I spent a lot of time spinning knobs for spoken word and televised events, and this thing would have been a life saver. It eliminates (or at least reduces feedback), provides automatic gain control when the presenter moves too close or too far from the mic, provides proximity effect equalization, controls popping “p” sounds, and, most important, includes an infrared noise gate.

The noise gate automatically turns the mic and and off, depending on how far a presenter is from the mic position. This sensor can be detached from the rest of the preamp and taped somewhere like the top of a podium if that suits your needs better.

the “Phantom Mic Rider” is phantom powered, so no battery is needed. It will work with a stand mounted or podium-style mic, and Sabine claims that its internal digital signal processing will improve the overall sound of almost any microphone.

Only one problem that I can see. The infrared noise gate is activated by body heat, and some of the presenters we’ve worked with over the years appeared to have been dead for some time!

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Digital audio is quickly bringing live sound to the point where Ford stepped beyond his customer’s reality.

Up to now, the design theory behind bringing digital audio to live sound has been to make the sound person’s reality better. Give them more powerful tools while keeping them in charge of deciding how something should sound.

Now that digital mixing consoles have come way down in price and complication, they are being embraced at every level of the live sound industry. It’s common to see them in churches and schools. Digital microphones are next. When this new mic technology is embraced (sooner rather than later) by the live sound community, the digital signal chain will be almost complete.

I say almost, because there is one giant analog bump in what is otherwise soon to be a complete digital signal path. If you mix sound, that bump is YOU!

How far are we away from the digital live sound reality that doesn’t include the sound guy?

Here’s what I’m talking about.

Take the latest Dave Matthews Band album. It’s recorded digitally and everything on the album can be reproduced and analyzed in the digital domain. Stick with me here. I’m not talking about how a song is actually played, but rather the volume, tonal quality and relationship of all the sounds on the album to each other.

If the band wants to closely reproduce the sound of the record (the “mix” if you will) in a live performance, then why not have the person who used to mix the sound be replaced by a computer that knows what the song is supposed to sound like. Every instrument on stage will soon be introduced into the live sound system either by a digital direct box or a digital microphone. Instead of a human moving faders and twisting knobs, the computer doing the mix will maintain the tonal integrity, relative volumes and dozens of other parameters analyzed from the recorded sound. There will be no problem if the arrangement on stage changes from night to night, because the mixing computer doesn’t really care about how the song is played, only about how it sounds.

It wasn’t long ago that most of us believed that cost, reliability and user-complication would keep digital mixers from ever being accepted in the live sound world. We’re over that.

Look for this to happen with spoken word first.

A presenter will simply read a couple of sentences into a digital recorder that interfaces with a digital mixer. When the speaker steps up the podium, the sound system will already know what he or she is supposed to sound like. When this info is combined with the digital analysis of the output of the sound system (we’ve had this software in common use for years) then the true sound of the presenter’s voice can be delivered directly to every seat in the house.

Will the future of live digital sound need us at all? Let me know what you think.

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Unfortunately, I now have my own battery problem to relate. I periodically blog about wireless microphones, since we are the host of wirelessmic.net and because we were in the audio visual equipment rental business for many years. We still occasionally rent wireless mics.

I was preparing a rental package for a local sound company and discovered that two of our wireless transmitters contained corroded batteries. These were Everready Energizer Industrials, not the Procell batteries we sell. The offending batteries were well within their “use by” date code but they had leaked acid all over the battery contacts. Fortunately, the damage was limited to the battery contacts, but there was damage nonetheless.

If you are a regular user of wireless mics, the Energizer Industrials certainly don’t get the GoodBuyGuys.com seal of approval.

If you are interested in some more tips about batteries for wireless mics, click here.

GoodBuyGuys.com is your online source for Shurtape gaffers tape, Duracell Procell batteries, MagLite flashlights, Nashua duct tape, Bay State wire ties, Electratrac and Coast Wire extension cords and OnStage Stand mic stands. Look to us first to meet your microphone accessory and battery needs.

