Audix i-5 – a review

audix i-5 microphone

I got my hands on one of these the other day for a gig that I was doing. It was in place of a Shure SM-57. Well I will not be going back to a Shure SM-57 again if I have the choice. This microphone suited my style of sound that I was trying to reach when i am mixing. The Audix i-5 is a dynamic cardioid mic. i-5 more gain, lot of mid range more definition compared to sm 57. you might have to change you mix setting slightly to accommodate the slightly different sound that this mics produces in comparison to a SM 57. In fact it seemed to me that I had a bit more headroom before I hit feedback. This is always welcome. This microphone is really versatile, at least as versatile as the SM57. People might be thinking this is a direct replacement for the SM 57, it is not. It does have a different sound, in fact it make the SM 57 sound a little tired and old. This does the job a lot better.It has a lot better sound that is more in tune with the digital era that we are in today.

The i-5 mic brings a very clear sound into your mix.  It gives a nice crisp sound when used on a snare drum. It has a better off axis response so bleed isn’t such a problem. It is virtually bullet proof, surviving the odd belt from drum sticks really well. This mic is very well built and feels solid and workman like in your hand, it feels tough and ready to work hard.  It does have a swivel head shell cover.

The I-5 does have a pronounced proximity effect and there is  bass boost when the sound source is close to the microphone. But this can be a benefit if used well. And it is not a chore to roll a bit of bottom end out channel. You will find that this mic is going to work well on guitar cabs as well. Basicly where you use to use an SM 57 you can now use the i-5 , and to my ear, with a better and cleaner result. I have not run scientific tests on this microphone. I have used it in the field at a lot of live gigs and every time I used it I was amazed at the result. I and the bands were pleased with the sound that I was achieving with this microphone. And if the band is happy I am happy. So do yourself a favour and audition one of these microphones the next time you are doing a gig. you will be surprised by the sound. You will find plenty of uses for this very versatile microphone, and you will find some  more useful information about this mic on Audix’s website.

Now for the figures and specifications of this microphone:

• Transducer Type:               Dynamic
• Frequency Response:          50 Hz – 16 kHz
• Polar Pattern:                    Cardioid
• Output Impedance:           150 ohms
• Sensitivity:                        1.5 mV / Pa @ 1k
• Capsule Technology:          VLM Type B
• Off Axis Rejection:            > 23 dB
• Maximum SPL:                  ≥ 140 dB
• Power Requirements:        None
• Connector:                       Switchcraft® male XLR connector
• Polarity:                           Positive voltage on pin 2 relative to pin 3 of output XLR connector
• Housing / Finish:                Die cast Zinc Alloy / Black E-coat
• Weight:                            183 g / 6.5 ounces
• Length:                            141.5 mm / 5.6 inches

Well I suggest you go and grab one of these mics and have a load of fun, bring the joy back into your mixing

I give this mic an 8 out of 10

Review – EAW NT 59

I have been using these speakers for a while and I am still as pleased with them as I was when we first unpacked them and installed them. They are still performing flawlessly and sounding just as great even though I also use other brand speakers at other venues I am still in love with the audio that comes out of these boxes. They are installed into a small to medium size venue that has a ranges of shows from concerts to dance schools.

The key features are:

• 2-way full range
• 1 x 15 in cone, sealed
• 1.4 in exit, 3 in voice coil compression driver
• Portable & Installation
• 2 waySelf-powered bi-amped
• New digital filters eliminate transient smear and horn “honk
• Rugged, Baltic birch plywood enclosure
• Extremely high output-to-weight ratio
• Symmetrical shape allows mirror-image stage monitoring

The Specifications are:

• Operating Range 50 Hz to 20 kHz
• Beamwidth 90° (h) x 45° (v)
• Power Handling/Output Self-powered; 127dB SPL (long term)Peak 133dB SPL
• Maximum Output:  LF 63 V, 1000 W @ 4 ohm,  HF 45 V, 500 W @ 4 ohm

•  

  

  EAW NT 59

When you first lift these beasts out of the box you realise they are weighty but it is not to hard to handle.  They have handles on the side and the speaker is reasonably balanced when you carry them. Putting them onto a speaker stand is a bit more differcult and I would recommend that you have someone assist you in lifting the boxes, these boxes do 29 kilograms which is a bit unmanageable when above shoulder height. They is a solid look about them, even if a bit boring. A rather bland dark grey black colour. At they do not have a bright blue LED on front indicating to all that it works.  One thing you really notice is the slanted sides. These boxes can also be used on their sides as monitors.All of the connectors are on one of the rear panels, which are basicly your input socket and a loop socket. You will also find the power socket here as well, this is a powercon connector not an IEC lead. At least it will not fall out mid gig, but if you do leave behind you are not going to be able to pick one up in your local hardware store. also on the back panel there are status LEDS for both built-in amps. There also LEDS to indicate clipping, signal and limiter activity. There are 2 selector switches. one for the high pass filter and the other for coupling if using the speaker with others.

