31.8.07

Wonderful World!

OK, yesterday was kind of intense, what with 300 guys dying for something they believe in.

Today we're a little lighter.This is the freshest take on "It's a Wonderful World" - and maybe the most offbeat - that I've seen in a while. But then, I like offbeat....


And just for context, here's the original, by the master himself: Satchmo!


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30.8.07

Three Hundred

Have you seen the movie 300? It’s about the heroic stand of 300 Spartan warriors (with help for part of the time) against 250,000 Persian soldiers. The story is actually pretty accurate historically, and it is completely inspiring. Even the line, “Then we will fight in the shade” is correct!

I found myself taking away a number of “life lessons” when the credits rolled. (NB: There is some brief – and gratuitous – nudity in the movie, not in the clips that follow.)

Some time before the movie came out, the History Channel aired a historical documentary about the Spartans and the legendary Battle of Thermopylae (literally “The Hot Gates”) on which the movie is based. The CG doesn’t hold a candle to the movie, but the facts are still awe-inspiring. It’s in three parts:


And since this is the 21st Century, it stands to reason that there’s a music video made on the subject. Music by Nine Inch Nails, video excerpted from the 300. It’s fairly graphic.


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29.8.07

Pachebel's Canon in D

One of the most beautiful pieces of classical music is Canon in D, by Johan Pachebel. But it's always a blast to take that peaceful and gentle piece and bring it into the real world of the 21st century. Here are two excellent takes!




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28.8.07

Ya Gotta Get Over the Hurdles

A friend was telling me today about hurdles, how God gives us hurdles in the race called "life" from time to time, and if we miss the hurdle, then we're out of that race for a while. It's not like we're out of life, or out of His affections, but we're kind of out of the action for a while.

Then I saw this. OK. I understand.


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Music Machine

This video is neither profound or educational. It's just really fun. (It's also a test of the new Blogger video tool.)


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27.8.07

Ben: Seeing with his ears

I've always thought the phrase "Blind as a bat" was kinda weird: they catch bugs in the air in the dark. Ben is like that.

Dang.


Best Video Of The Year - Watch more funny videos here
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Coming Attractions

I found this on the website of a Baha'i follower...

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25.8.07

Let's Start a Riot

I love the perspective of this song.


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24.8.07

Quirky Quirkology

Richard Wiseman has a new approach to sleight of hand illusions: a psychological approach. These are actually pretty well done. Can you figure them out? They're pretty obvious once you "get" it.












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23.8.07

Ventilating the Recycling

My family and I take the recycling out into the woods every so often. We take our hunting rifles and our .22 rifles, and often we'll invite Uncle Jack and his shotgun.

And we ventilate the recycling. Repeatedly. With enthusiasm.



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22.8.07

3-year old recites

OK, as long as we're on "cute" mode, let's overload it completely:


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Fun Polar Bears

OK, I'm a sucker for cute CG animals. Here's a dysfunctional family of bears in a zoo. They make me laugh.









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21.8.07

Instrumental Design

I am always fascinated by how stuff's made, particularly instruments. They take fairly ordinary materials, apply skill, and suddenly there's a tool for making great art.







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20.8.07

Surfing, Alaska Style

Imagine a great glacier emptying into an arctic sea. Imagine the rumble of an iceberg cracking off and the roar of it falling into the sea, and the wave that produces. Now imagine some yahoo surfing that wave.




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19.8.07

The Bleeding Heartthrob

This is the new band of a friend of mine. If you take him completely seriously, it' won't make sense, but if you're slightly skewed (like he is, and I am too), then it's wonderful!



