Time for yet another upgrade. I am at the point where I think I need to beef up the primary Studio DAW. The primary will then become the secondary for MIDI, GigaSampler, etc. At one time I used to enjoy the constant upgrading but now I find I am far more concerned about introducing change and impacting stability. A tough decision. With Pro Tools I usually stay pretty current. Here is a list of improvements in 6.4:
- Support for ICON with D-Control* — Support for large format mixing and production
- Support for the new Command|8** — A compact, affordable, yet full-featured control surface
- AVoption|V10 support† — For interoperating with the latest Avid video formats
- Automatic Delay Compensation* — Allows you to take advantage of mixer configurations that were previously only possible with analog consoles, or with digital consoles many times the price of a Pro Tools environment
- TrackPunch* — Allows Pro Tools to be used as a recorder on film stages, rather than only an editing/playback device. For music, TrackPunch enhances current QuickPunch capabilities for music recording by allowing the user to arm tracks on the fly. Operators can punch in and out of tracks by using individual track record buttons instead of one global command. Combined with TrackInput*, TrackPunch allows workflows similar to traditional tape-based multi-track recorders
- 23.976 fps support** — Enables post customers who work with high-definition video to use a new frame rate specific to the medium, facilitating proper synchronization to the source. Pro Tools now offers complete recall of all editing, processing, mixing console and machine control parameters while working entirely within the new 24 and 23.976 frame rates required for high-definition video production (DV Toolkit required for Pro Tools LE)
- +12 dB fader gain — The new +12 dB** range above 0 dB in the fader section of the Pro Tools mixer gives you more latitude while mixing than the previous +6 dB (over 0 dBfs), particularly when balancing with recordings made at lower levels. With a new taper, the faders have a more familiar “console” feel
- RecordLock* — Loading audio with discontiguous (“broken”) time code means that an assistant no longer has to continually re-arm Pro Tools when loading in different takes from film shoots. This also prevents missed record takes on shooting stages, where the distributed time code stops and starts between takes
- Hierarchical plug-in menus** — Group plug-ins by process type, keeping mousing and searching for the right plug-in to a minimum
- Track Position Numbers** — Gives each track a fixed sequential number, enabling operators to better organize sessions, as well as to quickly locate the GUI and control surfaces to a selected track
- Improved Feet+Frames timeline display** — Allows film users to set the “zero feet+frames” point anywhere in the session; and, with multiple feet+frame rates, allows the feet+frames timeline to remain in sync with all workflow variations (DV Toolkit required for Pro Tools LE)
- New Clip Meter Features — Plug-in clipping is now displayed on the D-Control worksurface and on the GUI send labels* for easy diagnosis of gain structure level problems while mixing. Plus, a new “clear clip” key command and a new “clip hold” preference provide additional display enhancements**
- Foley record “Input Mute” feature* — Prevents unwanted loud noises during foley record sessions
Last night I did live sound for part of the Steve Bell concert that was held in Newmarket (just north of Toronto). I mixed the Jody Cross opening act and watched the console feed from Steve Bell’s setup come through the main house. Not much pressure so I could really sit back and enjoy Steve’s music and ministry. Dave Zeglinski, Steve’s manager and sound person, did all the hard work. We used both the house system and Steve’s local system for the audience and it worked out really well.
Steve and Dave came over to my studio today to see our work and to talk about the Christian music scene in Canada. I have been a big fan of Steve for many years and we know many people in common. We traded a number of stories about our mutual friends and talked a lot about sharing faith through music and the quest to pursue excellence in our respective ministries. I must tell you that I was very impressed with Steve’s character and his open and friendly nature. I was so pleased that he came by. We went through the studio, the equipment and I brought up some of the projects that we have worked on over the years. My youngest boy is also a big fan and he now has some great memories of a worthy hero.
I have noticed an interesting trend taking shape. More manufacturers are introducing analog + control surface consoles. Digidesign has offered this type of technology for some time now but the high penetration of DAWs into all types of recording venues has increased market demand. I also think that the summing controversy still rages on… more on that topic another day.
Solid State Logic has introduced an $85,000 analog + control surface console for a number of different DAW platforms (e.g., Pro Tools, Nuendo). I could not find any information about the console on the ssl site however I did find a few posts strewn through the usual suspect recording forums. Charles Dye appeared to be the first one out with the information based on a note he received from a Guitar Center rep somewhere in the USofA. Here is the information that I have on the unit:
The AWS 900: An SSL Console
The AWS 900 is a compact SSL console, with all of the audio quality, robustness and advanced ergonomics that this implies. AWS 900 offers no-compromise audio performance, equivalent to SSL’s celebrated XL 9000 K Series mixing console which is a feature of major studios the world over.