The amps in the speakers are field replaceable which I have never had to do as they get on going.  and to quote the datasheet “digital signal processing sets it apart. EAW invented new, digital filter algorithms, called Gunness Focusing™, to generate precise, complex, filter responses. These filters provide the linear phase response needed for transient accuracy while eliminating coloration from internal phase plug and horn mouth reflections. Digital limiting, specifically tailored to driver limitations and to maintain sound quality, provides more usable output while reducing the risk of driver damage” . I don’t know how this “magic” works but these speakers do sound great.

The audio is very clean and lifelike. Your ears do not get fatigued listening to them for long stretches of time. They are a very easy speaker to live mix on. The sound is full range and crystal clear, you can easily hear the elements of the mix. All instruments are nicely defined with no smearing. Vocals also shine. These are a great all-round speaker that will give you and your ears a great deal of pleasure and long service. They will produce a sound that you will not tire of for many years. You can also get a companion self-powered sub that is perfectly matched to these NT speakers. With the subs in place you get a truly massive sound from what is essentially a small, easily toured system. The size of the system belies the sound that does come out of it. They also have Rigging/Mounting Integral flytrackand also a pole cup mount.

Well done EAW, I must admit I have a slight bias towards their speaker system but I think it is justified.

Get yourself done to your nearest supplier for a listen today, you will like what you hear. I rate them an 8/10

Contact:  EAW for your nearest supplier in your country, state or town.

What was on Show at Jands @ Home

Soundcraft had on display si Series Digital Live consoles. This is a really nice console, maybe a bit on the large size. But it does have that nice solid feel to it. This desk does offer an easy upgrade path from a analog system. With this console you can take it out of the box and plug it straight in. The desk has all of the necessary analog connectors on the back. The layout is pleasant and easy to follow, a lot of it is self-explanatory especially if you are familiar with digital consoles and even if you were not, it would not take long to get a mix happening. Specs are below

• 48 or 64 Mono inputs
• 4 Stereo inputs
• Left/Centre/Right outputs
• 24 bus outputs (Aux/Group)
• 8 Matrix outputs
• 12 VCA’s
• 8 Mute Groups
• 4-band fully Parametric EQ with high and low cut filters.
• On-board dynamics
• Four independent Lexicon processors
• A physical output and meter for every bus.
• 8 assignable analogue inserts for additional outboard equipment
• 4 expansion slots for AES/EBU and/or MADI
• HiQNet connectivity
• Dual redundant power supply option

Si Series by Soundcraft

Shure’s UHF-R wireless microphone system was on display. To many this might be just another wireless system but as with technology there are always improvements and this set up represents Shure’s continued effort to improve an already good system. These are solidly built units that should easierly survive the rigours of touring.  Qouting from thier brochure “

Offering you more productivity, more reliability and more control, UHF-R is premier wireless technology that helps you master the complexities of large-scale wireless installations. UHF-R takes wireless to a completely new level.

Unparalleled control for complex installations. UHF-R automates setup and control operations to save you time and effort on even the most complex networked installations. UHF-R’s usability innovations include networked Automatic Frequency Selection with group scan, infrared automatic transmitter sync and smart menu-driven system operation for fast setup and intuitive operation.

Superior RF performance and reliability for every installation. With 3000 selectable frequencies across 75 MHz of bandwidth, UHF-R provides up to 40 simultaneous compatible systems per band. Advanced Track Tuning Filtering Technology, by shifting the RF filter along with the selected frequency, allows you to deploy this added bandwidth without audio degradation or interference. All UHF-R components – including the compact, sweat-resistant bodypack – are engineered to withstand the abuses of the road. You can rely on UHF-R for consistently reliable performance, always.

Crystal-clear audio that sounds more like wired. Shure’s patented Audio Reference Companding delivers crystal-clear audio transmission, far superior to conventional wireless. Unlike other wireless systems, Shure uses a variable companding ratio that responds to the audio level – eliminating wireless artifacts and substantially increasing dynamic range.