We have sold Duracell Procell batteries for a long time and our largest user base is wireless mic owners. People had told me for years that one reason they preferred the Procell over Energizer’s Industrial line is that the Duracell Procells were slightly longer, and thus made better contact with the battery clips in the microphone transmitter.

I am holding examples of AA batteries from both manufacturers in my hand, and this is absolutely true. My assumption that all AA batteries are the same size was wrong and our customers absolutely knew what they were talking about.

We are in negotiations with another battery manufacturer now, and one of the criteria we will use when considering whether to offer their AA and AAA batteries at Buybattery.com will be how long they are.

I never cease to be amazed at what can be learned from listening to our customers.

GoodBuyGuys.com is your online source for Shurtape gaffers tape, Duracell Procell batteries, MagLite flashlights, Nashua duct tape, Bay State wire ties, Electratrac and Coast Wire extension cords and OnStage Stand mic stands. Look to us first to meet your microphone accessory and battery needs.

I began my career as a an audio techncian, and spent many years building, setting up, configuring, and repairing concert sound systems. People who design computer peripheral wiring could learn a lot from the audio industry.

While the performance and compatibility of computer peripherals continues to improve, the interconnections between these devices never catches up. I can’t think of a single data-type connector that comes close to matching the performance of the lowly audio XLR connector, a design that is well into its second half-century of use.

I just spent 15 frustrating minutes trying to replace a computer monitor in the office, only to be reminded that there are at least three (if not more) different pin configurations for a D-sub connector, even though they all have the same physical shell. Maybe, it’s just me, but I almost always have to try to plug in a USB connector at least two times, as there is nothing visible on the outside of the connector to indicate which end is up. I guess there are savings involved in making ethernet connectors with with almost useless plastic locking pins, but the savings quickly evaporate when you spend a half-hour trying to pry one out of a computer port after the release tab snaps off. The list goes on and on.

Audio connectors, on the other hand, are designed to be patched in the dark, repaired (when necessary) in the field, and to be common to hundreds and hundreds of different manufacturers equipment. The Shure SM57 microphone ( probably the most popular and common in the world) uses the same connector now as when it came to market in 1965. A 40 year old SM57 works with a brand new Chinese-made microphone cable right out of the box.

We’re depending more and more on computer-based devices all the time, and the portability designed into these items means that they are constantly having to be cabled and uncabled. Hopefully, manufacturers will consider adopting some connector standards that are up to the task.

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This was made up of a couple of speakers mounted on tripods, a mixer/amplifer, a mic and stand, and a simple cable package. It was simple to set up, fit in the trunk of a car, and was a solid revenue producer for this division of our company.

Unfortunately, we had one set of speakers (JBL Eons) which used a different sized fitting for tripod mounting than every other speaker in the rental stock.

What a pain!

I can’t count the number of times an unhappy customer came back in after a rental complaining that the speaker would not fit the tripod.

Totally our fault. No matter how hard we tried, we never seemed to be able to match up these speakers with the only set of tripods we had that would fit. We had some adapters that would work but these seemed impossible to keep up with.

I have no idea why JBL decided to adopt a different standard than every other speaker maker on the planet, but we’ll save that discussion for another time.

OnStage Stands to the rescue.

OnStage now makes a speaker stand that has different sized diameters on opposite ends of the part of their speaker tripod that holds the speaker.

Got the wrong size? Just slip the tube out, flip it over and reinsert it into the lower tube. Problem solved.

We love the OnStage Stand line and have found it to be a great value. Hope you agree.

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No matter how much high dollar equipment you have, and regardless of how brilliant a sound tech you might be, just one presenter afflicted with “mic-a-phobia” or “mic-ignoria” can bring the best planned presentation to its knees.

