Historic Macon Foundation Pop up Public Speak-easy 2017

Caleb coming at you. I want to take the time to shout out to Emily Hopkins at The Historic Macon Foundation and all the other people that helped make this event possible. They do an incredible job keeping Macon preserved and attached to its roots.

It was a new experience for myself. Almost like a pop house party hosted inside the Newman Building. It came complete with music, food, drinks and an inside scoop on city plans for renovation to our beautiful Downtown area. 

I also want to give a shout out to Eric Hubbard and his wonderfully smooth and groovy band, The Untitled Vibes. Check out our booking section if any one is interested. I'm telling you people, those guys are going to blow up! 

Bonnaroo 2017

What's up everybody, this is Caleb checking in. I just got back a couple days ago from the 15th annual Bonnaroo Music and Arts Festival in Manchester Tennessee and I must say, it was truly an incredible experience to take part in.

Main stage at Bonnaroo had 6 individual sets of line arrays, almost 130 speakers alone for one stage. Don't worry though, if that doesn't get your attention, the 60ft tall, 200ft wide digital display back drop may catch your eye.    

Its a unique feeling when your surrounded by 40,000 people all grooving to the same music. So many great artist's performing and displaying beautiful pieces of art and you know they had some ballin' food selections. We cant wait to see you again next year Roo!    

An Introduction

I didn’t really think about introducing myself until George, my boss and half owner of Macon Productions, said to me, “Caleb you need to make the blogs more personal”. So with that said, my name is Caleb and I work for Macon Productions as a “whatever they need” kind of guy. I’m going to be posting blogs just about every day now just to give people an insight to what we’re doing and to tell you guys a little about me. I thought since I’m introducing my-self, I would introduce YOU (whoever you are) to the world of…..wait for it….Audio Engineer and Sound Reinforcement. Now don’t be alarmed, you may not know exactly what that is but that’s okay. The truth is, I just started working for Macon Productions and honestly don’t know too much past the basics about it all either. But that’s okay, were going to take this journey together.

For my first lesson, we are going talk briefly about the history of the PA. Most people think that PA stands for Professional Audio but it in fact does not. PA is an abbreviation for Public Address. So in my opinion, I look at a PA as more of an event and the PA system (sound reinforcement) is where the equipment that gives you power and volume comes in to play. The basic principles for the PA have been around since 20BC when Vitruvius first explored architectural acoustics but there were some things that needed to be thought of and invented before the first PA system could be built. To start, there was the invention of the carbon microphone in 1875 by David Edward Hughes. It wasn’t until 23 years later in 1898 that first Loudspeaker was invented by Oliver Lodge. Although there was a microphone and a speaker, there was nothing to amplify the sound coming out of the speaker so Oliver used a flared Horn to project sound. Finally, the last piece of the PA puzzle came together in 1906 when Lee DeForest invented the Audion, the first device capable of amplifying an electrical signal. Once these key inventions became available, different people started piecing them together and started experimenting with new and fascinating sound reproduction and amplification. The first documented use of a PA system was documented on December 24th, 1915 at San Francisco City Hall when “Jensen and Pirdhams Magnavox" system was publically demonstrated. The Event was a Christmas carol concert with an address by the mayor to almost or more than 100,000 people. It’s crazy to think about how far technology has come in such a short time. Just in a century and a half we’ve gone from riding horses everywhere to having computers the size of a wristwatch.

Well, that’s all for today’s discovery.

Caleb out

Our Trip to MMI Rental and RiTE Media Group

Last Tuesday we had the privilege to go up to the beautiful city of Atlanta Georgia and take a very insightful tour of some pretty cool places. MMI is one of the largest audio/visual rental providers in the country and Seeing how they run business from a day to day basis has definitely given us some ideas on how to improve service to our customers and make things a little easier on us at the warehouse. Being in the presence of that much equipment gives you a subtle feeling of being overwhelmed. In a good way of course. Its incredible to see what all they have collected of 40+ years of being the best in the bus. There is alot to learn from our buddy Tom McCampbell and all the guys at MMI

However, That's not all we got to see. We were also able to run over to RiTE Media Group and check out what goes on behind the scenes of one of the leading Film/Commercial companies in the world. As soon as you turn the fist corner, there is a two million dollar robot staring you in the face. These guys really know the meaning of patience. Taking 8-12 hours for a minuet and thirty long video can be pretty tedious. Nevertheless, the folks at RiTE Media are on top of the game. Thank you to Sam Green for the tour.

We appreciate both companies taking time out of their day to help show us how to be the best that we can. It was a great experience and we look forward to more learning and growth.        

