Dave Rat - Roadies in the Midst

Hey, if you are thinking of heading to AES in San Francisco, I am the lunch time keynote speaker on Friday Nov 5th

http://www.aes.org/events/129/specialevents/?ID=2535

Also I will be on two panels as well:

Fill Speakers in Live Reinforcement where will be discussing aspects of the additional non-main system loudspeakers, placement and such

http://www.aes.org/events/129/livesoundseminars/?ID=2522

And Subwoofer Directionality which should be interesting as that has been something I have been doing quite a bit of messing around with in real world large scale applications

http://www.aes.org/events/129/livesoundseminars/?ID=2519

Here is the full calendar:

http://www.aes.org/events/129/calendar/calendar.cfm

As I think of them, I have been Tweeting SoundTips and have compiled the latest since blog post:

**** Sound ips ****

1) Carry a fml-fml-ml xlr Y & if talkback turned on is forgotten, Y TB mic into lead vox snake line for check & you'll be heard!

2) If you are a FOH eng, work out a hand signal line check plan with backline techs so you don't rely on a talkback mic. Easy, fast & efficient

3) For EQ'ing a system, I 1st set analyzer mic near me to calibrate my ears to what I see, I then move it to audience ear level

4) For dynamic bands, "Y" the drums to both gated and non gated inputs with a VCA for each. Now u can easily slide between open and gated sounds

5) When mixing, listen think, adjust, don't fiddle! Imagine a camera on u & u will be made to justify every knob and fader change

6) Creep some reverb into pre-show music before your band to create the illusion that your show comes up extra clean and tight.

7) In highly reverberant venues using more compression reduces the decay from louder peaks from stepping on the rest of the mix

8) Technology is important and useful but never ever forget that the final judge of the quality of your work is the human ear

9) If you are ever thinking a rock show is too loud, try going to some top fuel drag races or an air show and be humbled.

10) Why mix from a riser? Oh ya, so u can hear what the audience doesn't. I mix from the ground or 1' max whenever possible.

11) When using 2 kick mics, high pass the vent mic with the internal mic full range for a tight sound, do the reverse for a loose sound

12) If sending effects post fader, don't assign the efx return ch to same VCA as the send ch or the efx return level will be magnified 2:1 

13) Never use overeasy/softknee limiters for system protection, all they do is ruin the sound before letting speakers blow anyway.

14) Never mix from 2/3s back in a room with solid back wall. 2/3s is exactly 1/2 way. Sound travels 2/3ds to you, 1/3 to the wall and 1/3 back to you.

15) Mixing is like driving a car, turn off interior lights keep eyes on the road & glance, don't stare at the speedo and gauges

16) I mix with no light so I pull the 2.5K and 250 knobs off my 1/3oct EQ so I can EQ by feel, very 3rd knob is 1/2 or double freq

17) Never tape the grill of Shure SM57 back on by taping around the mic, the gap between grill and body is a sound port & it'll kill lows

18) In the time sound passes thru a digi console with 2.5ms latency sound travels 250miles in copper wire READ http://bit.ly/9OoJEm #FB

19) Condenser mics have lower mass diaphragms than dynamic mics, are more sensitive to detail, wind & feedback and 'faster'

20) Ever wonder why flown PA sounds better? The steeper angle of incidence allows sound to penetrate the human heat thermal layer and reduces sound blockage by the human heads in front of you

Soundgarden did a gig at a mock CBGB's built on Paramount Studios back lot.

Hanging with Donnie from Ncompass at the bar, It's crazy how the life size club photo's on the wall look in pics. This is us in front of a flat photo.

A combo of real stuff and the wall pictures form the CBGB's production office.

Louise and Robert have lots of old CBGB's stuff and worked there for years.

An old console from the club

CBGB's mix position with Justin

Getting ready to sound check Soundgarden

Sideways mix

May as well dive into the mic'ing I used. This is Chris' rig with 57 on one amp, and a Royer 122 and 57 panned stereo on the other

Same setup for Kim with the panning reversed.

For Ben I ran a Beta98 and and a DI

98 on the toms and HH, all clamps, no stands

98's on the toms and a mic I really like that is beat to crap, an AKG C5600 on underhead.

I am not to picky and like to use a mish mash of mics, I had a U89 so I put it on ride.

