Thursday, December 5, 2013

The Problem of Recording the Live Church Service, and the Solutions of Reaper by Cuckos!

So recently, we were hired to do a sound system upgrade and installation at First Presbyterian Church of Kalamazoo. For those who have never been to First Presbyterian Church of Kalamazoo, the sanctuary of this building is one of the most beautiful acoustic spaces in the area with a magnificent organ and 4 choir lofts to send vocal sound soaring through the cathedral. Honestly, if it weren't for the fact that it was downtown and city noises like cars, buses, trains and other church bells bled into the facility, I would use this hall as my primary classical recording spot.

Many churches like to record their services and put them online or make them available by CD to their patrons and those who are interested in learning about worship at the church. And many of these churches have upgraded to digital boards that give the convenient option of recording an mp3 directly to a USB drive (often a live recording right off the main outputs or a live recording of a recording bus send). From there this mp3 is given to someone to edit or upload directly to a internet service. I have also encountered many churches that don't have a digital boar
d but are still looking for an easy way to record their services. Products like the Tascam CDRW allow people to record right to CD, marking tracks as they go, and burning a CD right from there. Later editors can rip that CD to manipulate it for online use. Those who have the budget may also use a hard drive recorder, like the Alesis Masterlink, and be able to edit using their push button system before they burn it to disc.

For contemporary churches, getting a good live recording from a live stereo feed will often leave people frustrated with the quality of sound from their contemporary bands... that's when a multi-track session usually comes into play, but then the editing and mixing need to be done by someone who knows what they are doing...

The issues I have run into is that for churches who are looking to simply get a solid recording of their worship services with their volunteer staff, many of whom have the heart to help their churches in this area but may have little to no interest/experience in audio, are stuck with having to teach complex systems and programs to already overwhelmed people. First Pres is in this situation with a handful of very willing volunteers who are NOT audio experts, but very much want to help in the audio area of their church.

First Pres's live sound typically runs 2 podium microphones (Pulpit and Lectern), two wireless headsets for the pastors, 1-2 handheld mics for various other speakers, and then two pairs of choir microphones (one for the front choir loft, one for the back). All the podium and wireless mics exist simply to help reinforce the speaking sound to the congregation so a live post-fader recording is easy enough, but the choir mics are not meant for amplification at all (after all, why amplify in a space that is meant for its natural acoustics and reverb!). Therefore, the use of a mix bus pair is employed in order to group sounds from a variety of sources that may or may not be going to the master output.

At first pres, we have purchased them a new Behringer X32 Compact digital board to run their live sound and manage their sends to the various audio needs from the sanctuary. This board is also useful in that we can program preset scenes and save them to each of the 8 assignable buttons giving their volunteers the VERY simple task of pushing a button for each part of the service. Using a pair of mix buses, we have all our mics set to record properly pre or post fader on each scene and the bus is getting the proper stereo signal to record...

...enter the issue...

First Pres wants to have a master CD recorded which they can duplicate during the week and distribute to those who want them. In the past, they have used a pair of Tascam CD RWs to record direct to CD and mark tracks along the way. If a track is missed, you cant add it later and you cant move it. If the service goes beyond 80 minutes, the second Tascam has to be used and then two master discs must be created and duplicated... How can we have these services easily recorded, easily editable, and easily burned right to CD?

...Enter the solution...

"Reaper" by Cockos DAW software

I spent SO much time researching the various DAWs examining them for capabilites, ease of use, and price. We wanted a DAW that could record from ASIO through USB or Firewire live from the X32, make track markers on-the-fly, be easily editable in post to remove silences or extras to bring a file down below 80 minutes, and burn directly to CD without a third party program... all this while remaining affordable and not overly complicated.

After examining the big boys, Logic and Pro Tools who cannot easily do what I need them to do, I examined a variety of other DAWs. I originally settled on Steinberg Wavelabs based on their reviews and advertised capabilities. The problem, after testing, was that while the full $500 version of Wavelabs could do what we need, the $99 version could do everything except automatically turn on-the-fly markers into track markers- So for a Service that may have 20-25 markers, the process for splitting up the files and making CD tracks is not so simple.

Enter Reaper

I discovered reaper through a few blogs and review and spent some time on their site and third party sites. For a non-profit like a church, the license cost is only $60 and seemed to be just as capable (if not MORE capable) than the more expensive programs. Not only was Reaper easy to install and use (which was NOT the case for Wavelabs), I was able to create a template making it even easier on the volunteers on a Sunday morning.

