Demystify: Field Audio Equipment

Field audio is a broad category which includes any variety of audio production that takes place outside of a formal studio or performance venue. Field audio covers a broad range of disciplines, from recordists capturing the ambient sound of an area, to technicians working on live news broadcasts, to production sound engineers working on large film or TV shoots. Engineers in field audio often work hand in hand with camera operators and video technicians, with the complexity of a production ranging from a single-camera shoot, to a multi-camera setup with a TV truck.

Those in the traditional live sound or studio worlds often regard field audio as something of a mystery, but of course the same basic principles of capturing good sound still apply. In this article, we’ll do a basic exploration of the equipment used to capture audio in the field.

Microphones

Just like in any other corner of the audio production industry, using the right microphones to capture sound at the source is essential in field audio. Depending on the type of production, a variety of different types of microphones can be used. Handheld mics are a favorite in the TV news industry for journalists filing reports “on the ground.” An omnidirectional handheld might be used when interviewing a subject, while a cardioid option can be a better option in noisy environments.

Lavalier mics are often used when the subjects being filmed need to be able to use their hands, or when a microphone needs to be less visually obtrusive than a handheld. Due to the unpredictable weather conditions often involved in field audio, a dust and water-resistant model might be the best option.

Finally, we come to the type of microphone most often associated with field audio: the shotgun mic. Shotgun mics usually have a supercardioid or hypercardioid polar pattern, making them ideal for capturing the desired sound while rejecting off-axis noise in a loud environment. Many shotgun mics are made to be mounted directly to a camera, while others can be mounted on a handheld boom to get the mic as close to the source as possible without entering the camera shot.

Wireless Systems

Regardless of the types of microphones being utilized, they will almost always be used with a portable wireless system. Cables can be unwieldy and visually distracting in the field, making wireless audio transmission an imperative on many shoots. A traditional rackmount wireless receiver is often impractical, so companies like Lectrosonics and Sennheiser offer portable battery-powered receivers, some of which are designed to be mounted directly to cameras. Plug-on transmitters are often used with handheld mics, and traditional beltpacks are used when the talent is using a lavalier mic.

Field Mixers and Recorders

A solid field mixer/recorder is the last link in the chain to capture audio in the field. Portable mixer-recorders are often powered by rechargeable batteries, and record to an internal SSD or SD cards. The most basic options available are handheld recorders, which often feature a built-in pair of condenser mics for stereo recording, and two or more XLR inputs to capture additional sources. Handheld recorders are a popular choice for ambient recording applications, or for basic interviews. 

A more robust option are multi-channel field mixers. Modern field mixers share many of the same features you’d expect to see on a modern digital console, including high quality microphone preamps, parametric EQ’s, compressors, multiple mix busses, etc. Higher end models can even come standard with Dante I/O and Dugan automixing. Products from Sound Devices, a manufacturer based in Wisconsin, have long been regarded as some of the industry standards for field mixers.

Conclusion

While some specialist equipment and know-how is required, the same principles used in audio production for the stage or studio also apply in the field. If you have questions about the equipment used in field audio applications, or would like to request a quote, reach out to our Sales Team at sales@tcfurlong.com or call 847-367-9588. We are longstanding dealers for all the manufacturers mentioned in this article, along with all major professional audio manufacturers.

We also carry equipment from many of these manufacturers in our extensive rental inventory. To request a rental quote, contact our Rental Team at rentals@tcfurlong.com or 847-367-9588.

 

New in Rentals: Meyer Sound ULTRA-X20

We recently expanded our inventory of Meyer Sound loudspeakers with the addition of the ULTRA-X20. The newest addition to the Meyer’s ULTRA series, the ULTRA-X20 is a compact point source loudspeaker with the same level of versatility as its larger counterpart, the ULTRA-X40.

Like Meyer’s other ULTRA-X loudspeakers, the ULTRA-X20 utilizes two cone drivers and a compression driver in a concentric configuration. The X20 employs 5-inch cone drivers, compared to the 8-inch drivers found on the ULTRA-X40, allowing for an even lighter and more compact trapezoidal point source box. The ULTRA-X20 measures 7.5 inches wide by 19.04 inches high by 8.6 inches deep, and only weighs 27 pounds. All told, the ULTRA-X20 is similar in weight and dimensions to the legacy UPJunior, while delivering better headroom and frequency response.

While the ULTRA-X20 is small, Meyer’s engineers certainly didn’t make any sacrifices in performance when designing this loudspeaker. The X20 is capable of producing a linear peak SPL of 127dB, with a frequency response reaching down to 65Hz, all with the phase and frequency coherence that Meyer has long been renowned for. The X20 is more than capable of acting as the main PA speaker in a compact system for a small room, or as a fill in a larger system.

The ULTRA-X20 has two M8 rigging points on each end, as well as four M6 threaded holes on the rear of the enclosure, allowing for a wide variety of rigging options to fit the unique needs of your next show. The X20 also features a rotatable horn with a 110° x 50°coverage pattern, allowing for flexible deployment in a variety of configurations. Meyer’s product line also includes the ULTRA-X22 and ULTRA-X23, featuring 80° x 50° and 110° x 110° coverage patterns respectively.

