The Art of Sound Recording : 4 Workshops Silverton Gallery on July 6, 13, Aug. 10, 25th, 1- 4 pm 5$ registration fee. Tuition is FREE or by donation.
July 6th Workshop 1: Introduction to Gallery Equipment Leader: J Buttle. Introduction to the sound equipment currently used at the Silverton Gallery, including the new 24 channel mixing board and 16 channel digital sound card. Participants will learn basic sound reinforcement, system set- up, basic recording set up, basic room management.
July 13th Workshop 2: Elements of Sound Reinforcement (using the PA system) Leader: Shuggy Milligan. Introduction to specific characteristics of sound that affect reinforcement. This will include: characteristics of microphones, instruments and rooms.
August 10th Workshop 3: Computer Recording Basics Leader: JC van Breugal. Introduction to the basics of home computer recording systems, including working with Logic 9 computer program, and basics of Mixing and Mastering
August 25th Workshop 4: Electricity, power, and impedance Leader: Howard Bearham. Participants will learn about cables, connectors, signal phase shift and signal amplification.
Maximum 12 participants. Youth 16+ years encouraged to apply.
Info/registration : firstname.lastname@example.org; 250-358-7198
The Sound Studio Project is sponsored by the Slocan Lake Gallery Society, and is made possible by donations from Kootenay Savings Community Fund, Columbia-Kootenay Cultural Alliance (CKCA), BC Arts Council (BCAC), and a bequest from Chie Kamegaya.
SILVERTON GALLERY GETS BOOST WITH NEW SOUND EQUIPMENT (ARTICLE)
by Art Joyce Article courtesy of the Valley Voice newspaper
The Silverton Gallery, a popular venue for music and arts events in the north valley, is getting a boost with new sound equipment. While newer isn’t always better, much of the existing equipment dates to the 1970s and has long been in need of replacement.
Thanks to grants from the Columbia-Kootenay Cultural Alliance (CKCA), Recreation Commission #6, Kootenay Savings Credit Union and Chie Kamigaya, musicians will now have a greatly expanded sound palette to work with. The 24-channel soundboard will open up the number of instruments and voices that can be managed. Two new self-powered PA speakers will feature both ample power and clarity. The soundboard will have an Apogee Symphony audio interface for computer recording, offering professional quality sound transfer.
“What’s special about this unit is that it allows all the individual instruments feeding the sound board to be recorded simultaneously and individually,” says gallery board member and sound technician Jay Buttle. “The artist can take away the recordings and mix the way they like it if they want to change anything from how the room sounded when they actually did the performance. And they can fix a mistake made by one instrument without re-recording the entire group.”
Buttle says that the decision to upgrade the system was made for several reasons. While the old equipment could be made to work, it was reaching the point where it no longer met the expectations of a modern performance space. It was simply unable to integrate with modern equipment and lacked the flexibility to meet the needs of diverse users. Buttle—a bass player who performs with local band Shades of Loud—was behind the initiative to add recording capacity to the system.
“As a performing artist myself, it seemed like a service that would be very appealing to receive. So our thought was that developing this capacity will open the opportunity to attract more diverse and possibly bigger name acts.”
He sees the recording capacity as a boon to both artists and the gallery. With permission from the artists, recordings could be sold on compilations to raise funds for the gallery. Live recordings are another potential subsidy to attract artists to the venue, since they can use these recordings to benefit their own careers. So far the response from artists has been very positive.
“They view it as an extraordinary opportunity to get high-quality recordings at non-profit rates, which is virtually unheard of. Most live recordings at other venues are limited to the house-mix—what is heard by the audience. To walk away with fully separated recordings is a big deal.”
Buttle says the older equipment often required problem solving on the fly, which can be a nightmare in the middle of a gig. While there’s a steep learning curve associated with the new system, he feels the expanded capacity is well worth it.
The new sound system took shape between July and November 2012 and is now essentially complete. Buttle says there are still a few minor additions that would make the system function better as a whole, but it is fully capable of doing the job. Artists wanting access to the new equipment can do so by booking the gallery space for an event. Please specify what services are required when booking, for example, just soundboard services or soundboard plus live recordings and custom mixing. The gallery will require that the equipment is supervised by one of its own sound tech team members.
Anyone interested in being trained to become part of the gallery’s sound engineering team can contact Buttle through the gallery at email@example.com.