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A-2 Overview for Local 16 Employees

A-2 Overview for Local 16 Employees. Tom Adams Lisa Woodward. What does an A-2 do?. Represents Local 16. Communicates with the A-1. Asks questions. Follows instructions. Interfaces with client and talent. A-2 is in charge of:.

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A-2 Overview for Local 16 Employees

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  1. A-2 Overview for Local 16 Employees Tom Adams Lisa Woodward

  2. What does an A-2 do? • Represents Local 16. • Communicates with the A-1. • Asks questions. • Follows instructions. • Interfaces with client and talent.

  3. A-2 is in charge of: • Audio power distro, snake runs, hanging speakers, wireless mics, stage mics, backstage monitors. • Audio to and from: video, computers, press, prompter. • Intercom. • Micing the talent. • Monitoring all of the above during the show.

  4. What an A-2 does not do: • Mix the show. • Choose the equipment. • Redesign the system. • Whine about the equipment. • Give the client/talent “a piece of your mind”. • Read the newspaper by the wireless rack...

  5. Represent Local 16 • Attitude. • On time. • Proper tools. • Proper attire.

  6. Communicate with the A-1 • Get information! • Give information! • Get a stage plot. • Get a patch sheet. • Don’t know? Don’t guess…. Ask! • Keep track of info, take notes and tell the A-1.

  7. Follow Instructions!!!

  8. Interface with client • It’s all attitude: you represent us all! • Be polite. • Be calm yet attentive. • Be discrete. • Be efficient. • Be proactive. • Be accommodating yet firm. • Be persuasive. • Be PROFFESIONAL. (YOU!)

  9. Power Distro • Find out from Electrician where comes from and goes. • Have someone (if not you) meter before any equipment is turned on. • You are in charge of getting power all audio equipment AND keeping others off our circuits to prevent ground loops.

  10. Snakes • SEND is the snake from the stage to the FOH. MALE ends (pins) to the FOH! This is for mics and playback. • RETURN is the snake from the FOH to the stage. MALE ends to the stage.This is for: amps, monitors, record, press, com, etc. • FOH audio AC power is run with these as well. Female to FOH. • Keep Audio snakes away from AC power other than our own!

  11. Amp Set Up • Find out from A-1 or stage manager/TD where they go. • Find out from A-1 which one will be for mains, delays, fills, monitors, subs. • Label them. • Consult A-1 about settings on each. He/she may not want them automatically set at full. • Biamp & Triamp systems.

  12. Patching • Get patch sheet from A-1. • LABEL, LABEL, LABEL!!!!!!!! Label at the male & female end of a mic cable. Label at the male end of a return feed at the snake, and the extension cable. Label all mult boxes and DA’s at the box and the out going end of each cable. Label rec sends at the male end. • Did I mention labeling?

  13. Speaker Cabling • Find out where the speakers go and find the simplest, most efficient, safest path to lay the cables. Remember the out! • Did I mention labeling? • All cables should be labeled at the amp end (at least). • Any cable in the air should be labeled at both ends. • Powered Speakers. • Be neat. It looks good, tends to be safer and goes out faster.

  14. Hanging Speakers • An A-2 must be lift certified. Period.You will spend a lot of time in a lift. • Learn 3 knots: clove, bowline, taught line hitch. • Hardware and hanging technique should have been figured out by the vendor. Find the vendor and ASK. The head rigger and/or A-1 get paid to answer them. Someone’s life could depend on you.

  15. Hanging con’t. • Label all cables in the air. Pay extra attention when patching in the air. Double check all connections. • Generally we hang speakers upside down. Why? • Speaker focus will be called by A-1 from the ground. This is where your protractor will be a helpful tool. A radio would be good, too. • What is a “delay” anyway? • Double check your labels and connections before moving on to the next one!

