Pro Audio Sound Tips #2

Here is the second set of sound tips in a series of videos where I share assorted thoughts and ideas I have collected over the years.

In this section of "Pro Audio Sound Tips #2," Dave Rat provides tips for using directional dynamic mics like the SM57, cautioning against altering the mic's directional capabilities by taping the mic grille back. He also discusses the concept of latency in digital audio equipment and the differences between low mass diaphragms in condenser mics and dynamic mics. The speaker emphasizes the importance of selling confidence to artists in a live performance situation and the need for proper tools to achieve desirable outcomes. Additionally, he advises paying attention to polarity, time phase, and distance when dealing with multiple points of sound in space.

Tip 1 - Dave Rat provides some tips for using directional dynamic mics, specifically the SM57. He warns against taping the mic grille back on after the copper ring behind the diaphragm comes off, as it can significantly alter the microphone's directional capabilities. He suggests using wire tops from a champagne bottle or running small strips of gaff tape vertically around the microphone's outside with a ring above and below the vented port area instead.

Tip 2 - Dave explains the concept of latency in digital audio equipment, which adds a time delay of 1.5 milliseconds every time sound passes through a digital console, which can negatively affect the performance.

Tip 3 - he discusses how the low mass diaphragms of condenser mics make them more sensitive to detail, wind, and feedback compared to dynamic mics and the advantages of ultralight diaphragms in condenser microphones as they have a wider frequency response and less handling noise than dynamic mics. He also notes that the feedback from a condenser mic tends to be very sharp and quick which can help identify the mic feeding back during a live performance.

Tip 4 - Dave emphasizes the importance of selling confidence to an artist in a live performance situation as it helps them perform at their best with the reassurance that sound issues will be addressed immediately. He also stresses how the availability of proper tools is crucial to achieving desirable outcomes while functioning on a large scale.

Tip 5 - The speaker advises that in a production where cost savings are necessary, taking responsibility for the potential drop in quality as a result of those savings can be leveraged against production managers.

Tip 6 - He explains the importance of paying attention to polarity, time phase, and distance when dealing with multiple points of sound in space, specifically when sending the same sound through multiple points such as a wedge mixes. By ensuring that the polarity is correct and standing in the acoustically equidistant center point, sounds can be amplified without any unnecessary phase or delay issues.

00:00 Intro
00:30 - tip 1 Taping Shure SM57 Grills
03:03 - tip 2 Speed of sound digital vs analog
04:45 - tip 3 sound differences due to diaphragm mass of condenser mics vs dynamic mics
07:14 - tip 4 Selling confidence
09:08 - tip 5 Getting the gear you want on tour
11:03 - tip 6 Stage polarity

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