If you’re interested in renting the Meyer Sound ULTRA-X20, or anything else from our comprehensive rental inventory, get in touch with one of our Project Managers at 847-367-9588 or rentals@tcfurlong.com

TC Furlong Inc. is also a longstanding Meyer sales dealer. Contact our Sales Team at 847-367-9588 or sales@tcfurlong.com for a purchase quote on the ULTRA-X20, or products from any of the other manufacturers on our line card.

Four Tips for Meyer Sound’s MAPP 3D

MAPP 3D is latest evolution of Meyer Sound’s Multi Acoustic Prediction Program that launched over 20 years. The newest edition of the free loudspeaker system design and prediction tool adds 3D modeling and prediction to the already powerful legacy of design tools. We gave an introduction to the software in a previous blog, but we wanted to share some of our favorite tips and features to improve workflow.

Our project managers and sales engineers regularly use the proven and essential tools in MAPP 3D as part of our “Better Audio by Design” philosophy of creating custom tailored solutions for every project. Whether deciding the necessary height and down-angle for point-source speakers in small ballrooms, or complex outdoor multi-zone systems, the tools in MAPP 3D are scalable for any design.

One major advantage of the MAPP 3D workflow is the availability of all of the necessary design tools on a single screen. The Model View tab gives you quick access to several virtual camera angles, and the Object and Processor settings are just a click away to modify loudspeakers, microphones, and other objects in your design. Lastly, the Measurement View displays broadband response and maximum acoustic output, including transfer functions based on room and processing interactions.

Here are some of our tips to get the most out of your MAPP 3D user experience.

1) Import your drawings

While MAPP 3D includes a pallet of tools to create three dimensional drawings, it also has the ability to import existing 3D drawings into the software, allowing significant time and cost savings for building complex venues within the software. MAPP 3D supports the importing 2D and 3D AutoCAD (DXF) and 3D Sketchup (SKP) files. While importing SKP files is fairly straightforward, Meyer Sound does have some suggestions for preparing DXF files before importing (read more about them here).

Once in MAPP 3D, users can turn layers on and off from your imported venue. At this point, prediction planes will still need to be assigned, but tools like “snapping” allow for easy addition of prediction plane geometry directly to the imported files.

A bonus tip is to always verify the scale of the model after it has been imported by using the Distance Tape Measure tool. Accuracy of the venue model is essential when designing a sound system for a given space.

2) Download updated speaker data

Meyer Sound has worked to meticulously catalog their loudspeaker data, and each 3D loudspeaker performance is based on more than 65,000 three-dimensional measurement points taken in 1/48th octave resolution in Meyer’s own anechoic chamber in Berkeley, California. All of that data is available for download through the HELP > CHECK FOR UPDATES menu.

It is worth noting that the initial installation of the MAPP 3D software only includes a limited pool of loudspeakers to add to a design, and this is the menu where users will choose additional speakers to download to your computer. Meyer Sound has continued to update the available loudspeaker data, including support for legacy models and additional array configurations for select point source boxes.

3) Take full advantage of the Measurement View

While viewing 3D pressure plots of prediction planes can give some general information of coverage, including hot and dark zones of a loudspeaker system design, MAPP 3D’s Measurement View lets users dive much deeper. After placing virtual “microphones” within the venue, users can evaluate broadband response and maximum acoustic output in this tab. Pioneered by Meyer Sound, SIM (Source Independent Measurement) is a technique for real-time acoustical analysis, and this virtual SIM system is built right into the MAPP 3D to help users optimize processor settings during the design phase.

The default view displays four charts and includes transfer functions for four measurements: result amplitude (between processor input and microphone), result phase (between processor input and microphone), room and processor amplitude (between the processor input and microphone and between processor output and microphone displaced on the same plot), and the IFFT (signal generator and microphone difference).

Additionally, the Headroom tab gives a peek into SPL predictions at each microphone location and the available headroom predictions for individual loudspeakers. This helps designers avoid over-designing systems and can lead to greater cost efficiencies.

4) Sync your GALAXY device

Meyer Sound’s series of Galileo GALAXY networked audio processors provide precision control of loudspeaker management parameters including EQ, delay, and matrix mixing. MAPP 3D now offers full workflow integration with GALAXY system processors, enabling users to load resultant EQ and filter settings derived from predictions directly into multiple GALAXY processors.

Once the software and processors are synced, settings can be pushed in either direction. This means users can tie predictions and system tuning together in the same workflow, simplifying the need for additional software. Paired with the ability to make virtual SIM predictions, much of the loudspeaker optimization can be handled offline.

Conclusion

MAPP 3D is a great tool for all levels of loudspeaker system design. If you would like to learn more, join us for our MAPP 3D Webinar on Tuesday, March 30th (sign-up here). Meyer Sound also has a great resource of help topics available at mapp-3d-help.meyersound.com/

Our loudspeaker system Design & Alignment team have decades of experience and can help design the perfect loudspeaker system for your next rental, live event, or permanent installation. Email align-design@tcfurlong.com today with questions.

What Is Immersive Audio?

