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Live Sound Features

  • Friday, March 16, 2012
    PSW Staff 03/16 07:32 AM,
    Editor’s Note: Here’s a fun and interesting thread from the PSW Live Audio Board (LAB) forums. Enjoy. Posted by Kurt I was wondering how you guys deal with singers that want their monitors so loud that you can’t get any gain out of the microphone. Reply by Mike Just wanted to add a few LESSER items that affect the singer’s perceived volume, since everyone else discussed the primary ones. Monitor competition by: —Placement of guitar amps. Are they still on… View this story
    Filed in: Live SoundFeatureBlogOpinionPollMicrophoneMonitoringStage

  • Wednesday, March 14, 2012
    in-ear monitoring
    Jack Kontney 03/14 01:29 PM,
    In-ear monitors (IEMs) are radically different from the traditional floor wedge method of providing a monitor mix to performers. For many artists and engineers, they are the ideal monitor solution. But for others, they’re simply a method of trading one set of problems (extreme volume, tiny sweet spot, feedback potential) for another (sense of isolation, can’t hear amps or audience). Clever engineers and earphone manufacturers have come up with various methods of handling these issues, all of which revolve around… View this story
    Filed in: Live SoundFeaturePollProductMonitoringSignalSound ReinforcementStage

  • Tuesday, March 13, 2012
    live sound international
    Greg Stone 03/13 11:59 AM,
    Most of us working in live sound have, at one time or another, been asked to provide our services gratis. If you’re reasonably good at your craft, own a stash of gear, and carry a positive attitude, you undoubtedly know what I’m talking about. When I first started out, I was cautioned by several people in the business: “Once everyone finds out you’ll do it for free, you’ll ‘free’ yourself to death.” While kind of drastic, there’s a degree of… View this story
    Filed in: Live SoundFeatureBlogPollBusinessSound ReinforcementAudio

  • Monday, March 12, 2012
    monitor engineer
    Kevin Young 03/12 04:09 PM,
    When it comes to maximizing their mix, streamlining workflow and meeting the needs of their artists, few monitor engineers are willing to say they’re doing anything entirely unique. Still, every artist has different demands, and that informs choices made in monitor world. We tracked down several engineers working in various genres to talk about the approaches they’ve developed to meet those demands, quickly and efficiently, at the console level. Robert Bull, Nashville Current Gig: Martina McBride Other Artists: Amy Grant,… View this story
    Filed in: Live SoundFeaturePollProductConsolesMixerMonitoringStage

  • yamaha
    Greg DeTogne 03/12 01:40 PM,
    “If you want to make a million in audio,” Ryan Jenkins asks, “you know how you do it? Start with two million. I say that tongue-in-cheek, of course, but there is an air of truth to that statement. You can spend yourself into oblivion easily in this business. That’s not my model.” Jenkins is the owner and founder of Arizona Concert Sound Solutions, “a company smaller than the name,” he says of his Phoenix-based dispensary of high-quality audio for small… View this story
    Filed in: Live SoundFeaturePollBusinessConcertConsolesSound Reinforcement

  • Friday, March 09, 2012
    martin audio
    PSW Staff 03/09 01:32 PM,
    Carefully conceived and implemented sound reinforcement systems at performing arts and theatre venues typically produce excellent results, in general, because they can be purpose-designed for the venue. The system’s electronic backbone can be “tricked out” to meet a wide range of applications, while the particular performance parameters of loudspeakers can be matched to coverage needs. Still, the loudspeakers need to be well-suited to present diverse source material as it is intended to be heard – slamming rock n’ roll to… View this story
    Filed in: Live SoundFeaturePollSlideshowInstallationLine ArrayLoudspeakerSound Reinforcement

  • image
    Henry Cohen 03/09 09:52 AM,
    Rules for the operation of Television Band Devices (TVBD) in the core TV bands (low VHF – channels 2-6; high VHF – channels 7-13; and UHF – channels 14-51) were finalized in January 2010. One of the requirements of TVBD operations was the establishment of a working and real-time accessible geo-location database from which TVBDs had to receive a list of available TV channels based on the TVBD’s physical location and type. It’s only as of January 26, 2012 that… View this story
    Filed in: Live SoundFeaturePollStudy HallBusinessMicrophoneSignalWireless

  • Wednesday, March 07, 2012
    wireless systems
    Craig Leerman 03/07 10:49 AM,
    The early history of the development of wireless microphone systems is a bit murky as to “who did what and when,” but it might be surprising to know that they’ve been around in various forms for more than 60 years. In fact, back in the mid-1940s, publications such as Popular Science showed schematics and kits for making low-power wireless microphones that could transmit to a nearby AM radio. The Shure Vagabond system, which debuted in 1953, most certainly was one… View this story
    Filed in: Live SoundFeaturePollProductSlideshowMicrophoneSound ReinforcementSystemWireless

  • Monday, March 05, 2012
    Craig Leerman 03/05 11:38 AM,
    I started collecting microphones long ago, when at a large flea market, I spotted an Electro-Voice 664. The chrome was pitted, the windscreen was dented, and the guy selling it didn’t know if it even worked. But it was only a few dollars and it reminded me of my years working tech theater in high school, so I bought it. From then on, I looked for old mics everywhere, and pretty soon had built a sizable collection. They’re really interesting,… View this story
    Filed in: Live SoundFeatureBlogPollProductMicrophoneSound Reinforcement

  • Friday, February 24, 2012
    microphone specs
    Mikkel Nymand 02/24 12:21 PM,
    When reading microphone specifications, it is extremely important to understand how to interpret them. In most cases, the specifications can be measured or calculated in many different ways. While microphone specifications provide an indication of a microphone’s electro-acoustic performance, they will not give a total appreciation of how it will sound. Specifications can detail objective information but cannot convey the subjective sonic experience. For example, a frequency response curve can show how faithfully the microphone will reproduce the incoming pure… View this story
    Filed in: Live SoundFeaturePollProductStudy HallAVMicrophoneSound ReinforcementStageAudio

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