In the past, in the fields of live performances and events, clients contracted companies specializing in acoustics and video separately. More recently, it’s not uncommon for companies specializing in acoustics—or individual engineers in charge of acoustics—to work on video as well as audio.

Readers have asked for an article about using audio and video equipment together. Video may seem challenging at first. However, if you can work with audio, you’ll get the hang of working with video and vice versa. Useful tools like an AV mixer that can handle both sound and video are becoming widespread.

In the future, sound engineers with video skills will be in demand. Our “Introduction to Video for Sound Engineers” series provides the basic knowledge necessary for video operation in an easy-to-understand manner.

About Takumi Sound

Takumi Sound is based in Shiga Prefecture in Japan and produces numerous events, providing sound and video production. Takumi Sound was one of the first to introduce AV mixers to their workflow. The company has skillfully overcome the challenges of the global Coronavirus pandemic.

Based in Nagahama City, Shiga Prefecture, Takumi Sound produces sound and directs video for various events. In 2005, the company started its business while planning a local event. Since 2014, Takumi Sound has been in charge of directing the Appare Matsuri, Shiga Prefecture's largest Yosakoi dance event. In recent years, the company has also done a lot of work in the suburbs of Tokyo.

According to Representative Nobuhiko Igawa, about four years ago the company began directing videos. Considering the advertising efforts of the companies sponsoring the events prompted the shift.

Opportunity to Innovation

“Local companies sponsor our events,” says Igawa. “Even though we've paid a lot of money, we've rarely posted their logos on flyers.” He goes on to explain how his new idea evolved. “I thought I could do something to benefit the sponsor a little. So, I decided to introduce an LED video to play back the video. Until then, there had been a demand to put out a video. However, at local events, there isn’t usually enough budget. Even if there is room, you have to go to Osaka or Kyoto to rent equipment.”

Igawa had a solution. “As an alternative, I thought it was better to take the time to buy the gear myself. With LED Vision, you can play a little clip such as a corporate commercial or promotional video. As a result, I bought an LED vision that was 9 meters wide and 4 meters long.”

Using a personal computer as a playback machine and outputting it to LED Vision via a video switcher, Takumi Sound has come to work on video production. LED Vision production was well-received by sponsors and other parties. Since then, the company’s video-related work has continued to increase at a rapid rate.

“We're relatively young in the world of acoustics,” says Igawa. “So, it's hard to get into a place where there's already a connection, no matter how good the equipment is.” The opportunity led to innovation. “I thought that it would be important to enter a new field in a place like ours to increase the number of jobs. That's why we introduced LED vision, which became a really big ‘weapon’ for me.”

The financial benefits are another plus. “By working together on sound and video production, I’m able to provide service at a price that is second to none. If we rented LED visions at every event, I don't think we’d be able to do it at our prices.”

Shortly after implementing LED Vision, Takumi Sound introduced Roland's V-1HD as a video switcher. A few months later, the company upgraded to the VR-50HD MK II AV Mixer. While there were other video switchers options, Igawa made a definitive choice to select Roland products.

“I like line array speakers that I've been using for a long time. However, in the digital console I used before, I felt like the outline of the sound was not clear on the table. When I wanted to do something about it, a colleague in Nagoya told me about Roland's M-5000, which they said was really good.”

The results immediately impressed Igawa. “The outline of the sound was clear, and as expected, the 96kHz processing was excellent. Once I heard the 96kHz sound, I sold all the tables I had used before,” he laughs. “From that experience, I had a good impression of Roland products. At that point, I decided to use Roland without hesitation for our video equipment.”

New Challenges—New Tools

After the coronavirus pandemic made in-person events much more difficult, Takumi Sound became interested in livestreaming. The VR-50HD MK II was there to assist. “I've been out of sound work since before spring,” Igawa says. “In that time, I’ve seen people livestreaming. That's what interested me.” He began to do his research.” When I checked what kind of equipment I needed, luckily my VR-50HD had a USB terminal that could stream to a PC,” he laughs.

“Sony introduced XDNAM as a video camera, and the system was prepared to support live streaming,” explains Igawa. “However, there was no work on livestreaming from the beginning, and it was not only after the site became “hybrid” that requests came. Hybrid is not just a livestream. It’s a distribution with an audience.”

