Pictures From The Resistant

They took a lot of them. The whole set is here.

Video From Discard The Day

This contrasts somewhat with the video from Six Ways To Sunday. ;)

Abomination

Lots Of Videos From Six Ways To Sunday!

Check it out:

A Woman's Plea

You'd Never Leave

Farmer's Prayer

Redneck Cadillac

Technical Data For New Song Underground

Because of some questions that have come up in recently in booking discussions, my inner audio nerd decided to get me busy with doing with a technical overview of New Song Underground.  There is quite a bit of "audio nerd content" in this, and some of the language may be unwieldy to parse - but I'm trying to be something that reasonably approaches precise.

Maybe it works, maybe it doesn't.

Anyway, here it is:

Technical Data for New Song Underground

This document is an attempt to provide meaningful, quantitative data regarding various aspects of New Song Underground. It does not (and can not) address every possible situation encountered, and the testing discussed is not infallible. However, this document may still be interesting and useful in various cases. Please excuse any spelling or grammatical errors.

PA Equipment

FOH PA System:

Two stacks, each biamplified, consisting of one subwoofer enclosure of one direct radiating 18” low frequency (LF) driver, and one mid-high enclosure of one direct-radiating 15” LF driver, one direct-radiating 15” mid frequency (MF) driver, and one horn-loaded 1” exit high frequency (HF) driver.

The FOH stack style is parallel (one stack on either side of the stage, with the stacks radiating on a line perpendicular to an imaginary, vertical plane intersecting the proscenium).

The FOH PA is configured to operate as a monaural source. One channel is reserved for the mid-high amplification, and one channel is reserved for the subwoofer amplification. These channels are fed from the output of the mixing console in such a fashion that an audio technician can allocate signal between the mid-high and subwoofer systems by way of the pan controls on each mixing console channel.

FOH PA management consists of one “equalization (EQ) emphasis” loudspeaker management system, and one “crossover emphasis” loudspeaker management system, in series.

Stage Monitor System:

Four monitor wedges, each biamplified, each being a mid-high enclosure of one direct-radiating 10” LF driver, and one horn-loaded 1” exit HF driver.

One drum fill, comprising two stacks, each triamplified, each stack consisting of one subwoofer enclosure of one direct radiating 18” LF driver, and one mid-high enclosure of one direct-radiating 15” LF driver, and one horn-loaded 1” exit HF driver.

The stage monitor style is wedges across the downstage lip, and the drum fill centered near the upstage wall.

The stage monitor system is configured to operate as five monaural sources. Mixes for the sources are derived from the first five auxiliaries available on the mixing console channels, typically using console channels configured to be independent of channels used for feeding the FOH PA. (Channels used for feeding the FOH PA can be used to drive the monitor mixes, if independent EQ and compression for monitor sources is not required.)

The stage monitor system's management consists of one parametric equalizer for each wedge, and one graphic equalizer and “crossover emphasis” loudspeaker management system (in series) for the drum fill.

Mixing Console:

One digital mixing console with 32 channels and 16 physical inputs (one usually reserved for a submix of talkback and house music). Typical configuration is channels 1-16 feeding the FOH PA, each channel having four bands of parametric EQ, a gate, and a compressor available. Channels 17-32 are used to derive monitor mixes, each channel having four bands of parametric EQ, and a compressor available. Gates are not available on channels 17-32.

Performance Measurements

Warning! Performance measurements are made in open-loop (no possible feedback) conditions, using pink noise. It should not necessarily be expected that maximum performance can always be obtained in closed-loop conditions, for example, with a microphone, or indeed in any performance situation where multiple, unforseen and potentially uncontrollable factors exist! Also, please be aware that these measurements were not taken using “scientific grade” instruments, and so may not stand up to measurements made with full scientific rigor – they are a guideline only.

