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Wednesday, December 31, 2008
Mark Frink 12/31/08 12:35 PM, 0 CommentsThis year is the tipping point for digital consoles in regional and festival sound reinforcement. Discussions of sound quality aside, the benefits of digital consoles – consistency, repeatability, recall and automation – force users to adopt the new way and the advantage it brings to live events where the same console is not dragged from one gig to the next. Vendors contemplating the purchase of a console must ask themselves who will be using their new mixing board, who the… View this story
Filed in: Live Sound • Church Sound • Feature • Product • Slideshow • Consoles • Digital -
Tuesday, December 30, 2008
PSW Staff 12/30/08 04:01 PM, 0 CommentsTouring in support of their most recent album, Accelerate, R.E.M. selected Oxnard, California-based Rat Sound to handle sound reinforcement requirements, with Brett Eliason serving as FOH engineer and George Squiers handling monitor mix honors. Clair Brothers sublet two Midas XL8 digital mixing consoles (for house and monitors) to Rat Sound for the tour. “We pushed for the Midas consoles,” Eliason notes, adding, “Having the Midas preamps at the front end and a true 24-bit, 96 kHz digital resolution were the… View this story
Filed in: Live Sound • Feature • Slideshow • Concert • Consoles • Digital • Engineer • Line Array • Loudspeaker • Microphone • Sound Reinforcement • Subwoofer • Technician -
Monday, December 29, 2008
Keith Clark 12/29/08 04:43 PM, 0 CommentsFounded in 1994 by Lollapalooza veteran Kevin Lyman, the Vans Warped Tour has now grown to feature as many as 100 bands per stop, spread among numerous stages. This year (2008), North America’s longest running tour traveled to well over 40 different cities, sometimes going from stop to stop for more than a full week without a day off. A few years ago, as part of the Warped Eco Initiative (WEI) to “clean up and green up,” the tour deployed… View this story
Filed in: Live Sound • Feature • Slideshow • Concert • Power • Sound Reinforcement -
Tuesday, December 23, 2008
Nort Johnson 12/23/08 11:23 AM, 2 CommentsIn 1976, I was hired on the local crew to pitch and bail scaffolding and deck for my first stadium show at the historic Comiskey Park in Chicago. It was a July 8 truck tip and the day of the show was July 10. The temperature hovered around 100 degrees for the duration. We erected the monster in the left center field bleachers over the seats where Babe Ruth and Nellie Fox used to tear the hides off of well-greased… View this story
Filed in: Live Sound • Feature • Amplifier • Concert • Consoles • Engineer • Line Array • Loudspeaker • Microphone • Mixer • Monitoring • Sound Reinforcement • Subwoofer • Technician -
Monday, December 22, 2008
PSW Staff 12/22/08 11:07 AM, 0 CommentsA November tour of their homeland by Canada’s Sam Roberts Band played theatre-sized venues throughout the country, with the band’s FOH engineer Phil Hornung was faced with the prospect of using house PA systems in most venues. In order to maintain consistency of the sound, XTA distributor Sennheiser Canada supplied Hornung with a package of XTA processing options, comprising a C2 compressor, D2 dynamic EQ, E2 parametric EQ, G2 noise gate, GQ600 dual 30 band graphic EQ and DP324 SiDD… View this story
Filed in: Live Sound • News • Concert • Engineer • Processor • Sound Reinforcement -
Thursday, December 18, 2008
PSW Staff 12/18/08 03:16 PM, 1 CommentTexas-based tour production specialists LD Systems are currently touring with British superstar soprano Sarah Brightman, providing a concert sound system led by Electro-Voice components. Brightman’s Symphony World Tour is currently on its 48-day/32-city North American leg, with stops including Washington DC, Mexico City, and Toronto. The show boasts stunning new technology that transforms the stage into a variety of fantasy environments, creating a brand new concert experience for the audience. The tour supports “Symphony,” a collection of all-new songs which… View this story
Filed in: Live Sound • News • Amplifier • Concert • Line Array • Networking • Sound Reinforcement -
Monday, December 15, 2008
12/15/08 03:45 PM, 0 CommentsThe Awards Committee and the Board of Governors of the Audio Engineering Society (AES) have voted to award K2 Audio Senior Consultant, Ray Rayburn, the society’s Fellowship Award. The award recognizes Rayburn’s contributions to the art and science of sound system design, digital signal processing and routing, and electromagnetic compatibility. Rayburn has been an engineer in acoustics, audio systems, and telecommunications for 40 years, and in addition to designing audio systems for some of the most well-known venues in the… View this story
Filed in: Live Sound • Recording • News • Manufacturer -
Sunday, January 06, 2008Keith Hatschek 01/06/08 01:09 PM, 0 Comments“Use your ears, Luke—use your ears.” Leslie Ann Jones is director of music recording and scoring at Skywalker Sound, the recording and production facilities built by George Lucas in Marin County, California. She has been a recording and mixing engineer for 25 years, during which time she has worked with such artists as Herbie Hancock, Angela Bofill, Michael Feinstein, Michelle Shocked, BeBe & CeCe Winans, Bobby McFerrin, Holly Near, Rosemary Clooney and Narada Michael Walden. She launched her film score… View this story
Filed in: Recording • Study Hall • Business • Engineer -
Dave Dermont 01/06/08 10:04 AM, 0 CommentsBrad Nelson: Hi Cubby, Now that you have mixed on V-DOSC, Clair I-4 and VERTEC line arrays, which do you like better and why? Cubby Colby: Tough question, Brad. They all have their own priorities. The VERTEC seems to be the easiest to rig. The V-DOSC is everywhere in the world. The I-4 is also a good line array, also with very good rigging. But most importantly they all sound very good. For me, technically, V-DOSC and VERTEC have their… View this story
Filed in: Live Sound • Study Hall • Engineer • Line Array • Sound Reinforcement -
Sunday, July 20, 1980
Curtis Settino 07/20/80 09:07 AM, 0 CommentsThis exclusive article is provided by TapeOp.com. The goal when dealing with roaming musicians is to create and capture unique volume, position and/or timbre changes in the performance you’re recording. It’s a roundabout approach to orchestration and dynamics. The following methods can work in a variety of recording situations (four-track and beyond) and are designed for vocals and hand-held acoustic instruments. Volume Changing Did you know? An automated volume control technique was used with Elvis Presley when he first… View this story
Filed in: Recording • Feature • Poll • Study Hall • Audio • Education • Engineer • Microphone • Mixer • Studio • System
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