When a volunteer double clicks the template icon on the desktop, Reaper opens immediately to a new file, with a stereo track set to the proper input, already record enabled, live monitoring already selected, and the proper outputs selected to go back to the board for that monitoring. All the volunteer needs to do is click the familiar "Record" circle to start the recording. While the track is recording, a simple pressing of the "M" keyboard key drops a numbered marker into the audio. Once the service is done, pressing stop ends the recording, and with a few simple instructions, adding/removing/moving markers and deleting excess audio is very easy. Reaper is one of the few programs that takes it to the next level by allowing a CD burn right from the program in it's Render menu. Intuitively, it allows you to make a preset for your preferred render format, have it render the final audio to a burn file while using all the markers to make CD tracks, and then have that render immediately burn to disc. Reaper seems to be designed by VERY intuitive people looking to accomplish what might normally be very complex and expensive tasks in a very simple and affordable way. On top of this, now that file is stored on the computer hard drive in case the master disc is lost or scratched or another master is needed for any reason.

While I am a hardcore Avid man when it comes to professional recording and mixing, Reaper seems to be a program that every facility looking to record simply and affordably checks out. Churches, theaters, schools, anyone who needs these traits needs look no further than Reaper. Visit http://www.reaper.fm/ for more information on this wonderful program! Visit http://www.kalamazoofirstpres.org/ for more info about the facility.



Wednesday, May 15, 2013

Live Gospel Choir Sound Reinforcement and Multi-track Recording: An Audio Everest!

So I spent the past few months looking through audio forums, reading articles, and getting advice from my fellow engineers about a very difficult audio situation. I know that many MANY contemporary churches are often plagued with feedback and volume issues while trying to have their volunteer choirs play (and be heard) with a live band! Hopefully the information here can help.

We were hired for two concerts this year to provide live sound reinforcement services along with multi-track audio recording and mixing for the Calvin College Gospel Choir in Grand Rapids, MI. This choir includes about 48 singers, a live drum kit, acoustic piano (bosendorfer), Electric Bass, Saxophone/Clarinet, Aux Percussion, Synthesizer, and random soloists for each song. The performance was done in a large concert hall that seats about 800. For those in the biz... you know how tough amplifying and recording a choir like this can be with live pop instruments.

The first time around, last November, I treated it very much like a recording engineer. Piano miced with 2 cardioid large diaphragm Condenser mics positioned high and low above the middle of the strings on a half-stick piano. The drum kit got our Audix drum setup of 2 ADX51s as OHs, i5 on snare, D2s on the high toms, D4 on the floor tom, and the famous D6 on the kick. Small Diaphragm condensers on the sax and percussion, and the other instruments direct (other than the 4 wireless Audio Technicas for the soloists). For the choir- I used 4 mics accross the front of the group- on the outside spaced near the ends and angled inward, I had 2 AKG 414 large diaphragm condensers set to cardioid. In the middle I used a pair of Rode NT5s set in ORTF (although I did widen it further than standard ORTF). All of this was run through our Presonus Studio-Live 24.4.2 which boasts the amazing Fat Channel channel-strips for all channels and groups along with the bang-for-the-buck XMax Preamps. I EQed the 4 choir mics separately then subgrouped them for a final EQ and some compression.

Initially, we got descent sounds- but as with any "area miced" setup, feedback became an issue. We were able to skillfully EQ the group to get a solid live sound, but we could not push the group very hard without risking feedback... and the drums... the DRUMS... you never want to tell a drummer to keep it down (especially in this genre) but we couldnt keep compete with him. He was positioned in such a way with a shield facing the choir (hoping for the best isolation possible from the choir mics). The problem was, with the shield not focused towards the audience, the acoustic drums were pushed even HARDER towards the crowd... negating its need in the sound system at all (while not sounding that great). In addition to that, the hall was big and wide with lots of hard surfaces on the stage to bounce around. While it worked out "OK", there was far too much drum kit in the choir mics and the final recording product was difficult to mix without getting that wonderful delayed boomy drum sound in them. In addition, the large diaphragm condensers on the the piano were also having feedback and bleed issues from the drums.

The second time around I wanted to look for some new strategies. After my research, a slightly different setup was decided upon. We moved the drums next to the choir with the shield facing the crowd. The mics were the same except I used the large diaphragm condensers as OHs this time around (since bleed on the drum mics is rarely an issue and they tend to be more sensitive to the low end). Now for the fun part... I ended up micing the piano and the choir with all SM57s...
...Thats right... you read me... SM57s... but I found a VERY interesting thread on recording.org with some great advice. You can check it out here: http://recording.org/mobile-recording/31855-micing-choir-live-sound-regarding-3-a.html

I have done the 57s on the piano before... while it takes a little finagling, you can get it to sound pretty solid with the right positioning, eq, and compression (especially on a nice piano). For the choir- we placed 5 SM57s evenly spaced pointing directly back to the large choir. We had them raised to the head level of the back row (4th row) pointed right at them. That way the furthest away were on-axis, and the closer sources were slightly off- This proved to give a decent natural mix of the rows. Instead of EQing each channel individually, we subgrouped them and did all the EQ on one parametric. Because the trusty old SM57 is a dynamic mic, it does take a fair amount of gain for recording an "area"... but the benefits are worth it with a good preamp like the XMax.

