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Live Sound 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

  • Tuesday, December 06, 2016
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    Craig Leerman 12/06 02:13 PM,
    Acoustic performances, and the instruments themselves, usually need to be handled differently than the electronic side of things. Thumping kick drums, compressed bass guitars and the like are not the norm for performances intended to be more musically subtle. A more natural sound is desired and it starts with microphone choice and deployment. Fortunately, most instruments can be picked up quite nicely with just three types of mics that most sound folks already have in their inventories. A mic locker… View this story
    Filed in: Live SoundFeatureStudy HallConcertEducationEngineerMicrophoneSound 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

  • Thursday, December 01, 2016
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    Jonah Altrove 12/01 11:53 AM,
    Like many sound engineers, I have a background in music, so I’ve been on both sides of sound checks and know how annoying a poorly-run check can be for musicians. These experiences have led to a paradigm shift in the way I approach sound checks: they’re for the artists, not the engineers. On the road, practice time is in short supply, so many artists prefer to use their stage time to rehearse new material, tweak the backline, and tighten up… View this story
    Filed in: Live SoundFeatureStudy HallConcertEngineerSound ReinforcementStage

  • Tuesday, November 29, 2016
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    Merlijn van Veen 11/29 12:49 PM,
    Many believe that condenser microphones are more sensitive than dynamic microphones (moving coil) and therefore pick up “everything,” e.g., stage wash and noise. Sensitivity, however, is nothing but a constant conversion rate from pressure to voltage and more important, it is distance independent. Contrary to popular belief, it’s not the reason for picking up “everything.” Most condenser mics are indeed more sensitive. A Neumann KMS 105 condenser with a sensitivity spec of 4.5 millivolts at 1 Pascal (4.5 mV/Pa) is… View this story
    Filed in: Live SoundFeatureVideoStudy HallMeasurementMicrophoneSignalSound Reinforcement

  • Monday, November 28, 2016
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    Jonah Altrove 11/28 12:16 PM,
    “Any industry founded on a particular technology faces the danger that a new invention will render it obsolete.” – Tom Standage, “The Victorian Internet” When I came across this quote in Standage’s fascinating book about the history of the telegraph, it struck me with such veracity that I just put the book down and stared at the wall for a few seconds. This is something I’ve occasionally found myself wondering – will the inevitable advance of technology eventually eliminate my… View this story
    Filed in: Live SoundFeatureOpinionConcertEngineerSound Reinforcement

  • 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

  • Friday, November 18, 2016
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    Old Soundman 11/18 03:26 PM,
    Dear Old Soundman, I occasionally run sound for a band that tends to play at local hole-in-the-wall venues. O.K., we feel sorry for you, now move on! The “stage” for the band is always in one of two places: a nice boomy corner, or better yet, right in front of a brick or paneled wall. One of many problems I run into (including the lead guitarist who insists he hears better with his knees)… I know that guy! And I… View this story
    Filed in: Live SoundFeatureBlogBusinessEngineerMicrophoneMixerSound ReinforcementTechnician

  • Wednesday, November 16, 2016
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    Bruce Bartlett 11/16 11:08 AM,
    Portable loudspeakers are amazing in their versatility, able to serve as mains, fills, delays, stage monitors and much more, providing solutions for hundreds of applications in live sound reinforcement. These 2-way miracle workers usually include an 8-inch, 12-inch or 15-inch ported woofer and a compression driver on a horn or waveguide, with dispersion (6 dB-down points) commonly at 40 degrees (v) by 90 degrees (h) or 40 degrees (v) by 120 degrees (h). The primary purpose of this dispersion is… View this story
    Filed in: AVLive SoundFeatureProductStudy HallAVLoudspeakerSignalSound ReinforcementSystem



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