make sure that you cover all bases in the rehearsal period right up to the production. All well organised Stage Managers will have their own custom lists that they follow. As you gain more experience you will develop your own format to follow. Here I present a list that is set up in chronological order. I have based on a 12 week rehearsal period followed by the production. This should give you some ideas to work with. The more organised you are the smoother the production should flow. This will instil confidence in you by the cast, crew and the Director.

Preparation phase

Read through play

Assist director with preparations eg. Copying scripts.

Organise an audition schedule.

Work with the director to  streamline rehearsals.

Organise a copy of the script for your prompt script. It should be single sided A4.

Week 1

As stage manager you are integral in the preparation and operation of each performance. You control the technical side of the production..

Create a scene breakdown examining each scene and its intention that can be shared and discussed with production manager and other key backstage team members and director. Record the page number each scene starts on so that you can find these in a hurry. Note which characters appear in each scene.

Discuss rehearsal times; bump in/ production week/bump out schedules and general time management of the production with the cast, crew and director.

Week 2
Discuss with the director their intention for the production and think about how your jobwill help the director interept the play

Compile a list of  references to props from the stage directions with page numbers so you can refer to them quickly. Discuss this list with the director in order to establish if they wish to use all props listed. Some scripts will also have a props list with them, this can be a very useful reference. Discuss the design of the props with the designer to ensure consistency.

Create a cast list when auditions are completed. Create a crew list when positions have been decided on.

Start making blocking notes in script

Week 3

Attend rehearsals.

Checkout the venue and make contact with the head technician.  Acquire a 1:25 scale plan of the stage.

Complete a mark-up of the acting space in your rehearsal venue. Eg. Are there immovable stairs in the space, a balcony you are using? Is the space proscenium arch, traverse etc?

Create a contact list for the cast and crew.

Create a rehearsal schedule with the director.

Liaise with the backstage and onstage team members.

Ensure basic ‘necessities’ are provided in the rehearsal space, eg. Toilets, tea and coffee, water,
first aid kit and a phone available in an emergency.

Ensure the rehearsal room is set-up with adequate chairs for the cast, director, yourself and other people.

Continue writing blocking notes

Week 4

Attend rehearsals.

Confirm the booking for the performance space, including bump in and pre-production.

Create a production week schedule and establish a weekly production meeting time where the lighting, audio, set designers, props master, wardrobe, production manager and the director can meet.

Create a list of all set, costume, lighting, sound, props etc. references in the script

Week 5

Attend rehearsals

Gather with the help of the props person and set designer any rehearsal props, set,  that have been decided on for the actors to use, e.g. a period skirt, a walking stick, etc. These will begin to be clarified in the next few weeks.

Liaise with the construction team as they work to complete their exploration and move into the building phase of the production.

Ensure you participate in regular discussions with the director so that you can efficiently implement their intention during rehearsals.

Week 6

Attend rehearsals

Complete mark-up of the set in the rehearsal space.

Once the set design has been established create small plans of each set configuration you can copy and stick into your prompt script to record final blocking.

Finish your props list with documentation and drawings for each item and establish if you are going to borrow, hire make, or buy each item.

Work with crew.

Week 7

Attend rehearsals

As scenes solidify start to time the scenes or Acts. A number of elements such as sound, music,multimedia etc. will find this information very useful.

Keep notes on how rehearsals are going

Work with crew.

Week 8

Attend rehearsals.

Complete all blocking ready for plotting the lighting.

Schedule Bump in/ Bump out and Production week, particularly rigging, plotting, costume parade,
cue to cue rehearsal, tech rehearsal and dress rehearsals in collaboration with the offstage members and crew.

Gather/ Make props.

Work with crew.

Week 9

Attend rehearsals.

Coordinate the list for program photos.

Week 10

Meet with the lighting, sound, set and costume designer etc. and record in the prompt script the
cue points they have identified.

Gather/ Make props.

Work with crew.

Week 11

Supervise all elements bumping into the theatre.

Set up the dressing rooms.

Display a Scene/character breakdown backstage so all actors know when their character is
onstage.

Coordinate the costume parade to check all costumes are finished and work with the lighting
colours.

Set up a props table back stage, by covering a table with paper and tracing around each prop,
writing the name inside so they are returned to the correct place.

Set up an area for any set pieces that may need to come on or off during the show.

If you need to spike [use small right angled tape marker on the stage] the set pieces so you know
where they are on stage.

Ensure actors have any personal props and negotiate if they need you to preset them for
performance. However, they may choose to do this themselves.

If you plot the lighting when you are not rehearsing, which is the ideal situation, organise a
walker for plotting so that the lighting designer can see what the actors will look like onstage.

Plot the lights and sound adjusting your prompt script if necessary.

Work with crew.

Week 12 – Production week

Work with crew.

Run a Cue to cue rehearsal. It is often an efficient way to check that each cue works, it also allows you and the operators to get a feel for their jobs and timing. All sound, lighting, mech, multimedia, acting, costume quick change etc. cues need to be run until you are happy. The actors should be involved so that you can time cues by hearing their lines and seeing their actions. Many Stage Managers still like to sit in the auditorium with the director at this point so communication between the two of you is more efficient.

