Summer Round-up
24/08/10 10:59
The weather is positively autumnal today so I thought it was as good a time as any to round up the summer at Alex Fernie Audio Ltd. Overall, despite the general economic situation, it was a good summer season with some new festival clients added which hopefully we can maintain in the future.
The month of May saw the Inishbofin Arts Festival with a great performance from Mick Flannery. Later that month was the first Festival of the Valleys in Clare. There were a lot of flaws with the organisation of this festival in its first year, but under new management it has promise as an annual event.
June was the Galway Powerboat Festival which lasted for a week. Also on the bank holiday was the Little Havana Festival around the streets of Galway. We were also the audio contractor for the Special Olympics opening in Thomond Park which featured the Cranberries. Litton Lane Audio in Dublin were contracted by us to supply a 24 box Meyer Milo system for the event with Yamaha control at FOH and Monitors.
July was the Film Fleadh in Galway, which required a number of Nexo PS systems as well as featuring a gig by Alabama 3 for the wrap party. Then it was into the Galway Arts Festival. This was our 10th consecutive year working on the festival and there were great shows in our venues from Neil Hannon & Teenage Fanclub. We also supplied the PA for the Hofesh Schechter dance show which was an outstanding success.
Into August and having courted them for a number of years, this year we tendered successfully for the Kilkenny Arts Festival. There were some great world music gigs, the Tindersticks played a great show in what is now my favourite non-venue venue in Ireland - St Canice’s Cathedral, Kilkenny. We all had a fabulous time in a great city and look forward to doing it again sometime.
Currently, we’re doing a few shows for the Tuam Arts Festival, which is a pleasant, if low key, end to the Summer 2010. As we speak, Druid Theatre are preparing to premiere their production of O’Casey’s “The Silver Tassie” in Galway’s Town Hall Theatre. The show will tour the UK and Ireland over the next few months and is touring, for an Irish production, a comparatively large PA system from us. The touring package includes Nexo S1210s, S1230s, NXAMPs and a Yamaha LS9 for control.
On the inventory side, we rented in a second Venue SC48 for the summer. I’m presently trying to evaluate if we should make the acquistion permanent, however it is difficult to predict how the winter will pan out. Early signs are promising it must be said.
Other smaller acquisitions were additions to microphone stock: KM184s, Shure Beta 98s, Sennheiser 904s, 906s were the main ones. We also added some rigging hardware to offer more options for flying Nexo S12 systems as horizontal arrays.
For those of you using analysis software, I’m finding Spectrafoo a useful addition to the traditional method (ie using your ears). We’ve successfully implemented it as part of our larger PA system setups and, in conjunction with Nexo’s new NS-1 prediction/array design software make implementing multi cabinet PA systems quicker and more accurate.
Finally, we had some Nexo PS10-R2s on sub-hire over the summer. I really liked them and they are certainly a step up from the older PS10.
One other thing, we’re at full capacity with our Sound Support Scheme for the rest of this year. I’ll be releasing details for 2011 in October, and also tweaking the schemes to maintain their appeal for venue owners and gigging bands.
I’ll be disappearing on annual leave over the next few weeks. Thanks to all the engineers, crew, van & truck drivers that worked for us over the summer. Thanks also to our customers, old and new that made Summer 2010 a successful festival season.
Into the Autumn,
Alex.
The month of May saw the Inishbofin Arts Festival with a great performance from Mick Flannery. Later that month was the first Festival of the Valleys in Clare. There were a lot of flaws with the organisation of this festival in its first year, but under new management it has promise as an annual event.
June was the Galway Powerboat Festival which lasted for a week. Also on the bank holiday was the Little Havana Festival around the streets of Galway. We were also the audio contractor for the Special Olympics opening in Thomond Park which featured the Cranberries. Litton Lane Audio in Dublin were contracted by us to supply a 24 box Meyer Milo system for the event with Yamaha control at FOH and Monitors.
July was the Film Fleadh in Galway, which required a number of Nexo PS systems as well as featuring a gig by Alabama 3 for the wrap party. Then it was into the Galway Arts Festival. This was our 10th consecutive year working on the festival and there were great shows in our venues from Neil Hannon & Teenage Fanclub. We also supplied the PA for the Hofesh Schechter dance show which was an outstanding success.
