|
|
|||
|
|
|||
|
|
|||
|
|
|
October 2003 Graphics and Noise: Hiss & Hum - Issue: October 2003
Hiss (the steady 'tssss' noise like escaping steam made by the graphic itself) is not much of a problem on the more professional units. It's most likely to be an audible problem on bad or low-budget designs, and older or damaged units. With a decent unit you shouldn't hear any hiss at the FOH mix position at all, over the FOH PA, when the bypass switch is flicked in and out, and while the sliders are all at 0dB. Of course the prevailing hiss level will be made more audible if you have to boost frequencies above 5 kHz, or if you're in a small venue where some of the audience are unavoidably seated close to the FOH PA cabs. Hopefully, they won't notice it over the music. Lower-frequency noise (buzz and hum) may be induced if graphic EQs are placed (for any reason) near to 'leaky' AC transformers meaning their magnetic fields leak outside their casing and affect other equipment. Graphics are more likely to pick up hum than other units in the drive rack, so before finalizing a drive rack set-up, it's a good idea to spend a little time experimenting with the relative locations and spacing of the units in the rack, with the graphic placed furthest (if feasible) from any other units that induce hum. To make good and bad positions easier to locate, you can temporarily exaggerate the problem by fully boosting the sliders at 50, 150, 250 and 350 Hz (or in the US and wherever the local AC power frequency is 60 Hz, use the sliders nearest to 60 Hz and its multiples). For this test, nothing is plugged into the graphic though any gear around it must be powered-up and switched on and it's simply plugged straight into a PA amp and a bass bin, or any bass speaker made to reproduce frequencies between 50 and 400 Hz. Note: Although you can use the graphic to exacerbate hums in this way to help positioning, never use a graphic to eliminate hums. You'll reduce the hum, but also cut an unnecessarily wide range of bass frequencies. For a suitably selective cutting you must use a parametric EQ (PEQ). This article is reprinted with permission from The Live Sound Manual, published by Backbeat Books, www.backbeatbooks.com. All information is copyrighted and cannot be reprinted without the permission of the publisher.
Recording Tips For Engineers: Getting Work - Issue: October 2003
by Tim Crich The music business is tough. Work is elusive, and will not come to you you have to hunt it down. But there is work out there, you have to go and get it. Check your hearing. Before you seriously become an active, working recording engineer, get your head, er... hearing examined. If your hearing is questionable, it ain't getting any better. It may be disconcerting if the client sees you adjusting your hearing aid in the session. Have ears will travel. Place an ad in the local music paper that you are available to record bands at a very reasonable rate. Go to clubs and talk to bands about recording. Print up a demo disc of some of your best work even if you must book studio time to do it and mail it out or hand it out to whoever may be interested. I love the mall, I love them all. Get to know as many people in the local scene as possible by hanging around the music and recording gear stores, going to shows and supporting local artists. Other engineers, small time managers and local musicians become big name producers, studio owners and rock stars. He shoots, he scores. Do you play hockey, baseball, bowling, curling, tongue wrestling? Many cities have music industry sports teams. This is how to network in the recording industry. There is nothing like getting sympathy work, so maybe a puck in the head now and again will help your career. Intensities in ten cities. Attend the major audio shows and conventions such as the AES or NAMM. These shows are great to see what is on the horizon, but also to hang out with the audio industry and be seen. Get outta town. You may want to move to a locale that has lots of studios, like LA, NY or Nashville. There are many secondary markets other than these three, but of course these ones are the main places. Note that even though there are more studios, there is more competition, and big cities aren't for everyone. And on this team. Many engineers today are teaming up with someone such as a producer or mixer, and starting their own production company. With the low cost of equipment, this may be a viable option for some people. Just working as a recording engineer today might not be enough. It is always good to have something to fall back on. I still have my hat from Burger King, just in case. Use your computer to its fullest capacity. Use the Internet to access data on recording studios, new equipment and newest techniques. There are many Web sites available to research available recording studios in your area, as well as any new techniques that different engineers, equipment manufacturers or organizations post on the web. Tim Crich has over 20 years of experience in the recording studio and has worked on records by the Rolling Stones, Bob Dylan, John Lennon, KISS, Billy Joel, U2, David Bowie, Bon Jovi, Ozzy Osbourne, Cher, Bryan Adams and many more. He has engineered for some of the biggest producers in the world. This article is excerpted with permission from his book Recording Tips For Engineers.
Professional Sound News Archives Search our News
 Gifts For
Audio Professionals at Music Books Plus
|
|
|
Norris-Whitney Communications
|
|||
