Music is an important part of the worship experience and the right sound system equipment and design can enhance the quality of any worship service or church sponsored event.
Over the years, CSA has learned how to meet the varying sound reinforcement needs for churches and gospel groups.
Clear Sound Atlanta has the technical expertise and creativity design and set-up a sound system that will compliment any special occasion environment.
Clear Sound Atlanta supports a wide range of events. Our team will coordinate with your event planner to ensure proper sound reinforcement.
Clear Sound Atlanta was originally founded to support live music performances.
CSA provides sound reinforcement for small jazz bands and acoustical groups to larger funk, rock, and R&B ensembles.
We offer several packages that are specifically designed for live music performances.
Original Article Written By Kevin Becka on October 6th, 2011
Even though we could all see the inevitable with Steve Jobs looking more and more frail as time went on, his passing is sad and shocking. His impact on consumers is beyond any other CEO’s in history but he also effected audio production in a big way.
Since the early 80′s Apple products have always had a way of making you feel good and like you’re on the cutting edge of technology. Whether its feeling cool about having an iPhone in your pocket to show your pictures and videos to your friends, listening to music on the go, or running audio software on your Apple laptop, iPad or tower, it’s all like so futuristic and COOL.
Although the early apple computers weren’t as cool for music makers as the Commodore 64 running Dr. T software, Apple quickly started moving toward heftier music production ability with the release of the IIgs in 1986 which included a 32-voice Ensoniq 5503, ‘wavetable’ sample-based music synthesizer chip, 64 kB dedicated RAM and 256 kB of standard RAM.
So what would I say to Steve Jobs if I could sit down next to him and have a coffee? I’d start with thank you. Thanks Steve for empowering me, making me feel good, and professional. Thank you for making me think outside the box, making me a better sound professional, musician, and producer. But most of all, thanks for being a hero to the end. At a time when many heroes have fallen due to human weakness, greed, drugs and just plain being stupid, you remained a man of integrity until the end. It was an honor to live during your lifetime.
Original article written by Chris Huff of Behind the Mixer
iPads are turning up in the audio booth as a new sound source. Much like my article on using different types of smart-phones as audio sources, iPads are something you need to consider. Let’s look a how to get the audio out.
In the case of the iPad, it’s got a headphone (stereo-out) plug and the audio mixer channel inputs are for balanced signals. Therefore, while it might be easy to think the cables work the same way because the plugs look the same, it’s like having two plastic pipes where one is used to carry drinking water and the other is to carry…umm…the other stuff. Both might be PVC pipe but with different contents.
Time to Convert
Purchase a 3.5 mm (1/8″) mini plug to dual 1/4″ or dual XLR cable. Internally, the mixer will know what to do with a TS (unbalanced) plug, which is what you end up with using said cable.
The even better way to go is to use a Radial ProAV2 DI. This little wonder gives you a 3.5 mm input jack with dual, balanced XLRs out. Simply plug that 3.5mm plug directly into the Radial DI and it will convert the signal to the right type as well as convert the signal to the proper line level as pro and consumer-grade electronics usually output at different levels. The DI plugs into your board using a right and left xlr cable. You also get a bunch of other I/O jacks in case you need them. It’s a bit more money, but well worth it.
Summary
Converting audio from an input device, like an iPad, to your board can be easy when you have the right tools at hand…and you know the type of signal that’s coming out of your equipment and the type of signal that’s expected to come in.
One way you can offset the overall cost of a wedding is to take on the task of providing the music yourself. Obviously, creating a do-it-yourself wedding DJ system will require a bit more effort on your part. This guide will explain the basics of what you need to do, point out many pitfalls, and give you some creative ideas on how you can spice up your event.
The Song List
One of the most important jobs you need to do is to create the song list for the day’s events. You need to figure out exactly which songs will be played at the wedding. You also need to determine the order in which they’ll be played and when they will be played. Once the list of songs is compiled, you need to acquire all of the music and organize it for your playback system.
The Playback System
You’ll have to choose a device to play music at the wedding. The most common way to do this is with an iPod or another kind of MP3 player. If you go the iPod route, you need to create a custom Playlist for the wedding in iTunes. It’s a smart idea to have the wedding’s Playlist loaded onto more than one iPod (as a safety backup). Another playback option is to connect a laptop computer to the sound system that’s loaded with all of the songs you need. No matter what playback system you end up using, it’s a smart idea to always have a backup.
The Sound System
Some wedding venues come with an included sound system, while others do not. If your wedding venue doesn’t have an included sound system, you’re going to need to provide one yourself. The good news is that Clear Sound Atlanta can provide you with a high quality, competitively priced sound system for your special day.
Clear Sound Atlanta has the technical expertise and creativity design and set-up a sound system that will compliment your venue. Our team will coordinate with your event planner to ensure proper sound reinforcement.