Into August and having courted them for a number of years, this year we tendered successfully for the Kilkenny Arts Festival. There were some great world music gigs, the Tindersticks played a great show in what is now my favourite non-venue venue in Ireland - St Canice’s Cathedral, Kilkenny. We all had a fabulous time in a great city and look forward to doing it again sometime.
Currently, we’re doing a few shows for the Tuam Arts Festival, which is a pleasant, if low key, end to the Summer 2010. As we speak, Druid Theatre are preparing to premiere their production of O’Casey’s “The Silver Tassie” in Galway’s Town Hall Theatre. The show will tour the UK and Ireland over the next few months and is touring, for an Irish production, a comparatively large PA system from us. The touring package includes Nexo S1210s, S1230s, NXAMPs and a Yamaha LS9 for control.
On the inventory side, we rented in a second Venue SC48 for the summer. I’m presently trying to evaluate if we should make the acquistion permanent, however it is difficult to predict how the winter will pan out. Early signs are promising it must be said.
Other smaller acquisitions were additions to microphone stock: KM184s, Shure Beta 98s, Sennheiser 904s, 906s were the main ones. We also added some rigging hardware to offer more options for flying Nexo S12 systems as horizontal arrays.
For those of you using analysis software, I’m finding Spectrafoo a useful addition to the traditional method (ie using your ears). We’ve successfully implemented it as part of our larger PA system setups and, in conjunction with Nexo’s new NS-1 prediction/array design software make implementing multi cabinet PA systems quicker and more accurate.
Finally, we had some Nexo PS10-R2s on sub-hire over the summer. I really liked them and they are certainly a step up from the older PS10.
One other thing, we’re at full capacity with our Sound Support Scheme for the rest of this year. I’ll be releasing details for 2011 in October, and also tweaking the schemes to maintain their appeal for venue owners and gigging bands.
I’ll be disappearing on annual leave over the next few weeks. Thanks to all the engineers, crew, van & truck drivers that worked for us over the summer. Thanks also to our customers, old and new that made Summer 2010 a successful festival season.
Into the Autumn,
Alex.
0 Comments
Venue SC48, Wireless control, Spectrafoo
25/06/10 10:29
Getting bored with the grind of office work in the last few days I decided to disappear into the warehouse and play. I’ve been meaning to do a few things with the Venue SC48 but with hire schedules I haven’t had my hands on it for a while.
So loaded the Ecx software onto the console and onto my mac. This allows control via ethernet or wirelessly via a router. All worked first time. For the fun, I downloaded Mocha lite for the i-Phone and was able to view and edit certain setting within the limits of the app. The full version of Mocha gives you a virtual mouse control which is needed to have control over EQ and faders.
20 years of gigs can’t do your hearing any favours and worst is you don’t know if what you are hearing is real or imagined. So I’m biting the bullet and have purchased a copy of spectrafoo. I would love to have the new Smaart 7 but at the level we’re at, the functions available on Spectrafoo standard are standard. I’m presently using the Audix TR40A as the measurement mic.
The great thing about the SC48 is its firewire interface allows you to route the measurement mic and master returns to Spectrafoo via firewire, which saves having to have an extra unit in the rack for FFT duties. Still getting to grips with it so more later.
Please post or tweet with any tips or suggestions
So loaded the Ecx software onto the console and onto my mac. This allows control via ethernet or wirelessly via a router. All worked first time. For the fun, I downloaded Mocha lite for the i-Phone and was able to view and edit certain setting within the limits of the app. The full version of Mocha gives you a virtual mouse control which is needed to have control over EQ and faders.
20 years of gigs can’t do your hearing any favours and worst is you don’t know if what you are hearing is real or imagined. So I’m biting the bullet and have purchased a copy of spectrafoo. I would love to have the new Smaart 7 but at the level we’re at, the functions available on Spectrafoo standard are standard. I’m presently using the Audix TR40A as the measurement mic.
The great thing about the SC48 is its firewire interface allows you to route the measurement mic and master returns to Spectrafoo via firewire, which saves having to have an extra unit in the rack for FFT duties. Still getting to grips with it so more later.