Earth Day 2017

Another great occasion celebrated with the people of Macon, Ga! We had an awesome time hanging out with everybody in Tattnall Square Park and had the pleasure to be entertained by Dean Brown, a local Regge artist. Needless to say, the mood was set and it was quite a day to enjoy. So many great local organizations like The Pixel Fund, Thrifting Middle Georgia, The Museum of Arts & Sciences, and many more, were there to show support as well. We look forward to, and can't wait for Earth Day 2018!

                                                                                                                        -Caleb out

Bearstock 2017

We had an incredible time running sound for so many great acts at Bearstock 2017! Everyone was incredible and its always nice to see so many people supporting their local music scene. And to mention, there could not have been better weather for the event. The setup was a little different from previous years however, without change we may not have been able to take part in such a big event for the students of Mercer and the people of Macon Georgia. With another notch in our post, we look forward to the next event!  

Everything you need to know about EQ

The reason we decided for this to be our first blog post, is because we feel that this is the most important aspect of audio. Master these settings and no matter what speakers or microphones you use, you can obtain great mixes live or in the studio. Enjoy!

Eq Settings General:

20 Hz and below - impossible to detect, remove as it only adds unnecessary energy to the total sound, thereby most probably holding down the overall volume of the track
60 Hz and below - sub bass (feel only)
80(-100) Hz - feel AND hear bass

100-120 Hz - the "club sound system punch" resides here
200 Hz and below - bottom
250 Hz - notch filter here can add thump to a kick drum 150-400 Hz - boxiness 200 Hz-1.5 KHz - punch, fatness, impact 800 Hz-4 KHz - edge, clarity, harshness, defines timbre

4500 Hz - extremely tiring to the ears, add a slight notch here
5-7 KHz - de-essing is done here
4-9 KHz - brightness, presence, definition, sibilance, high frequency distortion
6-15 KHz - air and presence
9-15 KHz - adding will give sparkle, shimmer, bring out details - cutting will smooth out harshness and darken the mix

Kicks:

60Hz with a Q of 1.4 -- Add fullness to kicks. 5Khz with a Q of 2.8 -- Ads attack to Kicks Bottom (60 - 80 Hz),
Slap (4 kHz)

EQ>Cut below 80Hz to remove rumble
Boost between 80 -125 Hz for bass
Boost between 3 - 5kHz
To get the slap PROCESSING> Compression 4:1/6:1 slow attack med release. Reverb: Tight room reverb (0.1-0.2ms)

General:

Apply a little cut at 300Hz and some boost between 40Hz and 80Hz Control The Attack: Apply boost or cut around 4KHz to 6KHz. Treat Muddiness: Apply cut somewhere in the 100Hz to 500Hz range. Kick>> bottom depth at 60 - 80 Hz, slap attack at 2.5Hz

Snares:

100Hz with a Q of 1.0 -- Add fullness to snare
200Hz - 250Hz with a Q of 1.4 -- Ads wood to snares
3Khz with a Q of 1.4 -- Ads attack to snare.
7Khz with a Q of 2.8 -- Adds Sharpness to snares and percussion
Fatness
at 120-240Hz
Boing at 400Hz
Crispness at 5kHz
Snap at 10kHz
Fatness (240 Hz), crispness (5 kHz) EQ> Boost above 2kHz for that crisp edge

Cut at 1kHz to get rid of the sharp peak
Boost at 125Hz for a full snare sound
Cut at 80Hz to remove rumble
PROCESSING> Compression 4:1 slow attack med release. Reverb: Tight room reverb (0.1- 0.2ms)snare>> fatness at 240HZ, crispness at 5 KHz

Vocals

General:
Roll off below
60Hz using a High Pass Filter. This range is unlikely to contain anything useful, so you may as well reduce the noise the track contributes to the mix.
Treat Harsh Vocals: To soften vocals apply cut in a narrow bandwidth somewhere in the 2.5KHz to 4KHz range.
Get An Open Sound:
Apply a gentle boost above
6KHz using a shelving filter.
Get Brightness, Not Harshness:
Apply a gentle boost using a wide-band Band pass Filter above
6KHz. Use the
Sweep control to sweep the frequencies to get it right.

Get Smoothness:
Apply some cut in a narrow band in the
1KHz to 2KHz range.
Bring Out The Bass:
Apply some boost in a reasonably narrow band somewhere in the
200Hz to 600Hz
Range
Radio Vocal Effect:
Apply some cut at the High Frequencies, lots of boost about
1.5KHz and lots of cut below 700Hz.
Telephone Effect: Apply lots of compression pre EQ, and a little analogue distortion by turning up the input gain. Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.
Vocals>>
fullness at 120 Hz, boominess at 200 - 240 Hz, presence at 5 kHz, sibilance at 7.5 - 10 kHz

Hats:

10Khz with a Q of 1.0 - Ads brightness to hats and cymbals Hi Hat & Cymbals: sizzle (7.5 - 10 kHz), clank (200 Hz) EQ> Boost above 5kHz for sharp sparkle
Cut at
1kHz to remove jangling

PROCESSING> Compression use high ratio for high-energy feel
Reverb: Looser than Bass n Snare allow the hats and especially the Rides to ring a little
Get Definition:
Roll off everything below
600Hz using a High Pass Filter.
Get Sizzle:
Apply boost at
10KHz using a Band Pass Filter.
Adjust the bandwidth to get the sound right.