Maximum continuous sound pressure level (SPL), FOH PA:

For an observer approximately 1.676 meters (5.5 feet) above the floor, on a line perpendicular to the fourth “panel” from the front on the south wall, and intersecting a plane perpendicular to the floor and the FOH PA stacks, emanating from the south edge of the bottom stage step:

104 dB SPL A (mostly emphasizing midrange) weighted

107 dB SPL C (more low frequencies measured compared to A) weighted

Method:

Pink noise was introduced to a console channel, with the panner centered. Pink noise was increased in level until the “crossover emphasis” system management system was indicating intermittent limiter operation on the high-frequency output. Limiter operation was approximately 5 times per second. Amplification for mid-high enclosures was steadily indicating onset of amplifier limiter operation and/ or clipping.

Maximum continuous SPL, single monitor wedge:

For an observer approximately 1.676 meters (5.5 feet) above the floor, and approximately 1 meter (3.280 feet) from the monitor on a line parallel to the floor and emanating from the approximate geometric center of the monitor's front face:

113 dB SPL A

114 dB SPL C

Method:

Pink noise was introduced to a console channel. Pink noise was increased in level until the monitor's clip/ limit indicator illuminated, and then decreased in 2 dB increments until the indicator no longer illuminated.

Maximum continuous SPL, drum fill:

For an observer approximately 1.676 meters (5.5 feet) above the floor, centered between the drum fill stacks:

110 dB SPL A

115 dB SPL C

Method:

Pink noise was introduced to a console channel. Pink noise was increased in level until the mid-high enclosure's clip/ limit indicator illuminated, and then decreased in 2 dB increments until the indicator no longer illuminated.

Environmental reverb time, full bandwidth:

For an observer approximately 1.737 meters (5.7 feet) above the floor, on a line perpendicular to the fourth “panel” from the front on the south wall, and intersecting a plane perpendicular to the floor and the FOH PA stacks, emanating from the south edge of the bottom stage step:

1.536 seconds

Method:

Pink noise generated from a “region” inside a recording program was introduced to a console channel, with the panner centered. Pink noise was set to an average of 100 dB SPL C as measured at FOH, with both the FOH PA and the monitor system being audible to the observer. A recording was made of the pink noise ending, and the subsequent reverberation. The recording was analyzed to determine the length of time between the end of the pink noise, and the point where the recording level decayed beyond -55 dBFS (decibels referenced to full scale, or the maximum possible input level for the console channel). The PA system was equalized as normal.

Environmental reverb time, in half-octave bands (spectral decay):

Method:

Pink noise generated from a “region” inside a recording program was introduced to a console channel, with the panner centered. To generate the noise passbands, a multiband compressor (set to a 1:1 ratio) was set so that each passband could be reproduced in isolation. Each passband of pink noise was set to an average of 100 dB SPL C as measured at FOH, with both the FOH PA and the monitor system being audible to the observer. A recording was made of the pink noise ending, and the subsequent reverberation. The recording was analyzed to determine the length of time between the end of the pink noise, and the point where the recording level decayed beyond -55 dBFS (decibels referenced to full scale, or the maximum possible input level for the console channel). The PA system was equalized as normal.

Gig Report - Oct. 25th

Self Promoted:

Discard The Day

Another show where the bill went through massive upheaval.  Geppetto ended up not being able to play, but Discard The Day really wanted to do the show.  I'm glad they did.  It was a cool (yet dark, doomy, and heavy) evening.  Turnout was light, but it couldn't be expected to be otherwise.  I had to do some quick tweaking on the first song, as I managed to get myself some pretty severe "one note bass," but after focusing on the high end for FOH (and letting monitor world carry the lows and mids), I think things got noticeably better.

Gig Report - Oct. 24th

Self Promoted:

Outlet

The Resistant

Crudus Nex

Deadwire

I feel bad for Outlet, because their drummer got yanked away to Saint George, so they weren't able to play the gig they themselves booked.  Still, Tyler was a good sport, showed up, and handled the door.  Another show that was "stupid fun" (remember, "stupid" combined with a positive word is a GOOD thing), because I love metal when it's done well, and the three remaining bands played very well.  Turnout was better than I expected with all the upheaval the bill went through.

Gig Report - Oct 23rd

Self Promoted:

Chris (Mury)

Blackhounds

Mesa Drive

A Cassandra Utterance

Seriously fun show.  Big crowd.  Great idea on Chris's part - hope we can do it again!  I especially liked when the percussionist for Mesa Drive hit (PUN!!) on the idea of putting two foam cups together.  Sometimes, I say "stupid" when I think something is dumb, but in this case, the show was "stupid fun," which is a GOOD thing.