Please post or tweet with any tips or suggestions
Technical Riders for Newbie Promoters: Part II
03/04/10 21:08
The Technical Rider Continued: Backline, Stage, Risers,
Lighting & Crew
In part I of this series, I discussed elements of a standard sound technical rider. This part deals with the rest of the technical rider.
“Backline” concerns itself with the instruments and amplification of the band. Req uirements for DJs operating in a band environment may also be found here. Most often, bands will carry their own backline. However certain circumstances, such as airline restrictions and schedules, may mean that heavier and bulkier items may need to be supplied by the promoter. Drumkits, keyboards and amplification will be listed in order of preference. Finally, keyboard and guitar stands, drum thrones and other hardware will be listed. Touring bands from the US will often need 220-120v transformers onstage for their own equipment as well as American style 3 pin “edison’ adaptors. European acts may look for “schuko” style 2 pin outlets for the same reason. Reputable backline suppliers will be able to provide anything but the strangest request. Many PA companies will also provide backline as part of their service and will be able to offer PA and backline packages.
Before booking an act for your festival or venue, perhaps the first thing to check is that the band will fit on your stage. A well-written rider will have a minimum stage size specified. Just because a certain 5 piece band fits on your stage, it doesn’t mean that every 5 piece band will. Measuring a stage can be done by anyone and costs nothing but your time. Cramped stages have certain knock on effects. If the singer has to stand right in front of the drumkit, he will need more of his own vocal in his monitors. So the singers monitors are louder, all of a sudden the guitarist can’t hear his guitar amp or his backing vocal in his monitors…well you can guess where this is heading. Ultimately cramped stages end up being louder stages, which ultimately affect the front of house sound which your customers are paying to hear.
Most acts will look for low-level stage sections (risers) for drummers, keyboard or brass sections. Cramped stages often mean that risers can’t be used – so the drummer ends up hidden behind the front line singers and guitarists.
If your stage is too small, enquire about hiring extra stage sections. Again, your local production company will be able to help. If your venue is too small to accommodate the minimum stage size requested by the act, then you better get emailing quickly. DON’T ASSUME THE BAND’S CREW WILL WORK IT OUT ON THE DAY. Generally, if you are upfront with a band on any aspect of a rider, they will come to an agreement or be able to work something out in advance of the show.
As I mentioned in part one, touring theatre shows will have an in depth specification of the lighting fixtures required and will forward on a detailed plan of where they are to be hung in advance of the company’s arrival. Lighting for a theatre show is an integral part of the performance and should be treated as importantly as booking flights and accommodation. Lighting riders for bands are generally less specific and many promoters make the mistake of trying to save money by offering minimal lighting. Effective lighting brings atmosphere and excitement to an act’s performance and will add to the audience’s enjoyment. If you want bands and audiences to return to your venue again, make an effort to contact your local professional lighting company to discuss the bands requirements with them.
Unless you are a qualified professional, DO NOT EVER attempt to hire some lights and hang them yourself over the stage or audience area in order to save money.
Finally, a band may require two or more people as crew to help un-load and load their van. Don’t EVER assume that because you have hired a sound guy and a lighting guy that they will do this. They will have enough to do. If a band requires two people, PAY these two people otherwise they will either not show up for the load out, or they will be drunk at the load out, or they may not show up at all. Nothing makes a roadie cranky like the local crew not showing up sober and on time.
NEXT: More stuff on riders for newbie promoters. How the professionals deal with riders. Why heeding the rider makes business sense for a promoter.
Why a Rider isn't a "wishlist": Part I
02/04/10 20:07
Many people new to promoting events may be bemused by the artist’s accompanying rider. The rider is a document which forms part of the legally binding contract between the promoter and the artist or performer and should not be ignored. An artist’s rider is not simply a “wishlist” to be approximated in the interests of budget or expediency but an integral part of the performance.
It can generally be divided into two sections; a hospitality rider and a technical rider. The hospitality rider deals with accommodation, dressing rooms, food, beverages and security and contain items that are easily organised by most people in a hotel. The technical rider is, to non-production types, often a bewildering array of technical shorthand, model numbers and jargon. If you do not understand a technical rider, don’t sign it until you have consulted with a professional production person.
The quickest way to interpret a technical rider is to pass it on to some reputable sound and lighting companies in your area and ask them to price it – remember, unless you are sure your venue can accommodate the technical rider you will have to pay for any extra equipment. But just so that you have some idea what it’s all about, here’s a quick 101 on artist technical riders.