Immersive audio (also called 3D audio, 360° sound, spatial sound, among others) is one of the fastest growing areas of innovation and experimentation in the live sound industry. Just about every major loudspeaker manufacturer has made forays into developing immersive audio technologies; as those solutions become more affordable and widely available, we’ll see them implemented in venues of all shapes and sizes. But what exactly is immersive audio? How does it differ from traditional loudspeaker systems? In this article, we’ll give an overview of this emerging technology.

When most of us read “immersive audio,” the first connection we make is likely to surround sound. Just about everyone has heard a surround sound system, whether at a movie theater or in their own home. While a traditional X.1 surround sound system allows a mix engineer to pan sounds around the audience in the horizontal plane, an immersive audio system with the proper loudspeaker deployment allows the engineer to position tracks in the vertical plane as well, allowing for ‘3D’ audio that the listener perceives as coming from any number of points around them in physical space.

It’s also important to note that immersive audio systems don’t have to be used strictly in surround-style deployments; traditional Left/Right or LCR loudspeaker hangs can also benefit from immersive audio technology. In live performance applications where a realistic soundscape is desired, immersive audio systems allow you to localize sound sources more precisely than typical stereo panning and delay. When done properly, the audience will perceive the sound as coming directly from the performer on stage, effectively masking the fact that any sound reinforcement is happening at all.

How are these results achieved? As with most emerging technologies, the terminology used to describe immersive audio systems can vary pretty wildly between manufacturers. However, the phrase “object-based mixing” is a common thread across most platforms. In object-based mixing, an engineer can place a sound “object” (which could be an individual audio track or a stem of multiple tracks) within a virtual 3D environment represented within the chosen software. A system processor then runs the information from the software through a complex digital matrix to ensure the right level of each audio source is sent to each loudspeaker with the correct delay times. In turn, the listener will perceive the sound source as coming from a specific point in space around them.

While most immersive audio systems require the use of a special system processor that’s purpose-built for immersive applications, strides have recently been made to allow for immersive audio mixing using existing platforms. Meyer Sound’s new Spacemap Go software utilizes the processing power of their existing Galileo GALAXY processors. This means that the hundreds of venues around the world that already utilize the GALAXY platform for system processing now have access to immersive audio mixing with Spacemap Go via a completely free update. “Spacemap Go now gives users an affordable, scalable, and flexible path into immersive audio without compromising the features needed in a live production environment. This new tool works with any loudspeaker arrangement for any live audio application, including live mixing,” according to Meyer Technical Support Specialist Josh Dorn-Fehrmann.

The possible applications of immersive audio technology extend to all corners of the live sound world. In theatrical performances, where small loudspeakers might previously have been hidden in scenery, sound effects can now be pinpointed anywhere on the stage. A classical musician can perform a solo that the whole audience can hear clearly, without realizing that a loudspeaker system is in use at all. In pop music performances, the sounds of instruments and effects can swirl around and over the audience in ways that weren’t previously possible. “Immersive audio provides a much broader canvas and tools for the mixer to use. There is a learning curve when coming from a stereo/mono world. We have to rethink and relearn,” says Dorn-Fehrmann. “It is up to the immersive system manufacturers to make this transition as comfortable and elegant as possible.”

As immersive audio systems become more widespread, and as manufacturers continue to push the boundaries of what’s possible with these systems, audiences will experience the work of their favorite artists in brand new ways. This modern day frontier of live sound technology will continue to be an exciting space for innovation in years to come.

Are you interested in the possibilities an immersive audio system would bring to your venue? Our loudspeaker system Design & Alignment team have decades of experience, and can work with all major loudspeaker manufacturers to design the perfect system for your space. Email align-design@tcfurlong.com today with questions.

 

New in Rentals: Kemper Profiler Powerhead

TC Furlong Inc. has recently added the Kemper Profiler Powerhead to our extensive rental inventory. The Profiler is the gold standard in guitar amp profiling, and the Powerhead packs in a 600W Class D amplifier to drive your favorite speaker cabinet.

Out of the box, the Profiler includes 200 factory presets to get you started. Any of the included amplifier profiles can be tweaked and saved as user presets. Thousands of additional user-created profiles are available to download from the Kemper Rig Exchange.

The most powerful feature of the Profiler is right in the name – the ability to ‘profile’ your own guitar or bass amp. Simply plug the direct output of the Profiler into your favorite amp’s input, mic up the amp and plug the mic into the Profiler’s Mic Return, dial in the desired tone, and the Profiler will walk you through the process of capturing that tone in near-perfect detail.

The Powerhead includes a Class D power amplifier capable of outputting 600W at 8 ohms, or 300W at 16 ohms. It also has two line-level XLR outputs, a ¼” headphone output, and an effects loop. These features make the Powerhead an excellent option for both studio and live applications.

If you’re interested in renting the Kemper Profiler Powerhead, get in touch with our Rental Team at 847-367-9588 or email them at rentals@tcfurlong.com.

TC Furlong Inc. is also an authorized Kemper reseller. Contact our Sales Team at 847-367-9588 or sales@tcfurlong.com for a quote on the Kemper Profiler, or products from any of the other manufacturers on our extensive line card.

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