Advice

As many of you know, in December of this year, there are going to be some big changes to the frequencies available for wireless microphone users. For many of you it means parting with some cash and replacing your wireless microphones. For people that only use one or two systems, you may be able to tune them within channel 70 which is, and will continue to be, free to use. Before these changes were announced, most people bought wireless microphones that include the frequencies of channel 69 and 70. Channel 69 is being sold off but channel 70 isn’t therefore, using the frequencies we have listed below, you may be able to re-tune your units and continue to run them past 2012. Channel 70 is a small band and you can fit a maximum of four wireless microphones on it.

Here is a list of our biggest selling wireless microphones. Please take a look at the bands they run on, if your systems are on this band, you will be able to tune in to channel 70. If you have any questions or your wireless systems are not listed, just give us a call or drop us an email. Alternatively, use or Wireless Microphone Frequency Checker tool.

Wireless Systems with a numbered display

These systems show a number or letter on the receiver rather than a specific frequency

ATW1600 Series – F Band – Tune to: C (863.125MHz), D (863.375), E (864.125MHz) or F (864.375MHz) .

ATW2000 Series – F Band – Tune to: 1 (863.1MHz), 2 (863.5MHz), 3 (864.1MHz) or 4 (864.9MHz) .

ATW700 Series – F Band – Tune to: 1 (864.9MHz), 2 (864.5MHz), 3 (863.5MHz) or 4 (863.1MHz) .

Frequency Displayed Systems.

The following units actually show you the frequency they are tuned to on the receiver.

ATW3000 Series – F Band – Tune to: 863.1, 863.5, 864.1 and/or 864.9MHz.

Sennheiser EW100 & EW300 (G1,G2,G3) E Band – Tune to 863.1, 863.5, 864.1 and/or 864.9MHz.

Trantec S5 series – D Band - Tune to 863.1, 863.5, 864.1 and/or 864.9MHz.

If the changes are confusing you or you want any futher information, please call our sales team. We are happy to help you with all your wireless microphone problems.

EAV have just launched their wireless microphone frequency checker. This online feature will allow users to gain all the information they need to be confident their current wireless systems or potential new wireless systems are future proof from the 2012 frequency changes.

By filling in the quick 8 question form, the EAV team will get back to you within one working day with all the info you will need regarding your systems. We will let you know which frequency bands are available for you to use in your area, which license (if any) would be suitable for you and whether your current systems will be usable past December 2012.

We are encouraging all wireless microphone users to take the two minutes it takes to fill in the form to do so. Whether you already have your systems or you are looking in to replacing your radio mics, we could offer some advice that may save you some cash or at least put your mind at rest that you are spending your money on the right equipment.

We are being asked many questions recently regarding wireless mics and the frequency changes such as;

• Will my current radio microphones work past 2012?
• Can I add more wireless microphones to my current set up?
• What frequency should I be running my wireless microphones on?
• Do the wireless microphone changes affect my systems?
• Do I need to buy a license?
• Do I need to buy new wireless microphones because of the changes?
• Should I use a Fixed Site License or the Channel 38 license?

By using the form above, we will be able to answer these types of questions for you. Click this link to view the wireless microphone frequency checker

EAV Pro Audio have recently set up a 'Hearing assisted audio' section on our website that consists of hearing loop systems and Infrared systems. This little guide helps you understand what these things are, how should have one, how they work and techniques for getting the best out of your hearing assisted audio systems. Our sister company, Acoustic Arrangements, have been installing Loop and Infrared systems into churches for over 15 years, if you have questions regarding them, please give us a call on 0845 125 9409

TYPES OF HEARING SYSTEMS

What are induction loop and infrared systems?

Hard-of-hearing people find it difficult to hear in larger venues because of poor room acoustics. The problem is made worse by the distance that sound has to travel before it reaches the audience, background noise and competing sounds.

Induction loops and infrared systems reduce background noise so that sound can be heard more clearly.

How do they work?

Induction loops and infrared systems replace the sound path between the sound source and the hard-of-hearing person with either an inductive (magnetic) or infrared signal that is not affected by acoustics or other sounds.

