Mark Ballard, UK-based FOH engineer and system tech, finds Metric Halo's SpectraFoo sound analysis metering and control software indispensable.

Ballard has been using SpectraFoo's SpectraGraph, SpectraGram, and the Transfer Function applications for nearly five years, during which time he has seen live sound technology advance to such an extent that Metric Halo's analysis software has become indispensable when fine-tuning a system.

At a recent corporate show, he reports, "I took about three or four frequencies out, just minute slivers. I gained 6 or 8dB of headroom compared to doing it with a graphic equalizer just from being that accurate. Using SpectraFoo, you get better end results without crucifying the audio system."

SpectraFoo provides standards-based level metering, high-speed, high-resolution spectral analysis, transfer function measurement, the unique Phase Torch, correlation metering, triggerable waveform display, power balancing, and a variety of power, envelope and spectral histories and phase analysis on any number of input or output channels.

Ballard notes that SpectraFoo's precision is now matched by performance sound system technology. "Before, you'd be hacking things out and it would make no difference. Now, when you make a change, it does make a difference and you can actually hear it. I also find that you now have to be far subtler than you ever were with the older systems, and far more accurate. Having that accuracy of prediction, SpectraFoo comes into its own for cleaning things up."

Over the last couple of years, Ballard has worked as a system tech with Kylie Minogue's FOH mixer, Chris Pyne, on the Australian singer's last two tours, and has also toured with the UK band, Travis. For most of last year he was kept busy as the front-of-house engineer for the all-girl, classical-crossover group Bond on two tours of Asia plus some U.S. shows, as well as with a tour with former Spice Girl Mel C.

A staunch Mac user, Ballard was relieved to finally discover a software program that not only worked on his computer platform but was also easier to use than competing PC-based software. "SpectraFoo was key to me being able to say, I can do what I want to do on a Mac. Particularly when you're teching, rather than mixing, it's very easy to set up windows that are easy for the engineer to interpret."

He explains, "I have it set on continuous resolution, so it's very accurate, but you often find engineers who aren't used to looking at that kind of display. So, I use SpectraFoo in my usual mode to EQ the system and get it all tied in together properly, then, for the show, I'll put it into a different set of windows or a different set of resolutions that the engineer can read very easily. You can't do that as easily with other software systems."

He continues, "If someone said, 'Is there anyone you want to mix,' George Michael would be it. When you listen to his CDs you can tell that meticulous attention has been paid to every single item, and it's fantastic. Since the advent of line arrays, together with other advances in technology, I think the quality of the equipment is there to be able to reproduce the albums. Four or 5 years ago I would have been less confident about myself and the equipment being able to reproduce that in some big arenas, but now we can reproduce that fairly consistently. The accuracy of the whole thing has been helped by SpectraFoo--you really can pinpoint exactly what's going on."

I always said that if I ever get to tour with George Michael, at the end I'll hang up my headphones" He laughs, "What am I going to do for a living? Think it's time to be a house husband!"