Archive for May, 2007
ADK Lyve Tracker?
Ran across an interesting press release from NAB last month…
ADK Lyve Tracker Supports Yamaha Digital Consoles
New York (May 2, 2007)– ADK’s LYVE Tracker, a rack-mounted, recording solution capable of recording of up to 192 simultaneous tracks, made its NAB debut at the Yamaha Commercial Audio System; the unit is custom designed for use with Yamaha digital consoles and is based on a Nuendo 3 or Cubase 4 audio engine.
The ADK LYVE Tracker recording system uses Intel’s new Core 2 Duo and RME MADI technologies and is equipped with removable hard drive bays and a DVD-RW for backup and archiving. The unit is offered in three models with capabilities of recording 64, 128 or 192 tracks respectively.
Available with a choice of Steinberg Nuendo 3 or Cubase 4 engines, the LYVE Tracker package includes a complete plug and play, one-cable MADI connectivity package. Cubase 4 natively records in broadcast wave format and can import and export OMF 1, 2 and AIFF which are compatible with Pro Tools, AVID, RADAR, Nuendo and other DAW and computer recording programs.
Here’s the link to ADK’s configuration page for the Lyve.
http://www.adkproaudio.com/systems/viewsystem.cfm?recordid=113
Could this be Yamaha’s answer to the tight integration of the Digidesign Venue & ProTools with a virtual soundcheck? Other than this press release, I’m not finding any more information online. Is there anything different using this solution versus just using a standalone Mackie/Tascam 24 track HD recorder other than track count in one box?
Time to talk to Mr Yamaha rep!!!
UPDATE: The press release mentions simplicity of connection with MADI connectivity. This connector doesn’t appear to be compatible with PM1D systems without some kind of MADI to AES/EBU or Optical converter. Hmmm…
Ponderings about what makes a great engineer…
I used to think that successful church mixing in a high-impact environment was a mixture of two aspects: technical & artistic. In the KCC environment on a weekend, for example, I treat the first couple hours of rehearsal as technical mixing, getting EQs, compressors, and other band stuff happening and the console programmed so everything feels good. Then the second half of rehearsal, transitions into musical mixing.
I’m learning, however, that the importance of leadership, a “righteous confidence” of sorts, within the larger context often times gets lost in the audio engineer job description, especially in places like KCC where one engineer covers both the house mix and monitors. Over the years I’ve listened to lots of guys who, given good tools and enough rehearsal time, can make a good mix. But I’m learning it takes more than just being able to make a good mix to be successful in our church world.
In a normal band gig setting, a band leader or musical director runs the show and everyone looks to him – arrangements, tone, soundchecks, booking, morale, and on and on. In our culture at KCC, we are not set up to expect the same total leadership from band leaders – they are another piece in the larger puzzle and fall under the same direction as the audio engineer from the service director and technical director. It isn’t best or realistic to expect them to lead their own soundcheck or know what the audio guy needs in regard to getting the most from their rehearsal so the service is flawless.
I suggest it is the audio engineer’s job to be the band’s partner and advocate – the phantom band member – ESPECIALLY when one engineer is responsible for both stage and house. The engineer needs to provide consistency and leadership through setup, sound check, and rehearsal so the band has everything they need to feel confident and comfortable in their part of the service. Proper leadership naturally brings repore and trust between the band and engineer.
What does it look like to lead in this way? I think being vocal and present in the band member’s lives on stage during soundcheck, then knowing when to shut up as they transition into their rehearsal – when to give input, when to let them do their thing, when to ask questions over the talkback mic and when to go talk face to face. It is not enough to stay in the booth and make changes when requested with an amazing God mic voice! The band needs to see you on stage listening to them and their mixes, engaging with them personally both on the stage and in the green room, running back and forth between the stage and the booth, and SHOWING them you are busting your tail for their sake. No amount of pre-production and setup will negate the necessity of this role during the actual rehearsal.
The result of doing this right is that the band will play better because they can concentrate on the music and not have to worry about how they are being presented to the thousands of people who will listen to them in a given service. In fact, leading seems to take care of many potential troublespots all by itself because the attitudes of the band and tech are positive and filled with more grace. When the effective leadership elements are missing, band members naturally resort to the same negative forms of communication and leadership that they often experience in the outside band world since they likely feel abandoned and without an advocate.
It is important to note that what matters is what the band perceives as leadership. Someone can have excellent intentions and be doing all the correct technical steps to fix problems and take care of a band, but if the band doesn’t perceive the advocate, or they feel it takes too long to get an appropriate solution, if it’s even accomplished at all, the battle is lost regardless. The trick is to both fix problems, make things the best they can be, make everyone feel comfortable and also make sure the band can obviously see that when things go wrong you’re on top of it and working hard for them by being intentional in the process with them.
I used to think what was missing in so many sound engineers was mix/gear knowledge deficiencies, and of course this can be true in some cases. But I’m quickly realizing that the order of importance for responsibilities is leadership/personality, then technical mixing, then artistic/musical skills. Without leadership, someone who learns to have good mix chops will still be lost in the fast paced production environment at our church. The reality that there’s never enough rehearsal time, you must prioritize your mix, and a “good mix” is a moving target means the sound engineer must be the leader of the process.