Run the technical rehearsal from the position you will be calling from in performance. You need to call all cues as you would in performance, however, if you feel a cue has not been completed correctly you need to stop and re run the cue. The director will also let you know if they are unhappy with the cue.

At the dress rehearsals the production should be running as it would in performance. You will no doubt receive notes from the designers and director about the timing of some cues. Often it’s not a case of something you have not done correctly, but the production coming together as a whole and some refining necessary.

Bump out and supervise the return of any hired equipment.

Supervise clean-up and storage of all items.

News 7th March

Vari-Lite go LED

What has been a rumour for many months has now come true. Vari-lite will be releasing in the near future a LED powered moving light fixture. It is going under the name of VLX LED moving light. This unit uses 630watts of LEDs with 3 times time the Lumen efficiency of tungsten sources. VLX will have a removable zoom system giving users the freedom to configure the lantern with a variety of lens The company states that the “VLX produces perfect color mixing without any distracting color shadows. The luminarie has an extensive colour gambit that offers designers colour choices not previously possible with other conventional subtractive or additive systems. The color temperature is variable and can be seamlessly adjusted between 3200k and 6000k. Colour shifts and strobing are stunningly quick.” This is a major move by a market leader into the LED lighting field.

LOUD Rumours

Amid the rumours that LOUD Technologies is in financial trouble. LOUD are the manufacturers of MACKIE, Tapco, EAW, Ampeg, Crate, Martin Audio, Alvarez. Rumours had been flying around that the company was about to file for bankruptcy. The rumours started late last year when LOUD announced that they were cutting 90 positions or 18% of the work force. For the last couple of years LOUD has been posting losses. Just before Christmas LOUD announced that one of it major Chinese manufacturing partners had ceased production of certain products that represented one third of the companies net profits. So on the 15th January LOUD Technologies Inc. announces an intention to Voluntarily delist Common Stock from NASDAQ Stock Market and Terminate Registration as a Public Company. This way they do not have to release theirs figures to the market. Things do look grim for LOUD, even though the company is trying to put a positive spin on the plight of the company. Their CEO, Rodney Olsen, believes that the company will emerge from this in a much stronger position.

4PAK-D Dimmer from Jands

Jands have released a rather need successor to their faithful Quad pak. We are bound to soon see this device all over the place, such as schools, churchs and trade shows. The unit integrates an enhanced four channel multi-scene/chaser control desk, dimmer and interconnecting cables into a single, easy to use economical unit. Additionally a DMX-512 input allows the 4Pak-D to be used as a slave dimmer from an external DMX control source.
some of its features are:
Four (4) identical control channels may be controlled
via the front panel or remotely by DMX
• A fader and flash button per channel for manual control
• A mimic LED per channel provides visual indication
of each channel’s output at all times
• High brightness LED display
• Easy to use menu-based setup
• Predefined and user programmable chases
• User programmable scenes
• ANSI E1.11-2004 DMX-512-A digital control input
• ANSI E1.20-2006 RDM compliant
• “Signal” LED for DMX signal indication
• Link capability for expanded operation
• Four (4) output circuits set for linear relationship between
the control input and output power
• Opto-fired high current Triac output devices
• Master over-current thermal-magnetic circuit breaker
• Supplied complete with captive 1.7m lead and plug
• Connections to the lights are made via four
(4) standard outlets on the back panel
• Durable polyester front panel decal
• Integral carry handle

Microphone Technique -a basic primer

How often have you had a person use a microphone off axis or wander around stage with the mic pointing at the foldback wedges. This often seems to be very common with people who have no experience or very little experience. One of the most irritating is the corporate gig where the speaker moves away from the lectern mic. This is a very common fault, you get the lectern set up and the lectern mic is sounding great. On comes the speaker and they either move the microphone out of the way or step to one side of the lectern or they keep turning their head away from the mic to look at the great Powerpoint display they have created even if it is also displayed on the laptop in front of them. And no matter how many times you have explained to the people that are going to use the lectern how to use the mic to their benefit, they forget it once the event is on the way. If it looks like the speaker is going to be someone that moves around a lot, it might be prudent to suggest that they wear a radio headset system. Some people might not like the idea but it makes good sense if they are the sort to roam the stage, they will at least be heard by all the important people – the audience. these days headsets mic systems are very light and not very noticeable. It also might be a good idea to stick a note to the top of the lectern reminding people to talk into the microphone with an arrow pointing to the mic. I have had people talk into the goose neck light that is often on lecterns.
Another problem that I have encountered is someone using a handheld mic for singing or speaking. When this person stops singing or speaking the relax their arm and let it hang down with the microphone pointing at the floor. This has the potential to create feedback if you are using foldback speakers. As an audio operator you really need to be on the ball to mute this mic if this happens and to be very quick if they decide to use the mic again. Again it is a matter of trying to educate these people in the correct use of a microphone. another common trait is for people to actually speak quieter when using a microphone. They are assuming that the microphone is there to do all of the work. Not so, it is their to boost their natural voice not their whisper. I have to explain to them that audio system has to work harder if they talk quieter. And the harder it has to work the more likely it is going to feedback, thus annoying the audience somewhat. So for any event requiring microphones it is a good idea to spend some time with those using microphones explaining how to use the mics for this particular set up. Even some professional performers might appreciate this if the PA is set up in an unusual configuration. This is because you are trying to make them sound good and that is what they want.