Intro To Aviom

In the past several years, audio technology has evolved to the point where audio designers, installers and touring professionals have a wide array of software and hardware to help analyze, predict and solve almost all types of audio problems that may arise in any situation. One would think that all our audio troubles would be over. But this is far from the truth. In churches, clubs and live on many touring stages around the world volume is still the number one problem. No new measuring device, software-analyzing program or state-of-the-art digital console can solve what a simple turn of a knob can do, Reduce Stage Volume.

The answer to volume issues in a live situation is always the same. Turn Down. Removing the stage monitors and instrument amplifiers is the number one way to drastically reduce stage volume and dramatically improve sound quality at the front of house. Simply replacing the floor monitors with a personal monitor mixing system like the Aviom Pro 16 Personal Monitor Mixing System is a sure fire way to reduce stage volume, increase performers monitoring ability and clean up the look of the stage.

The Aviom Pro 16 Personal Monitor Mixing System transports line level audio from a mixing console to a 16-channel A-16II personal monitor mixer. Each musician gets an A-16II mixer and with a pair of personal in ear monitors, headphones or ear buds has the ability to create a full stereo monitor mix independent of all the other musicians on stage. The A-16 II personal monitor mixer allows musician to control level, pan and stereo spread along with save and recall.

Integrating an Aviom personal monitor mixing system into a church, performance space, club or a touring bands production system is low stress and affordable. Aviom makes a wide array of system cards for Yamaha digital mixing consoles along with cards for Digico, Digidesign, Innovason and Soundcraft digital mixing consoles. Aviom also manufactures the necessary input and output devices and accessories to help customize or augment existing or new systems. Please contact JSS and we will be more than happy to answer any questions or design an Aviom system to fit your needs and solve any volume issues you may be having on stage

Ed Frebowitz
Audio Engineer
www.JSS.net

Audio-Technica ATH-M50 Headphones

I began using the ATH-M50 headphones two years ago while mixing monitors at the CMA Awards. Prior to this I had been using the Sony MD-7506s. What a difference!
The very first thing I noticed when I put the M-50s on was how extremely comfortable they are. They fit snug to the head. With the amount of padding around the earpieces the snug fit never becomes uncomfortable.
A unique feature of the M-50s is that each earpiece can swivel independently. While one earpiece remains snug to your head, the other side can be swung off the opposite ear, never loosing isolation or sacrificing what you are monitoring. This immediately became one of my favorite features of the M-50s. While mixing monitors I often need to monitor an ear mix and a wedge mix simultaneously. The M-50s allow me to do this easily and more listen more accurately. If you are a DJ, no more having to hold one side of your headphones against your head with your shoulder.
As for sound quality, bigger bottom end! When mixing on the MD-7506 you really have to understand their characteristics and mix ‘around’ them. Where the 7506s have accentuated high end and really no low end to speak of, the ATH-M50 allow you to trust a little more what you’re hearing.; a definite plus while mixing.
If you spend a lot of time editing on Pro Tools, Nuendo, or any software based audio editing system and can’t always have a set of near fields with you, the Audio-Technica ATH-M50 professional headphones are a must.
If the ATH-M50s are a bit more than you would like to spend, check out the rest of the line of AT headphones and you will find a pair within your budget.

Jason Spence
Audio Engineer/Owner of JSS
(615) 534-1190
www.JSS.net

Why Use Procell Alkaline Batteries In Your Wireless System

Procell Alkaline vs. NiHM & NiCad

Recently while mixing a taping of a multi act television show, the runner was sent out to bring back batteries for the Shure UHF-R and Sennheiser e300 wireless systems we were using. Upon her return, she was very proud of the deal she had found on the batteries we needed. I painted on a smile, congratulated and thanked her for her successful efforts. Then I turned and sighed with disappointment because the deal she had found was unfortunately on nickel-cadmium batteries as opposed to alkaline batteries. We made it through three days, around eight bands and only lost one RF mic. Thankfully it was not the lead singer that was in the camera shot the majority of the time. Because we were not clear to only get alkaline batteries we would really have to be on our toes about keeping the batteries changed between acts.