For music acts, the sound system forms the bulk of the technical rider. Touring theatre companies will concentrate more on the lighting side and will provide a lighting plan which will need to be accommodated by your venue.
The FOH or Front of House system is the sound reinforcement system that the audience will hear. Professional engineers will look for reputable, relatively modern brands and designs that they are familiar with and also that there is enough “rig for the gig”. They will most often give a list of suitable systems and need enough of it to provide consistent sound throughout a venue. Professional sound engineers will never simply state that they need “a 4kW PA” or something similar.
The FOH console is the mixing desk. The engineer/artist will want one that can accommodate all the individual channels from the stage and again, one that is a reputable, modern design. Most professional sound engineers no longer have a problem with using a digital board – some prefer them to analogue mixing desks. Again a list of acceptable digital boards will be listed. If an engineer explicitly states that she does not want a digital board, then suitable analogue boards will be listed. Do not assume that just because an act only needs 16 channels they are just being smart by asking for a 32 channel desk. Analogue boards will require a certain amount of outboard equipment; again suitable makes and models will be listed. Makes and models not wanted will be explicitly listed.
The MONS or Monitor System deals with the speaker system the artist hears onstage and as such is in some ways more important than the FOH system. Do not try to skimp on the monitor system. Similar to the FOH system (see - you’re learning the jargon!), reputable, modern brands and designs will be preferred and listed. Monitor systems for bands will need to provide high sound pressure levels, and often detailed monitor speaker design and processing will be given. For larger venues and acts, an analogue or digital Monitor Console and outboard will be requested in a similar fashion to the FOH console.
Generally these specifications are followed by a stage plan and a channel list. The channel list will detail what microphones and other equipment is needed such as short or tall mic stands. The stage plan will show where everything goes and will help your venue or house sound engineer get everything ready in advance of the band arriving. The stage plan will also detail where power is needed on the stage.
Finally, you may see some makes and models of equipment listed on the rider as UNACCEPTABLE. There is generally a good reason for this. Maybe they break down a lot. Maybe they just sound bad to a trained ear. Maybe they are simply useless products. NEVER ASSUME THAT A PROFESSIONAL ENGINEER OR ARTIST IS SIMPLY BEING AWKWARD, STUCK UP OR IGNORANT. If in any doubt, get a professional opinion.
Just like you, the band and their technical crew want the audience to enjoy the show so that no-one dies, we all get paid and we all go home. So remember a technical rider is just that, it’s not a wishlist but it is a list of necessary and minimum items required to do the job.
NEXT: The Backline and Lighting Rider.
AND AFTER THAT: How professionals deal with riders and advancing a show
It can generally be divided into two sections; a hospitality rider and a technical rider. The hospitality rider deals with accommodation, dressing rooms, food, beverages and security and contain items that are easily organised by most people in a hotel. The technical rider is, to non-production types, often a bewildering array of technical shorthand, model numbers and jargon. If you do not understand a technical rider, don’t sign it until you have consulted with a professional production person.
The quickest way to interpret a technical rider is to pass it on to some reputable sound and lighting companies in your area and ask them to price it – remember, unless you are sure your venue can accommodate the technical rider you will have to pay for any extra equipment. But just so that you have some idea what it’s all about, here’s a quick 101 on artist technical riders.
For music acts, the sound system forms the bulk of the technical rider. Touring theatre companies will concentrate more on the lighting side and will provide a lighting plan which will need to be accommodated by your venue.
The FOH or Front of House system is the sound reinforcement system that the audience will hear. Professional engineers will look for reputable, relatively modern brands and designs that they are familiar with and also that there is enough “rig for the gig”. They will most often give a list of suitable systems and need enough of it to provide consistent sound throughout a venue. Professional sound engineers will never simply state that they need “a 4kW PA” or something similar.
The FOH console is the mixing desk. The engineer/artist will want one that can accommodate all the individual channels from the stage and again, one that is a reputable, modern design. Most professional sound engineers no longer have a problem with using a digital board – some prefer them to analogue mixing desks. Again a list of acceptable digital boards will be listed. If an engineer explicitly states that she does not want a digital board, then suitable analogue boards will be listed. Do not assume that just because an act only needs 16 channels they are just being smart by asking for a 32 channel desk. Analogue boards will require a certain amount of outboard equipment; again suitable makes and models will be listed. Makes and models not wanted will be explicitly listed.
