Getting the most from Dynamics

Scovi spent time in the master class clarifying several functions of dynamics processors that will aid in gaining more coherence in the mix.

External keying of gates and compressors.  The purpose of an external key input is to allow the engineer to affect the sensing circuit in the gate/comp for what will cause the unit to react.  Using an EQ or hi-pass/lo-pass filter to key a gate/comp is the most common application.  Some examples:  hi-pass the key input into a snare gate above the kick frequencies and it will help a snare mic with lots of kick bleed not open from that signal.  Keying the bottom snare mic from the signal of the top snare mic would result in a package where when the top mic is hit, the bottom mic also opens but rejects everything else.

Understanding ratio of compression.  Ratio dictates whether you are compressing, limiting, or expanding – 1:1 to 8:1 = compression, 8:1 and above = limiting.  The key to understanding ratio: “at a ratio of x:1, for every x dB over threshold my signal is, I will only see 1 dB of increase in output”.  The purpose of which ratio you choose is how much you want to raise the “average level” of the signal.

Gate Range.  The purpose of gating is just like having a second set of hands on the faders to increase the signal to noise ratio.  But the trick that most miss is that the “fader” moves need to sound as natural as if they were performed manually.  The key to achieving this is using gates with a range setting.  In most cases, a gate does not need to fully close when engaged – in fact letting it fully close often contributes greatly to the unnatural result.  Instead, set the range as low as possible to get the desired result.  Often times this will mean dropping inputs 10 or 15 dB via gates rather than fully 50 or 60 dB.

Bend the rules

Interesting story from Dave Skaff that falls in the category of epic pop music history.  The setting:  rehearsals for U2 ZooTV tour with a VERY unique stage design as you can see.

Rehearsals were full of feedback and other audio nightmares because the band was 20-30 feet in front of the PA the whole show.  After a day or two of everybody worrying this wasn’t going to work and the gamble didn’t pay off, Bono pulls all of the engineers and band techs onto center stage in a circle and asks:  “I know you can’t change the laws of physics, but can you bend them a bit?”

I think there are two take-aways from this tidbit.  First, how often are we asked as engineers to bend the laws of physics as it relates to audio?  I’ve thought about this one quite a bit lately as I struggle with our poorly designed and implemented PA and wait with great anticipation for the new rig coming next year.  It seems part of the magic of a great mix is to bend the rules sometimes.  Nothing is off limits to make it sound great – do what needs to be done, sometimes with some divine intervention.

The second lesson is the importance of vision and instilling confidence from the leaders.  Dave said that talk from Bono made everybody go back to their posts, dig in a little deeper, and figure out ways they could contribute to making the whole thing work.  And you know what, Dave said it was still rocky for a little while but they figured it out.  They just needed that vision and blessing from the band to say “we know this sucks, we know its going to be hard, but we know you guys are the best crew in the world and if anyone can make it work, it’s you!”.  With that pressure off the table, they made it happen.

Some photos…

Here’s some favorite shots I found of the conference…

Quotes

“The difference between greatness and mediocrity is not measured by the quality of the tools at your disposal – rather in the quality of the approach.” – Robert Scovill

“Take what a man makes and use it, but do not worship it, for it shall pass” – unknown

“It’s not about the stuff, it’s about what they did with the stuff” – Sex Pistol Johnny Rotten

Raise your credibility score!

I’ve written on this before, but I think there’s some new pearls here from Scovi in one of his breakouts at Willow this year. Such an important part of the game that is live audio is making the artist comfortable with you regardless of what your actual skills are. So often audio guys keep the gig because of a high credibility score and it has absolutely nothing to do with audio skills. It’s important to show people we’re really together, organized, ready to go…they can trust us. Nothing will serve the team better then you being a trusted, professional engineer. God is in the details – why aren’t we detailed people? Develop into a detail oriented pro!

Poorly handled “tasks” can be the enemy of your credibility. Things in the wrong places on stage, no power, not on time, not ready to go.

“The difference between greatness and mediocrity is not measured by the quality of tools at your disposal – rather the quality of the approach.” Over rated, under paid dude with lots of TEC awards on his shelf

Here’s some ideas on how to improve your score that are really close to my heart right now…

Be accountable as the audio engineer. It’s really simple to say but can be much harder to do. This behavior is infectious and nothing will raise your credibility score more than saying its my fault, I did that, and then making sure it never happens again. That last part is most important because you’ll only be allowed to mess up so many times and it will be time to find a new seat on the bus or a new role to play. Learn from every mistake and only make the same ones once.

Do not make problems mysterious. Digital consoles don’t do things all by themselves – they must have human interaction. Computers seldom just hiccup. Wireless mics rarely just turn off during a service or aren’t ready for an artist on their own. Most times if something doesn’t happen the way we intended, its ultimately our fault and it requires courage, confidence, and humility to be accountable to the rest of your team.