This type of broadcasting has many challenges. “It’s very complicated, and not possible to do without knowledge of the sound. It is insanely difficult that the sound should be returned over there, and it should not be sent here. In the case of live music, you wouldn’t want to listen to the broadcast unless it sounds good with mic arrangement. I think that’s why many have come to us,” laughs Igawa.

Behind the Visuals

Since then, the number of video cameras has increased, all Sony models. Basic SDI connects the AV Mixer and video camera. “Video equipment needs to think about the compatibility between devices more than audio equipment,” Igawa says. “In particular, an HDMI connection is sensitive. You have to connect with HDMI then convert to basic SDI. That type of cable tends to be inexpensive, so we use Canare instead,” he adds.

“The LAN cable had a high-definition version for Dante connections, so I was lucky to use it as it is.” Igawa goes on to describe the cameras. “All the cameras we currently use are made by Sony. These include two XDCAM PXW-X160s, two XDCAM PXW-Z90s, α7, and ZV-1.”

He explains why. “Sony makes it easy to color match, even if there are many people involved. In the past, I used to use things from other manufacturers together, but I had a hard time because the colors didn't match,” shares Igawa. “The PXW-X160 is used for each main camera, and the PXW-Z90 is often used for pulling. Since the α7 lens can be replaced, it is active when XDCAM cannot handle it well.”

Igawa gives a real-world example. “The other day there was a fireworks display in Tsukiji. However, they recorded it from the upper floor of the building, so it became a close picture even if I pulled it with PXW-X160 and PXW-Z90. In a situation like that, the combination of α7 and wide-angle lenses was useful.”

Role of Roland’s VR-50HD MK II

Roland's VR-50HD MK II AV Mixer now plays an active role as Takumi Sound’s primary livestreaming equipment. The successor to the VR-50HD, the VR-50HD MK II is a high-performance AV mixer that integrates features such as a 4ch video switcher, a 12ch digital audio mixer, a multi-view monitor with touch panel, and USB3.0 streaming output. It is a useful piece of equipment that can control video and audio with one unit and can handle livestreaming. Takumi Sound used the VR-50HD, Roland’s previous model, then upgraded to VR-50HD MK II to fully concentrate on livestreaming.

“In early spring, as the coronavirus pandemic issues grew, I applied for a small business sustainability subsidy which I was luckily able to receive,” Igawa reveals. “With that subsidy, we were able to introduce the VR-50HD MK II and two cameras. The VR-50HD MK II has improved all issues we had and is considerably better.

He praises many aspects of the VR-50HD MK II. “What’s particularly good is the audio mixer function. This made the amplifier head sound completely fresh and very thick. Channel EQ is also better. Most importantly, the master and AUX have a 15-band graphic EQ.” This is a great benefit to Takumi Sound’s workflow. “We appreciate this feature because howling points vary depending on building and venue. I don't feel any inferior to a small PA table in terms of sound quality or functionality.”

Livestreaming Piano and Vocals

Here is an example of the type of livestreaming situation Takumi Sound encounters in the field. On September 5th, pianist Mari and vocalist LINA☆ZO performed live at a venue called “Otogisou, Fairy Tale” in Kawasaki City, Kanagawa Prefecture. There were two musicians on stage: Mari and vocalist LINA☆ZO. Mr. Igawa handled all the audio and video.

“Mari is a pianist from Shiga Prefecture, which is where I’m from too,” says Igawa. “This was a live broadcast without an audience for about an hour. It also served as the unveiling of a new song by LINA☆ZO. We used YouTube Live and Facebook Live as distribution platforms. The main purpose was to get to know Mari and LINA☆ZO, so we made it available for free viewing.”

Igawa goes on to explain the setup. “The performers were Mari and LINA☆ZO, the piano microphone was a DPA 4099 above and below the upright. The vocal microphone was a Shure KSM8. The rest was a very simple site with a total of 4 lines of audio with only a microphone for MC.”

At the heart of the rig was the VR-50HD MK II. “Of course, we didn’t use a single preamplifier for all the microphone outputs, but all were directly inputted to the VR-50HD MK II.” Only α7 and HDMI were connected. Other cameras were extended with SDI and connected to VR-50HD MK II.

“I pulled out the pianist and vocalist on the two PXW-Z90s. Then I installed the α7 in the middle in the foreground and the ZV-1 was for the pianist's hand,” Igawa says. “We did not install a monitor display for musicians. The video switched by VR-50HD MK II was also recorded on Blackmagic Video Assist.”