I think their words say it all. You can also get some great accessories. It also has two bodypacks  transmitters with switchable RF power. Also available is a variety of handheld mics such as SM58, SM86 etc. A very versatile system. Visit the Jands website to find out more.

Clear-Com were displaying the Encore Party-line  and Tempest Wireless comms systems. Now Clear-Com have been around for a lon time in the industry and their gear gets better and better. I have always been a fan of thier systems so it was nice to see what improvements they have been made over the years.

The Encore system is an improvement on the wired system that they have always made. And what a versatile system it is. It is also extremely robust and would take a rock’n'roll beating and still keep working. There are a lot of bits and pieces so that you can assembly a system that is just right for your situation.

Encore Wired System

The Tempest Wireless intercom products are also very neat. They do not work in the same frequency band as your wireless mics, so that you will not have problems with the frequency allocations. They work on the 2.4GHz band using digital frequency hopping technology. The system is very comprehensive. You can name beltpacks, control who mics are open etc all via software loaded on a PC or from a base station.

Tempest Wireless System

ETC also had some lighting desks on display.  There were 3 desks from the Eos Series, the Ion Control Desk, Element Control Console and the Eos Control Desk. As with all ETC desks these are well built and very functional looking.  They have a desk to suit everybody. A look at the tech specs will show you have useful these desks will be.

Eos Control Desk

Complete control of conventional and moving lights, LEDs and media servers. Supports multiple users with partitioned parameter control and full backup, multiple playback faders and cue lists in a tracking, move fade environment, with unique tactile response direct selects and encoders.

applications

• Theatre
• Television Studios
• Houses of Worship
• Corporate Theatre
• Exhibits
• Special Events
• Touring

features
• 4000, 8000, 12,000 or 16,000 Outputs/Parameters
• 10,000 control channels
• 12 Discrete Users
• Partitioned Control
• Master playback pair with motorised 100mm faders
• 10 100mm motorized faders x 30 pages for configurable
faders, submasters, masters and grandmaster control
• 2 full size LCD touchscreens for display, direct selection and
context sensitive control
• LCD direct selects with tactile response
• Four discrete palette types (IFCB)
• Presets function as “all palette”
• Effects provide dynamic relational and absolute progressive
behavior
• Central information area (CIA) accesses electronic alpha
keyboard, Hue + Saturation colour picker, gel picker, browser
and other controls
• 1 context sensitive LCD touchscreen with six associated
force-feedback encoders for non-intensity parameter control
• Configurable high-density channel display, with format and
flexi-channel modes
• User configurable topographical channel views
• List views of all record targets
• Mouse-less navigation of displays
• ETCNet2 and Net3 (powered by ACN) network protocols
• Show import from Obsession, Express/ion, Emphasis, Congo
and Strand 500/300 Series via ASCII
• Multiple MIDI and/or SMPTE Time Code Inputs, MIDI Through
and Output, Analog/Serial Inputs

Ion Control Desk

features

• 1024, 1536, 2048, 2560 or 3072 outputs
• 10,000 channels
• 4 Discrete Users
• Master playback pair with 60mm faders
• Four discrete palette types (IFCB)
• Presets function as “all palette”
• E ffects provide dynamic relational or absolute
progressive action
• Central information area (CIA) accesses electronic alpha
keyboard, Hue + Saturation colour picker, gel picker, browser
and other controls
• Configurable high-density channel display, with format and
flexi-channel modes
• User configurable topographical channel views
• List views of all record targets
• Mouseless navigation of displays
• ETCNet2, Net3, Artnet and Avab UDP network protocols
• Show Import via ASCII from Obsession, Expression, Emphasis,
Strand 300/500
• In/Out: local DMX512 x 2, MIDI In/Out, Networking DMX,
MIDI, SMPTE, SERIAL and contact closure via Net3 Gateways

Element Control Console

FEATURES
• 1024 Outputs
• 250 or 500 Channels
• 40 or 60 Fader versions, pageable as channel or
submaster control
• Master Playback pair with 60mm faders, GO, STOP/GO BACK
• Intensity, Focus, Colour and Beam Palettes
• Stepped, Relative and Absolute Effects
• Hue+Saturation Color Picker and Gel Picker for LED, CMY
color mixing
• ETCNet2, Net3, ArtNet and Avab UDP network protocols
• Show import via ASCII from Obsession, Express, Expression,
Emphasis, Strand 300/500
• I/O: local DMX512-A (2 output ports), MIDI In/Out, Ethernet
• Distributed DMX, MIDI, SMPTE and contact closure via
Net3 Gateways

ETC also manufacture the popular Cono, Congo Jr, Smartfade and SmartFade ML. ETC products are extremely popular.