The hard-of-hearing person uses a receiver that converts the signal back to sound. With loop systems, this is usually their own hearing aid (only those with a ‘T’ position). Infrared systems use special receivers to convert the signal back to sound. Both systems enable users to hear from anywhere covered by the system. The sound that people hear without a receiver is unaffected.

What is an induction loop?

An induction loop is a cable that encloses the audience area. It is connected to a loop amplifier that gets its signal from a microphone placed in front of the person speaking or via a direct connection from a sound system, or other sound source. The resulting electric current in the loop produces a magnetic field corresponding to the speaker’s voice. Anyone within the area of the loop who is wearing a hearing aid switched to the 'T' setting, or a loop listening aid, can pick up this field. Users may need to adjust their own hearing aids for volume.

The loop wire usually runs around the edges of a room so that it serves the entire audience area. Sometimes, however, it only encloses a particular seating area. It can also be routed over doors and arches. This doesn’t affect how the loop works.

Loops consist of ordinary insulated cable, but the gauge must be chosen with care. The cable is normally run around the edges of the room – usually a single turn is used, but some systems may need two or more turns of cable to generate sufficient magnetic field or to match the amplifier’s characteristics.

Tricky loop design situations

External factors may affect how well a loop works. These could be such things as metal work, pillars and pipes and high ambient RFI (see below). Think about these when you begin to plan – sometimes they may influence whether or not you install a loop at all. Some problems however may not arise until after the loop has been installed.

Interference from other circuits (RFI)

Even if the loop itself works properly, hearing aid users may hear magnetic interference from electrical equipment and wiring, such as fluorescent lights, light dimming systems or power cables. This interference is picked up directly by their hearing aids. You can usually identify sources of interference using a portable field strength meter, hearing aid or loop listener. If it can’t be prevented or reduced, assess the interference to see if it will be acceptable to people using the loop. Interference from other electrical equipment is a common reason for people not getting the intended benefit from a loop system – so pay close attention to this point.

Overspill

Loop systems are designed for users within the area of the loop, but there is always some overspill, as walls, ceilings and floors do not block magnetic fields. This means hearing aid users outside the looped room may be able to overhear conversations if their hearing aids are switched to 'T'. The magnetic field may also overspill into adjoining rooms and rooms directly above and below. You should think carefully about this if you are fitting more than one loop area. If this could be a problem, you could consider an infrared system instead.

Interference to other circuits

In some circumstances, an induction loop may cause interference in other parts of a sound system, instrument pick-ups or video systems. This can happen if the loop cable runs close to other signal cables that are especially vulnerable to this kind of interference. Carefully routing the cables may prevent this problem, but ground loop isolation is sometimes required and can be expensive.

Metal in buildings

This can have an unpredictable effect on loop systems. The loop may produce a weaker inductive signal than expected if the metalwork in the area of the loop is substantial, and the signal strength may vary from seat to seat in the listening area.

Regular checks

Ideally, you should use a field strength meter with headphone output to check the system. This lets you check both magnetic field strength and quality of signal. You should test the loop regularly and adjust as necessary – how often will depend on your venue.

What is an infrared system?

Infrared systems can provide high-quality sound and are available in stereo (or dual mono) versions. They use invisible infrared light to carry sound to portable receivers. The complete system consists of infrared 'radiators', that gets its signal from a microphone placed in front of the person speaking or via a direct connection from a sound system, or other sound source, personal IR receivers are then used for the user. Radiators cast infrared light over the listening area, rather like floodlights. You may need one or more infrared radiators, depending on the size of the venue. The quality of sound received by the user is of a much higher standard than that of induction loop systems.

Using receivers

Anyone using the receiver can sit anywhere in the area covered by the radiators. The infrared light produced by the radiators usually reflects off walls and surfaces in and around the coverage area. So sound should be received anywhere in the covered area, but some wall coverings absorb infrared light, meaning that the receivers will only work when they are pointed towards the radiators.
The most widely-used kind of infrared receiver is a ‘stethoset’ which is worn without a hearing aid but you can also get a ‘neck loop’ receiver that can be used by someone wearing a hearing aid, set to 'T'.
Most venues keep both types of receiver and keep the batteries in the receivers fully charged. The ear tips of a stethoset must be cleaned or replaced after use.