Audix D6 in the hole and Beta91 inside

Two MicroWedge 15's and 2 MicroWedge 15's for Matt's drumfill

MicroWedge 12's for frontline wedges

The Show

And went to Muse with my daughter Maddie. Check out MC's mix position! All good, low racks, mixes from the floor and all about being able to see everything with full control. All he need to do is loose the lights. Ha! MC you rock!

All the amps for 1/2 the PA. One rack per side, all the fly cables drop into the top, awesome setup and if it was an L' Acoustics rig, it would be 1/2 the size.

360 degree D&B J Rig

And some gratuitous band pics

OK, ever mix on a 5D? Ever glance to the side and see trails? Ever notice that dose not happen on most other boards or at least not as much? Yamaha, please, please soften the flash rate so your consoles are not so darn annoying!

So I usually try and offer some sort of life observation in my posts to counterbalance audio nerdery and the world of rock, so I'll give it a shot. A happy change in my recent life has been boycotting the corporate news machine. I realized it while in Europe with Blink and it dawned on me that there is a total disconnect between the world I live in and the worlds as presented by the corporations whose survival depends on parasiting human nature's infatuation with train wrecks, car crashes, dire futures and disregard for reality. In the course of trying to be responsible and aware, I was dedicating a portion of each day to staying on top of happenings of the world. While finding that simultaneously their negativity feels like being hooked on a fisherman's line and being methodically towed into the useless illusion.

It's a quandary. On one hand I discovered the world I live in and love by following music with disregard. On the other, things have grown to a point where if I do not embrace the bigger picture, stagnation will set in and those with whom my life is interlocked will pay the price of me not carrying my weight and unraveling my piece of the puzzle. Everything in in life is either growing or dying and since extended periods of motionless is either dead or never alive, to change, grow and thrive is to be alive. While to grow with too much veracity is to become a mindless predator. Balance. Life balance. Personal happiness, family, friends and the enjoyment of the adventures of exploring new ground, new heights.

So how do I be a part of guiding my Rat family upward without embracing the cactus and yet still being aware enough to avoid the pot holes? Hmmm, don't know but am going to start with remembering that controlled exposure is wise, whether I am dealing with the warmth of a campfire, abrupt velocity changes or pretending I am a businessman.

And pondering back to some useful news, this 2001 satire was about the most accurate thing in memory:

http://www.theonion.com/articles/bush-our-long-national-nightmare-of-peace-and-pros,464/

And just as the ship was swirled into a whirlpool of greed and violence, the dread I felt back then has now been replaced by positive momentum. This year was better and next looks to be better yet. I smile at the gun shy still grasping life preservers rather than swimming to shore to build a new boat. Timid is boring, smiles are magnetic and pessimists get the outcome they deserve.

Dave Rat

Back Again

First Blink 182, now Soundgarden, hey I am the reunion guy! Oh, if you are in to the sound nerdery stuff, I have been pretty good about getting videos up on youtube about various sound world things. I really try and cover subjects or explanation that are off the beaten path. Check out either http://www.youtube.com/user/www73171 or http://daverat.com/ if you are into that kind of stuff.

Oh and while I am doing shameless plugs, if you need any sound or video gear, give Daniella or John Karr a shout and they will hook you up.  Rat keeps low sales margins, will gladly give you real world advice and if you ever have any issue with anything we sell ya, we will take care of it and get you dialed in and happy.

Finally the first batch of Rat NL4 Sniffers are coming in next week and though I have not seen the production final, the photos I've seen are really cool.  The web site is still being worked on but to check out the products as they become available take a peek at http://soundtools.com/  

OK, time for some ramblings and adventures

**** Back in the Day ****

Rewind twenty years back to the most grueling non Black Flag tour I have traveled. Three of us across on the bench seat of rented bobtail truck, following the band busses and hauling the monitor rig and FOH drive.

