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Articles Tagged Audio Basics

  • Monday, June 27, 2016
    image
    Craig Leerman 06/27/16 06:11 AM,
    Festival season, in particular, means dealing with portable generators for show power. At performance venues, we hardly give power a second thought, simply handing our tails or feeder to the house electrician to tie into the “company switch.” Then we check the voltages at the distro end with a meter to make sure everything is connected properly, and that’s usually it – no more thinking about the power until it’s time to disconnect at the end of the gig. The… View this story
    Filed in: ProductionFeatureProductStudy HallProductionAudioPowerSound Reinforcement

  • Tuesday, June 21, 2016
    dennis bohn
    Dennis A. Bohn 06/21/16 11:20 AM,
    This article is provided by Rane Corporation.   This paper discusses the pitfalls (often subtle) of our industry’s failure to define and standardize what “unity gain” means, and the conditions necessary to measure it. It further discusses how people improperly use one piece of misinformation (impedance matching) to correct for this lack of standardization. All done, without knowing discrepancies exist between different pieces of equipment, and without knowing impedance matching is unnecessary, signal degrading, and wasteful. For me, it began… View this story
    Filed in: AVFeatureBlogStudy HallAmplifierAVInterconnectMeasurementPowerSignalSound Reinforcement

  • phantom power
    Bruce Bartlett 06/21/16 06:22 AM,
    This article is provided by Bartlett Audio.   Unsure about phantom power? Let’s clear up the mystery. Nearly all mixing consoles and audio interfaces provide phantom power at their microphone input connectors. Most condenser mics need phantom power to operate, so you simply plug the mic into the mixer to power it. But the ways we use and connect phantom power can make a big difference in how well those mics work. So what, exactly is phantom power, and how… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesInterconnectMicrophoneMixerPowerSignal

  • Friday, June 17, 2016
    church sound
    Gary Zandstra 06/17/16 11:44 AM,
    This article is provided by Gary Zandstra.com.   Do you replace production/system equipment based on it being worn out or for new features and functionality? When we get a new system or new piece of gear, often the last thing on our minds is repairs or the life cycle of the system. In my view, churches are getting better at understanding professional A/V systems. I find that in general the market is more aware of the cost versus the expectation… View this story
    Filed in: Church SoundFeatureStudy HallConsolesInstallationLoudspeakerSound ReinforcementSystem

  • amplifiers
    Pat Brown 06/17/16 06:26 AM,
      How much power can an audio amplifier produce? As you might expect, “it depends.” I will approach this from two angles—in theory and in practice. This article will deal with the theory. Part 3 will show how things play out in the real world. Importance Of Efficiency Amplifiers don’t make power. They convert it. Any audio power that comes from your amplifier must in turn come from the utility outlet that it is connected to. This is why the… View this story
    Filed in: AVFeatureBlogStudy HallAmplifierAVMeasurementPowerSound Reinforcement

  • Wednesday, June 15, 2016
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    Michael Santucci, Au.D. 06/15/16 10:57 AM,
    This article is provided by Sensaphonics.   Editor’s note: I’ve known Michael Santucci for a couple of decades now. I’ve been to his clinic and have talked with him numerous times about hearing health. His company, Sensaphonics, a manufacturer of in-ear monitors, is unique. The products are designed to promote safe listening through maximum isolation, and it’s the only IEM company with a Musicians Hearing Clinic on site. They would literally rather sell you a hearing test than a pair… View this story
    Filed in: Live SoundFeatureBlogStudy HallEducationEngineerMonitoringSignalSound ReinforcementStage

  • Monday, June 06, 2016
    prosoundweb
    Andy Coules 06/06/16 06:05 AM,
    In a continuation of my previous article (here), I’m taking a look at five more of the most common live mix mistakes I’ve encountered when attending gigs as an audience member and offering some potential solutions to these everyday issues. Excuse me while I kiss this guy. It still surprises me when I go to gigs where either the vocals can’t be heard or they’re so buried in the mix that it’s impossible to make out what they’re saying. The… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertConsolesEngineerInterconnectMixerProcessorSoftwareSound Reinforcement

  • Tuesday, May 31, 2016
    image
    Bruce Bartlett 05/31/16 11:33 AM,
    This article is provided by Bartlett Microphones.   Remote recording is exhilarating. Musicians, excited by the audience, often put on a stellar performance. Usually you only get one chance to get it recorded, and it must be done right. It’s on the edge, but by the end of the night, especially if everything has gone as planned – what a great feeling! Challenges abound. Monitors can feed back and/or leak into the vocal microphones, coloring the sound. Bass sound can… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSignalStageWireless

  • signal levels
    Peter Janis 05/31/16 05:59 AM,
    Today’s live stage productions have become tremendously complex. All sorts of different instruments and electronic sources must be “orchestrated” along side the microphones and signals that need to be split off to a multitude of mixers to feed the house system, stage monitors, in-ear monitors, broadcast truck, Internet uplink and recording system. Paramount to the design is trying to insure some form of simplicity or standardization that will allow quick changes should disaster occur. In fact, even with today’s most… View this story
    Filed in: Live SoundFeatureBlogStudy HallInterconnectMicrophoneSignalSound ReinforcementStage

  • Tuesday, May 24, 2016
    prosoundweb
    Mark Frink 05/24/16 11:09 AM,
    The input list and stage plot is the audio core of any technical rider and the road map for organizing stage equipment and console inputs. Accurate advance information allows risers and backline to be placed, microphones and wedges cabled, and even a line check when the touring crew’s travel is delayed. Working for clubs, festivals or sound companies, we’re often frustrated by inaccurate paperwork reflecting a version of a band that’s months or years old. The reason for out-of-date paperwork… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertInterconnectMicrophoneSignalSound ReinforcementStage



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