karl winkler Archives - Sound Design Live

Why is wireless so hard?! Even after 15 years of shows, I still don’t get it.

A perfect example is a show I worked on a couple of weeks ago. As far as I could tell, I was doing everything right. I was using a solid antenna and distro from RF Venue, following the guidelines I knew for antenna placement and frequency coordination using Shure Wireless Workbench, but it didn’t work. I was still getting dropouts.

At breaks I would scramble to re-coordinate and war game and increase transmitter power. No improvement.

I hate to call it magic, but sometimes it just seems to work and sometimes it doesn’t. Even after the hundreds of shows I’ve worked on, wireless is the part of the signal chain that I have the least confidence in.

One thing I know is true: just like sound system tuning, there is no magic bullet. A solid signal chain develops at every link.

If I want to stop having these painful experiences on shows, I need to take my skills to the next level. But how?

The best solution would be to hire Karl Winkler to come out on shows with me, but something tells me he’s not going to fly to Minneapolis for a show tomorrow.

I guess the next best solution is to have Karl train me on the principles. I know how to operate some hardware and software, but I have never trained in the basics of wireless systems.

If I could have it my way, I’d also get Alex Milne to teach me about filters, Nick to walk me through the process he developed on tour with O.A.R., and Stephen Pavlik to give me a crash course on wireless for IEMs.

Of course, I’ll have to check my budget. How much is it going to cost to take a day off of work, travel, and lodge myself at the training location? Ideally, it would happen in Minneapolis. But then I’d have to put on pants and leave the house. And it might be snowing! Also, this doesn’t really help Chris in Philadelphia or Aleš in Slovenia.

Wait…

What if we could do this online? We won’t be able to shake hands, but this might be the best compromise. If we do it through video conference then presenters can show demos with their webcams and anyone can ask questions.

I’m not very clever when it comes to marketing, so I guess I would call it something like Wireless Workshop. I really like Guileless Wireless, but that seems silly.

So how much should it cost? Let’s see…MxU is $300. Smaart class is $750. SynAudCon Making Wireless Work seminar is $750. I don’t think this event would need to cost that much. If we can get 50 or 60 people to attend, tickets could be as low as $77 and still pay all of the teachers.

Hmm, some people might not be able to afford $77. Let’s also offer a $30 discount for people who need it.

What do you think?
Should we do it?

No, this is a dumb idea.
Yes, sign me up!

Ideas? Comment below. 🙂

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In this episode of Sound Design Live I interview Karl Winkler from Lectrosonics. We discuss the basics of frequency coordination, wireless microphone myths, and how the Super Bowl manages 1,000 channels of wireless devices. Karl also explains what a backup frequency is, whether bluetooth devices, microwaves and cell phones will cause interference, and how to prepare for rogue wireless devices.

Notes:

Music in this episode by The Giovanni Quartet, Brodsky Quartet, The Bartok Quartet, and Brentano String Quartet.
USC Recording Arts
Karl’s principles for success in audio
1. Have a good attitude. If your job is to roll tires from the back of the store to the front, you should be so good that people will pay to see you do it. Don’t be afraid of the work or think of it as being beneath you.
2. The basics always matter. Every art and science requires you to know the fundamentals.
3. Really listen. Learn to use use your ears as a troubleshooting tool. See Trouble-Shooting Audio Systems tutorial.
SynAudCon – Making Wireless Work
Wireless Workbench
Myths
1. Wireless mics are voodoo.
2. A directional antenna is always better.
3. I can get more range with boosted antennas.
4. Lectrosonics is too expensive.
Interview with Jim Venable from the Wireless Speaker Association
Axient system from Shure
Spectra Pulse from Audio Technica
Lectrosonics Facebook Group and FAQ page
Words
1. Cavity Filter = Pass band filter. Blocks out bands of frequencies to focus only on the ones you want.
2. Shark Fins = Directional antennas = LPDA (log periodic dipol arrays)
3. Intermodulation distortion = Occurs when two or more signals mix within an active device and create phantom frequencies.
4. Backup/spare frequencies = Pre-coordinated channels that you don’t need at the moment, but are already calculated to fit into your system design, preventing guess work.
Big Mistakes
1. Not separating your IEMs, comms, and mics into different bands.
2. Bad antenna placement.
3. Not calculating signal loss for long antenna cable.
Quotes
1. “Audio is a guilded career. You start as an apprentice. That’s how most people get their start.”
2. “Your attitude is irreplaceable.”
3. “There is something to learn from everything you do in life.”
4. “Any time you add an active component, you are potentially raising the noise floor and increasing distortion. It can mix signals and create intermodulation products. You always want a net zero gain between antenna and receiver.”