Danzig, Soundgarden, Corrosion of Conformity, Warrior Soul after Boston
07/27/90 Santa Monica Civic, Los Angeles, CA
07/28/90 Warfield Theatre, San Francisco, CA
07/29/90 Wilson Theater, Fresno, CA
07/31/90 Horticultural Center, Salt Lake City, UT
08/01/90 C.I. Sports Complex, Denver, CO
08/03/90 Riviera Theater, Chicago, IL
08/04/90 Central Park Ballroom, Milwaukee, WI
08/05/90 First Avenue Club, Minneapolis, MN
08/07/90 Mississippi Nights, St. Louis, MO
08/08/90 Bogart's, Cincinnati, OH
08/10/90 Latin Quarter, Detroit, MI
08/11/90 Agora, Cleveland, OH
08/12/90 Metropol , Pittsburgh, PA
08/13/90 Concert Hall, Toronto, Canada (cancelled)
08/15/90 Citi/Axis, Boston, MA
08/17/90 Beacon Theatre, New York, NY
08/18/90 Airport Music Hall, Allentown, PA
08/19/90 Trocadero, Philadelphia, PA
08/21/90 Ritchie Coliseum, College Park, MD
08/22/90 The Boathouse, Norfolk, VA
08/24/90 Huger Street Concert Hall, Columbia, SC
08/25/90 Center Stage, Atlanta, GA
08/27/90 Houston, TX
08/28/90 San Antonio, TX
08/29/90 Unicorn, Dallas, TX
08/31/90 Celebrity Theater, Phoenix, AZ
09/01/90 UCSD, San Diego, CA

I was doing monitors and Danzig was easily the worst artist to work with, still to this day, that I have ever encountered. That said, misery in retrospect is always a great story and there were some really memorable times. Us soundies, Brandon, Karrie and I had an ongoing battle with the backline/merch truck. I think Brandon sent me this pic a while back.

 

I remember threading a bass string through a six pack of empty beer cans and attaching the contraption via another bass string around the exhaust pipe of their truck and then using some gaff tape to hold the cans against the muffler. A few miles out on the freeway at 3 am, the gaff tape melts, the cans drop and drag and bounce and we honk and zoom by with huge smiles.they pull over on a pitch black highway to the mysterious clanging sound.

At another gig they trapped poor Brandon in the back of our truck and sealed the door right after tossing in a brick of firecracker. We heard this banging sound and opened the truck to a huge smoke plume and a human comes coughing out. Tiger balm on their truck seat, an Estes Rocket launcher fuse attached to an M70 attached to the dome light in their truck and on and on the pranks went. Glenn Danzig once took a swing at me mid show, the feisty little fighter he is. And everyday we found endless amusement in the eight foot high drum riser with a giant foam skull that had lights behind the eyes, we called it "Bullwinkle."

Anyway, for as much as Danzig was comic humor with a bad attitude, Soundgarden was pure heavy intense power and awesome to watch and cool people. We got on great with COC and Warrior Soul. After the tour we all went our separate ways, Rat Sound was really not very big at the time and Soundgarden took off and went with Showco for sound for the next twenty years.

So here I am two decades later doing front of house rather than monitors and mixing one of the early bands that took a chance and took a little punk rock sound company on tour with them.

**** Sound Nerd Speak ****

Sound Tip!

Ok, all you soundies should know that when setting up your main PA if you put all the subs stage center, you get pretty much an omni pattern or a fairly even coverage left to right but it tends to over sub woof the band. With newer cardioid setups you can reduce the 'band kill' a bit but still having the band 3 feet from subs that are trying to shoot low end hundreds of feet is bound to cause issues.

Here is a plot of two low sources spaced about 18"

So we space our main PA subs out and put a pile stage left and a pile stage right. This gets the subs father from the band but gives us a a power alley down the middle and reduces the low end off to the sides. While practical, their are several undesirable side effects like the creation of a power alley and diminishing low end off to the sides. If you have been following this blog you will know it is something I have spent much time on.

Ok, now check this out! First the good news; here is one of those rare things in our sound world that is super easy, has no real negative side effects and improves the quality of what we are trying to achieve. That bad news? All you front of house engineers do not get to enjoy it because it is a stage monitor tip. Think about the coverage pattern of two spaced subs, hot in the center, quieter off to the sides, where would that be useful?

How about drum fill? Rather than stacking two subs directly behind the drummer, what is you spaced those two subs apart and put one on either side? Then your sub response would look more like the plot below:

Now, with the drummer in the perfect hot spot. and the rear lobe fairly harmlessly behind the drummer, we now get a bit less bleed into the drums and less bleed to other parts of the stage. Pretty much you would be intentionally creating a power alley just for the drummer. Want to take the concept further? Use three subs. One behind the drummer and one to each side. Either physically place them equidistant from the drummer or if space behind is an issue, use time delay on the rear sub so all three subs are timed to hit the drummer at the same time.

