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Articles Tagged Audio Basics

  • Friday, July 22, 2016
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    Pat Brown 07/22/16 02:24 PM,
      With the wealth of knowledge about power available here on ProSoundWeb it’s a good idea to constantly evaluate our knowledge of power, or actually, your knowledge about power. Rather than submit you to the typical “right or wrong” questions with exact numerical answers, I’ve elected to provide a different means of self-evaluation. The test is “open book”, based upon the information shared in the article series and other resources, and I can tell you up front that the answer… View this story
    Filed in: AVFeatureStudy HallProductionAudioAmplifierAVInstallationInterconnectPowerSound ReinforcementSystem

  • Thursday, July 21, 2016
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    Mike Sessler 07/21/16 06:03 AM,
    This article is provided by ChurchTechArts.   A few years ago, Tim Cool from Visioneering posted a thought-provoking post of the same name (The Cost Of Getting It Wrong). It’s very good, and I suggest you go read the whole thing. He asks several questions related to staffing, building and designing. As I thought about what he wrote, one particular question resonated with me: What will it cost to have the wrong audio and acoustics in your worship center? Again,… View this story
    Filed in: Church SoundFeatureBlogBusinessEducationSystem

  • Wednesday, July 20, 2016
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    Curt Taipale 07/20/16 06:20 AM,
    This article is provided by Church Soundcheck.com.   This question is exceedingly simple to answer, yet easily eighty percent of churches choose the wrong answer. The reality is that most churches try to place the house mixing desk (console) in a location that hides the equipment as much as possible. Their solution is driven by aesthetics, mostly because that is what they understand. My guess is that they haven’t asked their sound team volunteers, the ones who will be actually… View this story
    Filed in: Church SoundFeatureBlogStudy HallAVConsolesInstallationSound Reinforcement

  • Tuesday, July 19, 2016
    crossovers
    Dennis A. Bohn 07/19/16 11:16 AM,
    This article is provided by Rane Corporation.   In space, no one can hear you scream ... because there is no air or other medium for sound to travel. Sound needs a medium; an intervening substance through which it can travel from point to point; it must be carried on something. That something can be solid, liquid or gas. They can hear you scream underwater ... briefly. Water is a medium. Air is a medium. Nightclub walls are a medium.… View this story
    Filed in: AVFeatureBlogStudy HallAnalogAVDigitalLoudspeakerProcessorSignalSound Reinforcement

  • Wednesday, July 13, 2016
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    Mike Sokol & Hector La Torre 07/13/16 06:09 AM,
    Provided by Live Sound Advice.   DI boxes (“Direct Instrument” or “Direct Inject” boxes) are very helpful tools in a live sound system. The most common type is called a passive DI, which includes an isolation transformer and ground lift switch.  The primary function of a DI box is to convert the unbalanced (1/4-inch 2-conductor) phone plug output on your keyboard or guitar into a low-impedance (low-z), balanced (3-conductor) XLR jack, which can be plugged directly into your signal snake… View this story
    Filed in: Church SoundFeatureBlogEducationInterconnectMonitoringPowerSignalSound ReinforcementStage

  • Friday, July 08, 2016
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    Michael Santucci, Au.D. 07/08/16 10:45 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 SoundRecordingChurch SoundFeatureBlogStudy HallEducationEngineerMonitoringSignalSound ReinforcementStage

  • Thursday, July 07, 2016
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    Craig Leerman 07/07/16 11:33 AM,
    Several years ago my company was hired to provide production for a fashion show in a ballroom. In advancing the show with the producer, the audio portion looked to be fairly easy, with just a few wireless microphones for the presenters and music playback provided by a DJ. Outputs were supposed to be the feeds to the left and right main PA stacks, along with a send to the video company recording the show. Add a board mic and our… View this story
    Filed in: Live SoundFeatureStudy HallAVConcertEngineerInterconnectSound ReinforcementStage

  • prosoundweb
    Chris Huff 07/07/16 06:05 AM,
    This article is provided by Behind The Mixer.   Weeping, with tears running down my cheeks, I can no longer hide my feelings. The microphone hangs lifeless; the cable, like a noose, suspends it midway down the amp for all to see. Yet the guitarist plays on, oblivious. Poor amp miking strikes again. Mixing electric guitars should be easier like mixing acoustic guitars or vocals. Know the guitar’s sound, know the song arrangement, and blend accordingly. That’s a bit simplified,… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesEngineerMicrophoneMixerSound Reinforcement

  • Wednesday, July 06, 2016
    equalizers
    Dennis A. Bohn 07/06/16 11:17 AM,
    This article is provided by Rane Corporation.   You may have heard it said that equalizers are nothing more than glorified tone controls. That’s pretty accurate and helps explain their usefulness and importance. Simply put, equalizers allow you to change the tonal balance of whatever you are controlling. You can increase (boost) or decrease (cut) on a band-by-band basis just the desired frequencies. Equalizers come in all different sizes and shapes, varying greatly in design and complexity. Select from a… View this story
    Filed in: AVFeatureBlogStudy HallAVMeasurementProcessorSound Reinforcement

  • Wednesday, June 29, 2016
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    Karl Winkler 06/29/16 06:27 AM,
    A book I recently read and reviewed for the AES Journal got me thinking about the blend of art and science we face regularly in professional audio. The book, “Audio Production and Critical Listening; Technical Ear Training” by Jason Corey (Focal Press/CRC Press), is a very comprehensive work and covers every conceivable approach to ear training for mix engineers. As with music, I believe that ear training is important in the audio world. Corey covers everything from EQ to dynamics… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertEducationEngineerSound ReinforcementStage



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