Rumors of battery life indicators on wireless systems being released in the near future that can monitor the drain of other types of batteries, such as nickel-cadmium (NiCad) or nickel-metal hydride (NiMH) exist but for now the wireless systems in the market account for the drain characteristics of an alkaline battery. Even if new technology on RF systems can consider other types of batteries and their drain characteristics, I’ll stick with a good ol’ high-drain, industrial Procell alkaline battery and here’s why.

The slope of the discharge curves between various batteries directly impacts the performance of your wireless system (Fig A). The discharge curve is calculated by the time of discharge versus the voltage drain of a batteries life. In other words, how long do you have before the battery will no longer power your wireless component.
The discharge curve slope of a NiCad and NiMH battery is quite steep (Fig A). What this means is that when this type of battery drops below the voltage your wireless system needs to continue to operate, it happens very fast. This is not a desirable discharge curve for our wireless system components. You may be in the middle of a show and loose your lead singers microphone without warning.

Fig A

An alkaline battery (Fig A ) has a moderately sloping discharge curve actually even more subtle than the graphic shows, giving you a longer time before dropping below the voltage threshold. This slope is advantageous and makes the alkaline the most appropriate type of battery for wireless systems. The slope of an alkaline will give you plenty of time to make it to the end of the show and quite possibly through the next nights show.

There are two reasons I use Procells over other alkaline batteries. The Procell alkaline battery's major advantages are a high energy density; the ability to operate continuously at relatively high discharge rates (in your wireless system) over a wide temperature range; and a shelf life in excess of four years. The second reason is cost. The cost of the alkaline battery, on a service life basis, is lowest in medium to high drain applications.

If your production has a tight budget or you just want to be more efficient - here are some simple tips to get more life out of your batteries.
(1) Turn it off after sound check (2) Use your batteries from the previous show for sound check (3) Always meter your batteries (4) Let JSS help determine your battery usage to. This will allow you to purchase at the highest quantities/lower cost without haaving them 'on the shelf' too long (5) RECYCLE! I feel extremely guilty for the amount of alkaline batteries I’ve tossed into our landfills around the world, thousands I’m sure. In an effort to remedy that, we at JSS are committed to not further damage our environment. If you bring JSS your used batteries we will apply a discount to your next battery purchase at JSS. If you don’t bring them to us, we urge you to find a recycling center near you that accepts them. Even if you didn’t purchase them from us, we’ll still gladly accept and dispose of them properly.


Jason Spence
Audio Engineer/Owner of JSS
(615) 534-1190
www.JSS.net

Shure UHF-R Series Wireless Systems

$1000 Rebate available until May 31, 2009

The Shure UHF-R Series Wireless Systems are truly the industry standard for professional touring wireless systems. With up to 2400 selectable frequencies there is no doubt you will be able to navigate to a clear frequency in any theater, stadium, or arena. All UHF-R systems include Shure’s patented Audio Referencing Companding, which provides crystal-clear sound quality that is unprecedented.


Versatility

UHF-R wireless systems can truly be used in any application. No matter if you want an SM58, SM86, SM87, KSM9, Beta58a, Beta87a, or even Beta87c, UHF-R has you covered. Any wireless microphone capsule Shure manufacturers can be connected to the UR2 handheld transmitter. If you are looking for something along the lines of a lavaliere microphone or a guitar wireless, Shure has the UR1 bodypack transmitter. Now we didn’t forget you theater folk, the Shure UR1M micro-bodypack transmitter is a miniature version of the UR1 which is lighter weight and physically smaller than the UR1 making it easier to conceal in a costume.

Wireless Workbench

When the UHF-R receiver systems are connected to Shure’s Wireless Workbench software you are able to scan the frequency spectrum in your room and navigate your system to the clearest frequency. Another benefit to using Wireless Workbench is that you are able to see the RF noise floor, any RF intermodulations from existing wireless pilot tones, and control all of your wireless systems from a single point interface. Wireless Workbench is available for both Windows Vista and Mac OSX and to top it off, it is a FREE application.