The cool part about the triple setup is it creates a perfectly timed focal point of low end on the drummer but the low end tapers off as you get further down stage as well, reducing the drum sub level heard by the singer.

The effect of this is not overly dramatic but it is audible, usable and another useful tool to add to your sound tool box.

**** End Sound Nerd Speak ****

I am actually in Scotland right now, out with Blink 182 doing production rehearsals. I will try and get caught up on more of the Soundgarden adventure and will have plenty on Blink to come as well, but for now, how about some pictures?

I actually have quite a bit to do mixing soundgarden so I did not really have a chance to shoot show pics without screwing a cue, but here is the pre show Vic Theater

So though I do not do it often anymore, this Soundgarden gig was just myself as a sound engineer and every bit of gear was supplied by other vendors. For the monitor rig and FOH drive, I had the great pleasure of working with Carlson Audio. They did a wonderful job and best of all I had the honor of long time friend Allan Bagley as my FOH tech. Thank you Allan!

Whenever possible I try and carry extra subs. Even if I just use them as an effect, having a bit of nitro boost never hurts. For Soundgarden at Lollapalooza I pondered this for a bit, hmmm, what can I do that is kind of cool and unique? Hmmm, oh I know, what about giving some quad 21" subs a try? A few phone calls and Hello Cleveland! Thank you Ryan McCauley and all for making this happen.

How were they? Well, keep in mind the Clair I5 rig had 24 subs already which worked quite well. I used the McCauley's as Infra-Subs and eight of these 500 pound monsters, each on its own 14000 watt Lab Gruppen, put up a solid match for SPL and definitely hit some lower frequencies. Ooooh, I love playing with big toys!

Here is a shot from stage of FOH mix during the wee hours of our 7 am line check load in.

And back the other way

I watched a bit of Wolfmother and that is about all I got around to shooting

And to try and end up in the current time frame, this is my sound world for the Blink 182 non-festival gigs. Notice the compact XL4. Other than a couple of Rat racks, this one is all SSE gear from the UK.

Ok, off to go sort out some crazy mechanical spinning drum riser. Let me ask you this. How do you run a snake to a spinning turntable drum riser that flips end over end? Hmmm, good question and Steve Walsh and I are knee deep in unraveling this conundrum. Will let ya know as soon as we figure it out and also know if it works :)

Dave Rat

Comcast Center, formally Tweeter Center, formally Great Woods in Boston but actually is 25 miles away from Boston in Mansfield Mass.

The thin crust of an eggshell that had formed around my nearly two years at home has been sufficiently shattered for me to begin to see tour world clearly. You would think that well over two decades since my first tour, I would have a nice warm familiar groove to settle into. Hey, isn't touring like riding a bike? Once you do it, you know forever. Perhaps, but with so many complexities and patterns I have carved into over the years, which one will I be? As I re-enter tour life, which of my past tour patterns will envelop me and which pattern do I strive to embrace? Regardless of my intentions though, the unique dynamics of each band, travel rhythm, fellow crew friends and my life stability levels all whirl-spin together and at some point I find out where I land. It at that point which I can truly decide which direction to head.

And here I am starting with two extremes and working my way to the middle. Deep dives into technical ponderings in between reckless indulgence in the freedom from the mundane responsible of the everyday land locked life I lived just few weeks ago, all magnified by the gaping holes left where the things I miss reside.

Finishing up the design phase of adapting the sound system to sheds and finding a stable tour pattern. Must drink less because if I continue at this lushy pace I will start losing everything thing, like cameras, friends or my own humanly self. Oh, and also I need to work on finding this tour's hobby or adventure. Speaking of tour hobby, this is the exact venue that donated the seat to the electric go-cart I made on the 2003 Peppers tour!

http://www.ratsound.com/cblog/archives/177-Day-221-Dec-30-Home.html

And so, nothing truly is perfect but some things are way better than others and now that we have the sub Vortex system all dialed in, at least we are done doing arenas so I get to start all over. Would not want to get bored and running with 'typical' is soooo booooring.. Lets take a dive into the pleasure of coming up with a brand new shed design. Fortunately, the design of the various amphitheaters (sheds) varies so drastically, that nailing down a repeatable setup is going to be a challenge indeed. My strategy is to come up with three setups to select from and pick the optimum for each venue. The Vortex is choice #1 and surprisingly we were able to run with it in Milwaukee

How well do the Vortex actually work? On the down side, when you light up an entire arena with low end and really cover the sides well, the sound of the subs is naturally going to be a more 'roomy' over all sound. But that is a price I have to pay for getting a more consistent sub sound in the room.