The MONS or Monitor System deals with the speaker system the artist hears onstage and as such is in some ways more important than the FOH system. Do not try to skimp on the monitor system. Similar to the FOH system (see - you’re learning the jargon!), reputable, modern brands and designs will be preferred and listed. Monitor systems for bands will need to provide high sound pressure levels, and often detailed monitor speaker design and processing will be given. For larger venues and acts, an analogue or digital Monitor Console and outboard will be requested in a similar fashion to the FOH console.
Generally these specifications are followed by a stage plan and a channel list. The channel list will detail what microphones and other equipment is needed such as short or tall mic stands. The stage plan will show where everything goes and will help your venue or house sound engineer get everything ready in advance of the band arriving. The stage plan will also detail where power is needed on the stage.
Finally, you may see some makes and models of equipment listed on the rider as UNACCEPTABLE. There is generally a good reason for this. Maybe they break down a lot. Maybe they just sound bad to a trained ear. Maybe they are simply useless products. NEVER ASSUME THAT A PROFESSIONAL ENGINEER OR ARTIST IS SIMPLY BEING AWKWARD, STUCK UP OR IGNORANT. If in any doubt, get a professional opinion.
Just like you, the band and their technical crew want the audience to enjoy the show so that no-one dies, we all get paid and we all go home. So remember a technical rider is just that, it’s not a wishlist but it is a list of necessary and minimum items required to do the job.
NEXT: The Backline and Lighting Rider.
AND AFTER THAT: How professionals deal with riders and advancing a show
Subwoofer arrays, new Nexo RS18 and a letter to Mr. Band Sound Engineer.
18/03/10 18:24
Just a short link to an article on building sufwoofer arrays, printed in this months Live Sound International. Quite Meyer specific, but some good info here. Don’t take all of it as gospel, though. There has been some talk over at Prosoundweb about erroneous information going unchecked in the mag, so this is just a disclaimer as I haven’t read this article in detail yet.
Speaking of subs, Nexo are demoing their new RS18 sub in Frankfurt next week. More info here. Will miss it unfortunately due to the work commitments here
Oh yeah and while I think of it:
Mr band sound engineer, next time you want an extra 3db across your mains and I’m supplying the PA, just ask - I generally oblige. Don’t say all’s cool and you’re happy and then do it on the sly just before your set. Password protection will be making a comeback....
Speaking of subs, Nexo are demoing their new RS18 sub in Frankfurt next week. More info here. Will miss it unfortunately due to the work commitments here
Oh yeah and while I think of it:
Mr band sound engineer, next time you want an extra 3db across your mains and I’m supplying the PA, just ask - I generally oblige. Don’t say all’s cool and you’re happy and then do it on the sly just before your set. Password protection will be making a comeback....
Why you should use a professional audio company
09/03/10 21:05
Tighter budgets are an aspect of all economic life these days and the event industry is no exception. Event managers and organisers may be tempted to look at the cheaper audio quotation in an effort to stay within the event budget. Before you put cost before everything in planning your event, consider what a professional audio company can bring to the success of your event.
Correct Advice
Contrary to popular belief, not all sound companies want to hire you equipment you don’t require for your event. Most sound companies will make an effort to discuss your event with you in advance. They will design a sound system based on the size of the room, its audience capacity and the type of performance or event. For larger events, sound companies use highly specialised software in order to accurately predict the sound pressure levels in all areas of a venue.
The loudspeaker system a professional sound company will recommend for your event will give approximately the same audio experience to all members of the audience, no matter where they are positioned in the room. Modern loudspeakers are highly directional, meaning that they can be positioned to minimise acoustic reflections from walls. Loudspeakers are arrayed in such a way that there is a minimal difference in loudness between the front seats of an audience and the seats at the back.
Having a sufficiently large PA system also means that the risk of feedback during your event is minimal. Feedback, and its distinctive the high-pitched whine, most often occurs where a sound engineer is trying to extract maximum level from an insufficiently powerful PA system.
