In Pursuit of Perfection
Warning: This post is technical in nature. If you don’t understand what I’m talking about, don’t worry, you’re still a normal person who just hasn’t ascended into “geekdom”.
In my last few months in my new job, I find my anal-retentive tendancies will not let me be satisfied with “good enough” and I’m always listening and watching for ways to improve on what we have at CFC. Approxamately a month ago, our main audio system’s DSP started flaking out and we had to replace them or be left with a sound system that looked good, but didn’t actually put out any sound.
That would be a problem.
As much as I like looking at the huge EAW cabinets, I would rather listen to them and enjoy the sonic properties for which they were purchased. So we replaced our old BSS Soundweb Original units with the newer BSS Soundweb London units, threw in an EAW UX8800, and started programming. As the original program had been tweaked a number of times, it was definitely time to take a fresh look at what was done, why it was done, fix a few problems, and iron out the wrinkles. The result was a much more dynamic system with significantly increased clarity and imaging. Since I don’t have any system evaluation tools such as EAW’s SMARRT, everything had to be set the old fashioned way: by listening. After tweaking crossover values, fixing the system delay’s (which cleaned things up tremendously), and playing with parametric EQ’s, we settled on a “good enough for now” setting that has worked up until now.
Thanks to a women’s conference I worked this weekend, I had the time to sit back and evaluate several aspects of our audio/video/lighting systems and came to a few conclusions. First of all, the lighting on the front of the stage isn’t even, which severely affects one of our camera positions, and two, thanks to Kathy Triccoli, I discovered that the new system is particularly harsh with sibilant’s, mainly the “esse” (“s”) sound. Kathy is a powerful and dynamic vocalist that when paired with the Shure KSM9 reveals all the flaws within a sound system. Couple that with the new track I discovered from Meredith Andrews, and I am now determined to identify the offending frequencies in the system and smooth them out.
There will definitely be some more system EQ work, but what I’m delving into now that is new to me is the concept of “de-essing” using the sidechain of a compressor. If you’re reading this, know what I’m talking about and have any tips, please share, as I’m always in need of good mentors.
For all you other readers that are now completely lost, you can now return to your regularly scheduled programming.