Also, we are doing really well at getting a smooth sub level in front of the stage, but at the diagonals where the sub Vortex stacks are focused toward the deep part of the arena, there is substantial output, especially during the drum solo. So the sub output is hotter than I would like in those areas. That said, it is much more consist ant than any other ground stacked sub setups I have used. Oh, plus they look cool and I can alter the coverage a bit with delay times and levels.

One of the goals with the sub setup was to be able 'fill and not kill.' As in fill the arena and not kill Steve, Doug, Robert and Chris, the backline techs. Steve Walsh drives at the other end of the audio snake during the show and literally five feet away from the back of the subs. Chris is even closer. I will rock some pics of all the tour humans at some point but first I have to remember all the names.

Anyway, take a peak at the alternate shed setup

And the design notes:

And no matter how large you roll, someone somewhere just has to one up ya!

Dave Rat

More Homework

So just as I did for the Coachella sub setup, I set a few goals and restrictions to see where that would take me with the design. And just as I did with Coachella, I have the honor of being able to run the designs by Scott Sugden from L'Acoustics who has the skills, experience and software to sort through the options. I really do feel fortunate to be able to not only try and figure out cool solutions but also to have the support people and sharp humans that can help me implement these things on a fairly large scale.

Lets start off by clarifying a simple rule of thumb regarding configuring speakers.

The wider you stack speakers horizontally, the narrower the coverage is horizontally. The higher you stack speakers vertically, the narrower the coverage is vertically. This is counter intuitive at first as it is tempting to stack speakers wider and wider to cover a wide room. When using horns and with mid and higher frequencies that can be easily controlled in their directivity, stacking wider for wider coverage can work well. But the rule of thumb is based on multiple speakers reproducing the same signal with their coverage patterns overlapping.

With sub woofers, overlapping coverage patterns are all but unavoidable, so the rule of thumb works well, especially with larger arrays.

OK, so the premises I am following are:

1) Horizontal sub arrays reduce horizontal coverage and create a power alley in the room center reducing coverage to the sides. - I need to keep the sub arrays compact horizontally.

2) Vertical sub arrays tend to reduce vertical coverage. A flown vertical sub array further messes up vertical coverage due to the reflection effect. I will try to keep the subs on the ground.

3) A stacked vertical sub array is a bit more forgiving in its vertical coverage than a flown array. Yet more concerning is that the tall ground stack in an arena will usually block sight lines unless it is behind the band, and we surely do not want the band in front of the low end I am going to dumping on the audience. Keep the sub array compact vertically.

4) A stage center horizontally ground stacked sub array blasts the front row of humans and tends to arch over backwards onto the band. Even with a cardioid sub array placed stage center, my experience is that, having the singer just a few feet from the primary subs generating enough lows for an arena creates an inevitable mess. Avoid putting lots of subs stage center.

5) The setup must be easy, repeatable and be able to cover the venues without the time consuming tedium of meddling with multiple interacting delay times every day. I want two or three clean presets that I select from. Maybe a 180 degree coverage, a 220 degree and a 270 degree. Create a sub setup that allows changing coverage without re stacking.

6) Finally, as with any useful idea, the less negative side effects, the better. So the sub array ideally should not reduce venue capacity, block sight lines, push out the barricade, look ugly, or cause any issues for backline, lights, video or any other department. Plus it would be really cool if it was easy and fast to setup.

Hmmm, that really tilts toward putting subs on the floor and off to the sides as the best of the options without diving into an some esoteric 3 dimensional flown sub arrangement that would change the rules a bit. In order to reduce the power alley effect, creating a sub woofer setup where each side has a bit of reduced coverage in the room center should help.

Anyway, based on those parameters and keeping in mind the quality of the overall show as whole, the most finessefull solution seemed to be to refine the sub cannon design for added control and improved coverage. Reducing the quantity of forward facing subs towards the stage middle would be good as well.

