Teaching D-Mitri Remotely

Every fall, in our Digital Audio Systems class, I teach our first-year sound designers a two-week intensive overview on the Meyer Sound D-Mitri system.  D-Mitri is a powerful tool for live sound that combines the functions of a digital mixing console, a sound content playback device, a multi-channel sound spatialization tool, a room acoustics enhancement tool, and a show control hub all into one package.  D-Mitri systems are found in large scale sound installations around the world, from theme parks to Broadway to more.  The ubiquity and capabilities of D-Mitri are so large (as is the learning curve, frankly), that we typically have a number of second- and third-year students join us for the D-Mitri training to refresh their skills.

UCI has a small D-Mitri system, and we use it both as a teaching tool and in production.  When we teach with it, we roll the rack into the Meyer Sound Design Studio and patch eight D-Mitri outputs directly into our eight-channel loudspeaker system so that we can learn and work with it while experiencing its spatialization capabilities in real time.  D-Mitri programming happens through software called CueStation, which functions in a client-server capacity.  Multiple users can be logged into D-Mitri at the same time, each working on a different aspect of the programming.  Our D-Mitri classes typically involve everyone in the studio, sitting at their laptops, all wired into D-Mitri with a nest of ethernet cables.

The Meyer Sound Design Studio, in the before-times.

Of course, we can't do that this year.  We could have delayed the training module until we were able to meet safely, but I don't know when that will be, and I'm honestly tired of delaying things because of the freaking pandemic.  I didn't want to let the perfect be the enemy of the good, to paraphrase Voltaire.

So, in a pandemic, how do you teach a class that requires both client-server access AND the ability to perceive spatialized sound?  In order to solve this, I needed to think through a number of different challenges.  Here they are, how I thought through them, and how I eventually solved them.

Physical Locations

We knew that the D-Mitri rack would need to live in the Meyer Sound Design Studio.  The studio is currently cleared to be occupied by three people, but I was uncomfortable coming to campus for in-person class (I'm teaching all of my classes remotely this term).  Plus, I know how important the refresher is to our more senior students, and I didn't want to cut them out of the experience.  So, each student would be remote, logging in with their computers (with wired connections, preferably).  I came into the studio to teach the classes so that I could take care of any issues that came up while teaching that I couldn't deal with remotely.

Even though I'd be teaching from the studio, I expected that I'd need to be able to remote into the host computer in order to tweak details from home. Early in the quarter, while testing, I found that if I were on campus, I could screenshare with the host computer (an iMac that we call Chalkboard), but when I returned home, I couldn't screenshare with Chalkboard at all.  After consulting with our IT department, we determined that we needed a more robust screensharing tool.  We installed TeamViewer on Chalkboard so that I could control the host computer, restart failed connections, etc.  TeamViewer mostly worked like a champ, though there were a few times where I couldn't log on to Chalkboard at all. 

Connecting CueStation to D-Mitri

The easiest way to share a CueStation screen with the students was to just share my laptop's desktop via Zoom, but if I did that, they'd just be watching me click things, which is hardly useful when teaching a tool.  The students needed to be able to control CueStation on their own in order to get their (virtual) hands on the (virtual) machine.  I asked Richard Bugg with D-Mitri about how we might address this issue, and he noted that D-Mitri systems can be controlled from around the globe using a proxy server. The folks at D-Mitri use this feature to troubleshoot systems without having to fly halfway around the world, but it was just as useful for my needs.  Richard walked me through the steps to set it up and spent some time doing some testing with me. The proxy server required Chalkboard to be running CueStation, but as long as it was running CueStation and the proxy server was active, I could have up to eight clients logged in at the same time.  Sometimes it took a while to get all students onto the proxy server at the same time. The folks at Meyer use the proxy server to do maintenance on machines that are difficult to get to, not to teach D-Mitri to a class, so they don't typically have the user count that we did. 

Monitoring

So, we've figured out where everyone would be, and we figured out how everyone can control D-Mitri using a proxy server.  How can we send spatialized sound to the students so that they can all monitor the D-Mitri environment well?