The dynamic microphone needs more SPL to move the diaphragm and is effected more by the strongest source- in other words it has a lower "bandwidth" for area sounds- so it tends to "ignore" the more distant and off-axis sources. They are lighter, giving less worry to collapse and injury (and broken mics!) In addition to this, behind the drums, we left a stage door open to direct some of the reflected shield sounds back into nothing. And finally, while we left the cyc light backdrop down, the facility manager was able to pull heavy black curtains around the rest of the open stage- helping dampen rear reflections.

Our product this second go-round has turned out great. The live performance was powerful and vibrant and the recording quality was better than I expected! Some minor feedback was experienced at moments, but nothing that wasn't easily tended to, and we were able to keep the volume at a solid level! Using the 57s in recording, again, I spent a fair amount of time working on panning, EQ, and compression- and some good fader riding and expanding to help control the drum bleed. Both engineer and client were well pleased with this final product.

I would love to hear more input on this subject as articles and threads about this were hard to come by. I hope this info will help you in your endeavors!

Tuesday, March 26, 2013

FEAST!

(First- Check out the new track we recorded! Christian Euman LIVE "Isolation" on the homepage player!)

So often times in this work... as many of my other colleagues know... there are feasts and famines. This past weekend was a feast!

We were asked to do video and multi-track recording for Brian Hemstock's live performance in New Buffalo, MI- So me and the Overneath crew settled in for what turned out to be a delightful performance.

We also had Brad Van Houten running a crazy variety show at the Comstock Community Auditorium (called "Glitter") on both Friday and Saturday evening. ALSO on Friday and Saturday ALSO- a score I (Gordon) had written was performed at the All Ears Theatre radio live recording. The show "The Canterville Ghost" parts 1 and 2 should air sometime soon on NPR. Then on Sunday we did live sound for an amazing show for the Vocal Music Workshop- The show celebrated and performed TV Show Theme Songs as well as a variety of fun commercial jingles in a REALLY fun show. All of this while was had our first wedding of the season with the new Mr. and Mrs. Lauren and Taylor Doorlag. We had Willis Koa and Audrey Jansman playing Cello and Violin for the ceremony and then one of our AWESOME DJs, Bryan Keeley, Ran a terrific reception at the Kalamazoo Institute for the Arts.

Phew... crazy weekend.

And all of this while I continue to watch and hope desperately for a Michigan - Michigan State Basketball National Championship!

Go Blue! I mean Green!.... I mean.... GO MITTEN!

Monday, February 11, 2013

It's all about the Washington's baby


Being small and still starting out, you learn quickly that equipment involved in audio work is just plain EXPENSIVE. So I thought I would take a blogging moment to recognize some of the wonderful low-cost gear that has helped get us off the ground. There is some great brands out there, so here are just a few that I have worked with:

Audio Technica-
Time and time again, as I browse reviews and ratings, I always get myself turned back towards Audio Technica. In so many places they span the gap between consumer gear and pro gear. Their wireless AT2000 and 3000 systems are often HALF the cost of their rivals like Shure and Sennheiser. And they sound as good or better to boot. On top of that, they offer their high-end 3000 and 4000 Artist Elite series which any professional facility or tour could use for a far lower cost and just as good (if not better) quality! I have also fallen in love with their ATH-M50 heaphones. Clear, flat response, nice fit... and far less expensive!

AKG
Any good live engineer OR studio engineer knows the AKG 414 microphone has become a standard for a variety of applications. And honestly, at around $1000 a pop, comparably, the 414 is still a great deal of a mic! But they go a step further offering lower-cost mics with a very nice sound! Take a look at the Perception/Precision series, as well as the 214, a great low-cost alternative to the 414... although it does have a few less features.

Rode
I was pretty skeptical of Rode early on, but after working with their NT-5's for a while now, I have learned how they respond to different sound sources and come to realize they are a great bang for the buck. Small diaphragm condensor matched pair for under $500. Not bad!

Audix
I took a gamble on Audix after reading message boards and threads about their gear. I was looking for a good drum mic bundle to compete with my standard of Shure B52, B56s, SM57s, and SM81s. I was not disappointed. Audix has performed exceptionally well, even the included hardware like the gooseneck clamps for drum attachment have been stellar. The hypercardioid dynamics are warmer than the Betas and are effective in a variety of applications. When it comes to low response, the D-6 kick mic can stand up to anything Shure or AKG can bring! The i5 is maybe the ONLY true competitor to the amazing SM57 (and lets not forget how great a deal the SM57 is!). The SM81 is a hard mic to compete with, and I will give the edge to the 81 over the ADX series, but the ADX51s have not disappointed.