Any seasoned sound person knows that using a mic with a tight cardioid pickup pattern will give you the opportunity to get a lot more gain (volume) out of the sound system before feedback. Because the tighter pickup pattern rejects more of the direct and reflected sound from the speakers, it is possible to make things louder.

Unfortunately, the use of a tightly patterned mic requires that the presenter stay “on axis”, that is with their head and mouth within the pick up pattern of the mic. Once they stray from this area, either by turning to one side or standing too far behind, above or below the mic, they are lost. You stand helplessly at the sound board trying to twist any know you can to get a little more volume, spending all you time on the edge of feedback disaster.

How great it would be to just hit a switch, like that provided with the Chapman system, and bring the mic closer to the presenter. If you do a lot of these sorts of events, things like awards shows and multi-presenter forums, its not hard to imagine how a system like this could pay for itself. Particularly so, since it might well allow you to hang onto an important client (these events tend to be annual in nature) for many years without being sabotaged by a speaker who just doesn’t know how to use a mic.

Can’t afford this Cadillac solution. Then make sure you have an easily adjustable boom stand or a gooseneck on the mic that adjusts quietly. Don’t hesitate to approach all the presenters before their speeches or performances and remind them to adjust the mic before they begin.

This involves churches that hold services in spaces not normally intended for worship. Holding church services in a storefront, a school auditorium, or a hotel meeting room is nothing new. It has been going on for years, and it is the way many churches get started. Building a church is expensive, and until there are enough members to sustain the cost, some temporary space is necessary. This is not the trend I am talking about.

What I am talking about is a church service focused on youth that is done as a full blown concert experience. This means a full band with a concert quality sound system, high end lighting, video image magnification and special effects. The whole set up loads into a local arena or amphitheater like a regular show and is run by church staff members who are experts in various areas of special event production.

Having to set up full sound, lighting, video and staging is a tremendous amount of work, but bringing their message into an environment where young people are open to new ideas is proving to be really effective.

We salute these technicians in their efforts and are proud to be a part of what they are doing.

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Hoping to promote the development of what is being called “wifi on steroids” as well as other new wireless technologies, the FCC has ruled that additional frequencies no longer needed by broadcast television (now that television has gone digital) can be used without licenses for development work on new wireless devices, new wifi included.

Since this access to new frequencies will exist at many different points within the spectrum, the possibility that  devices in development will intrude on frequencies now used for wireless mics is very real.  Using these frequencies will not require a license, and wireless mic users will have no idea what might be going on close by that could conflict with their wireless mic signals.

The important part of this new rule for wireless mics is that the FCC intends to set aside two broadcast  channels for exclusive use by wireless microphones.  That would mean that developers of new wireless technology would have to stay away from those yet-to-be determined channels.

Since many wireless mic owners have abandoned (as required by law) the spectrum in the 700 MHz band, we can only hope that the FCC will respect this compliance and make sure that at least the 500 MHz band that the majority of wireless mic users have migrated to will be reserved for their continued use.

Expect a big fight on this from the deep pockets of wireless players like Google and Verizon who have no intention of giving up access to even a couple of broadcast channels if they can prevent it.

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There was still an abundance of new equipment manufactured to use these frequencies on sound equipment sellers shelves in June when the new law went into effect and they continue to make their way into the hands of unsuspecting buyers.

Online auction sites like Ebay are full of these now illegal mics.  If you encounter one, you should notify Ebay, who has said they will remove the offending item.

The FCC ruling makes clear that the sale, manufacture or import of wireless mics operating in the 700 MHz range is now illegal.  If you have been sold one of these units at any time after January 15, 2010, you should return it to the seller for a full refund.  If the seller is not cooperative, you can report them to the FCC.

While you can expect that the FCC will deal swiftly and firmly with the offending vendor, that does not mean that the unsuspecting buyer of a 700 MHz mic is off the hook.  Even if you were not aware that it would be illegal to use the microphone you were sold, you are still subject to both criminal and civil actions if you continue to use the device.