Here is the Peppers sub configuration drawing for the 2006 -2007 tour

And a picture of it

I will also need to account for the fact that I will be using the L'Acoustics SB28's rather than the Rat subs I had on Peppers tour. I love the Rat subs and with the new Rat Super Sub, the added power is awesome. But Rat Sound has the privilege of being one of only two vendors with a K1 system in North America during this pilot phase of the K1 system release so both Rat and L'Acoustics really are focused on keeping it all intact as a complete system so we can really learn the rig and share what we experience with the manufacturer. That is not to say that it can not be augmented, but for the primary system it is all about a matched L'Acoustics rig.

So I am going to walk the line between off the shelf L'Acoustics with a bit of optimization based on my past experience and setups.

Picture time. This is pretty much the way I start projects. First establish a rough goal based on fulfilling the need or solving a flaw to what is existing. Next start drawing pictures and try and cover all possible permutations regardless of whether they are feasible or not. I then sort through the pictures and weed out the weak ones, hopefully settling in on a small range while weighing the assets and issues. Finally refine, redraw, build and test the winners out.

Just to give you an idea of some of a few of the 20 or so layouts I went through, here are some really rough stage right sketch's that did not make the cut for this tour.

The Fan. This would have the rear three at zero time and a delay added to the front three. I never ran projections as it was too big for what I am working on here.

 

The Focus. With all the work on the design of the EAW MicroSub, I have been diving into and using mechanical coupling arrangements, this is a triple sub setup seemed interesting. The delayed center can be timed to steer the coverage a bit. Never tested it and it seemed to be too limited in control.

Two behind three. This is a 12 x 12 foot and cumbersome. But perhaps you can see where I am headed with attempting to have control over the forward fire, diagonal fire and side fire while offering some cancellation on the stage and behind the subs where the monitor position and techs will be.

The Quad. The size is getting better and with subs pointing forward and to the right combined with delays it could offer some control. I really want power delivered about 45 degrees to the right of center. That tends to be the longest shot in an arena as well as a place where people will not be really be too close to the subs due to sight lines.

The Circle. Similar, and though you often hear that subs are omni directional, it does not take a rocket scientist to walk around the back of a subwoofer and hear that they are a bit louder and more direct sounding in front. This sub circle could have all subs facing inward or in several differing directions.

 

The Split. The next one actually is pretty good and fits in an 8 by 8 foot area. I could time delay it it for a 0 degree, 45 degree or 90 degree focal point. A bit light though, I was hoping to get 12 SB28's per side and to match the stage height so I am looking at 3 per stack. Meaning this is a 9 sub array. The sub on the right would add power to the side while offering some cancellation on stage. The sub up top in the drawing adds power forward and cancellation behind. the interaction between the top and right subs should cause some cancellations to the upper left power alley area and lower right 135 degree off axis area. By messing with levels a bit, the coverage could be altered a bit. Plus the distances are hovering around that magic 1/4 wavelength of 60 hz range which is useful for cardioid sub configurations.

Oh, and let me not forget the most important part. The Carpet.

How can we possibly do a rock show without a nice fuzzy carpet to stand on!

Next up, more subwoofery stuff, some simple cool measurement tools and running it old school style.

Dave Rat

**** Issue of the Day ****

Look at that magnificent stage, look how open so bold. What could possibly be amiss? As I sit on the bus basking in the illusion of nothing to do for the moment, a PIN message comes through from Dave Lee "Need some help on stage." Grounding, buzz and humm issues can be some of the most illusive of the technical problems we encounter. So seemingly mysterious when everything is exactly the same and from nowhere, what was quite every day for a year, now sounds like a 40 foot mosquito somehow got inside. The issue today was real "stumper."

**** Imbedded Sound Nerd Speak ****

BRAAAAAAAAAAH! Really loud, near full guitar rig volume blares from JF's cabs with differing choices of worse available as the guitar is moved around the stage. Danny our tour electrician, has already checked all the stage and system grounding and using different power and metered everything. What is different? It effects the mainly the guitar rig while the bass rig only a little bit and the PA is quite. What is different, something must have changed. Each buzz, humm or rizz sounds unique in some way and there are two basic ways it infiltrates the audio, by wire or by air. I won't go into depth on it but as a rule of thumb, the best way to tell the difference is "if you physically move things around and it smoothly changes, it is in the air or more accurately, it is some sort of RF radiation. If the issue comes and goes as various things are plugged and unplugged, the issue is some sort of ground loop. Be sure to add the words "usually somewhat or probably."

