Which mic is best for your event?

Comparing Lav vs Headworn and Omni vs Directional Mics

At TC Furlong Inc., we handle a significant number of wireless microphone system quotes for rental and purchase. Along with each of these, we typically walk customers through the myriad of choices including price points, sensitivity, attachment options, brands, antennas, etc.

Two of the biggest questions for customers when assembling a bodypack worn wireless system is “Lavalier or Headset” followed by “Omnidirectional or Directional.” Most of the time, the decision is not cut and dry, and each has their special application. Below is an explanation of how we typically work through the process, but first, here are some definitions:

Definitions

Lavalier Mics

Also known as “Lavs.” These are small (miniature) mics that often clip to a lapel, tie, or other piece of clothing. The goal with these is to be small and discreet. They commonly come in two colors, black and beige. The Black is often used for clipping to clothing and the beige is often used in theatrical settings. Because they are small, they can also be attached to an actor’s wigs or within scenery for certain theatrical applications.

Headworn Mics

These mics, also known as headset or earset mics, have similar capsules to lavaliers but are attached to a boom and are designed to be worn around the head. This form factor allows the capsules to be positioned as close to the users mouth as possible. The typically come with single-ear or dual-ear attachments and are available in a palette of colors to approximate skin tones.

Omnidirectional

This mic will pick up audio sources (ie. the presenter) from all directions. They have little to no “handling noise” (the incidental sounds of a mic cable brushing up against the presenter). They also have the most “natural” sound. That is, they reproduce the sound the most accurately, are not susceptible to wind noise, and are not as sensitive to positioning. On the downside, they are more prone to feedback and can easily pick up unwanted or environmental noise.

Directional

This mic will pick up audio sources only in one direction. These come in several forms, but most often they have the pickup pattern of “cardioid” or “hyper-cardioid”. While these mics are great for rejecting unwanted environmental sound (ie. crowd noise), they are more vulnerable to handling noise and wind (including the popping sounds of P’s or even breath sounds). They must be positioned carefully and are sensitive to changes in position of the mic relative to the source.

Which mic is best for you?

Lav vs. Headworn

Our typical recommendation for live sound applications is a headworn microphone. It has the ability to be placed close to the mouth in a static position and allows users to achieve the most consistent sound of a presenter. The headworn does require more adjustments to position correctly, but once it is placed, the consistency you achieve will be worth it. This is not only great for seasoned veterans in the industry but also for church volunteers.

Often the amount of physical activity of the presenter will direct your decision for a dual-ear or single-ear attachment. A dual-ear, headset model tends to stay in place better while the presenter walks (or dances) around a stage. With the single-ear, earset version, you will find most people will use a small piece of medical tape to help secure it.

If the presenter isn’t comfortable with a headset or prefers that the mic be more discreet, the lav might be the better option. Placement with these can be just as challenging to get right and often it boils down to the particular clothing the presenter is wearing. For instance, some low-cut dresses can be challenging to find a functional placement.

One of the plus sides to the lav is the ease and quickness that you can place it. If you have multiple presenters but only one lav, the changeover can be much quicker than a headset. The downside of a lavalier placed on a presenter’s chest is that audio levels will vary as the user moves their head.

In the end, it does come down to a compromise between aesthetics and engineering, so when making the decision, it is worth weighing the preferences of the presenter with the technical requirements of the production.

Omni vs. Directional

After you have made the decision on a lav or headworn style mic, you will need to decide whether to use an Omni or Directional capsule. Sometimes people make the mistake of thinking directional is always better, but this is not always true.

A good place to start when deciding is to know if there will be any sound reinforcement. If the application is a webcast, video recording, or broadcast, an omni would likely be a great choice. In these cases, there is no fear of feedback or rejection of other sources near the presenter, and the omni capsule will provide an open and natural sound.

