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A/V features

  • Friday, December 09, 2016
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    Old Soundman 12/09 12:30 PM,
    Hey Old Soundman: I keep up with all of your writing, and I’ve got to say: you sure seem to hate us youngster sound guys. You know, the ones who go to expensive schools, so we can be brainwashed into believing 5.1 surround is the best thing for music, and louder is better. You said it, not me. As a spokesperson for us young sound guys, I must say this. We are not the idiots you make us out to… View this story
    Filed in: Live SoundFeatureBlogOpinionAVBusinessEducationEngineerSound ReinforcementStage

  • Wednesday, December 07, 2016
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    M. Erik Matlock 12/07 07:48 AM,
    I took guitar lessons over this past summer. I’ve been around bands and music my entire life, and at one point was an unbelievably mediocre bassist. I had enough ability to know the notes on the neck and follow a chart. I was even pretty solid with rhythm and accuracy. But that, as they say, was that. Anyway, the guitar lessons taught me a lot of things that I thought I already understood. They produced enough new information to feel… View this story
    Filed in: Live SoundFeatureStudy HallTrainingAVBusinessConcertConsolesEducationEngineerSound ReinforcementStage

  • Monday, December 05, 2016
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    Live Sound Staff 12/05 11:27 AM,
    There’s a lot going on with newer digital console/mixer technology platforms, with this roundup providing a snapshot of what’s happening. A New Direction For An Ever Evolving Group Reunited in 2009 after a five-year hiatus, Phish is still hard at it, delivering truly unique live shows marked by improvisation, extended jams, and the blending of musical genres that include progressive and psychedelic rock, folk, funk, blues, country, bluegrass and more. Band members Trey Anastasio (guitars, lead vocals), Mike Gordon (bass,… View this story
    Filed in: Live SoundFeatureAVBusinessConcertConsolesDigitalEngineerMixerSound ReinforcementStage

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    Bobby Owsinski 12/05 07:59 AM,
    This article is provided by Bobby Owsinski.   The road case is essential to anyone on tour with gear that needs to be protected, so I thought this would be a good time to bring back something that I posted about few years ago. It’s an excerpt from The Touring Musician’s Handbook that provides a good look at the differences between popular road case styles. Here we go. For many musicians, buying road cases for their gear is sort of… View this story
    Filed in: ProductionFeatureBlogProductionCases & AccessoriesAVBusinessEducationEngineerSound ReinforcementStageSystemTechnician

  • Friday, December 02, 2016
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    Pat Brown 12/02 11:12 AM,
      It’s all about inputs and outputs (I/O). How do I get an audio signal from one to the other? The ongoing evolution of professional audio has produced a number of viable digital interfaces to complement legacy analog I/O practices. The choices may seem confusing at first, but when you break them down the strengths and weakness of each become apparent. In this overview, I will start with analog since it is familiar to most readers and serves as a… View this story
    Filed in: AVFeatureStudy HallTrainingAnalogAVDigitalEducationEngineerEthernetInstallationInterconnectMeasurementProcessorSignalSystemTechnician

  • Thursday, December 01, 2016
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    Craig Leerman 12/01 08:05 AM,
    In its most basic form, a DI – also known as a direct box and short for “direct injection” and/or “direct insert” – takes an unbalanced high-impedance signal (i.e., from an electric guitar or keyboard) and converts it to a balanced low-impedance signal. This process is needed when running high-impedance signal at long distances, such as down a snake to a front of house console. Unconverted, the unbalanced signal can pick up noise; also, sending high-impedance signal at longer distances… View this story
    Filed in: AVFeatureProductAVInterconnectSignalSound ReinforcementStageStudio

  • Wednesday, November 30, 2016
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    Ken DeLoria 11/30 08:47 AM,
    Very often the topic of “room tuning” comes up in the practice of pro audio, but what we’re really talking about is “system optimization.” And over the course of many years, we’ve used many tools that seemed to—or actually did—contribute to desirable results. But system optimization is not just about turning knobs (virtual or otherwise) until things sound good. Sure, you can do that, and maybe that’s all you have time for under certain circumstances, but it’s not likely to… View this story
    Filed in: AVFeatureBlogStudy HallAVLoudspeakerMeasurementProcessorSignalSound Reinforcement

  • Tuesday, November 29, 2016
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    Craig Leerman 11/29 07:33 AM,
    Sure, you have a great microphone collection, the latest digital console, and fantastic loudspeakers – that’s everything required of a sound company, right? Well, not exactly. The truth is that it’s the little things that can make the most significant difference between a “good” or “great” gig. Here’s a list of some (not all) of the “must haves” at any show, no matter how big or small. —- Gaffer (“Gaff”) Tape – not “duct” (or “duck”) tape, or masking tape,… View this story
    Filed in: AVFeatureStudy HallAVBusinessConcertEngineerSound ReinforcementStageSystemTechnician

  • Wednesday, November 23, 2016
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    PSW Staff 11/23 12:35 PM,
    Editor’s Note: Here’s an interesting thread from the PSW Live Audio Board (LAB) forums. It’s lightly edited for grammar and formatting. Enjoy. Posted by Jim Does anyone have any advice or stories? Up here in Canada winter is planning its inevitable return. I’ve a few out door winter and holiday themed events booked and was making a mental prep list. With digital consoles and equipment in general, the worst symptoms of extreme cold are screen freeze and cable stiffness. The… View this story
    Filed in: Live SoundFeatureStudy HallAVConcertEngineerSound ReinforcementStage

  • Thursday, November 17, 2016
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    Pat Brown 11/17 08:22 AM,
      Adequate signal-to-noise ratio is one of the characteristics of a professionally designed sound reinforcement system. The terms “dynamic range” and “signal-to-noise ratio” are often used interchangeably, but a closer look reveals that they are not exactly the same thing. The dynamic range of a sound system is the difference in level between the highest signal peak that can be reproduced by the system (or device in the system) and the amplitude of the highest spectral component of the noise… View this story
    Filed in: AVFeatureBlogStudy HallAVLoudspeakerMeasurementMicrophoneSignalSound ReinforcementSystem



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