Professional sound companies will also be able to recommend suitable wired and wireless microphones for different applications. Finally, they will be able to advise you on the smooth running of your event in terms of smooth changeovers between different acts and speakers.
The best thing about professional audio companies is that they will willingly give you all this advice for free.
Modern and Sophisicated Sound Equipment
Professional audio equipment has come a long way in the past ten years. Major developments have taken place in loudspeaker and amplifier design. The continuing evolution of digital equipment and digital mixing offer enhanced sound quality for modern event audio.
All professional audio companies have invested to some degree in this new technology which not only gives a superior audio experience to the listener, but also translates into savings on manpower and transport by being better, lighter and more compact than older audio equipment.
To give one example, a modern 48 channel digital console like the Digidesign Venue SC48 offers the same audio control in a package one-quarter the size of a comparable analogue console and processing package from only 5 years ago. The same is true of modern loudspeaker array systems and amplifiers from companies like Nexo, d&b, EV, l’Acoustics and Meyer.
Modern audio equipment is safer. Professional sound companies spend a long of time and money ensuring that their equipment doesn’t fail on their events. Equipment is regularly tested for electrical safety and rigging equipment is thoroughly overhauled at least twice a year. If equipment should fail during an event, spares will be to hand allowing the event to continue.
Modern audio equipment and systems are more reliable – professional wireless microphone systems from Sennheiser and Shure rarely fail or drop signal these days. Modern audio equipment is more environmentally friendly – it uses less power and costs less to transport. All this makes modern sound companies more efficient and professional in delivering an excellent cost effective service.
Experienced and Qualified Professional Sound Engineers
Professional sound companies value and look after their staff and freelance engineers equally. Even the best sound system can deliver poor results if poorly deployed and operated. So sound companies spend a great deal of time and money ensuring that all employees and freelance staff are fully up to date on their audio systems, health and safety and manual handling procedures.
A full day’s work for a typical sound engineer can often be up to 12 hours. Professional sound companies ensure that their engineers and crews are well paid for work which involves substantial heavy lifting and long periods of intense concentration in noisy and often uncomfortable surroundings. Professional sound companies will schedule breaks and rotate engineers on longer events. Beware of operations that offer “engineers” at minimum wage levels.
Qualified and experienced sound engineers not only ensure the success of an event but also ensure the safety and well-being of audience members and performers alike. Properly laid and dressed cables on stage and throughout the venue are not just neater looking but they also mean that attention has been paid to their safety. Professional sound engineers are aware of the risks posed by excessive exposure to extreme sound pressure levels and will operate sound systems accordingly.
Professional sound companies will be able to produce a health and safety statement and risk assesment checklist on demand for your event. All staff will be fully aware of procedures in the event of a cause for public concern. Professional sound companies carry full public liability insurance and will gladly produce insurance schedules if asked.
And Finally….
Professional audio is a professional business run by professional people. To do it correctly and to maintain the level of investment needed to be successful, it needs to be a 24/365 service. Whilst many part-time or hobby operations can deliver sound, in order to do it consistently well and to meet the needs of artists, performers and the expectations of modern audiences it has to be run as a professional full-time operation by passionate and professional people.
All of us in the professional audio industry look forward to you call.
Correct Advice
Contrary to popular belief, not all sound companies want to hire you equipment you don’t require for your event. Most sound companies will make an effort to discuss your event with you in advance. They will design a sound system based on the size of the room, its audience capacity and the type of performance or event. For larger events, sound companies use highly specialised software in order to accurately predict the sound pressure levels in all areas of a venue.
The loudspeaker system a professional sound company will recommend for your event will give approximately the same audio experience to all members of the audience, no matter where they are positioned in the room. Modern loudspeakers are highly directional, meaning that they can be positioned to minimise acoustic reflections from walls. Loudspeakers are arrayed in such a way that there is a minimal difference in loudness between the front seats of an audience and the seats at the back.
Having a sufficiently large PA system also means that the risk of feedback during your event is minimal. Feedback, and its distinctive the high-pitched whine, most often occurs where a sound engineer is trying to extract maximum level from an insufficiently powerful PA system.
Professional sound companies will also be able to recommend suitable wired and wireless microphones for different applications. Finally, they will be able to advise you on the smooth running of your event in terms of smooth changeovers between different acts and speakers.