Nobody should become a member of the “700 Club”.

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That prediction was that the FCC would let those major telco companies that had bought exclusive access to these frequencies do their own policing on this issue.

It seemed that it was time to look at this issue again, to see if there was any record of the FCC taking actions against wireless mic users.  A quick scan of enforcement-related “Field Notices” at the FCC web site did not turn up any actions related to wireless mic use.  I guess that that is not really surprising after only ten weeks.

I did turn up a document, however, that would seem to confirm my June prediction.  It is a form letter issued by Verizon Wireless (one of the companies now controlling the 700 MHz spectrum) that is being sent directly to wireless mic users who are considered to be in violation of the FCC ruling.

In the letter Verizon claims “exclusive” license to the 700 MHz spectrum and, thus, a right to “protection” against harmful interference that might be caused by wireless microophones.

Verizon then refers to a specific “violation” of the new law and demands that the recipient of the letter “immediately cease operations of such devices”.

In the final paragraph of the letter, Verizon Wireless refers the recipient of the letter directly to the FCC with any questions they may have.

What happens next?  Check back here, or better yet, let us know if you have actually received one of these letters.

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Thousands of churches, schools and entertainment venues have not yet replaced their 700 MHz equipment and may think that they don’t have to.  The common sentiment seems to be that the FCC doesn’t have the capacity to monitor local use all over the country, so individual users aren’t likely to be found out.

The point that these scofflaws are overlooking is that there is someone with much greater interest in their wireless mic use than the FCC and this will make enforcing the new law a whole lot easier.

The major telecommunications companies that paid billions for the right to exclusive use of this spectrum are the ones that are going to make the law work.  They can simply report trespassers to the FCC and then stand back and let the government do the dirty work.

Since companies like AT&T and Verizon have nationwide presence in thousands of communities, they will be able to quickly identify those users who operate now illegal 700MHz devices and force the FCC to take action.  Since the auction price was so high, those who now control access to this part of the broadcast spectrum will probably show little patience with those who don’t upgrade and replace their equipment.

Fines will be steep, particularly since the FCC can make a case that unauthorized use of these devices can potentially endanger the public.  One of the uses for the reallocated spectrum is for public safety broadcasts and wireless devices that potentially interfere with that sort of communication will have serious consequences.

GoodBuyGuys.com is your online source for Permacel gaffers tape,Duracell Procell batteries,  Nashua duct tape, Bay State wire ties, Hosa and Entertainment One extension cords and OnStage Stand mic stands.  More information about this subject is at wirelessmic.net.

Wireless intercom, ” in ear” wireless monitors (IEM,s), wireless instrument transmitters and IFB’s (interupptable feedback units), all have been designed and marketed for operation in the 800 MHz frequency range. They will all be impacted and will have to be replaced, even though they are not specifically listed in the FCC ruling, if they transmit on the newly restricted frequencies.

The technology that makes UHF wireless mics possible has found lots of other uses within the entertainment production industry.  The stage performer with a wireless mic in hand is likely to also be wearing a set of wireless in-ear monitors which may well be also operating in the 800MHz  range.  The same goes for a guitar player using a wireless rig.  He may well have a wireless mic, in-ear monitors and a wireless instrument transmitter in use all at the same time.

Wireless intercom has allowed technicians to roam production spaces without being tethered to a cable.  The most popular systems now in use operate in the same frequency range as wireless microphones.

Finally IFB’s (the small ear pieces you see in a television anchor’s ear) are also impacted.  These devices allow the director or producer to speak directly to on-air talent.  In order to allow the weatherman to move about the tv set freely, these devices need to be wireless.

If you use any of these devices, you’ll need to check the frequencies (it should be stamped directly on the transmitter and receiver).   You may well be replacing more than just your  wireless mics.

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The city of Wilmington, NC will use frequencies within this part of the broadcast spectrum to operate wireless surveillance cameras and environmental sensors in what city officials are calling a “smart city” deployment.