  16. Stage mics • Know your mics!

  17. Wireless Microphones

  18. RF Basics • Transmitter • Receiver • Carrier Wave • FM-Frequency Modulation • Frequency Range • VHF • UHF • Diversity • Intermodulation • Squelch • Tone Key andDigital Code Squelch

  19. Setting up a RF mic system • Set up receivers • Place antennae and cable to receivers • Connect audio output to sound system • Choose and program frequencies on receiver • Program transmitters • Choose mics • Test

  20. Antennae and Cable

  21. Antennae Placement • Maintain a line-of-sight between the transmitter and receiver antennas. • Avoid placing antennae where metal or other dense materials may be present. • Avoid placing the receiver near computers or other RF generating equipment. • Point the antenna tips away from each other at a 45° angle from vertical. • Maintain a distance of at least 10 ft between the transmitter and receiver to prevent overloading the receiver. • Keep diversity antennae at least 10 inches apart. • Do not let antennae touch. Source: http://www.audio-technica.com/using/wireless/quicktip/oneplus.html; uhf_en.pdf at www.shure.com

  22. Cable Type VHF UHF Cable Length for 30% Range Reduction Length for 50% Range Reduction Length for 30% Range Reduction Length for 50% Range Reduction Lo-cost RG 58 33' (10 m) 65' (20 m) 15' (4.5 m) 30' (9 m) Quality RG-58 54' (16 m) 107' (32 m) 24' (7 m) 48' (14 m) Lo-cost RG-8 70' (21 m) 140' (42 m) 31' (9.5 m) 63' (19 m) Quality RG-8 110' (33 m) 220' (66 m) 48' (14.5 m) 96' (29 m) Foam RG-8 (Belden 9913) 165' (50 m) 330' (100 m) 75' (23 m) 150' (46 m) Source: http://www.audio-technica.com/using/wireless/advanced/cables.html

  23. Cable

  24. Shure UA830 • Antennae amp • 50 ohm cable only (RG8) • Up to 25’ use the 3 dB gain • Up to 50’ use the 10 dB gain • May gang two together for more than 50’ • No more than two ganged together Source: http://www.shure.com/pdf/userguides/guides_wireless/ua830_en.pdf

  25. Directional Antennae

  26. Antennae Dividers or Distros • Allows several receivers to use just 2 antennae. • Connect the antennae to the input of the distro. • Connect the antennae outputs of the distro to the inputs of the different receivers. • Terminate unused outputs with 50 ohm BNC terminators (but not inputs!). • Use cascade output ports to connect additional distro together. • Be sure to check that frequency range is compatible with the rest of the system.

  27. Connecting to the Sound System

  28. Gain for Receivers • Mic/line level • Shure “mic/line” switch in the rear • Sony “level” switch –20 on the front • Output gain knob all the way clockwise • The set the “mixing” switch on Sony receivers to OFF • Use XLR connectors when ever possible

  29. Sony “Mixing” Switch

  30. Programming Receivers Shure UHF and Sony UHF 800

  31. Programming Shure Receivers Source: uhf_en.pdf at www.shure.com

  32. Programming Sony Receivers

  33. Choosing Frequencies

  34. Frequency Band Number Classification Abbreviation 30 - 300 Hz 2 Extremely Low Frequencies ELF 300 - 3000 Hz 3 Voice Frequencies VF 3 - 30 KHz 4 Very Low Frequencies VLF 30 - 300 KHz 5 Low Frequencies LF 300 - 3000 KHz 6 Medium Frequencies MF 3 - 30 MHz 7 High Frequencies HF 30 - 300 MHz 8 Very High Frequencies VHF 300 - 3000 MHz 9 Ultrahigh Frequencies UHF 3 - 30 GHz 10 Super-High Frequencies SHF 30 - 300 GHz 11 Extremely High Frequencies EHF 300 GHz - 3 THz 12 - - Frequency Bands Source: http://www.testeq.com/charts/freqclas.lasso

