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Articles Tagged Audio Basics

  • Tuesday, April 15, 2014
    dpa microphones
    Bruce Bartlett 04/15/14 12:44 PM,
    This article is provided by Bartlett Audio.   Some of the most popular instruments in many genres of music are keyboards, so let’s look at some techniques to capture a grand piano, upright piano, Leslie organ speaker, digital keyboard or synthesizer. Grand Piano This magnificent instrument is a challenge to record well. First have the piano tuned, and oil the pedals to reduce squeaks. You can prevent thumps by stuffing some foam or cloth under the pedal mechanism. One popular… View this story
    Filed in: RecordingFeatureBlogStudy HallConsolesMicrophoneProcessorSignalStudio

  • mixing
    Craig Leerman 04/15/14 12:24 PM,
    Like the majority of people working in the audio biz, I love music. Growing up in the 1970s, I was fortunate that my favorite FM radio station played a pretty diverse selection of musical styles, including folk, soft rock, pop, disco, R&B, rock, and even heavy metal. While exposed to quite a few musical styles and artists, I developed personal favorites. Most Saturdays would find me at the record store, spending the few bucks earned that week from mowing lawns… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesEngineerMixerSound ReinforcementTechnician

  • Monday, April 14, 2014
    church sound
    Chris Huff 04/14/14 02:59 PM,
    This article is provided by Behind The Mixer.   Once the initial excitement of working in audio production wears off, it leaves one with a few unfortunate realizations. I’m not saying audio work stops being fun. I’ve been doing this for a long time and I still have fun. I only wish someone would have cracked open the secret envelop and let me see the truth before being up to my knees in XLR cables. This post reveals these “secrets.” … View this story
    Filed in: Church SoundFeatureBlogStudy HallBusinessEngineerMixerSound ReinforcementTechnician

  • image
    Bobby Owsinski 04/14/14 02:51 PM,
    This article is provided by Bobby Owsinski.   Reverb. It’s use goes through cycles from a lot to almost none, but you’ll usually find at least some reverb-type ambience used in every mix. The problem is that you can’t really tell much of a distinction between the different types of some inexpensive plug-ins or boxes. In case you’re a little fuzzy about the differences between the types of reverb available, here’s a little refresher excerpt from The Mixing Engineer’s Handbook… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsMeasurementProcessorSignalStudio

  • image
    Joan La Roda 04/14/14 09:14 AM,
    FFT-based field measurement systems have made it possible for us to do phase alignment at fixed installations as well as at live events, where every venue demands a different approach. This is particularly important since mid-high boxes are often flown and subwoofers remain on the ground, meaning that phase differences at the listener location can be very significant. Given the interest in the subject, and the remarkable improvement it can bring to a system, it seems like a good idea… View this story
    Filed in: AVFeatureBlogStudy HallAVLine ArrayLoudspeakerMeasurementProcessorSignalSound ReinforcementSubwoofer

  • Friday, April 11, 2014
    sound check
    Paul LaPlaca 04/11/14 04:43 PM,
    “Check one, two… one, two…” As a soundperson, I’ve had to repeat this phrase ad nauseam—at times I even hear it in my dreams. Everyone wants to know: “Why can’t you count to three?” To which the punch line follows: “Because on three, you have to lift.” Ugh, like I haven’t heard that a thousand times before. (In addition to “when will this be over” and “is that really necessary?”) Years of enduring these tired refrains finally prompted me to… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesEngineerMicrophoneProcessorSound ReinforcementStage

  • church sound
    Mike Sessler 04/11/14 02:03 PM,
    This article is provided by ChurchTechArts.   Since we’re close to embarking on a pretty significant renovation of our main sanctuary at Coast Hills, I thought I would address what it takes to have a successful renovation. This comes not only from my own experience, but from dozens of others. Just about every month I receive at least one e-mail about a church doing a renovation, and often it’s not going well. The reasons renovations, or new builds for that… View this story
    Filed in: Church SoundFeatureBlogStudy HallBusinessEducationEngineerSound ReinforcementSystemTechnician

  • Thursday, April 10, 2014
    signal levels
    Peter Janis 04/10/14 03:06 PM,
    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

  • audio cable
    PSW Staff 04/10/14 02:14 PM,
    Provided by Sweetwater.   Q: I’m currently in the process of building a home studio and just at the point of wiring all of the raw cable to patch bays. However, I’m a bit stuck because I’m not sure what patch bays to get. Is one “style” of patch bay better/more durable than another? I guess the same question goes for the patch cables themselves. A: Wow, is this ever a loaded question. Because the industry can’t come to a… View this story
    Filed in: RecordingFeatureBlogStudy HallInterconnectSignalStudio

  • Wednesday, April 09, 2014
    line arrays
    Jeff Berryman 04/09/14 01:57 PM,
    This is a discussion of line array high-frequency output capability, and what it might mean to you. The specific quantity we’re looking at is the frequency response at maximum output power for all drivers. This is the maximum acoustic output of the array as a function of frequency. I will call it the power-bandwidth response. Here’s a question: what power bandwidth must line array elements have in order to deliver a flat frequency response to audience seats? Because of the… View this story
    Filed in: AVFeatureBlogStudy HallAVLine ArrayLoudspeakerMeasurementSignalSound Reinforcement



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