Tuesday, December 02, 2008

11.30 Reverb

Last Sunday was another wonderful morning together. Somehow, it seems like months away to me already, so here's a recap for me, if for no one else:

General Comments

First, our little camera 5 is still missing. If you have any idea where it might be, please let me know today. We will be moving forward with an insurance claim soon if we don't find it.

Second, I believe we had the largest non-drama, single-weekend death-toll of E6 microphones in our history. We broke four E6 microphones on Saturday and Sunday. These mics are $325 new, and the repair costs add up quickly. Please make every effort to take care of these mics. When a person dons that mic pack, they are carrying around a $1000 tithe check.


Dave, thanks for all the work you've been putting in to using your tube compressors to get better subwoofer control and impact. I think you're making some really good strides. Can you explain your thought process behind it for the rest of the team to know and learn from?

After listening through both services, I think there may have been too much sub energy relative to the "higher" frequencies in the instruments in the subs. For example, the bass guitar was powerful, but the tone was missing. I don't necessarily think they need less low frequencies, but instead more high frequencies, or at most 30% less sub and 70% more high.

Three quick staging notes:
  • If we are going to sing after the sermon, the sound crew should be rearranging the stage during the closing prayer, not after it. We want to have the ability to go right into the song immediately after the amen, even if the closing pastor comes up to talk before we sing.
  • New! | Whenever possible, come from backstage to do the stage changes instead of coming up from the seating area. This will probably mean heading back to the green room during the last point of the sermon. When the prayer starts, head out there. If you need to bring the pulpit up from the floor, obviously you'll need to start in the front row.
  • The pulpit should come up first and come down last. When the pulpit is coming up, please bring it up, then do any other stage changes required, then head backstage. When the pulpit is coming down, come from backstage, do any other stage changes first and then bring the pulpit down. This minimizes the trips up and down the stairs.


I really feel like we're locking in well on lighting. Thanks, guys. We're hitting the mark really well each week. Just stay sharp. The stage backdrop will be changing this week and again in January, so you'll need to be thinking harder these next couple months.


The video team performed as close to a flawlessly as I've seen. Why? Communication. This team excels in its communication, especially the house and camera directors. Eddie, who is now the camera director, used to be a house director, so he knows what Tyler needs to know as house director. They are talking through every transition as it happens, and it makes a huge difference. Add to that some excellent camera work, great shading by the AD, and accurate slide playback, and it was a great morning. Thanks, all!


We've added an item to the SundayPlus operator checklist: run the countdown clock. If you don't know how to do it, please let Ben or me know. In short, you press play on the DVD player, choose input three on the local switcher, and you've got a countdown. Don't forget to switch back to input 1 or 2 immediately when the countdown hits 00:00. You can see the timer on the small television by the sound board intercom light.

What would you like to say about this last Sunday?


Anonymous said...

It was ok, just getting use to the editing part.

Unknown said...

I also had a really good sub for camera 4. Thanks Mark!

David MacKenzie said...

OK, Dave... We're seeing if we can get a punchier, clearer low end by inserting a tube-optical compressor (an ART PRO VLA) on the sub aux. The thought is that the tubes add some musical harmonics when you hit them, and the photocell type of compressor doesn't seem to darken the top-end like VCA-based compressors (dbx, PreSonus, especially Behringer) do. The idea came from a discussion of live sound with a mastering engineer who also does live sound (Charlie Pilzer).

The compression itself brings the overall level of the bass frequencies up more and keeps them more consistent, regardless of the compressor type. The trick is to make sure the bass drum's attack doesn't duck the bass guitar's sustain.

I'm also running the bass guitar through a dbx 1066. We used to run the bass drum through one also, but the insert on that board channel has gotten too noisy to use, and we haven't bothered to move the bass drum to a different channel. I guess we should.

I've also been running acoustic guitars through the PRO VLA's other channel. I usually have trouble getting the acoustics to cut through our mixes at a consistent level, and accommodating the switches from strumming to picking. I think this kind of compressor helps with that, too.

Last Sunday we had two acoustic guitars, and I ran one (Ben's) through the PRO VLA and the other (Judah's) through a solid state optical compressor I borrowed from our studio, a UREI LA-4 which I'd just installed a circuit mod in to clean up its sound. That worked well, too, and gave a nice contrast in sounds between the two guitars. It did take awhile to get the thresholds optimal, though. Compressors aren't plug-n-play--they can do as much harm as good if you don't set them carefully.

Peter Bang said...

go eddie and tyler!