Also on display was the Vari-Lite VLX led wash light. LEDS are certainly improving. This lantern shows the way that LEDS could be heading, if no other technology knocks them out. A very nice piece of kit.

Vari-Lite VLX

Jands New Modular Lighting Bar…The JLX-PRO was also on display. This is a very useful for new venues being set up. This is pre-wired and all you do is rig it and run power from your dimmers to it. You can also have DMX and data in the bar as well, Jands offer it in several configurations. so there is bound to be one suitable for you. due to its modular nature it can be cost effective and you can build on the system.

Features

• Proprietary extruded aluminium spine for strength (Registered Design No. 302249)
• Durable construction & black low sheen finish.
• Distributed Loads of (up to) 100kg/m & Point Loads of (up to) 100kg.
• Three module lengths (2.35, 3.5 & 4.7m) and three outlet densities (low, medium & high) for simple user customised solutions from standard building blocks.
• Kits for flying from ropes or chains, for suspending from battens and for fixed installations.
• Industry standard Socapex cables, headers & tails.
• 10A (standard) & 20A (optional) outlets available.
• Compatible with Jands WM range of patch panels.
• User configurable Extra Low Voltage compartment using Jands SB plates and universal inlet kit.

   

  

  JLX-PRO Modular Lighting Bar

Jands also had some other interesting staging products on display. Jands are one of the big players in fitting out theatre venues and and they have the resources to back it up. They have some very interesting gear that will make a techie life so much easier and also reduce the OH & S issues with flying of scenery and the like. Items such as P 250TH servo – which is a motorised steel band hoist, H550P-VX – which is their Pile wind motorised hoist, controllers for these hoists.  This is some serious kit which I wish I had in some of the venues I worked in.

So you can see that Jands had a reasonable amount of gear to show off. Some of it I have not mentioned or otherwise this post would have gone on forever. But I will repeat myself and say I hope Jands will do this again for Adelaide, as this sort of thing is rare here.

For those that want more information I suggest you visit the Jands website and they will help you solve your technical needs. They can be contacted at Jands

or

Jands Head Office operates from 8:00am to 6:00pm, Monday to Friday, Australian Eastern Standard time.

Jands Pty Ltd
ABN: 45 001 187 837

Jands Head Office
40 Kent Road
Mascot NSW 2020

Postal Address
Locked Bag 15
Mascot NSW 1460

Main Phone Number: (+61) 2 9582 0909
Main Fax Number: (+61) 2 9582 0999

Maxim Lighting Desks -by LSC Lighting Systems

maXim Console

Maxim Lighting console Review

The maxim lighting desks designed and manufactured by LSC Lighting Systems have been around in Australia for quite a number of years. These desks are often favoured by schools and community venues. They offer a reasonable degree of flexibility in the way they are used. You can quite easily busk a show for a one night stand or you can program a reasonably complex show into the system for repeatability night after night. The desk has solid, robust feel. Unfortunately the colour scheme from my point of view is a bit bland, it would be nice if things like the record button etc. had different colours from the rest of the buttons. This would them stand out, especially when you are tired, you sometimes need all the help you can get. But before we get into to much detail lets look at its features.

Features

Six models available; 24 fader MAX/S to 120 fader MAX/XXL.

Optional PaTPad moving light controller.

Single preset and two preset fader operation.

Fully proportional softpatch out to 512 (1024) output channels.

25×7 dot matrix LED display shows scrolled messages for effective reporting.

Electronic labelling function for naming Scene, Chase, Stack and steps of Stacks.

Stack playback master and effects buttons for full control of sequences.

Up to 500 steps of a Stack can be recorded with true dipless crossfade.

Each step of a Stack can be recorded as a Scene, Chase, Channel or a Snapshot of the output.

Steps of a Stack can be linked automatically.

Individual In (Up) and Out (Down) fade times, programmable for every Scene and step of a Stack.

Up to 250 steps of a Chase can be recorded as Channels, Scenes or a Snapshot of the output.

Scenes and Chases can be run concurrently on lower bank of preset faders.

Nine pages of non-volatile memory for Submasters on MAX/L, MAX/XL and MAX/XXL models.

Multi-page SGVA colour video output displaying desk status, memories, patches, and help menus.

Edit facilities include fade and speed times, channel levels, add/remove of steps/patch allocations.