Perhaps those mischievous lampi's have added a little monster to their rig? I asked that all the lighting and video power be shut down to eliminate it as a possible culprit, no change. I rechecked all the grounding and found that Danny the electric roadie, sure enough had everything is perfect in his world. Grounding stake to the stage, grounding stake at the generator as well as at the distro boxes, also grounding the stage there. AC neutral is bussed to ground at the generator, all good. Dave Lee, let me hear it again, click, BRAAAAAAAAAAH! Have you checked with the other bands to see if they have it?" Yes, they do too but not as loud, everyone has it a bit.

It is not the pedal board as it has been bypassed, it is not backline AC power and it makes no difference whether the guitar is wired or wireless,the noise it changes with the volume on the guitar. So I have Dave Lee walk the stage yet again, as the minutes till the first band tick away and doors have long since opened. It gets louder near the metal arch, so we add another ground stake to the stage and hear no change. "Can you set the guitar down and put a towel over the strings to stop it from the feeding back,? The small various and sounds of a Dave Lee roadie touching the guitar, masks any small change that may be useful to hear. BRAAAAAAAAAAH!

Set it down over there on the stage, and over there, and over there. Finally, good news and I have given you bloggery readers all the info you need to know the cause, have you figured it out? Go back to the first picture, what do you see?

Look - a stage, some seats, some sort of space needle thing that also just happens to broadcast all of the TV stations for the city. Hmmmm, well nothing suspicious here. Wait a minute, you are telling me that that is a high power RF broadcasting antenna just a block away, yikes, we don't want to be near that thing! Uh oh! Sit and think. Is the RF going straight from tower to the guitar pickups or is there another factor, the buzz drops when we it is farther from the stage metal. Sit and think. It has to be the stage itself, the stage is radiating RF and lots of it, massive amounts.

Perhaps the stage is acting like an antenna itself, resonating, re-radiating as it is immersed in the RF field. Well, the good news is I am pretty sure I know what the issue is. The bad news is that solving it may pose a bit of a problem. So the options appear to be:

A) Move the stage far away from the space needle of audio hate.

B) Persuade them to shut off TV for the city or

C) Figure out a way to ground the shit out of the stage in as many places as possible.

Ground the stage, lets take a look.

All wood pads, metal scaffold on wood pads, dry day. The stage is grounded but RF is a differing beast than 50/60hz AC. We need lots of grounds, 20, 30 or more would be good and that may, just may reduce the RF in their general area.

OK, I got it or at least an idea to keep us busy and and feel like an attempt was made and all I need is two cases of liter bottles of water and a big bag of salt. It is a long shot, never tried it before but it theoretically makes sense. We are going to use salt water to ground the stage.

On the second trip under the stage, I noticed that the whole front edge of the stage is sitting on wood pads atop huge aluminum plates atop what I am sure is nice damp grass. The aluminum plates should form a wonderful ground, all we need to do is establish a connection around the wood pad, salt water. I know I am going to take some heat for this request, none more deserving than I. "

"Production, um, this is Dave Rat and I am looking for...."

When it finally did show up in the hands of Roadie John, we headed down under and tossed little piles of salt on the legs and followed up with good splash of water. Ok, try it now, "mini-braaahhh"

Dave Lee smiles and says, I can live with that.

It appears to have worked but I am not fully convinced. Perhaps there were other factors. We did not do an immediate 'before and after' and an opening band and played between when we sought the salt and when we got it. Maybe the TV transmitter drops power at night, maybe the air temperature or some other seemingly unrelated factor changed or maybe the conclusion that it was the radio tower was wrong? Regardless, it works, it is better and the the next band plays.

"Dave Rat, they need you on stage." Aaargh. Way the heck over there, 15 mins till Peppers start and I can hear it already from front of house, BRAAAAAAAH! "It is not as bad as it was earlier but it is coming back." I asked Roadie George for a hand and we dragged a huge tub of water down front of the stage splashing water on the now dried salt as the water had evaporated But wait, the salt piles got bigger! Turns out roadie John had found more salt and re-piled all the legs, that was cool!

**** End Imbedded Sound Nerd Speak ****

"Hey Dave Lee, how is it now?"

"It's good again, thank you!"