Wilmington has been on the leading edge of these developments before, being the first city to publicly experiment with high definition digital television broadcasts before this service was rolled out nationwide.

The FCC has issued what it is calling an “experimental license” which can be used while the final rules for using the newly available spectrum are worked out.

Here’s what Wilmington plans to do.

Their first use will be to transmit data from wireless traffic cameras in hopes of relieving congestion and reducing fuel consumption.

Second, Wilmington will install cameras in some city parks for surveillance.

Finally, the city will monitor and manage wetland areas in conjunction wit the EPA.

What might be most interesting is that commercial providers-primarily cell phone companies-can already provide all of these services through their data networks.

This sounds like it might just be an experimental “place holder” until major new players in the wireless  game like Google and Microsoft are ready to roll out new products since they are now clearing wireless mic users from the spectrum they purchased through auctions.

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One of the justifications for kicking wireless mic users out of the neighborhood has been that opening up this part of the spectrum would lead to opportunities for entrepreneurs to develop new wireless technologies.

It’s fine to claim that you support entrepreneurs, but since the price bid for the 700 MHz spectrum was in excess of $19 billion dollars, we’re not talking about your garden variety start up.

Players like Google and Verizon were the real winners here and it’s unlikely that opportunities for real entrepreneurs are going to filter down from monsters like this.

The 700 MHz band may well see exciting next generation wireless services for both consumers and public agencies, but those developments won’t come from someone who simply has a good idea.  They’ll need a bag of money too!

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As reported in the New York Times (Jan. 16, 2010), the FCC is standing behind the 2008 auction of this spectrum for new users, hoping to promote the development of “a whole new generation of wireless services”.

This version of the ruling essentially changes nothing regarding the intention of the FCC to no longer allow wireless mic use in this part of the UHF spectrum. It makes the date of June 12, 2010 the final deadline for theatres, concert tours, churches and entertainment venues to give up use of any wireless equipment operating in this band.

Fortunately, by putting off the final implementation of this new ruling (yet again) the Federal Communications Commission has given the users of unlicensed wireless mics (almost all users) the better part of two years to make the transition.

Major manufacturers, including Shure, have extended their rebate offers one more time, so there are still incentives available for those how have put off making the frequency change.

The title of the FCC’s official pronouncement on this issue is titled,

OPERATION OF WIRELESS MICROPHONES IN THE 700 MHZ BAND
IS PROHIBITED AFTER JUNE 12, 2010

There is not really much need for interpretation to that sort of language.

If you are interested in the specifics of this ruling directly from the FCC, you can read it here.

If you’re not sure if your wireless mics are covered by this ruling, you can consult the FCC’s official list of offending manufacturers models here.

There is more information regarding this transition at our web site wirelessmic.net.

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The XLR connector was first developed by James Cannon at ITT and was introduced to the audio market in 1958.  Amazingly, through all the changes in connector standards and component wiring, the XLR is still the audio standard for microphone and patch cables.

One reason for its long life is that the basics of the design, much like good computer software design, have moved into the public domain.  Anyone who has a better idea can bring their own version of the XLR connector to market.

A simple innovation developed by the Switchcraft company is an example of this design concept.

Cannon’s design for the XLR was for a round connector-a good idea since it fit well to a round cable and allowed the cable to be dragged along the floor without catching and tangling.  Cannon’s concept called for both round body connectors on the cable and a round body “chassis mount” connector-the mating female connector found on the equipment or multicable box that the cable connector mated with.

A simple innovation by Switchcraft-changing the body shape of the panel mount connector from round to rectangular-meant that more connectors could be mounted side-by-side in a confined space since they could now fit edge to edge.  You can see the value of that design change today by comparing a contemporary audio mixer to one built in the 1960′s or ’70′s.

Many minds contributing to the evolution of the XLR connector means that it will remain the audio industry standard for many years to come.