“Most live performances by small bands use this kind of system. The delivery device is the ATEN UC9020, which does not require a high-performance PC, can insert telop (Television Opaque Projector), supports simultaneous delivery, and is very stable in operation.”

Igawa also gives insight into the role of routers in the process. “We always use multiband routers for livestreaming. A multiband router is a router that can connect to the Internet by bundling multiple optical and mobile lines. It can provide stable delivery even if a line is jammed. For this performance, we used a multiband router that bundled three lines.”

Livestreaming Pro-Tips

Mr. Igawa operates sound and video by himself using the above system and broadcasts it live. What kinds of operations does he use the VR-50HD MK II for in the field? First off, I asked the story about mixing sound.

“The VR-50HD MK II has an audio mixer on the left half. What we're doing is the same as the basic PA table,” he explains. “As to what I'm changing because it's a livestream, it’s all about considering the sound. Since many people watch livestreams on their smartphones, I monitor with headphones to check how low comes out.”

There are certain things Igawa looks out for. “Specifically, I try not to put out a lower sound than an ordinary PA. I like to make it sound fresh, rather than jazz-like tuning.” It all comes down to thinking about the intended audience for a livestream. “Since the viewing device is a smartphone, there is a limit to the playback ability of the speaker. Why include a frequency that cannot be heard?” asks Igawa.

Aspiring engineers mostly want to know about video operations. What does the video switcher on the right half do while he is mixing sounds? Mr. Igawa explains carefully.

“The basics are camera switching. Switch between the four cameras with the input select switch in front of the right side,” he reveals. “I switch cameras according to the music and the performance on the stage.”

He goes on to detail his process. “In my case, I select the video that I want to watch. I'm not a person who has been doing video for a long time, so I select them with sensitivity. Look at the multi-view screen where you can check the images of the four cameras at the same time,” he says. “For example, if there is a piano solo, you’ll want to see the pianist's hand and facial expressions.”

Tricks of the Trade

He always takes into account the perspective of the viewer. “Something I'm always trying to do is to make my audience feel. It is often said that “the amateur switches the image more often.” If you’re broadcasting fireworks with music, quick switching can produce a good video but not in general,” he laughs.

Igawa gives a few more tricks of the trade “The speed at which the camera is switched can be changed with the TRANSITION TIME knob at the top right. This is the same as the reverb time on the PA table. This setting is quite important because the atmosphere of the image changes considerably at the speed of switching. You can wipe two images, but I rarely use them. In summary, the only thing that's going on with live music is switching the camera and operating the switching speed. The rest is to display still images such as ‘Delivery Starts at 15:00’ and artist names. In the ‘online hospitality’ that we have been working on recently, we also display the sutras by chroma key synthesis.”

Getting Started

Using an AV mixer that operates sound and video with one unit, Takumi Sound was able to ride the livestreaming boom of coronavirus pandemic well. Mr. Igawa says he hopes to continue to make full use of VR-50HD MK II. He also advises an audio company interested in livestreaming and video production.

“If you're interested in delivery, you can get started right away with an AV mixer and three video cameras,” he says. “The VR-50HD MK II has 4 SDI and HDMI inputs, but in most sites, one PowerPoint screen is HDMI input, so I think about 3 units are just right at first. As I mentioned earlier, it's easier to match video cameras from the same manufacturer, preferably the same model. Then, all that's left is something with an SDI output.”

Advice from a Veteran

He believes the most important part of delivering as a business is still preparation and advance setup. “If you do not make sure to make sure that you have a good setup, you will have trouble at the site,” Igawa warns. “The most common trouble is around the sound. If you look at the screen, you can see that the signal is not coming, but you can't see the sound with your eyes.”

Small challenges emerge all the time. “Even in the field the other day, it was hard not to think that Zoom audio had to be sent to Facebook Live. The delivery voice line is surprisingly complex, so setup is really important. Still, I think it was good to start the video. I think I would have died by now if I had done it only with sound,” he laughs. “As with sound, video is so deep that I study it every day.”

Learn more about the VR-50HD MK II in these tutorial videos.

Publication / bimonthly ProSound Vol.220 (released in November 2020) / Stereo Sound Publishing Co., Ltd.