The best thing about professional audio companies is that they will willingly give you all this advice for free.
Modern and Sophisicated Sound Equipment
Professional audio equipment has come a long way in the past ten years. Major developments have taken place in loudspeaker and amplifier design. The continuing evolution of digital equipment and digital mixing offer enhanced sound quality for modern event audio.
All professional audio companies have invested to some degree in this new technology which not only gives a superior audio experience to the listener, but also translates into savings on manpower and transport by being better, lighter and more compact than older audio equipment.
To give one example, a modern 48 channel digital console like the Digidesign Venue SC48 offers the same audio control in a package one-quarter the size of a comparable analogue console and processing package from only 5 years ago. The same is true of modern loudspeaker array systems and amplifiers from companies like Nexo, d&b, EV, l’Acoustics and Meyer.
Modern audio equipment is safer. Professional sound companies spend a long of time and money ensuring that their equipment doesn’t fail on their events. Equipment is regularly tested for electrical safety and rigging equipment is thoroughly overhauled at least twice a year. If equipment should fail during an event, spares will be to hand allowing the event to continue.
Modern audio equipment and systems are more reliable – professional wireless microphone systems from Sennheiser and Shure rarely fail or drop signal these days. Modern audio equipment is more environmentally friendly – it uses less power and costs less to transport. All this makes modern sound companies more efficient and professional in delivering an excellent cost effective service.
Experienced and Qualified Professional Sound Engineers
Professional sound companies value and look after their staff and freelance engineers equally. Even the best sound system can deliver poor results if poorly deployed and operated. So sound companies spend a great deal of time and money ensuring that all employees and freelance staff are fully up to date on their audio systems, health and safety and manual handling procedures.
A full day’s work for a typical sound engineer can often be up to 12 hours. Professional sound companies ensure that their engineers and crews are well paid for work which involves substantial heavy lifting and long periods of intense concentration in noisy and often uncomfortable surroundings. Professional sound companies will schedule breaks and rotate engineers on longer events. Beware of operations that offer “engineers” at minimum wage levels.
Qualified and experienced sound engineers not only ensure the success of an event but also ensure the safety and well-being of audience members and performers alike. Properly laid and dressed cables on stage and throughout the venue are not just neater looking but they also mean that attention has been paid to their safety. Professional sound engineers are aware of the risks posed by excessive exposure to extreme sound pressure levels and will operate sound systems accordingly.
Professional sound companies will be able to produce a health and safety statement and risk assesment checklist on demand for your event. All staff will be fully aware of procedures in the event of a cause for public concern. Professional sound companies carry full public liability insurance and will gladly produce insurance schedules if asked.
And Finally….
Professional audio is a professional business run by professional people. To do it correctly and to maintain the level of investment needed to be successful, it needs to be a 24/365 service. Whilst many part-time or hobby operations can deliver sound, in order to do it consistently well and to meet the needs of artists, performers and the expectations of modern audiences it has to be run as a professional full-time operation by passionate and professional people.
All of us in the professional audio industry look forward to you call.
Using High-Pass Filters
16/02/10 17:50
For all you rookies, here’s how to take advantage of the high-pass filter to improve your mixes. Read..
Website, New Products, Audio tips
12/01/10 14:23
We’ve added a number of new product lines for the start of 2010. Firstly a range of ceiling and wall-mounted 100V speakers and systems from ADS Worldwide and secondly a range of induction loop systems. More details under the sales link of Alex Fernie Audio.
I’m very excited by the Induction loop kits from Signet, they are easily installed, affordable and offer a solution for businesses and organisations looking to facilitate hearing aid users.
There are an estimated 58000 people in Ireland with a hearing disability - can you afford not to be able to communicate with them?
I’ve just finished giving the website a bit of a sheen for the New Year, a few new photos here and there and some extra information on our product range also.
As a bit of a taster, there was a good article in Live Sound International in December 2009 on Gain Structure which you can download and read here. A must read if you are starting out in the world of live sound mixing and you would be amazed at the amount of sound engineers I meet in an average year that don’t understand these basic principles, so read up!
I’m very excited by the Induction loop kits from Signet, they are easily installed, affordable and offer a solution for businesses and organisations looking to facilitate hearing aid users.
