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Sound Advice

The Most Important Thing To Remember (When Mixing a Band) by Hugh Richards

October 18th, 2002

Don’t forget the words. Words are the most important thing. If you can’t hear the words there’s no point to what you do. [When mixing vocals with a band] it’s just natural balance. You can use delays and some effects you can pull like a doubler. It really comes down to the stage levels and how you balance the sound around that vocal.

Hugh Richards is Front of House engineer for Oasis who are currently wrapping up their Be Here Now tour.

Upgrade Your Nearfields For Free by Bruce Bartlett

October 18th, 2002

Are you getting all the performance out of your Nearfield monitors that you can? There are some simple ways to flatten their response so they sound more accurate. And you won’t need to buy a graphic equalizer.

In a nutshell, experiment with placement. Where you place your monitors, relative to nearby walls and the console, has a big effect on their sound. For example, you can control the monitor’s bass response easily. Any loudspeaker gets more bassy when placed near a surface.

Here’s why. The tweeter radiates high frequencies mostly out front. But lows radiate in all directions. When you put a loudspeaker near a wall, the lows radiate behind the speaker, bounce off the wall, and reinforce the lows radiating out front.

The highs don’t radiate back toward the wall, so they are not reinforced. The audible result is more bass.

So, if your monitors sound thin when playing a kick drum or bass guitar, try placing them closer to the wall behind them. My monitors were placed on a desk just behind my mixing console, 1.5 feet from the wall behind them. In this position, they sounded too warm or mid-bassy. When I raised them up by putting them on some one-gallon paint cans, they lost their tubby character. An upgrade for free! I wrapped the cans in grey foam rubber.

Another upgrade is almost free. Get a 4-foot-square piece of acoustical foam, with wedges or convolutions. Such foam is made by Sonex and others. Tape or nail it to the wall behind and between your monitors. The foam absorbs sound, so you hear less wall reflections and more direct sound from the monitors. The benefits are many: sharper stereo imaging, flatter response, tighter transients, and better time resolution. It really does work.

Put monitors on stands just behind the console, not on the meter bridge. This reduces comb-filtering from console reflections. Align the monitors vertically to prevent lobing in the horizontal plane.

Another way to control your monitors’ sound is to experiment with angling them toward you, or straight ahead. The off-axis response of a speaker tends to roll off in the highs compared to the on-axis response. So if you toe-in the monitors to aim at you, they will sound their brightest. If you aim them straight ahead, the treble will soften a little. It’s free EQ.

Take some time to experiment with monitor placement, and you’ll be rewarded with a more-accurate sound.

Bruce Bartlett is a microphone engineer, audio journalist and a recording engineer.

EQ And Mixing Made Easy – by Gary Stokes

October 18th, 2002

EQing individual channels: “Try to keep in mind, that all sounds have all frequencies and any EQ you do is always a trade-off, or compromise, so it’s important to pay attention to what you’re losing that’s desirable, when you start mercilessly notching out something that offends you. I think a good example is electric guitar because sometimes it’s better to boost either side of what tone is offensive and thereby preserve more of the overall tone rather than notching out something that bothers you.”

Mixing: “Everyone’s first impulse when listening to a band playing, and you’ve got complete control over the mix, is to turn up whatever element of the mix that is too quiet. I think the first thing you should ask yourself is what elements are too loud and are masking what you want to hear. What is bothering you if you can’t hear the guitar for example. Find what’s covering the guitar. See if you can get away with turning something down first before you move something up. Usually in the end, you’ll be less likely to paint yourself into a corner of always trying to turn everything up louder than everything else and consequently running out of headroom and making the overall mix too loud for the audience and everything else goes along with that. Before you turn something up think of what you can turn down to make it sound better.”

Gary Stokes is Sarah McLachlan’s sound engineer and is featured in this issue of Professional Sound.

Upgrading the Dolby 363 SR by Barry Lubotta

October 18th, 2002

As a firm believer in the superior sonic qualities of ½” analog versus DAT as a two-track mixdown format, I was excited several months ago to purchase a used Dolby 363 SR two channel noise reduction unit to complement our ½” machine. Since we already had Dolby SR on our 24-track recorder, I expected the same kind of performance when I wired in the Dolby 363. To my surprise, I found the sound quality of my tapes through the 363 somewhat disappointing. The problem was that the high end seemed to lose its sparkle and the soundstage shrunk. These less than flattering results made me question whether I was better off with or without noise reduction on our two-track machine. And then it struck me as to why I have seen so many used 363s offered for sale over the past few years – probably unhappy owners.

Now my short-term memory isn’t quite as good as it used to be, but there is nothing wrong with my long-term recall. And sure enough, driving home that night I remembered reading an article that appeared in REP magazine several years ago which dealt with modifications to the Dolby 363 SR. Later that evening I was knee deep in old magazines and had just about given up hope of ever finding the piece in question. Down to my last REP I scanned the index and there it was on page 62 of the May 1991 issue – “Upgrading the Dolby 363 SR” by Jim Williams. Seems like I was not the only one who found that the original unit was somewhat lacking. This excellent article described the less than exceptional parts used by Dolby in manufacturing the 363, and went on to give detailed instructions on how to modify the unit so that it would regain it’s clarity, transient response, and sparkle.

