Pro Sound Web: One of my first jobs in the pro audio business was to make cables, do simple repairs and be a general “tech” at the USC film school audio department. I was one of those destitute students who asked around about “anything I could get” in terms of work. And this was it.
It was a good experience for a number of reasons, foremost of which was that THX guru Tomlinson Holman was one of the main teachers at the film school, and he was often around the department. I had taken a class from him and knew who he was.
4 comments:
While this isn't the most clearly written article, the author does make some good points about system design, and how a good speaker system is put together with the intent in mind. It's true that no system can save you from bad content (whether that is a band, effects, you name it), but good content can be made so much better when it comes through a system that is tailored to its needs. If you're trying to make it sound like the recording, you are going to mix differently than if you are just balancing a live act with no reference or guidelines. Neither one is wrong, but they merit being treated as two separate approaches, and this extends through from initial designs to how you EQ to which faders you really bump up when you're live.
I also think that this article raises a few good points. The whole point of being a sound designer or technician is to have a specific intent in mind and to tailor that intent to what you want the audience to hear. Sometimes that means it is solely up to you, and other times that means it is up to the artist for how they want to be heard. A good system spawns from a well though out plan, in which you clearly understand what exactly you want to happen, all the way from which microphones you are going to use, and why, to where you are going to place your speakers and at what angle will they rest. Sound design is an important aspect of live entertainment and it is equally important that the designer knows that they want before that design can be realized.
I think that the content of this article raises many good points based around the conclusion that it is all about the intent of the mix that dictates between how you might reinforce, reproduce, or produce. In order for you to build your system you have to know this intent before going into your show. As explained in this article this intent will have everything to do with the equipment you pick out, from the microphones to the processing, and even to your speakers and mixing console. With many situations you will be able to decide the approach that you want to take but there are some situations where the artist will decide what they want and you have to plan for that (after all they are the reason why you have a job in the first place).
I think the title of this article is an interesting characteristic in design sound itself. I feel that a good system can reinforce and reproduce. As the article states it is necessary to think of how the system will work. What is the goal and your intentions? Every designer and technician, regardless of just sound, should be thinking of this when they work. Flexibility in addition to your intention is something I feel will always allow you the best possible outcome. What will you do to make a system that is flexible and accomplishes your goal.
Post a Comment