The AWS 900 provides:
- Legendary SSL sound quality
- Identical SuperAnalogue technology to SSL’s flagship XL 9000 K Series console
- Greater bandwidth than 192kHz recorders
- 24 ultra low-noise dual impedance mic amps
- 24 channels with twin curve SSL E and G Series 4-band parametric equalisation
- Assignable SSL dynamics sections with gate, expander and compressor/limiter
- G Series Stereo main mix buss compressor
- Comprehensive 5.1 monitoring and Bass management
- Complete tools for running zero latency tracking sessions
- Highly flexible Cue/FX sends system with EFX reassign
- Flexible ordering of channel processing
- Balanced circuitry throughout
- Metering on all console channels and main outputs
Integral DAW Control
DAW’s provide the power and convenience of recording and editing your audio, but a PC/Mac is not the most intuitive way to access these functions. AWS 900 provides an integrated solution by combining an outstanding console with SSL’s famed control surface ergonomics. The result is the first DAW control interface designed by SSL.
The AWS 900 provides:
- Direct access to all major DAW mixing, editing and automation parameters
- Direct control of Plug-In settings
- Dedicated control CPU to maximise performance
- Integral colour TFT display with dedicated control keys
- User-definable controls on every channel
- High quality motorised faders to write/replay level moves in your DAW
- Simple switching between console and DAW control layer
- Full remote control implementation
- Operation independent of platform and works with ProTools, Nuendo, Logic Audio and many more
The studio environment is misleading. There is such tight control over sound that the notion of errant noise in the form of buzzing and humming is unthinkable. Such noise does occur when musicians bring in their instruments. Amplifiers, drumkits, pickups can all present challenges with noise.
I spent a great deal of time improving my guitar rig. I have a number of stage guitars that I use but more often than not it is the Paul Reed Smith Custom 22 or the American Fat Strat that gets called into duty. The stage backline is usually a Mesa Boogie F-50 1×12 combo. The pedalboard contains an Ernie Ball volume pedal, Analog Man Juicer, Analog Man modified TS-9 Tube Screamer, Boss NS-2 Noise Suppressor and Boss DD-6 Digital Delay. I carry a Shure SM-57 for the stage and I close mic the cabinet usually at the centre cone position.
This rig is very quiet in the studio. But some venues are very frustrating. Yesterday I was on a stage where the incessant buzzing was driving me crazy. I found a useful website on guitar noise just to see whether I was missing something obvious: why was the rig whisper quiet in the studio and buzzing like crazy on stage?
I suspect that part of the issue is the power supply and part of the issue is airborne. This stage has a large lighting rig where the power source is being shared with the stage outlets. I am looking seriously at power conditioning as a way to reduce the harsh buzzing sound.
The quest for tone never ends.
I was back in session last night. We tracked an upright bass and captured some excellent tones. I heard back from the bassist this morning and he gave me some feedback on his experience: “Thanks again for the opportunity to record in your studio. I was buzzed all the way home with the tone you got from my upright. I could practice in that room all day!” This was a paid session so I always am pleased when session players provide such comments. My own view is that all I needed to do was step back and keep out of his way and make sure, as a recordist, that I captured the essence of the performance.
Bose and the Extinction of the Sound Engineer
I got into a bit of a discussion with a producer last night on the innovative Bose system that is being heavily marketed these days. As you can see from the picture on the left, it is quite the unique looking sound system. The Personalized Amplification System is a speaker system that provides sound for both musicians and their audience. Simultaneously.
Bose claims that this system resolves most of the major challenges associated with live sound. Mix levels, monitor levels, distribution of sound to the listener… but elimination of sound engineers is absent on their site. They also do not seem to be taking the live sound market by storm as there are a few too many extravagant claims without direct experience. But this is hardly surprising coming from the company that promises high fidelity sound through a plastic box “Wave Radio”.
Here is some of the background from the Bose site:
The L1 Cylindrical Radiator loudspeaker is the core of this system. Its unique pole-shaped design projects sound evenly across the stage and into the audience. Since the sound from these speakers diminishes so gradually, volume levels stay much more consistent for musicians and audience members. And its wide dispersion pattern, nearly 180 degrees, means everyone on stage and in the house experiences full, clear sound without unwanted distortion.