**** End Issue of the Day ****

I listened to the guitar rig a few times during the show and the noise stayed low. I just wish I had the time to test it a few more times and be more sure that there were not other factors. If you are curious about the effectiveness of salt water as a conductor, here are a few links.

http://www.hometrainingtools.com/articles/saltwater-circuit-project.html

http://www.google.com/search?hl=en&q=conductivity+salt+water&btnG=Google+Search

Dave Rat

**** Sound Nerd Speak ****

Due to the far awayness and the timeline of travel, we have left behind the Rat PA system in the US and I will be working on regionally hired sound systems in Australia and Japan. The stuff we carry with us we have paradoxically named the "global gear" which consists sound wise of the band's backline gear, the monitor system, my front of house console and outboard gear, the Pro Tools recording rig and two large tigers. As far as the main PA system is concerned, we do our best to mirror image it as best we can. The success rate of getting identical gear varies from country to country but for the most part, we can get pretty close with the main difference usually being that we can only get the Rat Subs from the Rat Shop. I will miss them dearly but the V-Dosc SB 218 subs can get pretty close with some audio massaging. So here is the sub cannon setup built with SB 218 triple stacked rather than the double stacked Rat Subs.

**** End Sound Nerd Speak ****

For all y'all that have yet to do earthly traveling down under or to the UK and also happen not to live in those regions, you may not be familiar with the black gooey substances with a strong savory odor known as Marmite in England and Vegimite for the Aussies. Though the two are a bit different and there are several other versions available like Bromite, they all carry the common trait of being an emotionally and passionately dividing line of opinion. Talk about a love hate/hate thing, this stuff is one of the top contenders of acquired taste or immediate revulsion depending on your culinary adventurousness and childhood exposure. Personally I hate the stuff. Or at least that is what I used to say before I started thinking. "Hmmm, so many people love this stuff, it smells like crap and tastes even worse but wow, the people that love it truly love it and it seems to make them so happy." So one day many years ago I set aside my closed minded bias and asked an English friend to make me up a Marmite toast and gave it a shot with big eyes and curiosity and you know what? It was good! Spread super thin on hot buttered toast, I understood and added one more thing to my life that makes me happy.

It is not for everyone but once you get it, yumm! Oh wait, look! Some magical face has mystically appeared on my Vegimite toast and I was going to sell it on Ebay but alas, I could not help but eat it up.

Hmmm, I wonder what is in here, this smells delicious as well

Show tomorrow!!

Dave Rat

Today, all I have for you are some random wandering pics from various times on our trip to our weekend off in Japan. Sunday, our whole day off, was spent wandering Tokyo, the rest of our day off was spent on a train trying to get there and back. In our infinite wisdom, the backline three and I decided to buy the $20 train ticket rather than the $60 train ticket. Our logic was that we had nothing but time to kill so what difference does a few train stops make?

Who would of knew?

And finally as the blur came to an end, the last image I remember while being on Japanese non portable ground, hey look it's a bird!

The heading home,

Dave Rat

Tomorrow I will board a plane for Japan and though I am blogging my days at home, I am actually sitting in a hotel already there. Unbeknownst to me as I sit here in Japan, soon I will sail through the air to a far away place only to find out .....

**** Special Report ****

Tomorrow we flew into Tokyo and upon arriving and preparing to board our connecting flight to Osaka, the backline three and me were met by a promoter representative informing us that the Japanese Peppers shows have been postponed, Anthony is under doctors orders not to fly and we are booked in an airport hotel. Please await further instructions.

In these situations a variety of responses are available to present. I can bum out and bitch only to become a bitchy bum out to those that have to listen, I can celebrate and that I get to go home, I can look at all the "what if's" or just smile and take a look at the new plan as the powers that be scramble to construct a plan. It is looking like a day off in Japan, a flight home and guess what? Not long ago I was faced with a situation where I had the option to be really bummed that I was going to miss my daughter's birthdays. There was a tour booked right on top but as things are and beyond my control, I smiled and let it go till I get back. As things twist in unusual and unpredictable ways, it looks like I will make it after all to their birthday. Once again, I just never know what will happen next, for the ups or for downs, it just is. As far as the Japanese dates, well, they will reschedule and who knows what that adventure has in store and either way, I am off to LA on monday.

**** End Special Report ****

And so, my days at home are spent scuttling about in preparation, clothes, bills, immediate issues, hugs hello and goodbye within 24 hours of each other and repack all I just unpacked. Off to see what happens next.

Dave Rat