Interference

Infrared systems are not prone to interference unless the receivers are in direct sunlight. The radiators do not transmit outside the room they are used in, so several systems can be used at the same time in rooms next to each other. For this reason, they are also suitable for confidential meetings. Infrared systems eliminates problems encountered by use of induction loops on instruments, audio signal cables, video and VGA cables.

How much do induction loop and infrared systems cost?

A DIY loop in a small meeting room can cost a few hundred pounds. A professionally installed loop in a big venue can cost several thousand pounds. Infrared systems tend to be more expensive than loops because you need a stock of receivers.
Some organizations install cheaper systems designed for domestic use in their smaller rooms, but check first that this sort of system is suitable and that it meets health and safety requirements.

Helping your customers get the most from your system

Microphone technique

The quality of the signal your system produces can only be as good as the signal it receives. Loop and infrared systems do not improve signal quality – they simply reproduce what is fed into them. It is easy to get a clear signal when someone speaks directly into a microphone. The further the sound has to travel to reach the microphone, the poorer the sound quality, particularly if you have poor room acoustics or background noise. Place the microphone as close as possible to the person speaking. This is fairly easy if speakers remain in the same spot. It becomes more difficult when speakers sit in different positions or move around. If this is the case, you will need to choose the correct type of microphone and plan where you place it.

Operating the system

You can leave some infrared or induction loop systems on all the time. Otherwise you will need to turn your system on each time. Even with lots of microphones, or other audio sources such as tape or CD recorders, the controls on the mixing console are usually set up and fixed. You will need someone to operate the mixing console if the system is part of a larger sound system.

What is the Disability Discrimination Act 1995 (DDA)?

The DDA aims to stop discrimination against disabled people, including deaf and hard of hearing people, in the workplace, in education and when accessing goods and services. Goods and service providers include theatres, cinemas, places of worship, conference halls, banks, courts and tribunals, supermarkets, airports, shopping centers and bus and train stations.
The Act says that service providers may not discriminate against a deaf or hard of hearing person by refusing to provide a service or offering a service of a lower standard or on less favorable terms, on the grounds of their hearing loss. Service providers must make reasonable provision and adjustments to the way in which they provide goods or services to enable deaf and hard of hearing people access to them.
If it is not reasonable to provide a permanent loop or infrared system, then the service provider should provide a temporary system.
If you already provide an induction loop or infrared system, you are required by law to make sure that the system is properly maintained and that staff are aware of it and know how to use it. This applies to temporary and permanent systems.
You must also make sure that additional equipment, like neck loop receivers or loop listeners, are maintained and tested, and that you have a reasonable number. You should make sure that you display signs telling customers that a loop or infrared system is available.

Setting up your graphic equaliser to eliminate feedback – “Ringing Out”

Feedback is one of the most common problems people get when using PA systems. This however, does not need to be the case. With the careful setting up of a graphic equaliser this problem can be greatly reduced if not virtually eliminated.

Feedback occurs when amplified sound from a loudspeaker re-enters a microphone and is re-amplified. Feedback occurs at specific frequencies, sometimes referred to as peaks, in a system. A graphic equaliser allows you to cut these specific frequencies and therefore remove the peaks. You’ll notice that most graphic equalisers have either 15 or 31 ‘bands’. These ‘bands’, each with their own slider, control a range of frequencies within the audio spectrum. With a 31 band unit (also referred to as a 1/3 octave EQ), the frequency range of each slider, or band, is smaller which therefore gives more precise control.

Ringing out using FLS
For simplicity, firstly we’ll discuss how to set your graphic if you have FLS (Feedback Location System). FLS is a great help to the user who is unfamiliar with setting up graphic equalisers. Not only that, it saves time too! Equalisers with FLS have an LED above each band slider. When feedback occurs the light glows above the band at which the system is feeding back. This allows the operator to locate and cut the band quickly and easily. The method outlined below is a relatively simple way of reducing feedback in your system.