My first thought was to build a SpaceMap (D-Mitri's spatialization tool) replica of the Meyer Sound Design Studio's loudspeaker configuration, take the eight outputs of D-Mitri into a DAW, place them into a 5.1 session, stream the six-channel output over the net, and then have students monitor with 5.1 headphones.  But, we ran into a number of challenges with this idea.  First, I couldn't find a reliable six-channel sample-accurate streaming tool.  We've been using AudioMovers, which does a great job with two-channel signals, but in testing, multiple two-channel instances did not sync to each other (there are rumors of a >2-channel upgrade, but I haven't tested it yet).  Also, six channels of audio is three times the bandwidth of two channels, which could impair networks in dorms and homes.  Finally, I was hoping to avoid having to seek out funds to buy enough 5.1 headphones to outfit the class.  So, back to the drawing board.

A spacemap of the MSDS studio.

I solved my problem in the next iteration.  I still took the eight channels from D-Mitri in to my DAW, but instead of mixing to 5.1, I mixed to binaural.  I initially used Binauralizer by Noisemakers to render each D-Mitri input relative to the loudspeaker's position in the room, though I shifted to the dearVR Micro plug-in due to better low frequency management.  The DAW mixed all eight inputs together, and then I used AudioMovers to send a two-channel stream out to the students.  I cut the audio bandwidth by two-thirds and removed the need for 5.1 headphones!  

ProTools handled the binaural routing.

Eight binauralization plug-ins spatialized the sound.

Ultimately, the students were able to listen to high-quality spatialized audio with a relatively low latency.  It wasn't the same as being in the room, but it was pretty close.

Returning to the Studio

We spent four two-hour sessions learning the basics (and some details) of D-Mitri remotely, and on the fifth and final day of the module, the two students and I met in person in the Meyer to review their work in person.  They had created a spatialized sonic event from their apartments, but they presented their work in person, through the eight-loudspeaker system that we have in the Meyer. This gave us an additional opportunity to discuss how well the binaural monitoring situation translated into actual meat-space monitoring.  Their work more or less translated well, but we note that monitoring a sound panned to the center of the room revealed itself differently in speakers than in headphones.  Via headphones, all eight ambisonic channels were being addressed, which imaged the sound to the center of our image. But in the studio, having all eight speakers firing didn't image to the center.  It either imaged EVERYWHERE (if you were sitting in the sweet spot in the room), or to whatever speaker you're closest to (if you're not in the sweet spot).  

Final Thoughts

You won't catch me yearning to do this again if I have the option to teach in person, but overall, I'm pleased with the results.  If I have to do this again, I'd need to address these issues:

• Input source.  I was using a single channel of audio from ProTools as an input source.  I set ProTools to loop playback but sometimes the session would stop on its own.  Next time, I'd use a different, more reliable input source.  An FM radio would be a nice low-tech tool.
• Remote Access via proxy server.  It wasn't as solid as I would have liked it to be.  In fact, on the first day of class, no one could connect except me.  
• AudioMovers wasn't designed to stream audio 24/7 for 3 weeks, and it occasionally failed.  When that happened, I had to log into the computer, restart the transmission, and send the link around again.  I had to do that once a day or so.  Not a deal breaker.  Just a thing to note.

Overall, this was a huge success!  If you're thinking about doing something like this, let's talk!  I'd be happy to share my thoughts and brainstorm other/better solutions!

Meyer Sound Mixing Seminar with Tony Meola

At the end of March we had the honor of hosting a seminar taught by Tony Meola, with additional instruction and technical support from Meyer Sound's Steve Bush, Richard Bugg and Gavin Canaan. The seminar focused on advanced techniques for musical mixing and designing systems for musicals. We hosted the course in the Claire Trevor theatre, a 285-seat proscenium space on the UCI campus, and used the Claire's rep speaker system as our primary source.