Directional mics are best used when you have a ‘less than ideal’ situation and work well in on-stage applications. For instance, directional mics work better for a church or venue with a thrust stage that puts the presenter in front of the PA, or in a very reverberant space with a lot of ambient noise. It is important to keep in mind that placement of a cardioid element is vital and to pay careful attention to which direction the microphone is picking up the audio.

Conclusion

Choosing the right microphone is important to the success of your event. There are hundreds of variations and brands on the market and in our inventory, and these are just some of the factors to consider when making a decision. Our team is happy to discuss in more detail on a case by case basis to help guide you through your rental or purchase decisions.

For questions about the many lavalier and headworn microphone options in our rental stock, contact the rental team at 847-367-9588 or email at rentals@tcfurlong.com.

For questions about purchasing a microphone or wireless system, contact the sales team at 847-367-9588 or email at sales@tcfurlong.com.

 

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Home Recording Equipment

While live events across the world are currently on hold, now is a fantastic time for everyone in our industry to learn new gear, develop new skills, and perhaps finish personal projects that you haven’t had time for until now. Maybe you want to record that podcast you’ve been thinking about for years, or finish laying down those demo tracks from your freshman year of college. 

Many people consider TC Furlong Inc. as only a live sound company, but we also have a deep inventory of recording equipment, including everything from classic mics and analog gear to the latest in state-of-the-art recording interfaces. Although you might only need an SM58 and a basic USB interface to start a podcast, here is a sampling of some of the more interesting gear in our inventory that can help enhance your project:

Microphones

  • Shure SM7B – This classic mic shines on all kinds of vocals but can also be used to close-mic a guitar or bass cabinet with equally impressive results.
  • Electro-Voice RE20 – The RE20 is a legendary mic most often associated with broadcast applications. The mic’s “Variable-D” design virtually eliminates proximity effect.
  • Sennheiser MD421 – One of Sennheiser’s most popular microphones, the MD421 shines on drums and guitar amps.
  • AKG C414-ULS – The C414 is a classic “do-everything” condenser mic. With nine different polar patterns, three different bass-cut filters, and three attenuation settings to choose from, it’s hard to find an application in which the C414 will let you down.
  • Neumann U89i – The Neumann name carries a lot of weight, and the U89 is an excellent entry in their storied product line. Fantastic for vocals and acoustic instruments.

See the full list of wired microphones here.

 Mic Preamps

  • Avalon VT-737SP – This preamp has all the bells and whistles of classic analog studio gear in a modern package: a tube preamp, opto-compressor, sweep equalizer, output level and VU metering all in a compact 2U unit.
  • Drawmer 1960 – A dual-channel mic pre and vacuum tube compressor help smooth out those level spikes before reaching your DAW.
  • Midas XL42 – Two channels of Midas’ famed XL4 preamp and EQ circuitry built into a single rack unit.

 See the full list of microphone preamps here.

 Outboard Equipment Processing

  • Summit Audio DCL-200 – Dual-channel compressor that uses a hybrid circuit design incorporating tubes with 990 op-amps providing smooth, but clean compression. The “Link” feature works great for gluing together a stereo mix.
  • dbx 160X – This single-channel, VCA-style compressor has been an industry standard since its initial release in 1976. It works great on vocals, bass, guitar, kick drum… and pretty much everything.
  • Lexicon PCM 42 and PCM 60 – These classic Digital Delay and Reverb units can help you dial in that classic 80’s plate reverb or slap-echo.
  • Bricasti M7 – With over 200 unique presets, the M7 uses revolutionary new reverb algorithms and the latest in DSP processing to create highly musical sounds.

 See the full list of signal processing equipment here.

Digital Interfaces

  • Rupert Neve Designs RMP-D8 – Eight channels of Rupert Neve preamps in two rack spaces, this unit has mastering grade 24-bit 192kHz converters and full Dante integration.
  • Focusrite Scarlett 18i20 – This interface has 8 mic/line inputs, ADAT and SPDIF connections, 10 line outputs, and 2 independent headphone mixes. USB connections allow for quick and easy connection to Mac or PC.
  • Solid State Logic SSL2 – Just released this year, the SSL2 features two channels of SSL preamps with an optional “4K Legacy mode.” This small interface is great for home overdubs or low-profile on-site recordings.