Presonus
There are a few brands of preamp and outboard gear that are competing with each other for the low cost market- notably Focusrite, MOTU, and M-Box(Avid). Of this group, I have come to truly appreciate the warmth of the Presonus sound, especially for the price you pay. I have used some of their more "vintage" gear in the past and have liked it very much. The XMAX preamps that come on their low priced USB and Firewire interfaces as well as their StudioLive mixer desks have proven to be a wonderful preamp for recording and live sound purposes. While the Focusrite Saffire series has some nice features, Presonus seems to have a far sturdier and durable product that lasts.

There really are SO many products out there to start building a system on. I look forward to the days where True, API, Neumann, Focal, DPA, Avalon, Neve, and others are in my gear locker. But I, like many of us, don't have the $$$ to drop on that equipment... not yet... :-)

I would love to hear from others out there who have found diamonds in the rough! What are some low-cost brands that have proven to work great for your rigs? (Any Cascade users out there wanna chime in? I hear great things!)

Tuesday, January 15, 2013

New Featured Music!

It's time to feature some new music! Now featured on the website is new music from Summer and Fall of 2012! We like to highlight and feature some of the best artists we work with and some of the best work we do! As we want to SUPPORT these artists... no... you cannot download the recordings... however you CAN follow the links to buy any of the tunes that are available for purchase!

Check out the GvG Productions Homepage to listen:
www.GvGProductions.com
or visit GvG Productions Soundcloud Profile!
https://soundcloud.com/gvg-productions/sets/gvg_featured_music

This new set includes:
-Benje Daneman - "Lonely People, Lonely Times"an on location recording off their new EP Estelle's Farewell Gift. An on location recording featuring Ashley Daneman, Jeremy Siskind, and Dr. Andrew Rathbun.

-Calvin College Gospel Choir - "Dwell In The House" recorded live at their fall concert in November. Featuring: RaeNosa Hudnell. Directed by: Dr. Charsie Sawyer

-Dawud Wharnsby - "The War" - recorded live at the Abraham Jam Concert in Kalamazoo on November 2012. The album this tune is from, Out Seeing the Fields is available for purchase on iTunes.

-Loren Battley - "You're Getting To Be A Habit With Me" - recorded live at Loren's senior recital at Western Michigan University. Featuring: Mark Niskanen, Andrew Rose, and Christian Euman.

-Bill Drafta/Gordon van Gent - "Canon in E" - an original song written by Gordon and Bill, produced and recorded in-studio. This song was used both as the song Bill used to propose to his now-wife Emily Drafta, and also used for their first dance at their wedding.

-Andrew Rose - "Afro Blue" - a studio demo recording. Featuring: Nich Mueller and Nelson Oliva.

-Drew Raklovits - "KVCC Basketball Beat" - Original music written by Drew for video, mixed and mastered by GvG Productions. This music was used as the primary music for a promotional video for Kalamazoo Valley Community College.

-Rebecca Carlson - "Paint it White" - an album recording originally recorded by Brian Fraaza, live, at The River in downtown Kalamazoo and mixed by GvG Productions. The album, Paint it White is available for purchase on iTunes.

-Bill Drafta - "The Book of Love" - a studio produced recording by Bill and GvG productions. this was used as the Mother/Song dance for Bill's wedding. 

Be sure to check out the artist's websites and purchase their music to support them. We are proud to be affiliated with such great talent! Enjoy!

Monday, January 7, 2013

2012 in Retrospect

What an amazing year of growth for GvG Productions and our sister company Overneath Media. Taking the time to reflect back on the year always reminds us that we were right to start this endeavor, and we should continue to do it as long as we are growing and we are enjoying it. 

This year we got to see...

-Successful studio recording projects including The Helmsmen Quartet, and Calvary Bible Church
-Many successful live recordings including Calvin College Gospel Choir, and The Michigan Festival of Sacred Music
-Countless classical and jazz demo audio and video recordings for students in West Michigan.
-Amazing videography/recording/live-sound recording projects with clients like:
Kentwood High/Middle School
Gold Company Jazz Program
The River Church Kalamazoo
The Vocal Music Workshop
Parchment High School
Kalamazoo Valley Community College
The Kellogg Company
-Weddings every weekend of the season (and some big award announcements in the near future!)
-Original music written for video and theatrical events.

This year we are looking forward to some fun and exciting new clients including:
The Full Corners Studio Album
Beth Rowsey EP
Christian Euman Live Album
Vocal Music Workshop Spring Concert Series
... and many more to come!