I have a confession to make: I totally botched the opening of the 9:35 service this weekend. Looking back, I can see exactly where things went wrong, and it’s because I violated my process. Here’s what happened.
At 9:31, one of the camera ops asked if I could dump her coffee. I figured I had 4 minutes, so I’d run to the restroom and dump it there. Once in the restroom, I figured, why not, I have time. I got back to the booth at 9:34. I noticed Reaper hadn’t started recording, and it wasn’t responding. The broadcast guy came out with the removable drive and we got the recording going. When the cue was called, I hit Next and nothing happened. I hit it again. Nothing. I glanced at the monitor and found, to my horror, I was still on the Walk Out snapshot. So I quickly tabbed up and hit fire. Except I tabbed up to Walk In, not WL Welcome. I hit Next again, and again and finally, the service got under way with the first song. The welcome was lost in the shuffle.
Now, that’s not the end of the world, and I shook it off and mixed a solid service. But as I sat there during the message thinking about the events that transpired, I was reminded again about why I have a process.
Be Ready Early
One big key to my process is to be in the booth at 5 minutes before service start. I don’t really like to be talking to people at that time, and I’m not on my phone. I check all the equipment I need for the service.
Recording? Ready; check.
Wireless Mics? On, batteries good; check
Walk In Snapshot? Yes; check.
Music Playback on top layer of Mac so I can stop it without clicking around? Yes; check.
One IEM in and Stage Announced on PFL? Yes; check.
That entire process takes less than a minute. I spend the next few minutes thinking through the service. If you’ve ever watched a professional skier at the top of the hill before a run, you will have seen them bobbing left and right, up and down, mentally running the course in their minds, and to some extend with the rest of their bodies. They are preparing themselves for success.
I like to do the same thing. What motions do I need to do right at the beginning of the service? Listen for the countdown, fire the first snapshot with right hand, pull out my IEM with right hand, check levels, fire the song snapshot with right hand, check the mix, stop music playback with left hand, mix the service. How do I work through transitions? I visualize it so when I get there it’s not a surprise. Sometimes I change things to make it easier to hit all the marks.
It looks weird, but when I do it, I can nail the transitions. When I don’t, well, we have what we had this weekend.
Clear Your Head
It can be hard when people come into the booth and want to chat—and by the way, stopping by the tech booth 3 minutes before service starts is really hard on the tech team—but I like to clear my head and focus on the task at hand. Forget about the Facebook argument. Forget about dinner plans. Forget worrying about whether the dog peed on the carpet while we were at church. Think about what I’m going to do next. What’s the mood of the service? How full is the room? Do I need to bump the master up or down? Zone in on the task at hand, and stay focused.
That’s really hard to do as people are dropping by to say hi. But you have to discipline yourself to smile, nod your head and get back to focus.
Do What Works For You
You probably don’t need to do my process. But you should have a process you go through before the start of the service. Figure out what steps you need to take, and what you need to do and how long it will take and make sure you follow the process. It’s easy, especially by the time you get to the last service, to slack off the process and assume everything will just work. Don’t do it! Stick with the process. And if someone asks you to dump their coffee at 4 min to service start, set the cup down safely away from any expensive electronics and get back to process. You can thank me later. Have a great weekend!
Alright—we’re in the home stretch! This is our last installment of our InfoComm 2016 coverage. As we wrap up in the land of audio, we’ll listen to some new speakers that were rolled out. I got to hear each one of these, and so these are first hand (or first ear…) reports.
Martin CDD Live
We started taking a serious look at CDD last year at InfoComm. I wasn’t expecting to be impressed; more low-cost boxes for small to mid-size rooms. Whatever. Or that’s what I thought until I heard them. Honestly, I was blown away at the price/performance ratio. A few months later, we set them up with some of our other favorite boxes for a shootout. Again, we were very pleased with the CDD series. I’ve since installed two systems and have been extremely happy with the way the systems turn out.
Now many people think Martin Audio and think MLA, a big, expensive, powered, very impressive line array with tons of DSP. They took their experience with MLA and applied it to CDD, adding bi-amplified power to the speakers and tweaking the enclosures a bit. They also threw in some DSP for good measure. They also added Dante connectivity.
Like last year, I knew about them going in, so I wasn’t prepared to be surprised. But when they fired up the new Live boxes, again, we were surprised at how good they sounded. The CDD Live 8 particularly blew us away, especially in light of how small it is. The subs also sound fantastic—loud, low and tight. Like the CDD line, the CDD Live line is very cost-effective, and with the build-in DSP, you could even eliminate an outboard DSP for basic systems. You know we’ll be installing a bunch of these guys.