To be honest, there is nothing not to love about Shure’s UHF-R Systems. At JSS, we highly recommend the UHF-R systems because they are a product we can rely on to deliver extraordinary performance and superior audio quality along with providing a true solution to any wireless situation. If you have any questions regarding Shure UHF-R wireless, please do not hesitate to give me a call, I will be happy to help! Thanks again for reading!

Forrest Colegrove
JSS - Account Manager
fcolegrove@jss.net
615-663-4481
www.JSS.net

Yamaha SB168-ES Ethersound Stagebox for LS9, M7CL, and PM5D

Alas, digital networks have now truly become a part of the professional audio industry. Yamaha’s new SB168-ES is a revolutionary 3U-size stage box that offers 16 XLR inputs and 8 XLR outputs to your LS9, M7CL, and PM5D via the EtherSound protocol.

In order to connect the SB168-ES to your existing LS9, M7CL, or PM5D, you will have to add Yamaha’s Ethersound cards to your console (MY16-ES64 and MY16-EX). The cards are very easy to install and Yamaha has setup guides that will assist in your installation of the cards. The expansion card install process takes about 5 minutes, and after that, you don’t have to do anything except assign the audio you want running in and out of those channels.

I find this product very useful for bands and churches alike. Specifically, I find it useful on a drum riser as a central location for stage inputs and monitor outputs (wedge or in-ear mixes). The SB168-ES would also be useful in a situation where there were a side or alternate stage as or any situation where remote In's and Out's were required.

All in all, the SB168-ES is a great addition to any Yamaha digital console and provides another custom solution to those who need extra inputs and outputs in a different location. If you have any questions regarding the product, please feel free to give me a call at anytime. Thanks for reading!

Forrest Colegrove
615-663-4481
JSS.net

LED

The Latest Craze…….

As I have entered my 18^th year of concert lighting I have reflected back upon all of the changes that I have seen with lighting equipment during my career thus far. There have been several periods in my career where there were craze’s about one type of fixture or another. For instance, I recall when Intellabeams (one of High End Systems first moving mirror fixtures) came onto the scene. I had seen “big time” LD’s using Vari*Lites for years, but could never even begin to imagine using them on my shows. But these Intellabeams, now they were usually in my budget range! The old Intellabeam controllers were often referred to as “shoe boxes” as they were these odd square rack mount units that used a joystick to control pan and tilt. Sometimes I miss the simplicity of those lighting rigs…..

As a few years went on, the moving yoke fixture became more affordable to LD’s like me….High End Systems made the Studio Spot and Studio Color while Martin was putting out the Mac 500 and Mac 600 fixtures. With the more common availability of these fixtures, it forced the need to use (and learn) the newer automated lighting consoles. Jim Bauman, the longtime LD for Alan Jackson, took a couple of days out of his schedule to teach me the Whole Hog II console. I still spec that console on some of my shows to this day!

We are in different times today…..budgets are tighter, we all feel the need to be conservative on energy, and the need to save time is important. These factors all play a key part in today’s latest craze in the lighting industry – the LED. I have seen over the past 4-5 years LED’s become a very integral part of most lighting rig. Let’s look at the facts:

• LED’s require FAR less power than any other type of lighting fixture on the market.
• LED fixtures are very affordable and have a long life span.
• The ability to mix literally hundreds, if not thousands, of colors give LD’s the opportunity to be creative without worrying about gel, color wheels, and other color alternatives.
• Most LD fixtures are easily manageable and lightweight.
• There is almost any kind of LD lighting fixture that you can imagine on the market these days – LD pars, battens, molefays, moving yoke units, video panels, video curtains, and all sort of other gadgets and gizmos.

LED fixtures have become a staple on most of the shows that I design these days. They are great to use as truss toners, eye candy, scenic pieces, uplights on the band, or general stage wash. The simple fact that they require so much less power is alone a reason to try to utilize them whenever possible!