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18.8.07

One Rat Short

"One Rat Short" is a work of love created by Charlex Films. It began as part of the effort to grow the company's CG department but eventually became much more than that. Originally, it was entitled "labratz" and as the title might suggest it mimicked the look and sensibility of worked already pioneered by other studios. As it evolved it took on a life of its own- it became my film- or as any director of an effort like this knows our film. We decided not to use anthropomorphic animation. We decided it would take place in two worlds- one so gritty, grimy and dark that the viewer needs to peer into the screen in order to make out the images- the other a sterile, white world so brightly lit that you feel the need to turn your head away from the screen. It was also important to me to keep the film looking as real as possible. One of the techniques we used was to give a lot of the camera work a hand-held feel and to keep it a little behind the action so that the scenes didn't seem staged. Lastly and most importantly I kept the story simple and tried to give it heart. One of my favorite short films, which I saw as a child was "The Red Balloon". I think the melancholic and innocent spirit of that film inhabits "One Rat Short."


Alex Weil, Director




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17.8.07

Surface Computer

I want one!






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15.8.07

Sanican Pranks

This is completely loopy. Therefore I love it!


http://view.break.com/350100 - Watch more free videos
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11.8.07

Drums in Church: Too Loud?

Controlling Drums in Church

By David McLain

Any time a band has some of its sound coming through the main PA system (usually vocals and electronic instruments) and some of the sound coming from the stage acoustically (most notably the drums) you have problems. The drummer must play loud enough to keep up with the sound system, which he cannot hear. However, playing loudly enough for the back row of listeners means that the drums are often too loud for the first several rows. It’s even louder on stage, which requires the rest of the band to play louder and turn up the stage monitors.

The result is a stage volume that is overwhelming – too loud for the room, and often louder than the main sound system in the room, and still unclear. People get frustrated and irritable, and some leave to find another church where they can understand the music.

A major part of the solution for this problem is to control the sound of the on-stage instruments, beginning with the drums. There are three steps in controlling drums in church:

1) Contain the acoustic energy from the drums,
2) Absorb the acoustic energy from the drums, and
3) Reinforce the sound that you want from the drums


Containing the acoustic energy from the drums is the easiest part. The sound of the drums travels from the drum head to the ears of the people hearing it. The strongest part of that sound is generally direct line-of-sight.Many churches have installed plexiglass drum shields around the drums for this purpose. It’s cost-effective and it’s a reasonably effective starting point. The plexiglass reflects most sound, preventing the direct line-of-sight sound from reaching the people in the congregation.

This solves one problem and introduces a couple of new ones.

Plexiglass does not absorb sound; virtually all of the sound created by the drums is reflected; that means that the sound is still in the room, it’s just not traveling to the listeners in a direct route. The drummer often feels more confident now that he’s behind the plexiglass, and often times he plays harder, creating even more sound than before. Now that sound is bouncing around the room as reflected sound.

Reflected sound is, by definition, noise: it has the same amount of energy as direct sound, but because it is reflected, it has become “incoherent.” Now instead of hearing the clear “slap” of the snare from a single source, we hear reflections of that slap from various reflective surfaces around the room. The clarity is decreased, but the energy of the snare is still there, rattling around the room, muddying up the rest of the sound.

The second problem with a plexiglass drum shield is that the first reflection of the sound is concentrated back at the drummer’s ears. The potential for hearing damage is greatly increased. That’s one reason some drummers want to play loudly – they can’t hear the sound as well as they used to, so they feel the need to play louder.

The result of plexiglass by itself is that the total energy of sound is not decreased. Instead, it’s just bouncing around the room, making the rest of the sound muddy, and damaging the drummer’s hearing.

After we block the direct sound of the drums with a plexiglass drum shield, the next step is to absorb a good portion of the sound, to keep it from filling the room with incoherent echoes. This is generally accomplished with sound-absorptive foam.

Generally, the foam is installed in three locations: on the wall behind the drummer, on the plexiglass itself, and as sound-absorptive “lid” over the top of the drummer.