The struggle for me as a leader with years more practical experience than many of the young sound guys I work with is how to teach and empower the leadership element in an effective way. I’m still wading through this and figure I will be for some time as the Lord teaches me and molds me. Teaching technical/mix knowledge is easy, quantifiable, and one-on-one. It can be done in pre-production work, by reading books and websites, and watching someone else run a rehearsal or service. Given enough time, someone gains what they need to be successful in this area. But it seems leading effectively can only be learned by doing – having successes and failures and learning and applying from both. There’s such a delicate balance of letting someone flounder and be uncomfortable when they don’t handle a situation in the best way, allowing them to learn in their discomfort, versus when to step in and solve the problem, teaching through that moment for the sake of the band and rehearsal as a whole.
I think there is great value in intentional mentoring to teach these leadership traits, but I also am learning that I believe they are spiritual gifts that must come out of our personal relationship with Jesus. It’s so easy to put the training obligation on myself and believe I must make them be what they need to be, but that is 100% the wrong direction for me to go. Just as my ability to perform at the level I do is an outpouring of the gifts God has given me and my continued strengthening relationship with Him, I need to be the head cheerleader for our young guys and encourage them to draw closer to the Lord and allow Him to grow them in the skills they need to be effective in their confidence and leadership.
Wow….
Conclusion: technically or artistically perfect mixing is important and necessary, but blending those skills with successful leadership and personality really is the element that sets engineers apart in the church culture and is what I think we need to be focusing on in our mentoring over the coming months. Thank you, Jesus, for this lightbulb moment today!!!
Yamaha M7CL
I’ve had the joy of spending some time on our M7 consoles that are used at the campuses and now in our chapel at Main Campus over the past few weeks and have really enjoyed it. For the money, it’s hard to imagine another console matching the performance/budget/usability factor.
There’s an interesting article on Yamaha’s website about the creation and engineering of the M7. If you’re like me, you might find it interesting.
PM1D Shortcuts
MATRIX SENDS
Hold down the ‘SEL’ switch of a MIX bus or STEREO Master to see all the Matrix Send levels on the MATRIX encoders. The MATRIX channel name displays will flash ‘SEND’ during this time. Remember each time the ‘SEL’ switch for STEREO A or B is pressed, it swaps between the Left and Right channels, so the Left and Right send levels can be accessed separately. Alternatively, hold down the ‘SEL’ switch of a MATRIX channel to see the send levels from all the MIX buses to the selected MATRIX channel. All the MIX name displays will flash ‘SEND’ during this time.
CHANNEL MOVE
Select the source channel with its SEL switch, then press the CHANNEL COPY switch (in the relevant Input or Output SELECTED CHANNEL module). Then hold SHIFT and press the SEL switch of the destination channel and click ‘OK’ in the Dialog Box on the LCD.
EFFECT PARAMETER EDIT
Hold SHIFT and press one of the blue MIX LAYER keys (to the right of the MIX Master encoders) to edit the Effect parameters on the MIX encoders. The two rows of encoders correspond with the two rows of parameters on the LCD.
INPUT CHANNEL METERS
Hold SHIFT and press the MIX 25-48 METER switch (below the MONITOR level pots) to view the meters for Input channels 1-48 on the METER BRIDGE.
Hold SHIFT and press the MATRIX 1-24 METER switch to view the meters for Input channels 49-96 on the METER BRIDGE.
Hold SHIFT and press the MIX 25-48 and the MATRIX 1-24 METER switches together to view the meters for Stereo Input channels 1-8 on the METER BRIDGE.
MIX SEND JOB SELECT
This enables the user to quickly set multiple Mix sends to the same level, or to switch multiple sends On/Off or Pre/Post. This function only works on the CH to MIX page in the PAN/ROUTING menu. Highlight a parameter with the cursor (the cursor will turn yellow to indicate this shortcut is available). Then hold SHIFT and press ENTER. A JOB SELECT window will appear providing various copy options: to all Mixes or to all Channels or to all Mixes and Channels. This is very convenient when setting up many monitor mixes.
PAGE BACK
Hold SHIFT and press a LCD FUNCTION ACCESS switch to access the previous page in the menu.
Recall Safe on the PM1D
I just learned an important note from reading archived posts on the Live Audio Board about the PM1D.
Since we upgraded to Version 2 of the console software, a feature supposed to be included was when you put a channel into recall safe, it puts the channel gain into safe mode as well. There is a setting on the recall safe screen to choose whether recall safe effects only channel settings or unit+channel.
The PM1D system’s scene recall function has three subsets of memories: Unit, Patch and Name.
The unit memory controls: gain, phantom power and whether the A or B input is used.
In the “Recall safe” page of the “scene” menu, you can choose whether to have all parameters recall safe or just a few of the parameters. Also you can have the unit assigned to an input in recall safe.
So when pressing the recall safe for a channel on the control surface, this only recall safes the parameters which are not controlled by the unit memory. To recall safe gain, phantom power and whether the A or B input is used you have to go to the “recall safe” page and make the “unit” for that particular channel recall safe.
I enjoy the level of reliability and control provided by the PM1D in our facility, but it is quite the task to stay on top of all of the usability quirks of the control surface/software combination!