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Carmichael has always been an acoustical nightmare, and I was skeptical as to whether ceiling treatment and a new sound system might actually improve the building.

I was really impressed!

The building looks great, and I was able to understand every word the announcer said.  Congratulations, UNC.

One of our former employees, Wes Hardison, is serving as the sound person for women’s basketball this season, and that’s where my phone story begins.

I have written before about the Motorola Droid, my new cell phone, and on Saturday I learned some great new tricks.

I was able to download a couple of applications (free, no less) for the phone while sitting in the stands watching the game and listening to the new sound system.

One was a SPL meter (sound level meter).  The other was a frequency spectrum analyzer.

I was able to roam all around the arena, take acoustical readings directly on the phone, and then text message Wes quantitative information regarding what I was hearing.   He could then make adjustments from his position beside the playing floor, based on what I was hearing in the stands.  All as simple as a phone call!

Have you got an interesing smart phone story?  Share it with our readers.

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It is certainly not news that churches, technically at least, are legally required to have licenses for their wireless mics.

At this time of year when so many churches produce special events that use wireless mics, this issue has been brought back into sharp focus.

A group called the White Spaces Coalition has come together to advocate for the use of unused broadcast spectrum intended for televison to actually be used for wireless internet.  This is group of lightweights.  Members include Microsoft, Google, Dell, Earthlink and Samsung among others.

While the FCC has turned a deaf ear to unlicensed wireless microphone users in the past, it is unlikely that those who make up the White Space Coalition will allow the FCC to continue to ignore the use of spectrum that is now seen as being so valuable.

I have written before about how these companies are pushing the FCC to build databases of unused broadcast spectrum nationwide.

The chances that a high school theatre or “Sunday only” wireless mic user will be able to stay under the radar if the spectrum they use is commandeered for wireless internet use, since these sorts of services are in as high demand in rural areas and secondary markets as they are in major metro areas.

If you don’t think Microsoft will turn the FCC loose on you, you don’t know Microsoft.

You can read more about the White Space Coaltion here.

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Users of high end (UHF) wireless mics are now mostly aware that mics designed to be used in the 700mHz range of the broadcast spectrum were supposed to be retired in June of this year because the FCC has auctioned off that part of the spectrum for other uses.

Mic users in high end professional audio and those users in metropolitan areas have mostly migrated to new frequencies, many times taking advantage of great manufacturer rebates in the process.  Many users in secondary markets and rural areas have decided to stick with the mics they have while they wait to see what new users will show up in the 700 mHz range.

New initiatives by the FCC to allow currently unused spectrum between major broadcasters in the impacted 700 mHz range are intended to make these “buffer” frequencies available to bring wireless broadband internet services to rural areas.

Furthmore, the FCC is teaming up with the private sector to build databases of unused spectrum that could be made available for broadband. This could force those whose 700 mHz wireless mics to give up their strategy and upgrade.

Big companies like Microsoft and Google are pushing the FCC to allow them to use this space without licensing it.  Since their signals would be much more powerful, they would quickly override the unlicensed wireless microphones that now use the same spectrum.

How have you decided to handle wireless mic upgrades.  Let us know.

You can read more in this article in the current InformationWeek magazine.

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For some reason, however, a Today Show video clip from the Video Music Awards caught my ear.I don’t usually watch awards shows, but the story about Kanye West jumping on stage during Taylor Swift‘s acceptance speech stayed on my mind all morning.

Finally, about lunch time, it dawned on me why i couldn’t get this off my mind.

We had provided all the batteries for wireless mics used at the VMA Awards.

The batteries in the mic that Kanye West grabbed out of Taylor Swift’s hand had come from us. About two weeks ago we shipped a huge battery order to Radio City Music Hall for Moonman Productions, the video production arm of MTV.  It was a great order, but I didn’t really give it much thought.  Now we’re a side note to entertainment history.

