Underscoring
his lifelong philosophy -“The Music Always Comes
First!” - Ron
Streicher has created a series of audio production
seminars. These tutorials offer you the opportunity to
share the knowledge, experience, and unique solutions he
has garnered during more than four decades providing audio
services for many of the world’s greatest musical artists
and organizations.
Seminar titles include:
• Microphone Technology
• Microphone Pragmatics
• Microphones As Divas
• Microphones: The Physics, Metaphysics, and Philosophy
• A Practical Guide to Ribbon Microphones
• Stereophonic Techniques
• Early Stereo — A Retrospective
• Critical Listening: Perception and the Audio Environment
• A Critical Listening Experiment: A-X-B Comparison
• Live “Hands-on” Recording Workshops
• Electrical Hook-up of Computer and A/V Systems
• Interfacing Your Computer With Your Home Entertainment
System
• How to Prepare a Presentation
Ron has presented seminars to Recording
Studies programs at colleges and universities, meetings of
the Audio Engineering Society, and other technical
organizations throughout the US, Canada, Europe, and
Australia. He is also a member of the Speakers Bureau of
the Los Angeles Opera League Community Educators Program.
“I would be
happy to visit your facilities and spend some time with
you. I invite you to call me to discuss how I can help you
and your program.”
Microphone
Technology How do
microphones work? What differentiates one operating type of
transducer from another? How and why do they sound
different? What are polar patterns, and how do they affect
the way a microphone responds to sound? What is “proximity
effect” and why do some mics exhibit more of it than
others? What’s the truth about capsule size — does it
really matter? These are just a few of the topics covered
in this in-depth seminar on Microphone Technology.
Microphone Pragmatics
This
seminar won’t tell you where
to put a
microphone in front of a performer or ensemble, but it will
tell you how
to put
it there effectively and efficiently. The world of
microphone hardware can be very confusing, but it is
important to know what is the best to mount your precious
microphone safely and get it where you want it. Among the
topics covered in this hands-on workshop are shockmounts,
stereo bars and similar devices, mounting hardware,
popscreens and windscreens, and special mic-stand
configurations. Various techniques for rigging microphones
also will be shown. To top it off, the proper way to coil a
microphone cable will be demonstrated — with audience
participation. Learn all the practical aspects of using
microphones that they don’t tell you at school or in the
text books.
Microphones
as Divas Microphones
are the “paintbrushes” recording engineers use to create
their sonic illusions. Each has its own
particular characteristic sonic qualities. The
art of the engineer involves understanding these and
choosing the right microphone for any given situation. In
both social and educational gatherings among engineers, the
conversation frequently leads to a discussion comparing
various microphones and trying to define what gives each
its unique “personality.” Describing a microphone’s sonic
characteristics in simple terms is not an easy task, yet
there are many ways that people try: some cite
specifications or technical data; some use
subjective or descriptive terminology; still
others employ emotionally charged words. This presentation
focuses on several classic and iconic microphones and using
recorded examples, the sonic character of each is compared
to the unmistakable vocal quality of a diva from the world
of opera, the musical theatre, or popular music.
Microphones:
The Physics, Metaphysics, and Philosophy
Before
you can place the first microphone in the studio, you need
to develop a clear understanding of the sound that you want
to emanate from the loudspeakers when the project is
finished. To do this, you need to determine what are the
elements that are essential for creating the “sonic
illusion,” and then decide how to balance the often
conflicting elements and competing demands of
technology vs.
art. Microphone techniques — although critical — are only a
part of this process. Equally important are the criteria
for monitoring and evaluating the results. Using recorded
examples and practical demonstrations, the various aspects
of this creative process are developed and brought into
focus.
A Practical Guide to Ribbon
Microphones Although
they were among the first studio-quality microphones and
remained favorites of recording artists and engineers until
the mid-1960s, ribbon microphones fell into the shadow of
the European condensers for the latter part of the
20th
Century.
In the last few years, refurbished originals and new
recreations of the classics from RCA as well as models from
new manufacturers have generated a renaissance of ribbon
technology and popularity. This lecture discusses how these
microphones work and why their unique properties have made
them so highly desirable.
Stereophonic Techniques
What is
stereo? Why and how do we hear with spatial acuity? How can
we realistically capture and reproduce the stereo
soundfield with just two microphones and two loudspeakers?
These are but a few of the questions discussed in this
in-depth seminar. The session begins with a discussion and
demonstration of how the human ear-brain hearing system
works. This is followed by a historical overview of the
development stereophonic recording. The main body of the
session presents a comprehensive analysis of the various
common stereophonic microphone configurations, and
concludes with numerous recorded examples for evaluation
and comparison of the techniques discussed.