There are an estimated 58000 people in Ireland with a hearing disability - can you afford not to be able to communicate with them?
I’ve just finished giving the website a bit of a sheen for the New Year, a few new photos here and there and some extra information on our product range also.
As a bit of a taster, there was a good article in Live Sound International in December 2009 on Gain Structure which you can download and read here. A must read if you are starting out in the world of live sound mixing and you would be amazed at the amount of sound engineers I meet in an average year that don’t understand these basic principles, so read up!
Why Corporate Indecision is costing the AV industry.
04/12/09 21:04
From AV Interactive:
“Client procrastination, coupled with limited technical knowledge, is hampering corporate av projects to an alarming degree and making any sensible business forecasting nigh on impossible, according to participants at AV's most recent roundtable discussion.”
Read more...
“Client procrastination, coupled with limited technical knowledge, is hampering corporate av projects to an alarming degree and making any sensible business forecasting nigh on impossible, according to participants at AV's most recent roundtable discussion.”
Read more...
SC48 at work
02/11/09 22:14
So it’s a been a busy few weeks. Fortunately, the SC48 has been hard at work since its arrival 3 weeks ago. Over the past 2 weeks we’ve had a few shows with the Blizzards, Imelda May, Wallis Bird, the Magnets as well as the inaugural Galway Halloween Aboo Festival. The SC48 continues to impress. Though there is still some resistance to the digital console, the sound quality of the SC48 is really putting the analogue Vs digital debate to bed. though most of its gigs so far are at FOH, I did get to use it myself for monitors for Imelda May last week. Hopefully tomorrow I can spend a bit of time setting up a few events and user profiles to improve workflows as a monitor board.More soon....
The Future?
06/10/09 11:49
There’s an interesting topic currently over at prosoundweb called the next big thing. Basically, what’s next for the sound industry. I haven’t chimed in myself yet, but there was one poster who suggested that the future could be bleak for small regional providers, given that the cost of equipment is falling and the quality generally improving in the MI sector. This will increase growth of very small, hobby-ist providers.
Whilst small providers with one small system will always be able to provide budget solutions for small local events, the financial outlay for truly professional systems will keep it a relatively small but highly competitive market. The challenge for regional providers is to be able to match these small operators in price but exceed them enormously in terms of sound quality and service. Small event managers need to be aware of the potential public liability exposure in the event of equipment failure causing injury to artists and audience.
On another note, having said Yes to Lisbon, it’s good to reflect on how the EU has helped the Irish audio industry compete in Europe. The combination of free trade and the Euro has increased the number of potential suppliers available to Irish-based sound companies. Where once Alex Fernie Audio imported most equipment from the UK, now we can add both German and French suppliers to the many UK and Irish suppliers for equipment and consumables. The major challenge facing Irish sound companies at present is competing with the lower labour costs in Northern Ireland and the UK. More on that another time.
As to the website, I’ve added a bit to the media side of things with information on some of the causes we support.
Finally, I’m waiting patiently on an LS9 to add the hire stock. In the short term this will be out constantly with the New De Dannann, but will be available for one off jobs also. More new products are being added throughout October. More on this soon.
Whilst small providers with one small system will always be able to provide budget solutions for small local events, the financial outlay for truly professional systems will keep it a relatively small but highly competitive market. The challenge for regional providers is to be able to match these small operators in price but exceed them enormously in terms of sound quality and service. Small event managers need to be aware of the potential public liability exposure in the event of equipment failure causing injury to artists and audience.
On another note, having said Yes to Lisbon, it’s good to reflect on how the EU has helped the Irish audio industry compete in Europe. The combination of free trade and the Euro has increased the number of potential suppliers available to Irish-based sound companies. Where once Alex Fernie Audio imported most equipment from the UK, now we can add both German and French suppliers to the many UK and Irish suppliers for equipment and consumables. The major challenge facing Irish sound companies at present is competing with the lower labour costs in Northern Ireland and the UK. More on that another time.
As to the website, I’ve added a bit to the media side of things with information on some of the causes we support.
Finally, I’m waiting patiently on an LS9 to add the hire stock. In the short term this will be out constantly with the New De Dannann, but will be available for one off jobs also. More new products are being added throughout October. More on this soon.