• Firstly make sure all the sliders on the graphic equaliser are set to the centre position, ie flat. This means that there is neither boost nor cut on any of the bands.
• Raise the fader of, for example, your lapel radio mic (lapel radio mics tend to be very prone to feedback) or your vocal mics. Continue doing this until the system starts to feedback, or ‘ring’. Do this carefully so as not to induce more than one or two feedback frequencies at a time.
• The FLS light above the band at which the feedback is occurring should now be lit. Cut this band, ie move the slider down from its central position until the feedback is eliminated.
• Repeat this process of raising the mic level and cutting the feedback frequencies until the first frequency you cut starts to feedback again. You should stop here because if you continue you will just be cutting the same frequencies and reducing what’s known as headroom.
• This process can be repeated with the other mics in your system which are prone to feedback (there is no need to do this for mics of the same type).
You should be able to achieve far higher levels with your system without it feeding back after this process is complete. You have successfully rung out your system!

Ringing out without using FLS
The process for ringing out without the help of FLS is exactly the same as the above, the only difference being you must pinpoint the frequency audibly, this is often difficult even for an experienced ear! A real-time analyser, RTA, can be used to identify frequencies in much the same way as FLS.

Automatic Equalisation
Products such as the DBX Driverack PA and the Driverack PX will automatically perform real-time analysis at the push of a button

Hope this helps a little

Jonathan

Last Friday my band released an album of original recordings and the whole recording and mastering process was done in my basic home studio setup in my spare bedroom. I thought I would write a little blog about what was used so you can see that you can get great results from a cheap home studio setup. I’m not going to bore you with mic'ing techniques (will do that in another post) or what we did on each individual track, just simply what equipment was used so you can see that a decent studio recording can be done on a budget.

My band is an Acoustic duo and the instruments that were recorded (all at home) and feature on the album are; Vocals, acoustic guitars, banjo, banjolele, ukulele, Cajon drum, Djembe drum, Mandolin, Piano and various percussion instruments. The album was recorded on my desktop computer using Nuendo as the sequencing software. There are many different recording softwares on the market such as Cubase, Pro Tools, Logic, Sonar and Propellerhead's Record. It’s really horse for courses when it comes to software. Most people start on one bit of software and never move because you get used to where everything is. They all offer slightly different things but Nuendo is just what I have used for quite some time.

Now the obstacle when recording at home on a computer based recording setup is; How do you get the audio from the instruments and on to the computer? Well, this is where an Audio USB Interface or Audio Firewire Interface comes in. The one I use is the Phonic Helix Board 18 and it does the job perfectly. Essentially it is an input device like a mixer that has USB or Firewire outputs. If you go for a Firewire or USB 2.0 interface (rather than USB 1) then you can stream however many inputs your desk has simultaneously into your computer and it splits them out to individual tracks in your recording software and you can mix them afterwards. Basically, it becomes your computers soundcard.

The next step in getting your recording done is choosing which mics you will use. Now I am fortunate to have bagged a Shure KSM44 Studio Condenser microphone at a very special price. Like most people this mic may be a little above your budget for a basic home studio and it would have been way above mine if I hadn’t been offered a very special price direct from Shure (the perks of being a dealer I guess). There are some great studio condenser mics on the market at bargain prices such as the Audio Technica AT2035, The Audio Technica AT2020, The AKG C214, The Rode NT1-A and NT2-A studio Pack. All the above mics will give you a great sound on your recording.

Now believe it or not, that one condenser microphone was used to record everything on our album. Seriously, we used it for mic’ing the acoustic instruments, the vocals and even the percussion. The only other mic used was an AKG D112 kick drum microphone on the bottom of the Djembe and inside the sound hole of the Cajon, we still used the condenser mic for the top of those drums. Having a good studio condenser microphone is paramount in home recording. It might also be worth mentioning that i have no vocal booths or isolation areas. everything is recorded sitting in front of the computer.