Color Kinetics are one of my favorite manufacturers of LED product. I have used their products on many of my shows and have always been satisfied. I have found their products to be durable, user friendly, and have some of the best looking (and brightest) LED’s on the market. JSS.net is proud to distribute Color Kinetics LED products! Check out some of their most popular products on our LED page, and of course lets us know if you have any questions about these or any of our other products!

Chris Lisle
Affiliate Lighting Designer
JSS.net
615.534.1190

Yamaha LS9 Digital Mixer

The Yamaha LS9-16 and LS9-32 are Yamaha’s newest addition to their digital console line. Both consoles boast incredible features that are truly unsurpassed by any other consoles in their class. If your organization is looking for a cost-efficient high performance console, look no further!

Many of our clients here at JSS are looking for systems that they can invest in. In other words, they want a solution that is “future-proof.” Yamaha’s LS9 offers expansion slots to allow for more channels to be added if the need arises after the console has been chosen. Also, kiss your nasty external effects racks and all of those crazy cable messes goodbye. The LS9 is loaded with award winning reverbs, delays, compressors, EQ’s… you name it!

Another thing has proven to be quite appealing to JSS clients is how quick and intuitive the LS9 work surface is. The first step to purchasing a digital console is getting past the fear of learning how to use it. Let me be the first to assure you that this is as easy a console as any to learn how to use and even easier to operate. I would argue that the LS9 is the best entry-level digital console. Check out our website for a video that will help you understand the workflow of the Yamaha LS9.

In addition to having an amazing feature set, the sound and quality of the Yamaha LS9 really takes the competition by storm. Whether you are speaking of the Mackie TT-24 or TT-32, or even the Roland RSS V-Mixing System, the Yamaha LS9 Digital Mixing Consoles simply is the step above. Yamaha has been dedicated to the engineering of digital consoles for many more years than the other manufacturers. If you want a pro sound and a tour quality console for a price that won’t break the bank, check out either the LS9-32 or the LS9-16.

If you do have any questions that I haven’t answered in this blog, please feel free to contact me at anytime and I will be happy to help. Thanks for reading!

Forrest Colegrove
615.663.4481
JSS.net

Yamaha M7CL Digital Mixing Console

Yamaha M7CL Digital Mixing Console

Yamaha’s M7CL Digital Console is a very unique console in that it covers many different needs. At JSS, we stand behind the M7CL because we can incorporate it in touring systems, live recording systems, and live audio systems for churches and schools. For our larger touring clients we even use the M7CL as a monitor console. Overall, the M7CL is one of the most versatile digital consoles on the market.

The M7CL comes in two frame sizes, 32 and 48, properly named M7CL-32 and M7CL-48. In most cases we have more interest in the M7CL-48 because our 32 channel clients tend to choose the LS9-32. Understandably, if you do not need more than 32 channels of audio it would be unnecessary to move into the M7CL-32, however, the M7CL offers more processing power for AUX Sends and Effects as well as more outputs and an additional expansion card slot.

One of the biggest attractions that is unique to the M7CL is the Centralogic control interface. This interface allows for any grouping of 8 channels to be displayed on the touch screen for editing at one time. Of course this includes inputs, outputs, AUX Sends, effects, etc. You can also select one channel at a time to view every item in that channels path. I find that the Centralogic interface makes M7CL the fastest large format digital mixing console on the market.

Another feature that makes the M7CL unique is that it is a single layer console. This means that, as the user, you can see every input on the console at one time and the faders are right at your fingertips. In order to edit, you must select a channel or a group of channels. Some people may see this as a downfall, but this allows you to focus on mixing and not editing your sound.

All in all, the M7CL is a fantastic addition to any professional audio system. As I said before, the M7CL can be found in a church or out on tour with some of the biggest names in the industry. If you have any additional questions regarding the Yamaha M7CL please do not hesitate to contact me. Thanks for your time!