Power “brown-out” protection.

USB Flash Disk storage for show back-up. Optional on MAX/S and MAX/M models.

Software upgradeable via USB Flash Disk.

CE and Ctick approved.

Details

As you can see from the above list of functions the desk has a lot going for it. You can get this desk in a variety of flavours from the small 12/24 channel to the 60/120 channel desk. There is an optional patpad controller available for some of the desks. The patpad is a control surface designed to control moving lights and the like. The desk is built very solid and should survive the rigours of touring or use in a school.  The desk is laid out in the standard 2 preset format with the addition of a 3rd bank of faders next to the preset masters.  The only one of the series that this is not true for is the MaXim S which is the smallest model in the range.  The range of models is:

• maXim S (12/24).
• maXim M (24/48).
• maXim MP (24/48 with PatPad).
• maXim L (36/72).
• maXim LP (36/72 with PatPad).
• maXim XL (48/96).
• maXim XLP (48/96 with PatPad).
• maXim XXL (60/120).
• maXim XXLP (60/120 with PatPad).

There are  3 Modes of operation for this desk:  Preset, Where the desk works in manual 2 preset mode.
Wide, where you can double the number of available channels.
Scene, where the Red Bank of Faders act as Scenes.

In all modes the Bottom row of faders acts as scenes except on the 12/24 model which does not have this row of blue faders. So you can see there are a range of options for the lighting operator. You can use the desk as a 2 preset system with a whole load of scenes recorded. An example would be to have a whole series of colour washes recorded as scenes and then use the presets for specials – great for busking. If using the desk in wide mode you then have access to a wide range of channels, not easy to operate a show from but great for setting up shows and you can then record the resulting lighting states into the blue faders as scenes. But you can also record scenes on the second preset faders as well. So you could record all of your scenes on this preset and your chases on the bottom presets or your intelligent lighting cues on the bottom faders and your generics on the second preset. so you can see that this desk is only limited by your imagination.Once you have recorded your show you can then stack the cues into what ever sequence you require, you can then play this stack back on the stack master.

Each scene or state that you record can also have fade times recorded with it. When you then put these scenes into a stack the states will playback with those times. Also within a stack you can set in and out times if you did not do that will recording the states initially. Or you can use the manual time faders for playing back the stack. You can also use these time fades for manually playing back scenes or presets.

With this desk you can also record chases sequences easily. This desk has the ability to do a lot just as a lighting desk. Editing states is no real drama. Just press the edit button, select the scene you want to edit, you then use the top preset to modify the levels, when you are complete just hit the edit button again to exit. You can edit live or blind.

There are only a couple of niggly thinks that annoy me. One is the display on a monitor is a little crowded, it would be nice if you could arrange the elements on the screen in the way you want to improve your workflow. Another thing that would be nice if it could change is the labelling of the scenes that occurs. I understand why it is the way it is, but it would be nice if you could re-label them. You can label a cue but it is not the dominant info on the screen. If you label the cue it should be easily seen on the monitor so you know where you are in a production. Lighting operators like their memory cue number to match a stage managers and be easy to call. The standard scene label is not easy to call, it follows this format -R1.02 – this means Red preset page 1, fader 2. So you can see that it is difficult to call LX R1.02 GO.  If this could be changed or the labels assigned by the operator made bigger and bolder, it would be easier.

Another feature that I have not had a chance to try out is the PatPad section, which is designed for programming moving lights etc., Reading up on this area it looks like a great but relatively easy process. There are videos available that show you how to program movers. When I get a chance to user some movers with one I will write a review on the process.

conclusion

I have only scratched the surface of what you can do with this desk. Apart from a couple of niggles I am very happy with the desk. It is well built. It performs like you would expect it to. Software is easy to update. And the manual is not to bad to read. This desk will give you many reliable years of service. It is great to see equipment of this caliber coming from Australian designers and manufacturers.

I would rate this desk 8 out 10

Contact:

LSC Lighting Systems

I-Phone Revisited

When I posted my article listing some apps for the I-Phone I did not realise how popular the story would be. since then I have been reminded of a couple of applications that I missed. So I thought I would add a few more.