The last major bit of kit you will need are some studio monitors. I have a pair of entry level Genelec monitors that sound great. If the budget is a little low you could look at something like the Wharfedale Diamond 8.2 monitors or the Yamaha MSP5 monitors. Both will do the job and allow you to mix a good mix.

Once all the tracks were laid down we mixed the album within Nuendo and most of the effects were the basic ones found within the software. We did use some of the BBE Sonic Maxiser software on various bits but on the whole we didn’t use any expensive plugins. The mastering was done on T-Racks which is another bit of software. The only other bits of kits used were cables, stands and of course a decent set of headphones. I have a pair of the Audio Technica ATH-M40 cans and they work a treat.

Now I understand that just having this equipment won’t give you a guaranteed great recording. You obviously have to spend a little time learning your software, experimentation with EQ, effects, mixing and mic placements however, if your persevere with it and keep playing around, you will start to hear those recordings getting better and better.

You can hear my album from our bands BandCamp store and judge the quality for yourself. It’s obviously not a £1000 a minute Abbey Road quality but I’m sure you will agree it’s not bad for a home recording. Take a listen here - http://www.barricadesrise.bandcamp.com/

Since recording the album I have started to play with Presonus Studio One recording software which looks set to replace my Nuendo as it is easy to use and has mastering features built in.

If you have any questions about home recording or equipment needed for setting up a basic home studio then please give me a call or drop me an email.

Bye for now

Jonathan
EAV Pro Audio

OK, so by now most of you know that there are changes ahead with regards to the frequencies that you are able to run Radio mics on. I say most of you, as we are still finding that some people haven’t even heard of what is happening come 2012. EAV pro audio would like to inform you of what we know as of the time of writing.

First off, if you only use one or two wireless microphones and they are currently being run on the FREE deregulated band of channel 70 (863-865MHz) then don’t panic. This free band is staying past 2012 and you will still be able to run your radio mics on that band and have to pay no license. Currently, you can usually fit four wireless microphones into channel 70 however, no one knows just how crowded that band may become once the changes take effect(I will outline these below). You may find that with more and more people using channel 70 past 2012 you will struggle to get four systems running without interference. Obviously, if you are using them in a location where no other wireless users are present or located nearby then you still shouldn’t have any issues running four systems simultaneously on that band.

The actual change that is taking place is with regards to the current ‘Shared Band’ which is located on channel 69 (854-862MHz) This is/was a band that you currently paid a license for (about £86 a year) and for that fee you were able to use around 8 (maybe up to 12) wireless systems all around the country. Essentially, it was mainly used for bands, DJ’s and anyone that tours. It was also used for people in fixed locations that needed to run more than 4 wireless systems or people that found the FREE band impossible to use due to congestion. Basically, in 2012, channel 69 is being sold off and being used by digital TV or mobile phone use. Therefore, the band will be unusable for wireless mics as your systems will simply not work without constant interference. A new frequency band all the way down the frequency spectrum is/has being opened up and allocated for wireless users on channel 38 (606-614MHz). This will be/is the new shared frequency band.

The problem is, no one radio mic that you currently own has both channel 69 and channel 38, therefore, if you require multiple wireless system, you will have to buy new radio mics on the new band. EAV Pro Audio have a massive range of wireless microphones on channel 38 and are always happy to have a chat with you regarding these changes and if they will affect you. You will notice that most of our wireless microphones on our website now have two options when you purchase them. These relate to which frequency band you wish to buy them on. We have made this option a necessary click so you are sure which system you require.

If you are a school, church or a venue in a fixed location, you could look at buying what is known as a fixed site license. These are frequencies that you buy and only you are allowed to run wireless microphones on them. These licenses are a little more expensive (about £168 per channel block or ) however, you do get the security that you and only you are using that band. Give us a call if you feel this is for you.

This is taken directly from a JFMG email that has just come in

14/06/2011 Annual licenses in Channel 61-69 reminder

*London, North East England and Northern Ireland refer to the TV regions, London, Tyne Tees and UTV respectively.