 See the full list of digital interfaces here.

What we’ve listed above is just a small sampling of the equipment available in our rental stock. If you have any questions about the gear in our stock or would like to set up a rental, give our Rental Team a call at 847-367-9588 or send an email to rentals@tcfurlong.com.

We are also authorized resellers for all the equipment manufacturers in our rental inventory. If you’re interested in purchasing equipment for home recording, get in touch with our Sales Team at 847-367-9588, or sales@tcfurlong.com.

 

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How To: Live Recording with Yamaha CL/QL and Nuendo

by Steve Whittenhall

Live multitrack recording used to be a complicated task, relying on 2- or 3-way splitters and racks of mic preamps and A/D converters.  With the advent of digital mixing consoles and digital audio networking protocols (like Dante), much of this process has been simplified. 

Yamaha CL and QL series consoles have the capability of integrating with the Steinburg Nuendo Live software.  Although the software connects directly to your existing Dante network, the setup is not intuitive.  Here, we will lead you through the basic steps for connecting a Yamaha CL/QL console, RIO inputs, and Nuendo software for a live, multitrack recording setup.

While instructions vary slightly depending on which operating system you are using (Windows or Mac), both will require the same four pieces of software:

  • Dante Virtual Sound Card
  • Dante Controller *
  • Yamaha Console Extension
  • Nuendo Live V1.0 (with security dongle)

* NOTE: This is not a lesson on Dante set-up and Dante Controller.  This tutorial assumes you are familiar with that.

Dante Virtual Soundcard

We will start by getting the Dante Virtual Sound Card (DVS) initiated. When you start up DVS you will get this screen:

For the most part, you don’t need to change anything except for the Audio Channels. We recommend just doing the minimum that you need.  In this example, we are using 32×32.

Once you have selected the channel count, hit “Start”. You can now close or minimize this window.  DVS will continue to run in the background.

Dante Controller

In Dante Controller, be sure to subscribe (check mark) so that the inputs from the RIO (transmitters) are going to the Dante channels of your DVS Computer (Receivers).  You can also record the direct outs of the console.  Just be sure to turn those on!  But usually you will want to record directly off of the pre-amps of the RIO.

CL/QL Integration

In order to allow the channel names and colors to transfer over to Nuendo, you will need to connect the computer to the Nuendo Live recording module on the CL/QL.  This is why you need the Yamaha Console Extension installed on the computer.

On the console, below the metering section on the right-hand side of the screen, click “RECORDER”. On the top right of the screen you will see 2 tabs.  Select the “NUENDO LIVE”   The screen should like this:

Next, select the “NUENDO LIVE SETUP” This will bring up this screen:

On the top, select “DVS”. If your computer is configured correctly for Dante and mounted as a device on your Dante network, you should see it displayed here.  Select your computer and click “OK”.

Nuendo Live

When you launch Nuendo, it will ask you to select a new project or open an existing one. For this tutorial, click “New Project…”.

When that opens, you can click on the gear icon in the upper left-hand corner to get to the settings.

You will want to be sure that the ASIO driver selected under the Audio Systems header is the Dante Virtual Soundcard. We typically leave all the settings as default. (48kHz/24bit).  If everything went as planned, you should see the screen above.  Hit “OK”.

Now from the “Project” menu, select “Add Audio Tracks…”

This is where you can select how many recording tracks you would like.

Select the number you need. In this example, I made 22 tracks.  Then click “OK”.

Next, under the “Project” menu again, select the “Get Track Name/Color from Connected Console”.

Now, if you have labeled your console with color ID tags and channel names before this step, they should all be populated now into your Nuendo Live project!

Now hit the record button!