The first one to mention is one that I have been using for a little while.

iGobo (Free) – Rosco Labs

This is a rather neat gobo selection tool, that includes the complete Rosco range of gobo. A handy feature is you can rotate the gobo to see what it looks like. This is my personal favourite

ShowTool LD ($4.99 AU) – Daniel Murfin

ShowTool LD is an easy to use, yet powerful suite of utilities for Lighting Designers and Electricians.
BEAM CALC The beam calculator comes in 2 modes, Simple and Accurate. It also allows for specifying two angles for Pars etc.
GEL CUTS The gel cuts calculator provides powerful functionality for calculating the number of cuts and wastage from all major gel manufacturers and a wide range of frame sizes.
DIPS CALC The dip switch calculator allows inputting of DMX values and sets up the dip switches live in front of you! Works with both 1 = All off and 512 = All off dip switch setups.
DMX CALC The DMX calculator allows you to set the local address and universe to see the global DMX address, or set the global address to see the local address and universe simply and swiftly.

BeamCalc ($2.49 AU) – Westside Systems

BeamCalc calculates spotlight beam geometry. Enter the light’s height above the target and distance across the floor. BeamCalc shows the resulting throw distance and elevation angle. Enter the light’s beam size in degrees to calculate the pool width. Adjust beam size or location to achieve required pool size. BeamCalc works with any units: feet, inches, centimeters, … even miles.

PowerCalc($1.19 AU) – Westside Systems

PowerCalc calculates electrical power loads. Enter a wattage to determine the electrical current in amps. Or enter rated ampacity of a device and see maximum wattage load. Works for any voltage. Select two or three phase service to see amps per leg and total wattage for a multiphase power distribution. AC Inductive mode allows setting of power factor and selection of single phase or three phase motor power calculations.

DMXCalc ($1.19 AU) – Westside Systems

DMXCalc helps you with all basic DMX address arithmetic for entertainment lighting system setup.

GoboLand (Free) – Goboland

It is Gobolands full catalogue. very handy if you want to preview gobos.

I am sure there are more, but I will keep those for another post. Feel free to send me suggestions on apps you thinks techies will love and enjoy.

Cheers, Stephen

Yamaha LS 9 digital console – a review

Yamaha ls-9.

Yamaha LS-9

I have been using the ls9 for a few days and it seems to do it’s job capably. The model I have been using is the ls9-16, which it designation implies is the 16 channel version. There is also a 32 channel version of this console. The unit that I am using has a small footprint, it will sit comfortably on a standard 19″ rack. Since I have always used analog consoles this was a bit daunting to start of with. You soon realise that it has the same features as an analog desk plus a lot more. All the feature you expect are found in the menu structure or on the front panel. In fact it does not take long to get a simple mix happening.

LS-9 Rear Panel

On the back panel there are all of the inputs and outputs. 16 inputs and 8 omni outputs along with word clock in and out, midi in and out and 2track digital in and out. The LS9 is 16-bus, eight-matrix to stereo and mono, which can also be configured as LCR. All outputs have to be routed to the “Omni” outs. There is also an Ethernet port for attaching a computer to the system. There is also a slot for inserting digital in/out cards to expand the number of inputs. On the right-hand side you will also find a port for a usb stick. With this you can record the mix or playback music from it. You can also save your own personal settings for the desk.

The front panel contains all of the faders and controls you need to get to set up the desk and get a mix happening. Each channel also features a motorised fader, a LED meter, and buttons for channel on, SEL and cue.

Home Page View

When you turn the desk on the screen will default to the “home” page and you can always return to this page when you press the Home button on the front panel. If you look carefully at the screen it contains a lot of info. The information that is displayed is related to which channel you have selected. So if you press the select button above the channel 1 fader the screen will display info about the channel. The info will include eq settings, send levels etc. It does not take long to connect this mixer to your system. There is no real need for an effects rack as the desk contains a reasonable amount of processing within its software. You can patch the built in effects and graphics to any input or output.  One useful feature would be that the screen was a touch screen like Yamaha’s bigger brothers.  To the right of the display are a bunch of controls that adjust the various parameters of what you have selected. When you have a channel selected you can from these controls adjust the eq, head amp, sends to the mix/ matrix(when you use selectors on the left), al of the mono channels have 2 dynamic processors. There is also a rotary encoder to adjust levels, an up/down and left/right navigation keys. Also there is a INC and DEC buttons.

On the left hand side of the screen. you will find the display access controls, layer controls and the mix/matrix selectors. The Diplay access control allow you to access preferences, set

Yamaha showing USB

up menus for the desk. There is also access to the graphics/effects rack, these can assigned to any input and output. Using the 31-band graphic EQs was facilitated by switching the EQ to Fader Assign mode, in which the faders function like the sliders on a graphic EQ. The layers controls are two input layers — a “master” layer and a custom layer — where you can mix and match any combination of input, output and matrix channels or mix masters. If you want the star channel, two aux masters and a matrix master on one layer, you can have that. Pressing any Mix button once tells the LS9 which send you want to address using the Selected Send rotary in the selected channel section.  If you press the Mix button a second time, then the desk enters Sends on Faders mode, in which the faders control send level.