The PS1 Power Stand supports the L1 Cylindrical Radiator loudspeaker and houses all electronics and controls, including dozens of presets to help you get the sound you want from your instrument.
The R1 Remote Control puts control back in the hands of the musician. Mount it on a microphone stand, a music stand or wherever it’s most convenient. It includes a master volume control, as well as tone and volume controls for two input channels.
The B1 Bass Module produces deep, punchy bass for instruments with a lot of low end, like bass, keyboards and kick drum. It connects to the PS1 Power Stand with a single cable.
With a single L1 loudspeaker for each musician, there’s no need for monitors, PA speakers, mixing boards or backline amps. You’re free from the problems that go along with the old way of doing things.
An autopilot for musicians? No more sound engineer? I’m not convinced but I would like to hear this system. With all of the hundreds of articles I read on live sound installation I have not come across a major hall committing to this platform. It may be for the small hall/small club scene.
Good Friday Noise
I did live sound this morning at church. I have had a running issue with the noise level of the HVAC in the main sanctuary for a while now. This morning the HVAC was keeping about 67db on the trusty old SPL meter. By way of reference, I often have a challenge to get the wireless mic much above 67db before feedback. The pastor was particularly quiet this morning which meant I was working from a negative position on the noise floor. What was more frustrating? I could not get the HVAC guy to agree to shut the thing down for the 15 minutes or so that the pastor was giving his message. Coupled with the usual chaos of live sound work I found myself missing the warm cocoon of the studio control room. Live sound does provide an adrenaline rush but maybe I am getting too old for all of the stress. Or maybe I shouldn’t care so much about the quality of sound.
I do care very much about the incredible significance of Good Friday and the sacrifice that was made for all of us. I think the service, despite the noise levels and the relative chaos behind the board, was a very powerful witness to this life changing event.
I could not do any session work last night even though I have quite a backlog of work. I am working on final mixes for a live recording event that I did late last year. I am working through another set of final mixes for a project which has been running on now for almost 18 months. I am also in the midst of basics for another project and I still insist on being active on live sound as well as guitar/bass performance.
I love doing all this work. I hate the dentist.
Let me rephrase that. My dentist is a wonderful human being. I just hate the whole process of going to the dentist. I had a filling that went loose and it fractured nearly half a back molar. My own fault really. I had been experiencing some pain and discomfort with that tooth for a while. I just didn’t see the need to go to the dentist right away. So time passed. Funny thing though… I had booked an appointment to check out the pain and before I could get there the filling and most of the tooth gave way.
I spent three hours last night in the dentist’s chair. Thank goodness for nitrous oxide.
Going, going, gone
A pretty busy week ahead in the studio. I am trying to get one project completed. Some projects have a natural start and end. Other projects never really end… they just stop. I think this project falls into that category but it has not stopped yet. Losing momentum in a project is really tough. I have been working on this one project since September of 2002 and things got stalled for a period of about six months. The producer and artist are both tremendous people. I really enjoy working with them. We are doing a few retakes tomorrow night. They are bringing in an upright bassist for the session. I may try a few different techniques
How to record upright bass
Get a mic, get a pre, patch and press record. I must admit that I often take the easy path with electric bass. I usually patch the instrument through a high quality DI, add a bit of compression, and straight to tape. Sometimes I will patch into a 1272 outboard. The results are predictable although much of the magic really comes from the bass player. A good player is clean and consistent and produces much of the sonic textures from the fingers. As a recordist I try to stay out of the way and let the player work the magic. A poor player… well that often requires major surgery. Fortunately we don’t get too many poor players in the studio.
Upright bass is different and much of the hard work around this instrument depends on a variety of factors: bow versus fingers, dry versus ambient, style, presence. There are many different sound areas and I always find it an interesting challenge to discover the sweet spot. There is a bow area, bridge, soundboard and soundhole. Plucked jazz bassists present the greatest challenge.
The traditional approach is to use a large capsule condenser like a U87 or U49 set about 2″ – 4″ from the bridge with another condenser aimed at the sound hole. I have used a number of different mics with varying degrees of success at the sound hole but more often than not I am looking to capture more warmth and lower frequencies with this microphone. I have worked with a few jazz bassists that do have electric pickups on their acoustic bass and I will always take a feed just in case it comes in handy later on. There is often good presence from the electric pickups.