How much absorption to install is governed by several factors, some practical and some aesthetic. Since the drummer needs to be able to see the rest of the band, it’s best to not block all of the plexiglass. Rather, install foam along the bottom and sides of the plexiglass. Generally, the foam is not installed above the height of the drumheads themselves, and often only to the top of the kick drum. On the sides, install the foam higher, particularly on the side with the snare and hihat, as these are the greatest sources of sound.

Install a greater amount of sound absorption on the wall behind the drummer. In fact, complete coverage of this wall is often appropriate, up to the height of the plexiglass drum shield. Since the sound from the drums is omnidirectional it will either strike the wall first or it will reflect off of the plexiglass and then strike the wall. Absorption on the wall behind the drummer will be a big help in keeping the reflections around the room under control.

Some of the sound from the drums, of course, goes straight up, where it will bounce off of the ceiling before eventually making its way to peoples’ ears. If you have done an effective job of absorbing the sound inside the drum shield, this reduced amount of reflected sound may be acceptable, or even desirable. It may still be too much sound, especially in a low-ceilinged room, or with a large drum kit, or with a particularly physical drummer. In this case, it may be necessary to add a sound absorptive ceiling over the top of the drum kit.

All this absorption sounds expensive, but it is possible to cover all three sections - on the plexiglass, the wall behind the drummer, and the lid - for about the cost of the plexiglass drum shield itself.

To this point, we have been reducing the overall volume of the drums. The stage volume is under control, so the musicians can hear themselves, and the sound from the stage doesn’t overwhelm the main speakers. The front several rows of the congregation are no longer being overwhelmed by sound. But now the back part of the sanctuary isn’t being reached.

The third step of controlling the drum sound is to put the drums into the sound system. At the very least, you’ll need to mic the kick drum, the snare drum, and the hihat. With careful placement, a single mic can pick up both the snare and the hihat, for a two-mic minimum.

As far as mic selection goes, my preference is to use a large diaphragm mic on the kick drum – either a dynamic mic like the Shure Beta 52 or the Sennheiser E602II, or a large condenser mic like the CAD E100. Dynamic mics tend to capture the “boom” of a kick drum well, and condensers can capture the “snap” of the sound. Audio Technica makes a mic (AE2500) that has both a condenser capsule and a dynamic capsule in it. Be sure that the mic can handle the high sound pressure levels of a kick drum closely miked.

Your first choice for a snare mic is a simple dynamic microphone, with the ubiquitous Shure SM57 being the most popular. It’ll take a number of accidental whacks from overly-enthusiastic drumsticks and keep working well. Dynamic mics can also be used on the toms, but there are several very nice tiny condenser mics that have become popular, like the AKG C418 or the Audio Technica PRO 35. Sennheiser makes a small dynamic mic for this purpose, the E604. These small, specialized mics generally come with their own mic clips which attach directly to the drum itself, reducing the number of stands and cables sticking out of the drum kit, and allowing the plexiglass drum shield to be brought in nice and tight.

In a large room, you’ll want to add a pair of overhead mics, to capture the overhead cymbals and the overall ambience of the drum kit. Small condenser mics like the entry level AT Pro37R or the higher priced Sennheiser E914 are common choices. Recently, the trend has been moving towards large-diaphragm mics overhead, including the inexpensive CAD GXL2200 or the versatile AKG C3000B. Be sure to experiment with mic placement, listening closely to the sound of each mic, to determine best placement on your drum kit.

If you have the room, I prefer using a compressor on both the kick drum and the snare, and an ideal world would call for gates on the toms, the snare and the hihat, to tighten up the sound, but most churches will stop before that point.

The main goal is to prevent the acoustic sound of the drums from either overpowering the rest of the band, or reverberating around the room, by bringing the drums into the sound system with the rest of the band. You'll be surprised how much cleaner your band sounds, and how much easier it is to keep the volume under control.

David McLain is a church sound system consultant with CCI Solutions in Olympia, WA. He has been working with church sound systems since 1978 and with portable churches since 1988. You may reach David at churchsoundguy@gmail.com


Posted by permission of the author.
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