Forrest Colegrove
615.663.4481
JSS.net

Mixing Live With Yamaha Digital Mixers

As a professional audio engineer and sound mixer I have the opportunity to mix on a number of different mixers, in many configurations, from many different manufacturers both analog and digital. With that experience I am able to confidently determine which mixer is right for a clients particular needs.
I was one of the first to take the leap and embrace Yamaha’s PM1D, Yamaha’s flagship digital mixing system early in 2000. It still remains today the benchmark for high profile live production events such as the Grammy’s and the Super Bowl due to its reliability and it’s ability to meet demanding production requirements. Nearly 10 years later in 2008 I tracked Keith Urban’s Live DVD - Love, Pain and the Whole Crazy Thing Tour utilizing a digital split direct from the PM1Ds I/O, 96 channels of Lightpipe to Pro-Tools. The sounds were clean, big and I’m proud to say there were no over dubs on the recording. What you hear on the DVD is all-live.
Recording from digital mixers straight to your hard disk recording system is nothing new. I began interfacing the PM1D with Pro-Tools, Nuendo, and Tascam machines starting the first year I took possession of it. Digidesign has done a brilliant job marketing the fact that their consoles interface with Pro-Tools, and they do, but it is certainly not a new feature. The advantage I’ve found with Yamaha digital mixers is that it’s easy to interface with a number of different hard disk systems, including but not limited to Pro-Tools.
The PM1D has been and continues to be an outstanding digital mixer and system but it can also be way more mixer than what the majority of productions may require. Introduce the Yamaha PM5D and PM5D-RH Digital Mixing System; similar in most ways to its big brother the PM1D, it is a powerful, leaner version of it. Input and output channel counts and DCAs are trimmed down as is its footprint - meaning less investment, less to rent, less to transport, less to set up and much happier business managers.
The PM5D and the PM5D-RH with recallable head amps being my version of choice, is a very efficient and robust mixing system. With 48 mono inputs, 4 stereo inputs, 24 Mix outputs, 12 Matrix outputs, expandable to 96 & 8 In, as well as doubling just about everything else using the Yamaha DSP5D the Yamaha PM5D-RH meets most production requirements and budgets.
When interfaced with a recording system, flip the console into ‘Virtual Sound Check’ and you can get a jump on what the band will sounds like in the room. Allowing the engineer to ‘tweak’ the mix for the room using actual inputs from say the night before. I recently tracked Amy Grant’s Lead Me On Anniversary Tour using the PM5D-RH. We were able to flip the mixer into ‘Virtual Sound Check’ and we would punch-in and overdub parts from the previous nights performance. A very powerful tool that literally slashes the cost of producing a live recording and making it much more practical for any band or artist to capture what they’re doing in their live performance. Again, with the cost so affordable it’s quite practical even if for archiving purposes.
With dynamics available on every channel, award winning reverbs and effects, and on board ‘plug-ins,’ there are plenty of sweetening tools right at your fingertips to get the mix results I expect from my mixer. If your production is looking for the right tool for the job, there’s a good chance the PM5D-RH might be the right digital mixer for your production or facility and your budget. Call us today to find out!

Jason Spence
Audio Engineer/Owner of JSS
(615) 534-1190
JSS.net

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JSS.net Site Delay

Wouldn't you know it but our April Fools joke is apparently happening on April 3, tomorrow. Unfortunately the launch of JSS.net will be delayed. I'll keep you posted. Thanks!

JSS.net Launches Tomorrow!

We will unveil JSS.net tomorrow. We are excited to share it with everyone and what it is that we will be able to offer the production industry.

Even with as proud as I am about the site, it is only in it's infancy. Our ultimate goal is for JSS.net to become an industry resource for product information, application forums, and industry news.

As busy as we have been getting ready for the launch tomorrow, we have already begun work on step two of developing the site into what we ultimately want it to be.

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3 Days to Launch of JSS.net

Where in the world did day 4 go??? 3 days left people. Get your pointer ready to navigate toward JSS.net on Friday!