WEDDING SOUND SYSTEM PACKAGES
Dance the Night Away with Disco Lights
People love to cut loose on the dance floor at weddings, and having a few disco lights can really draw people in. The good news about dance lights is that they’re pretty easy to use. We sell disco lights at B&H which have sound sensors built into them. The sound sensors react to changes in the music, and automatically come up with a light show that’s in sync with the music.
LEDs are a good option for dance lights. They run cool, so you don’t have to worry about anyone touching them and burning their hands, and they’re pretty affordable. The American-DJ Color Burst 8 DMX Color Wash LED Light is a good option because of its tasteful low profile, and wide range of colors and effects.
Thanks for checking out this Clear Sound Atlanta Blogpost! Hopefully it’s given you some ideas about how you’ll approach your wedding sound system. If you have any questions about wedding sound systems contact Clear Sound Atlanta.
Original Article by By Sam Mallery | bhphotovideo.com
Are you considering upgrading your audio system? Clear Sound Atlanta will perform a 9 point inspection of your audio system to determine your sound reinforcement needs:
Contact Norris Wooten at 404.437.4307 to schedule your 9 Point Inspection.
Discounts are available for houses of worship.
Feedback is technically known as audio oscillation. In simple terms, it is nothing more than sound coming out of the speakers, going back into the microphones and reamplified in rapid oscillating cycles, creating a shrill whine or squeal.
The object of a system is to achieve satisfactory, high fidelity amplification of sound before feedback occurs. Under some circumstances, limited by acoustics and poor equipment, this can be a real challenge.
There is no complete cure for feedback. If the volume of any mic is boosted loud enough, it will eventually cause feedback. However, these are ways that it can be reduced and controlled:
1. Turn the volume down.
2. Decrease gain on equalizer (EQ) or tone controls.
3. Reduce monitor system volume or its EQ gain.
4. Move microphones farther away from sound path of speakers.
5. Use a wide band graphic equalizer and/or parametric equalizer to reduce gain on susceptible feedback frequencies. (Note: When using EQ to filter out feedback, a sacrifice in desired tone quality may result. But if used carefully, an acceptable compromise of less tone for more feedback control can usually be achieved.)
6. Use higher quality, low impedance microphones and equipment.
7. Select tighter patterned, cardioid microphones when possible.
8. Decrease gain on reverb controls.
9. Improve room acoustics to absorb more reflected sounds.
10. Have an audio engineer to perform an acoustic analysis between your system and auditorium using a pink noise generator and oscilloscope. By this method, he can identify feedback prone frequencies and help you tune your graphic equalizer or suggest acoustic alterations to your venue.
Original article written by Chris Huff of Behind the Mixer
Here are four ways any band can work towards moving up to the next level
1. Listen closely to professional recordings of the song and take detailed notes.
What instruments are used? When are they used? How are they used? What changes in the vocals from one verse to the next? By examining a song, you’ll have the start of a plan for arranging your version of the song.
2. Review your choice of instruments.
Yes, you may have a kick drum but what if a song only incorporated the cymbols? Two guitars playing rhythm might sound nice at first, but you can add color and depth when one of those guitars plays in a different octave and / or different chord voicings. Maybe it’s time to add a bass player. Does the drummer have a djembe they could play?
3. Don’t play all instruments all the time.
Any band can easily fall into this trap. Usually, the song starts with a good opening arrangement but by the time it’s the second verse, everyone’s playing. Instruments can drop out for a passage. Guitarists can play at half-speed for a passage. And for something totally off the wall – if you have strong vocalist, don’t play an instruments at all for a passage!
4. Talk with the sound guy.
For instance, you’ve got a new song arrangement that you think is great — play it and ask the sound guy what he or she thinks. Working on a sound team requires knowledge of both science and the art of music. You might find out that you need to add space in your mix because of too many instruments crowded around the same frequencies. You might find out that your killer bass riff idea is being covered up by the drum arrangement. The sound guy isn’t passing judgment on your arrangement; they are helping you with your arrangement.
Original article written by Chris Huff of Behind the Mixer
Product Review – Shure SM58 Vocal Microphone
The Shure SM58 Microphone is a sturdy, well-made, and might I add excellent, dynamic microphone. We’ve used the SM58 for years as both a vocal microphone as well as an instrumental mic (in instances where it’s preferred over a condenser). The SM58 has held up wonderfully and given the quality of sound that we desired.
The Shure SM58 microphone is a unidirectional (cardioid) dynamic vocal microphone. It’s great as both a singing microphone as well as a speaking microphone. It uses a built-in spherical filter that minimizes wind and breath “pop” noise. A cardioid pickup pattern isolates the main sound source while minimizing unwanted background noise.
The steel mesh head construction means it will survive the occasional drop – which does happen.
The SM58 accentuates the warmth and clarity (brightened midrange and bass rolloff) of lead and back-up vocals which has made it the first choice of performers everywhere.
Internally, it has a pneumatic shock-mount system which cuts down on handling noise.
The Shure SM58 Mic is a workhorse of a microphone that performs great time after time. Used by professionals for years, it’s proven itself an amazing microphone.