Early Stereo — A
Retrospective The
first documented experiments in “stereo” were conducted in
1881. Why, then, was it not until the mid 1950s that stereo
entered the commercial consumer marketplace? What were the
two very different approaches to stereo that were being
developed simultaneously and independently on opposite
sides of the Atlantic Ocean? The work of the three most
significant pioneers in the development of stereophonic
sound (Clement Ader, Alan Blumlein, and Harvey Fletcher)
will be presented, complete with recorded examples
originating in the early 1930s. A surprise guest, critical
to the commercial realization of stereophonic sound, also
will make a recorded appearance.
Critical
Listening: Perception and the Audio Environment
This
seminar is a day-long analysis of the listening process,
focusing on the relationships between the physical elements
of sound propagation — frequency, intensity, and spectrum —
and their perceptual counterparts — pitch, loudness, and
timbre.
The analysis and discussion of the human hearing system
includes demonstrations of many of the physiological and
psychoacoustic phenomena which cause us to perceive sounds
in a manner not simply related to their physical stimulus.
Considerable attention is given to the important
characteristics of sound propagation and the hearing system
that affect the perception and enjoyment of music. Special
emphasis also is given to the factors that can result in
hearing damage or loss.
The lecture employs numerous visual and sonic
demonstrations, and includes excerpts from materials
prepared by the Acoustical Society of America, Dr. Diana
Deutsch, F. Alton Everest, and others.
A Critical Listening Experiment: A-X-B
Comparison Audio
engineers and laymen alike often have to undergo comparison
listening sessions — whether purchasing a new pair of
loudspeakers or headphones, deciding what microphone to put
in front of the singer, or evaluating which recording
technique sounds best in any given situation. The most
exhausting and stressful of these experiences, however, can
be the “comparison listening test” often imposed by audio
sales people (or others with a commercial interest to
promote) to get you to select one piece of equipment over
another. Come and learn how to listen critically and
fairly.
Live “Hands-on” Recording
Workshops Whenever
a musical ensemble and appropriate performance and
recording facilities are available, I also can conduct a
“hands-on” recording session workshop using the given
equipment and facilities.
Preferably, the ensemble should be acoustical
instruments
and music (classical, opera, jazz, folk, or ethnic) and
sufficiently rehearsed that they can perform well together
without need for additional rehearsal time in the “studio.”
This session will involve the participants in all aspects
of the recording process: determining the
manner
of the
recording; selection of microphones and other equipment;
setup of the recording venue; microphone rigging and
placement; cable management; signal flow and the recording
process; proper logsheets and other documentation; striking
the session; etc.
An appropriate amount of time should be allocated for these
sessions, and this will depend on the scale of the project
and the desires of the participants. At least a half-day
should be considered as a minimum.
Appropriate recording facilities must be available: a
studio or appropriate performance space for the musicians;
a control room (or appropriate space) for the recording
equipment; an adequate selection of microphones; microphone
stands, mounting and rigging hardware (if/as needed), and
cables; and an appropriate complement of recording
equipment — mixing console, recording devices, monitors,
communications, etc.
Electrical
Hook-up of Computer and A/V Systems Computer
systems (or any complex audio/video system) are comprised
of a number of components, all of which require AC
mains
power to
operate. Connecting all of these components together often
can be a rather daunting experience — particularly when an
electrical fault could mean not only the loss of a piece of
equipment but also, and more seriously, the loss of that
project you have been working on for the past six months.
The worst case, of course, is the risk of fire or personal
injury. Proper electrical hook-up, grounding, and safety
are just some of the concerns covered in this session.
Devices for protection against interference and noise in
the AC power line, brown-outs, and black-outs also will be
discussed. The session concludes with a brief discussion of
electrical products and techniques for international
travel.
Interfacing Your Computer With Your
Home Entertainment System As
Internet Service Providers offer increased programming
content, personal computers, portables, and even iPods are
rapidly becoming an important conduit for bringing
entertainment into the home. For some people, these
even are replacing the more conventional sources such as
radio or broadcast, satellite, and cable television.
The traditional small screens and loudspeakers common
to computers no longer need to limit your enjoyment of this
entertainment, however, because there are several ways to
interface your computer into your home entertainment
system. Nonetheless, difficulties can arise when
trying to cope with the variety of standards and formats
for audio and video and, of course, proper electrical
connections for all of the equipment.
This presentation begins by discussing the potential
problems and providing solutions for the safe connection of
all of the equipment to your electrical system. Next,
all of the various audio and video connectors and signal
formats will be explained so that you will understand what
is the best way to interface your computer into your A/V
system. Finally, potential hum and noise problems
resulting from "ground loops" or other sources of
interference will discussed, with recommendations for
eliminating or minimizing them.