Treat Clangy Hats:
Apply some cut between
1KHz and 4KHz
Hi Hats/cymbals>> clank or gong sound at 200 Hz, shimmer at 7.5 kHz - 12 kHz

Guitar:

Treat Unclear Vocals:
Apply some cut to the guitar between
1KHz and 5KHz to bring the vocals to the front of the mix.
General:
Apply a little boost between
100Hz and 250Hz and again between 10KHz and12KHz. Acoustic Guitar
Add Sparkle: Try some gentle boost at 10KHz using a Band Pass Filter with a medium bandwidth. General: Try applying some mid-range cut to the rhythm section to make vocals and other instruments more clearly heard.
Other: Voice: presence (
5 kHz), sibilance (7.5 - 10 kHz), boominess (200 - 240 kHz), fullness (120 Hz)
Electric Guitar:
fullness (240 Hz), bite ( 2.5 kHz ), air / sizzle (8 kHz)
Bass Guitar: bottom (
60 - 80 Hz), attack (700 - 1000 Hz), string noise (2.5 kHz)
Toms: attack (
5 kHz), fullness (120 - 240 Hz)
Acoustic Guitar:
harshness / bite ( 2 kHz ), boominess (120 - 200 Hz), cut (7 -10 kHz) Bass - Compressed, EQ'd with a full bottom end and some mids
Rack toms >>
fullness at 240 Hz, attack at 5 kHz
Floor toms> > fullness at 80 - 120 Hz, attack at 5 kHz
Horns >> fullness at 120 - 240 Hz, shrill at 5 - 7.5 kHz
Strings >> fullness at 240 Hz, scratchiness at 7.5 - 10 kHz
Conga/bongo >> resonance at 200 - 240 Hz, slap at 5 kHz

General Frequencies:

EQ Reference: Frequencies 50Hz
Boost: To thicken up bass drums and sub-bass parts.
Cut: Below this frequency on all vocal tracks. This should reduce the effect of any microphone 'pops'.
70-100Hz
Boost: For bass lines and bass drums.
Cut: For vocals.
General: Be wary of boosting the bass of too many tracks. Low frequency sounds are particularly vulnerable to phase cancellation between sounds of similar frequency. This can result in a net 'cut of the bass frequencies.

200-400Hz
Boost: To add warmth to vocals or to thicken a guitar sound.
Cut: To bring more clarity to vocals or to thin cymbals and higher frequency percussion. Boost or Cut: to control the 'woody' sound of a snare.
400-800Hz
Boost: To add warmth to toms.
Boost or Cut: To control bass clarity, or to thicken or thin guitar sounds. General: In can be worthwhile applying cut to some of the instruments in the mix to bring more clarity to the bass within the overall mix.
800Hz-1KHz
Boost: To thicken vocal tracks. At 1 KHz apply boost to add a knock to a bassdrum.1-3KHz

Boost: To make a piano more aggressive. Applying boost between 1KHz and 5KHzwill also make guitars and baselines more cutting.
Cut: Apply cut between
2 KHz and 3KHz to smooth a harsh sounding vocal part.

General:

This frequency range is often used to make instruments stand out in a mix. 3-6KHz Boost: For a more 'plucked' sounding bass part. Apply boost at around 6KHz to add some definition to vocal parts and distorted guitars.
Cut: Apply cut at about
3KHz to remove the hard edge of piercing vocals. Apply cut between 5KHZ and 6KHz to dull down some parts in a mix. 6-10KHz
Boost: To sweeten vocals. The higher the frequency you boost the more’ airy/breathy' the result will be. Also boost to add definition to the sound of acoustic guitars or to add edge to synth sounds or strings or to enhance the sound of a variety of percussion sounds. For example boost this range to: Bring out cymbals. Add ring to a snare
Add edge to a bass drum.
10-16KHz
Boost: To make vocals more 'airy' or for crisp cymbals and percussion. Also boost this frequency to add sparkle to pads, but only if the frequency is present in the original sound, otherwise you will just be adding hiss to the recording.

 

Created by: GEORGE L. MURRAY II

Question?

Call 770-378-7938 or Email lawerymurray@gmail.com