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Welcome to the second issue of our new
e-mail newsletter, designed to help you get the maximum benefits from using
Sabine products. Please feel free to reply and make a suggestion, or ask for a
specific topic to be covered. Or if you would like to receive the SABINE-zine, reply with the word “Subscribe” in the subject line of your
email.
News
Sabine FBX & Miami DJs Spin without
Feedback
DJ system designer/builder extraordinaire Terry McNeil wants
maximum headroom and clarity with no feedback or distortion
— and for that, he uses Sabine’s FBX Feedback Exterminators®.
“A lot of guys who do these festivals and parties don’t
know about Sabine,” states McNeil. “They’re
busy doing different things trying to get rid of the feedback,
and I tell them you gotta try Sabine
FBX®,” he continues.
McNeil designs and manages large outdoor
electronic music festivals, as well as consults on nightclub installations and
upgrades.
“Basically, I am bridging the gap between the big festival and the
nightclubs," states McNeil, "...and with that comes a lot of issues
with feedback, specifically with turntable feedback because the music that is
coming out now is really bass heavy.”
| “Rather
than using a 31-band EQ and notching out all the
sound, I keep the headroom and clarity to a maximum
using Sabine’s FBX-2020Plus
and FBX-SOLO
and they work great! Terry
McNeil |
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 FBX gets it crisp,
clear & loud at ZetaFest 2000 |
McNeil cites the increased size and power of today’s sound systems as the
reason for feedback problems. “You combine a big sound system with some
bass-heavy music, and you’re in for a wave of bass that will roll across
the turntable headshell and blast the room with feedback,” states McNeil.
McNeil's company, Futuristic
Entertainment Technologies, Inc., has designed and run
sound for several large-scale music festivals and arena shows
in the South Florida area. These include Cyber Fest; three
years of Ultra Beach, ULTRA 2000 and ULTRA3 Electronic Music
Festivals; two years of the Powerhouse arena shows; and two
years of "Intergalactic Beats" at ZetaFest. Click
here to read more...
PowerUsers
Sabine technology helps PACE Sound & Light, Inc.
keep America's Community Bankers Conference clear, crisp and
intelligible
Sabine digital processing keeps
the audio for the America's Community Bankers Conference as
clear and crisp as a new twenty-dollar bill. The event, held
in Orlando, Florida, uses Sabine multi-function processors
to maximum effect. PACE Sound & Light, Inc.
(Jefferson, Louisiana) handles the audio portion of the production.
The PACE audio rack is a veritable Sabine showcase packing two Sabine
Power-Q™ workstations, a Real-Q™ Real-Time Adaptive Equalizer, two
FBX-2020P Feedback Exterminators®, a DQX-206™ Digital Delay
and an SDA-102™ Digital Delay on top for the operator's cue
monitors.
| "I would not hit the
bypass button on a Sabine for anything because when a Sabine unit is on the
job, it works perfectly." |
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 Dave Klutz & his
favorite Sabine gear
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| What's in the "Sabine Rack" |
1. Sabine SDA-102
Digital Delay (for Dave's Cue Monitor)
2. Sabine REAL-Q Real-Time Adaptive Equalizer
3. Sabine POWER-Q with front panel display |
4. Two Sabine
FBX-2020P Feedback Exterminators®
5. Sabine DQX-206 Digital Delay
6. Sabine POWER-Q with computer Remote Control |
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PACE senior sound engineer Dave Klutz says he
"won't go anywhere without his Sabine rack." PACE has run sound for
U.S. presidents, the Pope and for innumerable conferences, conventions and
concerts. And wherever PACE goes, Sabine digital technology goes too. "I
would not hit the bypass button on a Sabine for anything," asserts Klutz,
"because when a Sabine unit is on the job, it works perfectly.
According to Klutz, durability and design are important when
equipment spends a lot of time packed up inside a tractor-trailer,
bouncing down the road. "Sabine equipment is built to
last," Klutz insists. "Everything is really well
thought out," says Klutz. "There must be a lot of
guys at Sabine who are like me — who have been on the
road working sound. It's great equipment and I swear by it."
Click
here to read more...
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Q-Tips
Delaying Stage Monitors to get that “sweet
spot” for the performer
Problem: The on-stage monitors may sound great during setup, but when
the house speakers and stage side fills come on, you will often hear the artist
complain that the mix sounds "muddy," or "undefined," or
"what happened?" So you reach over to the graphic EQ and do your best
to "fix" it, but you can't quite satisfy that singer.
What's going on? The problem is not a matter of equalization — it is a
matter of time. The sounds from the combined speaker systems arrive at the
performer's ears at different times, causing a problem that cannot be fixed
using an EQ.
Solution: The fix is easy. Using a digital delay, such as the one built
into Sabine's Graphi-Q, time align the signals from the two different speakers.
By delaying the signal to the floor wedges, sounds from the competing speaker
systems arrive at the singer at the same time. Obviously, the geometry will not
allow us to exactly synchronize every location on stage, but we can build what
veteran FOH engineer Mark Frink calls a “sweet spot” for the
performer.
To do this, first consider the type audio program. For spoken word, you will
produce the best intelligibility if the signals from the monitor speakers
arrive within 10 msec. of the signals from the house or side fills. You can
allow a little more delay for programs that are mostly music.
You can calculate the delay times using the standard formula (check our link
below), or you can measure the distance between the speakers and use that as a
rough guide (one foot of distance is pretty close to 1 millisecond of delay),
or you can simply adjust the delay until you hear that "sweet spot"
for yourself.
Click here for a complete look at using delays
as problem solvers in your sound system. |
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