I might use some limited eq and compression on tracking although my preference is to get a good sound from microphone selection and placement first. It is not unusual for me to consider a low end rolloff around 80Hz and maybe cut low mids around 200Hz.
I have a lot of technology in the studio. I am always looking for ways to use technology effectively to solve audio engineering problems. One problem that I used to face was how to remote control Pro Tools. In the past I used to set up in the control room and try to manage guitar, console, transport control, monitors, keyboards and mice with varying degrees of success and frustration. All that changed when I discovered remote desktop.
I use a notebook computer on the wireless LAN that connects to the Pro Tools workstation through remote desktop. The notebook then becomes the Pro Tools workstation. The monitor and keyboard on the notebook controls Pro Tools remotely. This allows me to set up in one of the talent rooms and control my studio remotely via the notebook. Very cool. Except something happened. I tried to connect to my network and I received a “network not accessible” error. Thus began a prolonged and strange battle with technology.
My first step was to search Google to see if anyone else had this experience. Turns out that most of the world has run into it if they network more than one computer. I found a Microsoft article on the issue here. This knowledge base article precisely described the symptoms I was experiencing: I could not browse other computers in the workgroup, I could not access shared folders or files, I received the dreaded error message: “Workgroup Name is not accessible. You may not have permission to use this network resource”.
The cause was due to NetBIOS over TCP/IP not being turned on and the computer browser service not being started. The resolution is to turn on NetBIOS and to ensure the computer browser service is started. So I tried the resolution.
Didn’t work. Nada. Zip. Still got the same error message.
I crawled on the web for several hours last night and avoided some much needed sleep in the process. Dozens of suggested actions to resolve the problem were discovered and all of them failed. I don’t know why the notebook would no longer see my network. It worked fine for almost a year.
And then I found the answer.
Most networks provision an address for each machine on a network. This address, known as an IP address, is often provisioned through a DHCP service. Some networks operate as broadcast networks and some operate as point-to-point. If you happen to connect a notebook computer to a different network, one that uses point-to-point, then the DHCP service might make a small change in your computer’s registery file.
If a parameter is *optionally* set by *some* DHCP server then that parameter will persist in the registry regardless of any other actions you might try. The parameter is “DhcpNodeType”. Not all DHCP servers set this parameter. I obviously had the misfortune of connecting to another network, which I often do when I travel, where the DHCP service changed this parameter. My network’s DHCP server does not change the parameter and that is why the notebook failed to join the workgroup and gave the error message. This is because my network is set up using the default “broadcast” node type and the persisting DhcpNodeType parameter continued to tell the malfunctioning machine to be a “point-to-point” node. The two types do not talk to each other.
The Solution: check the registry for the DhcpNodeType parameter. If the value is 2 then change it to 1 and reboot. Optionally one may choose the value 4 or 8 to have a computer work in both environments.
Value Type: REG_DWORD – Number
Valid Range: 1,2,4,8 (B -node, P-node, M-node, H-node)
Default: 1 or 8 based on the WINS server configuration
Description: This optional parameter specifies the NBT node type. It is written by the DHCP client service, if enabled. This parameter determines what methods NetBT uses to register and resolve names. A B-node system uses broadcasts. A P -node system uses only point- to-point name queries to a name server (WINS). An M -node system broadcasts first, and then queries the name server. An H -node system queries the name server first, and then broadcasts. Resolution through LMHOSTS and/or DNS, if enabled, follows these methods. If this key is not present, the system defaults to B -node if there are no WINS servers configured for the network. The system defaults to H -node if there is at least one WINS server configured.
By the way, there is another optional parameter at the same registry location that one may add which will override any DHCP server value placed in the DhcpNodeType.
Value Type: REG_DWORD – Number
Valid Range: 1 – 8
Description: This parameter specifies the NBT node type. It is an optional parameter that, if present, will override the DhcpNodeType parameter.
I weep for Microsoft. What a sad journey to make to ensure that your computer connects easily to a peer-to-peer network. “Hey”, tech support asks, “Didja happen to check whether you are B-node or P-node?”
This journal is now online. You may find a couple of broken links on these pages as I am still working on the blog. Be patient. I should have it finished real soon. This blog will be a bit different from the session logs off of my studio website. I will be capturing interesting aspects of my journey through life as well as items of interest to the audio engineer particularly those engineers who work in the contemporary christian music field. My studio website pretty much documents my biography to date so if you are interested in learning a little more about my background you can take a look there. I also welcome any email that comes my way and I will try to answer questions and comments from my friends and colleagues.