How
to Prepare a Presentation Whether
a student or professional, whatever your field of interest,
at some time you may be called-upon to give a presentation
—it may be about your work, your hobbies, your travels, or
whatever. When that time comes, knowing how to prepare and
deliver an effective presentation will save you the
embarrassment of standing in front of your audience and
fumbling with your script, the slides, or even the simple
basics of organizing your materials effectively.
This seminar will not tell you how to organize your
thoughts, but it will help you to understand how to put
them together into a meaningful and carefully crafted
computer-aided slide show. Although this presentation
specifically focuses on the tools found in the KEYNOTE
application by Apple, similar principles and techniques are
applicable to Microsoft’s Powerpoint.
Many of the various aspects of creating a good presentation
are covered: proper use of fonts, slide builds and
transitions, special effects, drawing tools, creating and
importing graphics, and using audio tracks.
Special
attention also is given to the practical aspects of
presenting the lecture: what equipment and are accessories
needed, setup and testing of all facilities, effective
layout of the room, etc.
Facilities Requirements for My
Lectures
This is a System Diagram of my equipment setup and
requirements.
For a Full Size PDF of Diagram, Click
Here.
The
following items shown in black on the diagram are to be
provided on-site by the venue. If you have any questions
regarding the availability or suitability of any of this
equipment, please do not hesitate to contact
me.
1. One AKG C-414 – or an equivalent multi-pattern condenser
microphone, such as a Neumann TLM-170, capable of providing
omnidirectional, sub-cardioid, cardioid, hypercardioid, and
bidirectional patterns (no stand needed)
2. One pair of Shure SM57 or SM58 or similar moving-coil
hand-held microphones – with standard mic mounting clips
3. Two conventional microphone stands with boom-arms
4. Four standard microphone cables, tested and working –
minimum ten-feet in length
5. One two-meter by one-meter table for my equipment setup
– positioned to the audience-left of the projection screen
if possible without blocking the loudspeaker (#7)
6. One stool (preferred) - or chair
7. One pair of powered studio monitors (or loudspeakers
with power amplifiers) suitable for high-quality playback
with good coverage in the presentation room
8. Speaker/amplifier input cables as shown in black on the
above diagram (¼” -TRS plugs at the mixer end) – long
enough to reach each speaker from the equipment table
without causing a hazard on the floor
9. One computer projector (VGA or DVI/D input) adequate for
the room – with projector stand – with power cable long
enough to reach to the equipment table without causing a
hazard on the floor
10. DVI/D or VGA cable long enough to reach from the
computer to the projector without causing a hazard on the
floor
11. One projection screen, large enough for adequate
visibility throughout the room
12. One AC MAINS power outlet at the table
13. Tape to secure cables to the floor if/where they might
cause a hazard
14. OPTIONAL (not shown on diagram) one dual-trace XY
oscilloscope with a large enough display to be seen by the
audience; check with me first if you intend to provide this
to ascertain whether it will be helpful to the presentation
I
will provide the following items, shown in
red
on the above diagram:
1. MacBook Pro portable computer system - with DVI/D to VGA
adaptor
2. D-to-A computer audio output interface
3. Custom-built Presentation Demo Controller with internal
Mid/Side matrix
4. Custom-built A-X-B Comparison Demo Controller (only if
needed for Critical Listening Comparison lecture)
5. Spirit “Notepad” mixer (4 mic inputs and 2 stereo line
inputs; balanced stereo line-level output from ¼” -TRS
jacks)
6. Appropriate audio interconnect cables as shown in
red for my
equipment
7. Two Countryman E-6 head-worn mics (one for translator if
needed)
8. One Shure A55HM shockmount; other mounting and rigging
accessories for demo include: string, rope, shoelace
9. One stereo audio isolation transformer (if needed)
10. AC MAINS power distribution system (110-240VAC) for my
equipment
I anticipate normal setup time to be around 30 - 40
minutes. However, I prefer to have a minimum of one hour
available for setup and testing of the system before the
audience arrives.
After the presentation, I expect it to take about 20
minutes to pack-up and load-out my equipment.
Please be sure that the venue has been booked for
sufficient time before and after the scheduled
presentation.
All presentations have planned opportunities for Q&A.
For longer presentations (more than two hours) I usually
provide time for a break mid-way through. It is better if
refreshments are not provided, as they tend to lengthen the
break. If refreshments are provided, these should precede
or follow the presentation.
To
answer your question before you ask it: For preservation of
copyright, I do not provide copies of any of the audio or
video materials used during my presentations. I do provide
references, where appropriate, at the end of the
presentations.