Avoiding the V1 Bomber

When is a new audio device ready for use? It may be on the first day of production -- for the manufacturer, the first time it works "right-out-of-the-box" -- for the installer, and the year after it has been installed, used and maintained successfully on someone else's system -- for the prospective owner. The promise of lower cost, improved functionality and better sound quality can entice the unwary to use the latest gear before it is ready.

Everyone is familiar with the V1 Bomber; software released as Version 1, but really only a V 0.9 beta version that is ready for widespread testing, yet creates cash flow for the software developer during the last stages of debugging the code. The subsequent upgrades to a fully functional version may be free of charge but the cost of trying to implement the software can be many times the cost of the software. Unfortunately, because of the complexity of modern software and the climate of "good enough to release", there are industries that must suffer this approach. Not so the world of hardware-based audio gear. This stuff is supposed to work "right-out-of-the-box", or be returned. A manufacturer that ships multiple pre-mature products is quickly dropped from the preferred supplier list, as few people can tolerate a new sound system that "might" work.

The cost of fixing this form of failure in the field goes well beyond the time charged for a technician to service or replace the unit. The loss of client-confidence and eventually the loss of supplier-integrity can be the most difficult costs to recoup. Sound, especially in live performance venues, cannot be postponed until next week. If there is no sound, there is show. The competition for an audience is increasing and reduces the likelihood they will return to a venue (or the venue to a rental company) after experiencing a disastrous show cancellation. In the live sound industry, it has long been understood that professional audio systems must be configured so that this will never happen, through the use of: backup components; methods to patch around failed components; and good maintenance practices.

So how does a new product/technology gain acceptance into the signal chain? There may be as many regimens to this process as there are vendors of live sound equipment. For some, it is the development of a close relationship with specific manufacturers so that new products can be evaluated prior to full production. With input to the development of the product, the end user (such as a rental company, contractor or venue) can gain confidence in the design and implementation of the device. Knowing that a particular product is under development also allows these users to begin to conceptualize how the new product can be integrated into their approach to audio systems. Testing of pre-production units allows the user to place the device into a series of controlled situations that will allow for potential failure (with appropriate backups already in line), yet test the functionality of the device. This not only requires these end users to have the patience to participate in this process, they must also have the time and resources to create these parallel audio streams and document any problems encountered with the device. If you can't offer the manufacturer clearly defined details on the problems encountered while using the pre-production unit, then there is little to be gained by their loan of the unit. Clearly, this is not a process that fits into the schedule for those busy times of the year.

While the field-testing of pre-production units is common within the audio industry, it does leave some potential gaps in the testing process. Sound systems are used in so many different applications that undertaking a comprehensive field-test for a product may be practically impossible. Many audio companies in the business of renting sound systems or installing sound systems regard their particular clients as having unusual requirements. Add to this the creative use of products that were designed for one application but found "uniquely-suited" to another more unusual application, and the manufacturer has a problem foreseeing how to undertake a field test that covers every potential application. However, in some circumstances the practice of "creative" audio practitioners compensate for this by undertaking their own testing of new products (or new applications of established products), to ensure that the functions will actually work in this context.

For many of us in the audio industry, we must take the approach of testing any unknown product as though it will be implemented in a way that was "unusual" and not assume that the field testing of the pre-production units including our intended application. It is the best way to ensure that the people we create sound systems for won't be taking a ride on the V1 bomber.

United Entertainment Media Inc.
460 Park Avenue South, 9th Floor
New York, NY, 10016
Ph. 212-378-0400
FAX 212-378-2160

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