Remember, EAV Pro Audio are fully up to date with the wireless changes and you are more than welcome to give us a call regarding this. Also, we are stocking a massive range of Wireless Microphones both on channel 38 and the FREE band channel 70 which is staying past 2012

This is just a quick follow up from the blog we posted last week entitled 'Recording a Live Band with just a Tascam DR100'

Well here is a link to video that contains the recordings made only on a Tascam DR100. You will see it is all recorded outside and with the internal mics found on the unit. I will also mention that it has had to be a little compressed to get it online. Take a read at the first post for a full break down of how and where it was recorded.

You can read more info on the Tascam DR100 digital portable recorder here

EAV had the pleasure of spec’ing and providing the Guiding Light Assembly church in London with a complete 12-way radio microphone solution and a digital desk for use in their weekly meetings. The GLA church have been very kind and sent us through some photos of the system all racked up and finished.
Everything you can see below is what we provided. Here is a list of the kit

1 x Custom Built Flight Case
1 x Tascam DM4800 Digital Mixer with Firewire recording card and Meterbridge
4 x Trantec S5.5 Dynamic Vocal Wireless systems on channel 70
1 x Antennae distribution system for Trantec microphones
8 x AKG WMS450 Dynamic Vocal Wireless systems on channel 38
2 x AKG antennae distribution systems
1 x AKG power supply
1 x Yamaha P7000s Amplifier
1 x 30m 24-way stage snake
1 x 30m 4-way speaker snake
1 x Cables/accessories/rack kits etc . .

The challenges you have to consider when building a system that contains more than four wireless systems is knowing which frequency bands to work on. As I am sure you all know, the free band of channel 70 (863MHz to 865MHz) will only allow you to run four wireless systems at once and anymore after that you need to go on to a licensed band. Now in the past the shared license band that you would have used would be right next to channel 70 on channel 69 (854MHz to 862MHz). Most pro wireless systems that run on channel 70 also include the channel 69 band. The problem that is now occurring for many wireless users is that channel 69 is being sold off to digital TV and a new frequency band, all the way down the frequency spectrum on channel 38 (606MHz to 614MHz) is being allocated to wireless systems. Because of the huge gap between channel 70 and channel 38, no one system includes the free frequencies on channel 70 and the licensed frequencies on channel 38. Essentially you now buy which you need and therefore careful planning is needed to make sure you can fit in and run all the systems you want.

Now some people will say that channel 38 can fit 12 wireless microphones running at the same time. So on the surface, we could have provided the GLA church with all 12 systems running on channel 38 however, after discussions with the AKG specialists at Sound Technology (UK distributes of AKG) they said they never spec more than 8 wireless mics on that band as 12 is a very tight fit and problems could occur as the spacing of the frequencies between each wireless system would be too small. Now, this meant we needed to find a space for the remaining four systems which luckily, as stated previously, is the max amount of systems that can fit on channel 70. Visit our 'Future of Wireless systems' page for more info on wireless frequencies past 2012

Another point you have to consider when using more than four or above wireless systems is antennae distribution. Basically, this is a unit that links four wireless systems together (some do more than four) via BNC cables and allows you to run those four systems off a single pair of antennae’s. If you are using more than four systems then you can link another antennae distribution unit (ADU) together and again just use a single pair of Antennae’s. In our case, the Trantec systems had one ADU unit and the AKG wireless systems had 2 ADUs and a PSU4000 which powered all the 8 wireless systems and the two ADUs. So in total, we had 16 units that were part of the wireless systems and only two mains plugs coming off them. I will touch on what other benefits come from ADUs in a separate article soon. If you look at the first picture you will see that the first 9U (or 9 rows) of equipment in the rack part of the flight case are all to do with the wireless systems and you will notice that there are only two pairs on antenna visible. Two for the Trantec systems (the white units at the very top) and two for the AKG systems (under the Trantec units)

The only other obstacle we had was providing the GLA church with a flight case/working cabinet for the equipment. This is where our custom made services come into play. We use a UK based company that make flightcases and provided them with everything that the customer wanted and what we thought would work and they designed and built it for us. The few images below show different sides of the case a little better. You can see it was made with usability in mind. There are access points for getting cables and multicores to the mixer and amps. We also provided removable lids and sides for protection whilst not in use. Next to the racking area you can see a cupboard that fits all their spare bits. The space on the top was specifically designed to house the Tascam DM4800 with its meterbridge and allow you to work the desk in the case and have access to all the rear connectors (see image below) . They are pro made units and offer fantastic protection. If you need something built then please give us a call, you may well be surprised with the prices we can offer.