Gig Report - Oct. 22nd

Promoted by Robin:

Reviver

Contrast

Drug Sh*t

Murdock

Think Fast

Hardcore show.  I needed three times more PA than what is installed.  Was in the limiters all night long - HARD into the limiters, you understand.  Definitely had one mic de-spec the capsule, and I'm pretty sure at least one mic cable is not in working order.  (Oh well - the weak links get weeded out eventually.)  Impressive turnout.

But I still wish I had more PA.

Gig Report - Oct. 20th

IE Concerts:

Jesse Rogers

The Gorgeous Hussies

Tartufi

Another show for a touring band.  Sparse attendance - which surprised me, because somebody said that Kilby sold out the last time Tartufi was in town.  I think I need to start shows with a different "monitor assumption," because I'm having trouble getting enough vocal for folks.  I also discovered a strange DM-24 software glitch, where sending audio to an internal reverb munges all kinds of mutes and routing, resulting in the output of one channel being sent to all the monitors.  Curiouser and curiouser...

Gig Report - Oct 18th

Self Promoted:

Shannon Curtis

Empire of the Forgotten

Alternate Projection

This was a "bailout" for Shannon's tour, which was supposed to play at another venue that closed down (Addicted Coffee?)  Lightly attended, unfortunately.  I was glad that Alternate Projection got on the bill, as they had to cancel the last time they were to going to play.  Rough day overall, as the drum fill EQ simply died with no warning.  There's now a small, yet relatively expensive box acting as the nail holding the drum fill together - along with an entire spare console acting as a level converter.  Oh, the funny things we do to keep things working...

Public Service Announcement

This "funny smiley" is my new favorite.  That is all, carry on.

Gig Report - Oct 11th

Self Promoted:

Six Ways To Sunday

Emily Maher

The Precinct

Very cool show.  Emily Maher did all the songs I wanted to hear, and The Precinct (which I have heard a lot about) was excellent.  Had a tiny bit of trouble at the beginning of Six Ways' set - Matt's guitar wouldn't hold its tuning, and I forgot to unmute the monitors for part of the first song...shhh...don't tell anybody.  The crowd was light, but the show was a good experience for me, regardless.  (I'm good friends with everybody in Six Ways To Sunday, so that always helps to make their shows fun.  I also like their songs a lot. *Grin*) 

Gig Report - Oct 10th

Self Promoted:

Saint City

Young Mindz

Ill Fede

Sammie Vegas (special "sit in" guest)

Good stuff as usual, very solid turnout.  I feel like the vocals were more in the right place this time.  Also, the monitors were finally done right for Gita from Young Mindz.  We were a bit louder than last time - I'm not sure if that's good or bad. :)

Gig Report - Oct. 4th

Self Promoted:

Scarlet Lace

Empire Of The Forgotten

We Call The Shots

Burnt Orange

Good show, nice folks all around.  I'm a sucker for harmony work, so Scarlet Lace's opening set hit one of my soft spots.  The headlining bands also put on entertaining shows, and the turnout for the night seemed pretty good.  We set a new SPL record by hitting a peak of 118 dB SPL C at FOH.  That's not incredibly loud compared to some places, but to me, that's a LOT of level.  Thanks again to Dave G. (and Stephanie G.) for coming in to help with cleanup.  It made a giant difference to when I was able to get out the door and go to bed (important with a cold...)

Gig Report - Oct. 3rd

Self Promoted:

Junior Giant

A guitar and drums duo that I can't remember the name of for the life of me, sorry.

Junior Giant always creates an excellent show experience, from music to homemade food.  Unfortunately, I didn't enjoy it very much at all, because I caught a pretty solid cold THE DAY BEFORE THE SHOW.  GAAAHHH!  Still, all the music was good, and the crowd was pretty substantial.  Huge "Thank You's" are due to Dave G. who totally bailed me out by coming in and taking on a big portion of the setup I usually do - the show wouldn't have happened otherwise.