The Claire rep system includes two 8-cabinet M1D arrays framing the proscenium, as well as an arrayed pair of UPQ-1Ps as a center cluster. In addition, we added three UPM-1Ps in the catwalk to use as delay fills and six MM-4XPs for front fills. SIM3 served as our analysis platform, and we kept a few UP-Juniors, UPJ-1Ps, and UP-4XPs as backups for playback or if we wanted to integrate them into our system. Meyer's D-Mitri system, in combination with a 32- and a 16-fader Cue Console, served as the primary mixing console and matrix. UCI's Galileo 616s and 408s were used for loudspeaker processing.

Day 1 of the seminar was spent listening to and tuning this system. Tony's techniques brought a fresh perspective on the tuning workflow, and it was a good reminder that everyone has a slightly different approach when it comes to tuning a complex system. In a couple of instances, it was necessary to reconfigure the patching between the system and SIM so that SIM could compare the microphone feeds with an appropriate junction in this signal chain. It was a fascinating process to participate in.

Day 2: The class walks the room evaluating the system tuning.

Day 2: Tony Meola describes his approach to musical sound systems.

Day 2 was focused primarily on mixing. As mixing material, Tony was kind enough to procure a stemmed version of the original cast recording of "Defying Gravity" from Stephen Schwartz. We split up into groups of two, one person mixing vocals and the other mixing the orchestra. Afterward, Tony would give us notes we we'd get another go. After a quick lunch break, we resumed our mixing—but this time, we were going solo (with a little help from Tony). Again, we'd receive notes, but this time the notes came from our peers.

It was a tremendous opportunity for all involved. Our reactions were so personal that we thought it would be fitting for each of us to write about our individual experiences:

Mixing “Defying Gravity” with Tony critiquing us was such a rush, even if it may not look like it from the photos—apparently when we are both panicked it translates into blank expressions but I promise it was terrifyingly fun. It was an interesting experience mixing a song with another person and it was an excellent lesson in making sure to not only critically listen to how I was mixing but how my mix consequently affected Stephen’s mix, and how we could work better together.

Day 2: Stephen Swift and Patricia Cardona mix "Defying Gravity" from Wicked.

I also had fun during our load-in day, Richard taught me how to update the firmware on the D-Mitri and get it configured for the seminar. I also learned how to network the CueConsole modules into the D-Mitri frames and Richard taught me lots of useful features of CueStation 5.5.1 while we were setting up.  I could have easily spent the whole day with him learning more about good practices and tips/tricks to use when using D-Mitri in a live setting, since most of our experiences using D-Mitri at UCI have been primarily for playback. All of the different aspects this class touched on from SIM3 to D-Mitri to mixing a song with Tony actually mixing alongside you was an amazing, humbling experience that I will never forget.

-Patricia

Day 1: Richard Bugg and Patricia Cardona setting up D-Mitri.

This was such a unique experience for me and my colleagues.  It's not every day that you attend a seminar put together by a world-class sound designer and a supported by a world-class sound company.   Tony generously shared a sizable chunk of his creative and technical process, inviting us to dig deeper into our personal connection to the musical and technical aspects of mixing on a Broadway level.  These few days were a great blend of intensity and fun.  I appreciated Tony taking time out of his New York schedule and the Meyer Sound team for supporting us so heavily as they often do.

-Brian

Day 3: Tony Meola gives mixing notes to Brian Svoboda & Mark Caspary.

I am so thankful for such an amazing opportunity. The seminar was fantastic. It was unlike any we have had here at UCI. We learned an incredible amount in the three days with Tony and Meyer Sound.  Tony spoke about the importance of collaboration in theatre. That collaboration was apparent in the way he worked with us. It was a thrill to watch Tony optimize a Broadway size system from the ground up. Working with Steve Bush, Richard Bugg, and Gavin Canaan from Meyer was icing on the cake. I mastered some new Galileo tips and tricks thanks to Steve Bush. (hint: modifier keys).  I am especially appreciative of Steve Bush’s uncanny ability to explain the science of sound in a way that just makes sense. The seminar was amazing and I am so thankful for Tony, Meyer Sound, Steve, Richard, Gavin, Mike, Vinnie, and B.C for providing us with this amazing opportunity. Thank you all. 

