Touring - calibrating to different sound systems

[Panos Couros]

Im about to have one of my sound designs tour Australia. The original was a 4 channel work in a theatre, however due to the nature of the tour and the venues it presents in, a 2 channel version of the show is also required. The big problem I have is how to calibrate each venue sound system so that the levels for each show are consistent. I know this is probably basic touring 101, but if someone can assist me, that would be great. Is it as simple as adding some test tones at the top of the show so that all equipment can be set to unity gain. If so, what are the best tones to use - 1k ?

Thanks in advance

Panos

[micpool]

Get a cheap SPL meter to send out with the tour.

Use a Pink Noise -20 dB wav.

Create an audio  cue with the pink noise  for each output your show is using and label them  e.g PA Left 80dB C  PA Right  80dB C

In your set up venue,  set the levels of each cue to send the pink noise to the relevant  speaker to give a meter reading of 80 dB C weighted (or Flat) at a reference position (e.g.9 rows back from the stage.)

Don't touch the level settings of these cues again!

In the touring venues, play each cue and adjust the amplifier (or mixer channel if you are using one) to give the 80dB meter reading at a similar reference position in the new venue.

I regularly use this with touring shows with up to 32 outputs. It is especially useful in multi tier venues with delay systems as you can run the pink noise for the PA feeds, set the amps for 80dB at the reference position and then wander all the levels of the theatre with the sound level meter and check that the levels are the same on all tiers and front to back. On less sophisticated systems there will be some variation but you should really aim for all seats to be covered + or - 2dB of the reference level.

Mic

[Paul Gotch]

On 29 Jun 2014, at 12:19, micpool <m...@micpool.com> wrote:
> In the touring venues, play each cue and adjust the amplifier (or mixer channel if you are using one) to give the 80dB meter reading at a similar reference position in the new venue.

Or just change the overall master levels in QLab to achieve the same effect and leave the house's setup alone and everything else at unity.

-p

[Panos Couros]

Thanks Mic, this makes sense and is simple enough for non-sound people to achieve (Im not going on tour with them). Much appreciated. Panos

[micpool]

It's also worth saying that the other advantage of having calibrated tone bands is that you can adapt complex  multi channel designs to 2 channel systems in rehearsal rooms, or 5.1 systems in the studio.

You play the pink noise cue for each speaker then adjust the Qlab device output  matrix to match the level and give an approximation of the original speaker position on whatever system you are using.

It's often worth creating a 2 channel reduction of your show in this way as a back up of last resort.  Even if you are using dual redundant Qlab systems, if your interface of the changeover devices or the desk fails you  can always come straight out of the headphone output on your mac to a pair of speaker systems and at least have an approximation of the original show with similar levels. 

Mic

[micpool]

On Sunday, June 29, 2014 1:06:51 PM UTC+1, Panos Couros wrote:

Thanks Mic, this makes sense and is simple enough for non-sound people to achieve 

Indeed, in the UK even No1 tours of plays  often go out with the stage manager setting up the sound and operating the sound  from onstage while cueing the other production elements verbally. On a one day get in and open they might only have 20 minutes to attend to the sound levels in the house and this method assures accurate set up of the house systems.

The advantage in adjusting the levels on external hardware controls is that the show can remain locked or in show mode so no accidental editing takes place and non sound people don't go fishing around in areas of Qlab like the device matrix they may not fully understand!

Mic

[Panos Couros]

Yes, this makes sense, and as this tour is going to some remote outback places, with "chicken shed" venues (as we call them here) as well as playhouses, this will ensure the same results. Ive adjusted the instructions for row 6 however, as I imagine in some places row 9 may be the back of the hall. 

We are running just 2 channels in these 'chook sheds', so Ive created both 2 and 4 channel shows. WIth the fast turnaround this method seems perfect.

Thanks again for your assistance. Invaluable. 

Panos

[nickreich]

I set up something similar to that described by Mic, but I tell my touring tec or Stage Manager to measure from one-third of the way back in the Stalls (Orchestra) level, or as close to that as they can get without being under any balcony overhang. I find this translates better across widely varying venue sizes better than using a fixed row number. I set the test sequence up to step through the speakers with long enough pink noise to enable them to write down the readings. they can then make adjustments on the mixer I run the QLab/SCS outputs through in one hit, then go back out and run it again if they have time to confirm. Often they simply don't have time in that sort of touring...
nick