L’Acoustics Kiva II
I’ve become a big fan of L’Acoustics over the last few years as I’ve heard more of their systems and installed a couple of them. They’re easy to tune, are voiced very consistently throughout the entire line and sound great even with stock presets. The Kiva line array is a very solid, small- to mid-sized system. It’s built on dual 6.5” LF drivers and a 1.5” compression HF driver and VDOSC waveguide. It’s a great sounding box for smaller rooms, or as delays for larger spaces.
Again, when a company rolls out a II of anything, I tend to think, “Whatever.” Then they played the Kiva II. Wow! The Kiva sounds great, but when they switched over to the II, it was like a blanket came off the speaker. While it looks the same physically (and all the hardware still works), they completely redesigned the guts. There is a ton more articulation in the upper-midrange, and they even squeezed 6 dB more output out of it! That may not sound like much, but that’s a double-double of amplifier power. And as a 16 Ohm box, you can hang a bunch of them off the new LA12x amplifier—13,600 watts at 2.7 Ohms! According to the marketing folks, LA12x sounds cooler than LA13.6x. So there you go. Great stuff from L’Acoustics. I can’t wait to set one of these up!
Speaking of mid-size line array systems, we finally got to see the production prototypes of the new system from Bose, dubbed ShowMatch. Though, calling it a line array is technically incorrect. It looks like a line array, but it’s really a progressive directivity array, which they have now dubbed DeltaQ™. It’s based on the same concept as RoomMatch, with multiple vertical coverage options, and different horizontal waveguides. The difference is, in ShowMatch, the waveguides are field swappable. The rigging system is very cool, and will allow for fast, flexible setups for tours.
For installs, it’s a smaller footprint than RoomMatch, but has similar voicing and output. I heard a early pre-production prototype a while back, and they sounded extremely good. Having done a few RoomMatch systems now, I’m always amazed at the accuracy of the coverage and the even intelligibility throughout the seating areas. ShowMatch will be one more arrow in our quiver full of great PAs to work with.
They also announced new PowerShare amps, which are going to be a boon to anyone who does 70V systems. Unlike most amps that have a fixes, maximum output on any given channel, PowerShare allocates power to each output based on the load. This means the entire output of the amp could be available to one channel if needed. They’re 1 RU high, so they don’t take up much rack space and are priced well. They also created a few new wall controls for remote volume.
All in all, InfoComm 2016 was a good show. Our industry has matured to the point where we’re not seeing groundbreaking new products each year, but there is a lot of good iteration happening, as well as convergence. Next time, we’ll be back to our regular scheduled programming.
Well, I sort of missed a week here, but we’re back with our final two installments of InfoComm 2016 coverage. We’re finally to the good stuff—Audio! We have some electronics today and speakers next time.
Symetrix Solus is Back
A while back, Symetrix killed off the Solus line, which was a little sad. But it’s back now, and with two more letters. The Solus NX 4x4, 8x8 and 16x8 will be available soon and will feature all analog inputs and outputs. The count will match the product names—what a concept! The nice thing about the Solus NX line is that it’s now configurable in Composer, and is fully open DSP. Some installations don’t need Dante, and there’s no sense paying for what you don’t need.
They also showed a cool new interface builder as part of Composer which will make it easier than ever to do web-based custom controllers for the full line of DSPs. Composer is currently at version 5.1 and 5.2 is coming soon with even more third-party Dante devices available for control. Personally, I was hoping for control of the Atterotech DIO3, and I got it. Though to be fair, Atterotech finally updated their software, too, so I don’t have to use their terrible Unify software any more.
Symetrix showed the new ARC-3 control last year, and it’s been shipping for a while. This is a great little control for times when you need more than buttons and pots. The display is very crisp and easy to read and should prove to be a powerful control.
Yamaha CL 4.0
There is no denying that the CL consoles (and QLs for that matter) have been hugely successful. And Yamaha continues to do what Yamaha does; roll out new features that make our lives better. We got to see v. 4 software at the show and while there are a ton of new features, the big ones for me are these: If you have Shure ULXD4D and ULXD4Q wireless systems in your Dante network, you can now see receiver gain, mute, frequency, diversity, battery, RF strength, and audio level right on the console. How great will it be to monitor the pastor’s battery level right from his channel strip? They also included new EQ models, which look very cool. I’ll have to hear them to give you a full run down, but I like what I see. A new four-band multi band comp is now available as well. The new version of stage mix allows for up to 10 iOS devices to connect to a single console for monitor mixing, which will be a huge boon to churches with limited budgets and stage space. There are some other enhancements, but those are the big ones. Personally, the ULX-D integration is enough for me to upgrade, but I’m a big fan of multi-band comps, so I’m looking forward to trying it out this summer.
As audio becomes more networked, I think we’ll see more of this type of integration. While networking has its drawbacks, these are some of the big wins we can expect as everything ties together.
Next time, we’ll preview some new speakers that continue to make it easier and more affordable to get great audio.