In use this console is pretty good. You patch in mics into the channels, connect the FOH amps to omni outs 7and 8 and then maybe 2  foldback sends on omni’s 1 and 2. Working with channel 1 you press the select button and ON button and adjust the Headroom amp to get a nice signal, you then wind up the master until you have sound happening. You can now adjust the EQ, add any dynamic effects. You press the mix/matrix button 1 and you can now send your signal to this output, in the intial setting of the desk this signal is PFL but this can be changed if you so desire. You do this now for all channels and you have a rudimentary mix. happening. You can then assign the graphics to the outputs, you have 4 31band graphics which can be changed to 8 15band graphics. You can assign also several effects to various channels. You would use the mix matrix buttons and assign one or more to send a signal to the internal effects and return the effects on one of the stereo returns or a desk channel.

With this desk you can also store scenes, that is you can record changes in levels, channels on and off etc., for later recall. This is very handy for theatre style shows or musicals, especially if the have radio mics in them. With this feature you can turn radio mic channels on and off in the correct scenes.

Next to the faders on the front panel you will notice a set of 12 buttons, these are the user definable keys. These are extremely useful, you can make them mute buttons or scene go buttons. Basicly any function of the desk can be assigned to these keys.

One of the LS9 features is a built-in USB recording/playback device. The USB port accepts a standard memory stick (up to 2 GB) and allows you to record the desk’s output to MP3 files. You can record audio from any bus on the console.  The USB recorder can also play MP3s that are stored on the stick. MP3s may be linked to scenes so that when a scene is recalled, a specific MP3 plays automatically.  This feature will be a boon in theatre applications.

The more you use this desk the more you will discover want it can do. Coming from an analog desk to this digital console was an eye opener. This desk is very versatile. No longer do you need to cart a van load of gear with you. You can carry this desk under your arm to the gig. For its small size this console packs a punch. This is a pleasant but powerful console to use. As you use it you will find more and more functions that you can use to make your task easier therefore concentrating on the task at hand- making the show sound great.

Overall I rate this device as a 8/10

Basic Overview

• 16 or 32 mono mic/line input channels plus 4 stereo input channels, expandable up to 32 or 64 channels in two layers.

Desk in use

• 16 mix buses, 8 matrix buses, plus stereo and mono buses with LCR mode.
• Top-performance analog mic/line preamplifiers.
• Compact and light enough for one person to move and set up easily.
• Yamaha Selected Channel interface allows smooth, intuitive access to detailed channel functions via a color LCD display and
logically arranged encoders.
• Extensive gating, compression, and equalization facilities.
• Built-in USB memory recorder/player for recording or BGM playback.
• Virtual Rack packed with effects and EQ for just about any processing requirements.
• Scene memory for instant store and recall of all console parameters, including head amp gain.
• Advanced access management includes user keys (standard USB memory devices) that can be issued with different access levels for
different users.
• LS9 Editor Software for enhanced operability and programmability.

Technical Specifications

Lighting Design 101 part 2 ” The Usable Properties of Light”

In the first part of Lighting Design 101 we looked at the aims of lighting. In this section we are going to look at the usable properties of stage lighting. These are the controllable properties that light has.

1. Intensity – this is the quantity of light. Dimmers are used to control the intensity of light. The human eye can adjust to a wide range of levels of intensity. Therefore it can be assume that intensity is relative. The eye compares the present lighting intensity with what has happened before. an example of this phenomena is when a theatre’s house lights dim and go out, the eyes adapt to the darkness, then the stage lights come up to an intensity that might not be that much brighter than the house lights previous level. But since the eyes had adjusted to the darkness the light seems to be very bright when compared to what it was before hand. This creates the illusion of bright light, and it is something that a lighting designer can take advantage of. You don’t necessarily need lots of light to create a bright scene you just need to have the skills to use intensity to create that illusion.

2. Colour – colour must be carefully controlled in a theatrical lighting situation. To control the colour of the light you use specially dyed sheets of plastic in front of the light. There is a huge range of colours available. This gives the lighting designer a whole of palette to work with. You can use colour to create moods and evoke locations. Colours like blue and blue tints can give you the feeling of coolness whereas yellow or red can give you the feeling of warmth. But a “cool ” light will only appear cool if there is a “warm” light to compare it with. So it does act a bit like intensity, you need something to compare it with.

