A MEETING MASTERS MEMO

Created by
John K. Mackenzie

Previously we covered some basics on predicting event power costs and how to reduce them. In this memo Stephen Brown, of American Media Communications, takes a look at what event planners and producers should know about getting good sound for their general sessions.

WHAT ABOUT HOUSE SOUND? (Using the existing system)

 

Contrary to what some audio engineers may tell you, most hotels and conference centers can provide decent sound as long as all you're going to do is amplify speeches and video segments. Using existing facilities has some advantages:

First of all, it's cheap. And second, it was probably designed by professionals specifically for the room you'll be using. With a dozen or more ceiling speakers already in place, you can be reasonably sure that your entire room will have decent sound coverage.

How can you be sure? Listen. During site inspection have someone stand in the front of the room and talk into a mike as you walk around. If the audio is clean (no buzzing) and clear (not muddy) then go ahead and use it.

But remember, in-house sound also means in-house sound controls. And somebody needs to know where they are and how to use them.

If you're not using the house sound system, here's a list of the audio components you might wind up renting:

• Speakers
• Subwoofers
• Audio delays
• Amplifiers
• Mixing console
• CD/cassette players
• Lectern microphones
• Wireless microphones
• Audio equalizers

Speakers

There are two schools of thought about speakers:

First: Build giant speaker arrays on each side of the stage and "blast" the audio out to the back rows. This rock concert approach generates some awesome audio, but it can be tough on people in the front rows.

Second: Build small arrays. One next to the stage, and another set approximately halfway back. If you choose this method you won't blast people seated up front, but you will increase your costs because of the need to rent sound delays.

Sound Delays

If you use small arrays you must delay the sound coming from the back speakers or their output will reach the ears of the people in the back rows ahead of the sound from the front speakers. And this can create lousy listening and lots of complaints!

So it's your choice – rock concert, or back and fill speakers with audio delays. The smaller your audience the less your need for back or fill speakers.

Subwoofers

As for subwoofers, you can get away without them. But if you have a few hundred extra in the budget they're worth their weight in gold! The rich, deep sound that properly placed subs add to your show is so incredible you'll definitely notice the difference.

Audio Amplifiers

Some audio speakers have amplifiers built-into them, while others don't. This is a source of much discussion among audio engineers. So your guess as to which is best is as good as theirs. As long as everything sounds good to you, don't worry about which type of amplification your audio-visual company uses.

As a rule of thumb, for general sessions, consider a minimum of 1 to 2 watts of amplification per person: for an audience of 500 you'll want at least a 500 watt amplifier. (For live bands and music, try for an average of 8 to 10 watts of amplification per person.)

Mixing Consoles

Eight-channel, 16-channel, 48-channel? Soundcraft, Yamaha, Mackie, Behringer? Which is one is right? The short answer is: all of them. It's not the equipment, it's the operator.

If you only have two microphones and a CD player, an 8-channel console will be fine. The only reason you'll need a larger one is because you have more audio sources. Tell your audio-visual supplier what you're trying to accomplish and let them select the mixer size.

CD/Cassette Players

Almost everyone uses walk-in music, and some guest speakers even bring their own audio cassettes. So it's a good idea to have both CD and cassette playback on site. No particular brand is necessarily better than any other, but the general rule is that both the cassette and CD players should be easy to cue.

Lectern Microphones

The rule here is: "Stay away from the Snow Cones!" The always popular Shure SM-58 microphone works well as a wireless handheld, but it's not visually suited to the podium. Because the snow-cone shape can block the speaker's face.

When choosing a lectern microphone, select a low-profile gooseneck microphone like the Audio-Technica AT857. These mikes are almost as small as a lavalier and sound wonderful! In fact, they sound so good order two! Why? Your lectern is not the place for mike trouble. When budget allows, it's always a good idea to have a backup for each piece of crucial equipment.

Wireless Microphones

Professional speakers, and even many executives, use wireless lavalier microphones when speaking. Wireless handheld mikes, like the Shure SM-58 mentioned above, sound great and, for the most part, work flawlessly. But wireless lavalier microphones can be a sound man's nightmare.

Because the lavalier is so far away from the presenter's mouth, the audio engineer must increase the volume. This volume increase, coupled with the microphone's sensitive nature, quadruples the risk of getting that nasty whistling effect called acoustic feedback.

• How do we fight feedback? We equalize it!

Feedback and Audio Equalizers

Acoustic feedback occurs when the amplified sound from any loudspeaker re-enters the sound system through any open microphone and is amplified again. and again, and again, and ...

If your presenter steps off the stage and into the audience it almost guarantees feedback. Because now he or she has stepped in front of the audio speakers. A definite no-no!

What makes feedback problems worse? Placing loudspeakers too close to microphones; boosting tone controls indiscriminately; and room surfaces that are hard and reflective such as glass, marble, or wood.

Here are some steps you can take to beat feedback:

• Ask the presenter to speak louder into the microphone.
• Reduce the distance from the presenter to the microphone.
• Reduce the number of open microphones.
• Move the loudspeakers farther away from the microphone.
• Use an equalizer to cut the frequency bands in which the feedback occurs.

Feedback typically occurs at only certain frequencies; so audio engineers use equalizers to reduce or eliminate these frequencies and thus eliminate feedback. The problem is that by cutting certain frequencies it's possible that the presenter's voice may sound muddled or strange.

Eliminating feedback, while making the presenter's voice sound pleasing, is much more of an art than a science. If you suspect that your event will use wireless lavalier microphones, then the cost of an experienced audio engineer should definitely be added to your budget.

Music groups will usually give you an equipment rider. It's called "a rider" because it's attached to the group's performance contract that lists all the equipment required for their performance. Generally, their equipment will be far more sophisticated and costly than the equipment you'll need for your general sessions. So we won't be discussing entertainment sound systems, here.

This memo should give you a good idea of what equipment you can expect to see on a quote from a reputable audio-visual company. In addition to daily rental charges you should also expect to find costs for delivery and setup as well as operating labor. You may also see a charge for an assistant audio engineer (usually called an A2) who's primary job is to place microphones on the presenters, and cue up CD's and tapes while the audio engineer (A1) handles the mixing duties.

The bottom line is how it sounds to you. Don't think GEAR, think HEAR! If it sounds good, go with it!

Stephen Brown is President and Executive Producer of American Media Communications, Inc. a production company in Irvine, California that specializes in producing large scale meetings, conventions and events. Some of their clients include: The Western Association of Food Chains, The Los Angeles Dodgers, and Franklin Graham's Samaritan's Purse. Their website is: www.americanmedia.com

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