I contacted David Miller at Digital Ears in Toronto and asked him to perform the upgrade for me since I knew it was beyond my modest capabilities. When I dive into a piece of equipment, my philosophy has always been that I will either make an improvement or destroy the thing entirely, and in this case the odds seemed to favour the latter result. Dave and I discussed the mod and agreed that we could take the improvements one step further by replacing some capacitors and other ICs in the signal path. Since the Dolby 363s are no longer under warranty, there was no risk of alienating Dolby the company.

A week later David delivered the upgraded 363 and I plugged it in for a few days so the new components could break in. When I got around to recording music through the system, the improvement in sound quality was immediate and easy to hear. The detail and sparkle from my source came through unchanged, as it should have in the first place. I’d have to say the unit now sounds better than our 24 channel Dolby SR.

If you already own a Dolby 363 SR unit, you owe it to yourself to experience a significant improvement for a modest price. The cost of the mod was just under $400. Now the 363 can do the job it was designed for.

I find it surprising and disturbing that Dolby utilized such low quality audio parts in a device that was never cheap to begin with. By investing in this modest upgrade, you can play your part in keeping analog sound quality alive and kicking into the next century.

Barry Lubotta is the owner of Pizazzudio Recording Studio in Toronto, ON.

Listen To The Artists by Gary Stokes

October 18th, 2002

“You need to be intimately aware of what is stage sound and what is coming from the PA you’re controlling. I think all sound engineers like to have total control of the sound.

“There’s sort of a natural desire to do the best job possible but you have to be aware of what sound you’re actually controlling with the knobs under your fingers, what sound is coming off the stage, or just inherently in the venue. A good exercise is to mute the main PA and just listen to the sound of the band on the stage from the audience. It’s also very important to go and listen to the sound onstage as well. This gives you a better awareness of what you’re trying to achieve, as well as what you can and can’t achieve. Sometimes it’s good to know if you’re sitting out in the audience, if all the drums are balanced from that perspective without you turning the PA on, or if the snare drum or guitar is too loud.

“You have to have a constant awareness of these things when you’re mixing. It’s good to work with the musicians onstage, and the monitor engineer if there is one to control the stage levels, but don’t be so self-centered that you’re only doing it so you have absolute control. It’s important to help them do the control levels not only to protect their hearing onstage but to get a good mix in the house. It’s also important not to be so autocratic and announce their onstage levels that they actually try to make it sound better by turning it down so much that they can’t actually perform well.

“It’s important to not be so harsh that you actually change the stage sound to such a degree that musicians who have been playing for years, and have their act together, start playing worse. I think a lot of people go that far because they’re trying to be in control over the sound in front, and they don’t pay attention to what the musicians need onstage to play the best music possible. The key is knowing what is stage sound and what is not. It’s better to sound good at a lower volume and only have partial control and supplement the stage sound, than it is to get complete control by turning it up two or three times as loud so that you have control over everything. That’s not always a better solution. In fact often it’s worse. You can find a way by listening to the sound onstage without the PA on. You may decide that something sounds pretty good that way. Some things don’t necessarily need a lot of help from the PA. Don’t just assume that everything has to be completely under your control at all times.”

Gary Stokes is a live sound engineer from Toronto, ON who has recently done sound for Sarah McLachlan on her Lilith Fair tour.

Protect Yourself From Solder Fumes by Barry Lubotta

October 18th, 2002

Most everyone who works in the recording industry has had the occasion at one time or another to come into contact with solder being melted by a soldering iron.

Whether it was a bad cable, wiring up a patching bay, or making an equipment repair the solution required a hot iron and solder.

The downside of this invaluable studio tool is that the very process by necessity spews out poisonous chemicals such as salicylic acid and pinene. The person doing the work by definition is in close proximity to the byproducts of the soldering process. Anyone breathing in fumes containing these noxious components can experience headaches, nausea, eye diseases and worse.

There have always been solder smoke removers available for purchase. Trouble is they cost about $700 Canadian and up. My experience has been that when that type of money is lying around in a studio environment, it almost always goes for a new piece of gear rather than anything related to extending one’s life expectancy.

Recently I came across a less expensive device that claims to remove 80% of the harmful pollutants from solder. It is a new product that claims to absorb noxious lead fumes using an activated carbon filter and a high efficiency fan. I ordered this portable device and it works beautifully. While not as good as an expensive professional absorber, it is nonetheless very effective at drawing the solder smoke away from the user and absorbing most of the bad stuff into its filter. This product is available through Techni-Tool at (610) 941-2400. Extra filters can also be ordered.

Barry Lubotta is the owner of Pizzazudio in Toronto, ON

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