I am usually proud to proclaim the reliability of ProCell batteries, but, just this one time, it might have been better if there had been a catastrophic battery failure.

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One of our sites, wirelessmic.net, has suffered from lack of attention over the last several months, and there have been some very important developments in how wireless mics are used.  We’re ready to get back to work posting new, useful information.

The changeover to digital television in June has changed how many  frequencies traditionally used by wireless mics are allocated by the FCC.

If your church or school uses wireless microphones, you need to be aware of how the frequencies your mics transmit on have been affected by theis reallocation.

If you have info to share with other mic users about how these changes have affected you, wirelessmic.net is the place to join the discussion.

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Higher end pro audio users have been slow to adopt this technology because they don’t want to give up the familiarity they have with the sound quality of their favorite mics.

Blue Microphones has gone a long way towards bridging this gap with their  Icicle, a XLR/USB preamp/converter that will allow you to plug a regular dynamic or condenser mic directly into a USB port on your computer.  No other outboard gear is needed.

In addition to having standard female XLR3 and male USB connectors, the Icicle has a handy volume knob so you can control volume in the conventional way, not with an onscreen slider.  It can also provide 48v phantom power so it works with most condensers.

This is an “instant on” device (no drivers to install) and is designed for a fully balanced input.

Best of all, the Icicle logo glows blue when it is plugged in.

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The recent trend in print advertising to have technicians endorse audio products is, in general, a good one.  They normally have a useful perspective and their endorsements have value.  Big Mick has put the value of those endorsements at risk.

Here’s what Big Mick says about his microphone of choice, Audio Technica in May’s Pro Sound News.  “I love Audio-Technica mics.  You can definitely tell an Audio Technica gig as soon as you walk into it.”

Now, I’m no “golden ear” but I do know that between a microphone and my (and Big Mick’s) ears there is (at minimum) a mixer, an amplifier, speakers, and cables, all of which color the sound you hear, regardless of their quality.

The idea that you can identify a brand of microphone just by listening to a live sound system is laughable.

Put on your blindfold, Mick, and step into any music club in America.  Even your ears aren’t that good.

I hope Audio-Technica is paying you well.

GoodBuyGuys.com is your online source for Permacel gaffers tape, Duracell Procell batteries, MagLite flashlights, Nashua duct tape, Bay State wire ties, Hosa and Entertainment One extension cords and OnStage Stand mic stands.   Click here to sign up for our newsletter.  Lots more good ideas at our Twitter feed.

This article speculated that a lot of the Chinese buying was a stockpiling of material for which China’s manufacturers had no real demand.  If that’s true, then the Chinese buying binge may be over.

This may well explain the recent downturn in copper prices after a steady rise over the last six months. This rise made little sense in light of the overall worldwide decline in manufacturing.  If this downturn is real, it could be a harbinger for lots of commodity price reductions.

Why do we care?  The cost of extension cords (copper and rubber), mic stands (steel and aluminum), tape (cotton, oil and chemicals) and batteries (tin plate and many minerals) are all tied to world commodity prices.

Lets hope that if this recent reversal in commodity prices is real, that we will see it passed through to the products we sell.

GoodBuyGuys.com is your online source for Permacel gaffers tape, Duracell Procell batteries, MagLite flashlights, Nashua duct tape, Bay State wire ties, Hosa and Entertainment One extension cords and OnStage Stand mic stands.   Click here to sign up for our newsletter.  Lots more good ideas at our Twitter feed.

I posted two knol articles back at the end of April to see if Google was ready to take on Wikipedia. I’m proud to report that my knol posting about microphone stands has had a total of 42 page views, several of which I am sure were me.

No one has bothered to rate it and no one has made any collaborative contributions.

While it appears that I might be right about Google not being in a position to challenge Wikipedia, I am certainly wrong about Google using knol as another way to display relevant ads.

The google ads on my mic stand knol page are about cell phones.

