Striking Notions: Convergence, Cues & Control
Waiting on the data & communication matrix
One decade ago, the legendary M. L. Procise firmly advised LSMAG!,
“Bad Sound is always better than no sound!” Procise was responding to
a phone query, from his Showco office, about the potential for failure
of digital snakes in tour sound applications.
Procise was, of course, accurate back then, but ten years have passed.
Digital consoles are now finding their way on tour and digital I/O systems
are wedging their way into everyday life.
THE FUTURIST VIEW
We have always taken a futurist view here. Other than looking out for
our reader’s ongoing day-to-day interest, the evolving convergence of
A/V technology is our prime focus. Performance and production system integration
will define our work for the next twenty years.
During the extensive research that went into our current two-part earworn
monitor series, British and Canadian colleagues suggested that the earworn
monitor endgame would likely be dominated by full function digital audio
applications such as the BSS Soundweb or Peavey’s Media Matrix.
Earworn monitors have already changed the acoustic fundamentals of live
performance. Unfortunately, we have yet to take full advantage of these
changes. Monster wedges and power amplifiers are, at best, redundant.
Some might call them baggage.
Once we fully acknowledge how few monitor mix adjustments are really needed,
within the closed earworn monitor loop, the potential exists to lose other
baggage, such as bulky, large format monitor mix desks. Moreover, our
future promises integrated digital I/O matrix-based production systems
that will simultaneously serve FOH, monitor and recording systems.
THINK OF IT
We already have the technology to mix stage monitors on large, flat screen
video display. All this will take is for someone to commit the needed
resources.
Today, right now, we could already tour with pair of laptops (one as a
backup) and one rack for Digital I/O, plus however much rack space is
required for transmitters, beltpacks and earpieces. Performers could even
use a laptop to mix their own monitors.
At distant horizon, we expect to experience wireless access to any audio
signal, at any venue location including keyed-call switching function
for production comm. Admittedly, this would require system-integrated
wireless beltpacks and specialized earpiece/mic combos. (Think hands-free
cell phone cables.)
Eventually though, you will have immediate, wireless monitor access to
every audio function, whether you are walking the lawn system or back
in the tour bus. Such earpiece/mics would also require custom earmolds
for isolation, but they could also connect to your cell phone. Noise canceling
mic circuitry would seem equally indispensable.
FUTURIST FUNCTION KEYS
Assume that a minimum of 64-channels/tracks of digital audio are available
at every gig. All will be routable to monitors, audio recording and FOH.
With time-code, everything links to video and even lights. Imagine these
potential macro controls as you next look at your computer display:
• F1 = Display Lead Vox Mix and Route Lead Vox Mix to Monitor Engineers earpieces
• F2 = Display Lead GTR Mix and Route Lead GTR Mix to Monitor Engineers earpieces
• F3-F12 = Etc,etc,etc,
• Option S = Display Spectral Content of selected input, output or mix.
• Option P = Display Parametric Control, overlayed on top of Spectral Content
• Control R = Change screen to view the recording functions.
The possibilities are endless.
One major benefit will be to leave as much gear on the truck as possible.
A list of potential list of the things that might never need to leave
the truck could include:
• Audio and Video Systems recording hardware
• Interconnect Hubs and Distro for landlines to RF antennas and repeaters
• HQ and physical hardware for wireless computer network
LESS GRUNT, MORE FINESSE
Of course, this means some modification to existing labor allocations.
Less lifting will be involved. RF antennae chops will be in even higher
demand. Touring computer systems will need Performance/Convergence Sysops.
Regular application of Norton Utilities, or some variation thereof, will
be a daily ritual control.
The care and feeding of redundant back-up computers and uninterruptible
power supplies will be essential. A/D conversion, at the microphones,
will require special handling. Automated fault analysis will be crucial.
Obviously, these futurist production duties will fall to someone who already
has other tour responsibilities. These computer/integration skills will
just become part of the package.
The future is clear. Convergence and integration will be the cornerstones
for the entire production environment. This is why Jack Alexander and
Doug Jones identified computer skills as a key component for anyone considering
a career in live production technology. (see this issue’s Viewpoints).
Will you be prepared?
July/August 2001 Live Sound International