Trouble-shooting (Mac)

If you have followed all the instruction and you still don’t have audio being recorded on your computer, try the following steps.

On your Mac: Go to System Preferences.  Go to “Security and Privacy”. From there on the last tab, select “Privacy”.

In the menu on the left, select “Microphone”. Make sure that Nuendo Live is checked to allow. 

This is a strange step to remember since you may think it only applies to the built-in microphone of your computer, but it does matter!  Now hopefully you are recording! 

Yamaha’s CL and QL series are powerful consoles, and we hope these instructions help unleash the full multitrack recording capabilities of the desk.  For any questions about this guide, or help troubleshooting your multitrack setup, call us at 847-367-9588.  If you need assistance after business hours, please contact our 24/7 support line at 800-866-3875.

TC Furlong Inc. is an authorized dealer of Yamaha commercial products (including CL/QL consoles and Nuendo) contact our sales team sales@tcfurlong.com. We also maintain a fleet of Yamaha consoles, I/O devices, and interconnect in our well-maintained rental inventory. For a rental quote, contact our rental team at rentals@tcfurlong.com.

Alignment & Design Services

Alignment and design (A&D) should be the foundation on which every loudspeaker system is built, regardless of whether the system is large or small, temporary or a permanent installation. At TC Furlong Inc, our long-time core operating principal “Better Audio by Design” has a corollary: “Better Audio through Alignment”.

Loudspeaker system alignment complements and optimizes the performance of the loudspeaker system much like the balancing of tires and a front-end alignment optimize the benefit of the installation of new tires on your car.  It also maintains a smooth quiet ride and increased gas mileage.

Loudspeaker system design and alignment requires a blend of skilled craft, art, and science.  It demands practical experience, theoretical underpinnings, acute hearing, and prudent use of technology such as coverage prediction and measurements tools.

Our design and alignment team has almost 50 years of combined experience and are on duty and ready to tackle “back burner” projects that keep getting overpowered by a busy schedule. The range of projects we engage in include:

  • Providing a second opinion on an existing design
  • Ground up designs for new or renovated spaces
  • Formulating budgets for future projects
  • Tackling problems in existing rooms
  • Optimizing spaces in existing spaces for when things get back to normal

Email us today at align-design@tcfurlong.com with questions or to schedule a free phone consultation.

Demystify Audio: Party-Line Intercom Systems

Intercom systems are an essential part of live event production, but they are often a misunderstood oddity of the audio production tool kit.  Without intercom, the producer can’t call the show, the director can’t ask the camera op to pan left, and the FOH engineer can’t notify the monitor engineer that they’re switching over to the back-up mic.

Party-line intercom systems are the simplest form of this important solution for live event production communications. Although intercom is not strictly a live sound technology, it most typically falls into the wheelhouse of the audio provider/crew if the show doesn’t warrant a dedicated intercom technician.

In this article, we will discuss the basics of analog, two-wire party-line systems.  Stay tuned for future articles where we will discuss matrix systems, wireless intercom solutions, and the many types of intercom accessories and interfaces.

First, let’s start with some important definitions:

  • Party-line: Also known as a PL or conference line. When someone speaks, everyone can listen.  The best example is a telephone conference call.
  • Two-wire: A term meaning that talk and listen are on the same line. Electrically, there are only two wires needed to make this system work.
  • Simplex: Communication where only one person can talk at a time. A good example is typical two-way radio communication; only one person can key the radio at a time.
  • Full Duplex: Communication where everyone can talk and listen at the same time. Quite convenient in live event production, but can quickly devolve with many users on the same line.
  • Headset: A headphone set with a microphone attached. This is the main way users communicate on intercom systems.  It can have one headphone (single-muff) or two headphones (double-muff), and microphones can come in dynamic or condenser styles.
  • Belt Pack: A portable user station. This can be clipped to a belt or gaff taped onto just about anything! A headset will plug into the belt pack for the user to talk/listen, and an external connection to the intercom system will power the unit. Often, the combination of a belt pack and headset is referred to as a “drop” of intercom.
  • Main Station: A rack-mounted user station unit with the ability to intercommunicate with multiple channels (sometimes called a base station). Most of these have the ability to communicate with a headset or with a built-in speaker and gooseneck microphone.
  • Master Station: A main station that also provides a power supply for the intercom system.
  • Sidetone: A small amount of the microphone feedback to the headphone circuit. This allows the user to hear that they have correctly keyed a channel.
  • Call: Allows user stations to generate and display a visual signal. This can be used to get someone’s attention or to cue a specific event.
  • Wall Panel Station: User stations that can be mounted directly into walls. These typically have built-in speakers for easy communication with backstage areas like dressing rooms.
  • Wet / Dry: A term used to denote whether a two-wire XLR line carries power on it (wet) or has been stripped of power to only include audio (dry).

Clear-Com and RTS Two-Wire Systems

While there are many brands of two-wire party-line systems, there are two major styles of wiring conformity that you are likely to see on a show-site: Clear-Com and RTS.  Clear-Com style systems are used in many theatrical and rock-n-roll productions, while RTS style systems are used for AV and broadcast applications.

Both styles of two-wire party-line use standard microphone interconnect cable with 3-pin XLR connectors, but they are not natively compatible with each other.  Clear-Com style systems have separate lines for power, audio, and ground conductors, and will only have a single channel of duplex party-line audio.  RTS style systems have a conductor with power and audio, a conductor with just audio, and a ground, so they are able to squeeze two channels of duplex party-line audio on a 3-pin XLR connection. See the wiring diagram below.

Both of these systems rely on a distributed amplifier model.  Within each user station is a tiny mixer circuit that brings in the external signal and adds the user’s microphone with a special echo cancellation circuit.  Typical user station controls include a listening volume adjustment for the channel, a talk button, and a call button to signal other users.  More advanced user stations allow for control of sidetone adjustment, and a control to set the action of the talk button to be latching (push to talk, then push again to disengage) or non-latching (talk only while the button is being pressed).

Because both of these systems use a distributed amplifier model, there is no directionality in the wiring connections.  In fact, connections can be split with y-cables or adapted with XLR turnarounds without any loss to the intercom signal.  This allows for simple scalability of two-wire systems for larger topologies.  Here is an example of a small theatre party-line Clear-Com system that uses a combination of master stations, belt packs, and wall panel stations.

Limitations of Analog Party-Line Systems

Party-line systems are great for helping to coordinate a production team, but they do have their downsides. An inherent drawback of party-line is the lack of private communication.  If the producer needs to have a conversation with a spot operator, it will tie up the line for any other communications.  Additionally, there are length limitations for extremely long runs of XLR and having users being tethered to an XLR line can be difficult (for instance, a stage manager that might be moving around in a backstage wing).

Lastly, interconnecting between different brands of two-wire systems, between two-wire and matrix, or two-wire and wireless systems will always involve special kinds of interfaces, adapters, and a certain amount of black magic (we’ll dive into this more in future articles). While these limitations exist for wired, party-line systems, there are solutions that address the issues of private communication and mobility that we will talk about in future articles.

Conclusion

Intercom is an essential service of the live event industry.  Two-wire party-line systems are an easy and simple solution for event production communications, and work especially well with smaller crews.  They are fairly low-cost to purchase and relatively easy to integrate, and widely available as rental systems.

The limitations of two-wire wired systems related to complexity, private channels, and mobility have created an environment for matrix intercom, wireless systems, and intercom over digital transport that will be addressed in future articles in our demystifying series.  Stay tuned!

For questions about designing a party-line intercom systems or a quote on two-wire system components, contact the Sales Team at sales@tcfurlong.com.  For questions regarding intercom items in our rental stock, contact the Rental Team at rentals@tcfurlong.com.

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