3.Distribution – where does the light come from? Where does it go? These are questions that relate to the distribution of light. For everyone to see, special lighting conditions are needed. You can change the distribution of light to highlight an actor within a group of performers, or you could have strong yellowish light streaming through a window on stage while the rest of the stage is bathed in a low level cool wash. These are examples of distribution of light.

4.Movement – intensity, colour and distribution are not static properties of light. They are subject to change and this change is called movement. Movement is used to shift emphasis, show a break in time or underline a climax. Too many changes can be a distraction and to few could lead to boredom due to not aiding the production.

As you can see from this post and the previous post that stage lighting design can be quite complex when you take all these factors into consideration. But once you have a basic understanding of these it starts to make sense and then becomes easy. But not only do you need to know the properties of light but you also need to know about the various type of lights that you have at your disposal. So the next Lighting Design 101 will cover a variety of lantern types.

Lighting Design 101 part 1 “The Aims of Stage Lighting”

Lighting is an integral part of a stage production.  Without light the performers cannot be seen. But once there are visible what next can you do with lighting? Well there are several key factors that you need to take into consideration for an effective lighting design.  The first key factor is to read the script several times to get the mood of the piece. Some scripts will have very obvious info about the lighting, with others the key will be in the text. but just because the information is in the script does not mean that you need to follow this. You also need to chat with the director about their vision for the show. Your lighting design needs to complement the directors vision. You need to be working of the the same page.

There are some basic ideas that you need to think about when you re designing theatre. Some of these ideas I have got from the Legendary Francis Reid, and I have used them myself when I am designing lights for a show. Another great source of ideas about stage lighting is Richard Pilbrow. You could sort of think of them as rules but remember rules are meant to be broken occasionally especially if you get the result that you are after. Remember to think outside the square.

So the basic principals are:

Visibility – this is really the first basic requirement of lighting. Audiences need to see the actor as well as hear them. If you cannot see the actor they are usually difficult to hear. So visibilty of the performers and the stage is important, but we can also use selective visiblity to emphasise various key elements within the show. Also the level of illumination can also give the audience clues about the show. The brightness of a scene is only relative to what has gone before.

Indication of Setting – this is were you use the lighting to indicate whether the scene is indoors or outdoors, day or night and weather conditions. This is rather simplistic but as you experiment with light you will find more ideas for the indication of the setting.

Creation of Mood – here you are attempting to use the lighting to sway the audiences feeling. You are trying to make them happy or sad, maybe a romantic mood. You can create moods by the careful use of colour or lighting angles. Also could be referred to as atmosphere. This is very important if you want the audience to feel anything towards the play

Element of Composition – here you are relying on the use of colour, light and shade.  You can use the distribution of light to affect what the audiences sees. A production viewed from the front can look a little flat. Therefore the role of the lighting designer is to bring back that 3rd dimension. This can be achieved by lighting from the sides or the back. generally light in theatre does not come from the front. In fact lighting from different angles can lend a certain solidness to the production. It can make it more “real” or make it more surreal. The best way to find out more is to experiement with lights from different angles and observe what happens. And then you can add the use of colour.

Using these basic aims you should be able to create on stage something that is going to look good. Finding the right balance is going to take time and practise. But good lighting is the art of complementing what is happening on stage without distracting from it. When you achieve this you have done a great job.

Strand Patt123 Fresnel – Preloved gear

Along with Strand’s famous Patt 23 profile this must be one Strands most well known small fresnel. And I bet we all have used one and there are a still a lot giving great service around the world in various venues. This Fresnel is built along the lines of the Patt 23 in that it is rather solid but simple and reliable in operation. The light output was adequate for most small venues. As with a lot of the older equipment the body got very hot when running and it was a bit of a challenge to change a lamp or re-focus if the fitting had been running for a while. To change the lamp you pressed a catch on the top that would let you swing down the front half of the fitting and the lamp tray. It was always a good idea to move the lamp adjuster to near the rear so as to make it easier to remove the old T-1 lamps. You also had to make sure that this catch was latching correctly before you sent the lantern back up in the air. It did have a tendancy to let go. The lantern had two colour filter runners so you could also add the optional barn door fitting to the fixture. Overall thsi was a pretty reasonable piece of kit and has survived many years and is still giving reliable service.

Strand Patt 123

I would Rate this as a 7/10

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.