- Josh

Day 3: Marking up our scripts for "Defying Gravity" from Wicked.

This seminar was thrilling, not only to practice under the eyes and ears of Tony but also to learn from and problem solve with Steve, Richard, and Gavin. It was humbling to experience the musical connection that a mixer has to the performance. I come from a music performance and studio engineering background, and to hear the console referred to as a kind of "instrument" is very vindicating. And I must mention the valuable tricks that I picked up regarding SIM—our mid-seminar reconfiguration of SIM/D-Mitri was a quite helpful.

Very rarely has mixing been such a directly collaborative effort for me. Of course the mixer is constantly collaborating with the performers, but I have never had a chance to play "mixer four-hands". It was an awesome lesson, not only in critical listening but in subtle psychology—gestures that I would make would affect Josh's arc and vice-versa. I have an increased amount of respect for those who can master that dance.

I have to thank Tony, Steve, Richard, and Gavin for trusting us enough (artistically and technically) to say to us "here ya go...show us what you've got". Tony: the ability to mix the tracks from Wicked was emotionally thrilling, and your guidance has refocused the way I think about dynamics in music for theater. Team Meyer: every time you let me sit in the hot seat with one of your systems I come out a better listener and designer.

It's the best way to learn, and you all rock at teaching it!

- Matt

Day 3: Matt Glenn & Josh Fehrmann mix "Defying Gravity" from Wicked. 

Having Tony Meola come to UCI was an amazing experience. The insight he was able to give on mixing, and his method of thinking about sound was really interesting, and gave us a new perspective. The amount of experience and detail of descriptions was intense, like for example the difficulty of hiding lavalieres in film grade wigs versus theater grade wigs. Being able to mix wicked, even for an empty stage, was definitely the highlight for me, and getting critiqued by my peers and Tony Meola was pretty exciting too! I’m glad UCI was able to make this sort of thing available for students here. 


-Elliot

Day 2: Josh Fehrmann drives SIM3 for part of system tuning.

My recent experience with Tony Meola and the crew from Meyer sound was a graduate student sound designers dream. Ever since Wicked came out I was stunned by the quality of the sound design. I have seen the musical twice during its first run in Chicago and we had the CD.  My whole family loved the musical! As a high schooler I dreamed of mixing that show or a show of similar quality and musicality. To hear the individual tracks of Wicked was stunning. To hear individual tracks of Idina Menzel and Kristin Chenoweth singing and to be able to mix the show while being given guidance was the finest example of a master class that I could imagine.  A master class with Tony was a fantasy come true for me as well all the other graduate sound designers and I believe even for the sound design faculty. It was also a great learning experience to watch the way Tony tuned our space and the Meyer specialists work their systems and handle gear. There was a great deal of very useful shared verbal information that will clearly shape the way I approach my work in the future.

-Mark

Day 2: "Where are you sourcing the image now?"

Although it’s been a few weeks since the seminar happened, I still find myself back in the moment: in the hot seat, performing on the CueConsole mixer.  Mixing is such a thrill; shaping a piece is such an intimate connection to music, very akin to playing a musical instrument live.  I never had imagined myself mixing a Broadway cast recording in front of a renowned sound designer like Tony Meloa, and it was a wonderfully humbling unique experience.  It reaffirmed, yet again, why I had applied to grad school.  Three years ago I didn’t really know what to expect; I had hoped I would be part of a group that is curious, experiments, shares knowledge, and tackles interesting projects together.  These seminars—that Meyer Sound so generously makes available—are times when I think we’re pushed to our best working together.

Day 2: The class experiments with delay and level shading.

I’d like to thank Mike, Vinnie, BC, Helen, Steve, Gavin, Richard, and of course Tony for making this mixing seminar possible.  From the insight into Tony’s philosophical approach to sound design, to the rush I felt when Patricia & I hit our collective groove mixing Defying Gravity together... these moments will be forever inspiring. –Stephen

Day 3: Meyer Sound Mixing Seminar at UC Irvine Class Photo — March, 2013

Day 3: Post seminar family dinner.