It may also be worth mentioning that the multicore units we provided were also UK made and all had Neutrik connectors and were custom made to include a variety of different connectors the church required and also labeled to fit in with the system they required. Again, for any length or size, give us a call and we will quote what you require.

If you require more information on channel 38 wireless microphones , antennae distribution, custom flight cases or custom multicores then please don’t hesitate to give us a call on 0845 125 9409

Over the weekend my band had the pleasure of recording some live promo videos for our upcoming album. Now don’t worry this isn’t a shameless plug to get you to listen to my own music but rather to tell you about the Tascam DR-100 portable digital recorder.

The setup of the video shoot was quite simple. A single camera for the video footage and the DR-100 picking up all the sound. The band is a two piece acoustic duo consisting of two guitars and vocals but we also had a percussionist (Fellow EAV man David) helping out on a Cajon drum, shakey egg and Djembe. The recordings were being made outside and there was a little wind in the air that could have caused some problems.

Now, we debated how best to record the audio for a few weeks before. Obviously, the ideal way would have been to close mic everything, record it and mix it afterward. Another route would have been to dot a few mics around that go into a mixer and then go straight into a digital recorder. Or the final route would be to go with the cameraman’s DR100 placed in front of the band and made sure our levels were all correct on stage (or on the garden if you will). Now we didn’t want to have a completely polished sound as we really wanted to capture a live feel to the recordings and due to needing the finished product rather quickly, we opted for just the DR100 placed in front of the band.

To get a mixed sound on stage we placed David and his drums a few feet back from the guitars and the lead acoustic guitar went through a powered monitor to bring his level up to blend with my rhythm guitar. My rhythm guitar didn’t need any amplification as 1) I hit it very hard and 2) it is a large dreadnought Taylor guitar. My voice is quite powerful so I didn’t need to mic that either. Once the levels were sorted we did a few recording tests with the DR100 placed just two or three foot back from us and listened back. I was amazed at the quality of audio pickup and how detailed it was. Each instrument was clearly heard and a full stereo sound was produced from its on-built mics. There were a few changes of instruments throughout the day included a Banjo that we mic’ed up with a SM58 (not necessarily the first choice of mics to do this but it was all we had on hand) and that came out great and also an electro Ukulele that just went through the powered monitor. Both instruments were picked up great by the DR100 and we were extremely pleased with the end result.

After we recorded the live session we did a short Q&A session again using the Tascam DR100 to pick up the audio and like before, we simply placed it about 2 foot from ourselves and talked away. All was picked up clearly.

Now the Tascam DR100 has many different features but I must admit we didn’t get to see them all in action. If you want to know exactly what they are then visit our page here or go to the Tascam Audio website for downloads and extra info. A few of the features we did see were the obvious recording quality which we did as WAV files that went straight onto the SD card that was inserted into the unit. We nearly got to see how it screws onto a mic stand if one of us had bought a spare one. We saw the ease of transfer from the devise to the computer (take SD card out and insert into computer) and we saw that it was a very simple to use unit and extremely portable.

To conclude, it is obvious that we would have got a far more polished recording if we had mic'd every instrument up separately and mixed it afterward but that isn't always an option for some people as it wasn't for us this time around. What we did get is a recording that sounded great and professional but with a definite feel of it being live and on location. I would say the DR100 is a great unit for any band to have if they like recording live songs in random places and want a quality 1000 times better than a mobile phone recorder to upload to their fans.

Now as I said, this isn’t a shameless plug for my band so telling you to check out www.barricadesrise.co.uk where you can listen to all our music and see where we are playing next would be pointless. In all seriousness, the videos should be being posted on that website in a few days so go and take a listen for yourself.