  35. Frequency Ranges of Popular Brands • Shure UHF • “UA” series: 782.125-805.875 MHz • “UB” series: 692.125-716.000 MHz • Sony 800 UHF • TV Channel 64: 770 MHz to 782 MHz • TV Channel 66: 782 MHz to 794 MHz • TV Channel 68: 794 MHz to 806 MHz • Sennheiser 3000 • Range: 434 - 960 MHz Sources: http://www.Shure.com; http://bpgprod.sel.sony.com/proaudio/index01.htm; http://www.sennheiserusa.com/

  36. channel Frequency (MHz)  channel  Frequency (MHz)  channel  Frequency (MHz)  2  54-60  25  536-542  48  674-680  3  60-66  26  542-548  49  680-686  4  66-72  27  548-554  50  686-692  5  76-82  28  554-560  51  692-698  6  82-88  29  560-566  52  698-704  7  174-180  30  566-572  53  704-710  8  180-186  31  572-578  54  710-716  9  186-192  32  578-584  55  716-722  10  192-198  33  584-590  56  722-728  11  198-204  34  590-596  57  728-734  12  204-210  35  596-602  58  734-740  13  210-216  36  602-608  59  740-746  14  470-476  37*  608-614  60  746-752  15 476-482  38  614-620  61  752-758  16  482-488  39  620-626  62  758-764  17  488-494  40  626-632  63  764-770  18  494-500  41  632-638  64  770-776  19  500-506  42  638-644  65  776-782  20  506-512  43  644-650  66  782-788  21  512-518  44  650-656  67  788-794  22  518-524  45  656-662  68  794-800  23  524-530  46  662-668  69  800-806  24 530-536  47  668-674 TV Frequencies in the US *Currently allocated for Radio Astronomy only. Source: http://www.flyingwombat.com/usa_tv_freqs.html

  37. 64 51 692 770 698 776 KFTL KDTV-DTV Stockton San Francisco Mt. San Bruno Channel Frequency Frequency NTSC DTV DTV City of Transmitter From MHz To MHz Station Station Status License Location 52 65 776 698 782 704 KLXV KICU-DTV San Jose San Jose 66 53 782 704 710 788 KPST KVIE-DTV Vallejo Sacramento Mt. Sutro 67 54 710 788 794 716 KSMS KTEH San Jose Monterey 68 " 794 800 KWOK KFTY-DTV Santa Rosa Novato 55 69 800 716 806 722 KTXL-DTV Sacramento Bay Area TV Stations Source: http://www.lns.com/sbe/Bay_Area_TV.html

  38. Groups, Channels andTV stations on Shure and Sony • Groups and channels are arbitrary designations to make frequency choices easier. • In both Shure and Sony choose channels within the same group so frequencies will not overlap. • The Shure A/1 and A/2 are master groups and cross all other groups (1-7). Groups 1-7 also cross each other with in the same series. • The Sony 00 group is a master group and crosses all other groups (11, 12, 13, A1, A2, A3). Sony groups cross each other within the same TV channels. • Sony TV Channel 66 and TV Channel 68 overlap Shure series “UA”.

  39. Example of Cross Frequencies Source: Spread sheet by Jim Risgin of On Stage Audio

  40. Choosing Clean Frequencies • Manually scan through frequencies • Contact other operators • Use the same group for all frequencies • Frequency separation • Frequency intermodulation • Shure website at www.Shure.com • Audio Technica website at www.audio-technica.com/index2.html

  41. Transmitters and Mics

  42. Shure Transmitters Default setting is –6 Start with gain all the way down

  43. Power Lock and FrequencyLock on Shure Transmitters • Power Lock : • Press and hold the SET button, then press and hold the MODE button. Hold both keys down until “PoL” (for power locked) is displayed. • To unlock, repeat the steps. • Frequency Lock : • Turn the transmitter power off. • Turn the power back on while holding down the SET button until the fuel gauge on the transmitter is active. “Fr L” will appear momentarily, until you release the SET button. • To release, repeat steps.

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