GoodBuyGuys.com is your online source for Permacel gaffers tape, Duracell Procell batteries, MagLite flashlights, Nashua duct tape, Bay State wire ties, Hosa and Entertainment One extension cords and OnStage Stand mic stands.   Click here to sign up for our newsletter.  Lots more good ideas at our Twitter feed.

I learned a lot of my “hands on” production skills working as a stagehand, first as a student, then as a part time employee at my alma mater, UNC Chapel Hill, on the tech crew there.

One of the first acts I had a chance to do sound for was John Sebastian, soon after he had left The Lovin’Spoonful to go out on his own.

In those days, acts never traveled with sound systems and rarely did any sort of advance work.

The day Mr. Sebastian showed up, the took a look at our sound system and said “where are the monitors?“.  Not only did we not know WHERE the monitors were, we also didn’t know WHAT the monitors were.

After having him explain to us what monitors were and what they did, we decided that we could achieve what he wanted by simply setting up two complete sound systems, duplicate mixers, speakers, mics, stands, everything.  One set for the audience.  The other set for the performer.

I’ll never forget the first thing he said when he hit the stage.  Looking at the audience through a forest of four big, shiny chrome microphone stands, he said “I feel like I’m in jail“.

Next time we produced a concert, we had the monitors.

GoodBuyGuys.com is your online source for Permacel gaffers tape, Duracell Procell batteries, MagLite flashlights, Nashua duct tape, Bay State wire ties, Hosa and Entertainment One extension cords and OnStage Stand mic stands.   Click here to sign up for our newsletter.  Lots more good ideas at our Twitter feed.

While the articles don’t show up in search when the key words are used by themselves, when you combine the key words with the term “knol” the , mic stand article pops up number one.  Yesterday’s blog posting is returned in google search as well.  I certainly never had a posting show up and go to #1 so quickly, regardless of what it was.

I returned to the knol on microphone stands using another browser and discovered that I was able rate it.  Needless to say, I gave it four stars.

If google allows the writer of an article to control who can edit it and allows the author to rate his own article, I doubt if knol will be around for long.

Rest easy, Wikipedia.
GoodBuyGuys.com is your online source for Permacel gaffers tape, Duracell Procell batteries, MagLite flashlights, Nashua duct tape, Bay State wire ties, Hosa and Entertainment One extension cords, OnStage Stand mic stands. Sometimes we have some interesting ideas about web development too!  Click here to sign up for our newsletter.

Knol is an acronym created by Google, and it means “a unit of knowledge“.

Knol is a new content creation index from Google that has a lot of similarities to Wikipedia.  Individuals are allowed to post articles on any subject of their choosing and then the articles can be commented on and edited by other users of the service.  Unlike Wikipedia, knol will allow the creation and viewing of multiple articles on the same subject and the author can control how his or her work is edited.

I first came across it through an online posting by Jason Calacanis, a highly regarded web guru.  Mr. Calacanis went to great lengths to draw interesting and accurate between KNOL and traditional content creators like the New York Times.  These parallels led Calacanis to determine (and I agree) that this project was Google’s latest attempt (not unlike YouTube) to get into the content creation business.

It should be obvious that a business that has become the defacto provider of indexed search results faces potential conflict of interest problems if it is the creator and controller of the content it returns with its search results.

Since we are currently indexed at the top of page one for a number of  Google search terms,  I have created a couple of KNOL articles on microphone stands and gaffers tape to see how quickly Google might index them and how high they might rise in search rankings.

You can take a look at these articles here:

microphone stands

gaffers tape

If you’re interested in whether this test turns up any interesting results, check back here from time to time.

GoodBuyGuys.com is your online source for Permacel gaffers tape, Duracell Procell batteries, MagLite flashlights, Nashua duct tape, Bay State wire ties, Hosa and Entertainment ONe extension cords, OnStage Stand mic stands. Sometimes we have some interesting ideas about web development too!  Click here to sign up for our newsletter.