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Articles Tagged Mark Frink

  • Tuesday, November 18, 2014
    Mark Frink 11/18/14 01:46 PM,
    There are almost as many ways to capture guitar amplifier sound with a microphone as there are for a piano. And as with piano (and kick and snare drum, for that matter) single-mic approaches can’t always provide the best solution for guitar amps—we must also explore multiple-mic approaches. About four decades ago, at the “dawn” of modern live sound reinforcement, there was the Shure SM58 for vocals and the SM57 for instruments. This eventually included miking guitar amps, because as… View this story
    Filed in: Live SoundFeatureBlogStudy HallEngineerInterconnectMicrophoneSignalSound ReinforcementStage

  • Tuesday, November 04, 2014
    Mark Frink 11/04/14 11:58 AM,
    The Roland Pro A/V division has introduced the M-5000, a new flagship console built on the company’s new O.H.R.C.A. platform. O.H.R.C.A. stands for Open High Resolution Configurable Architecture, and its hallmarks include 96 kHz operation, compatibility with existing REAC snakes, I/O and mixers as well as Dante, MADI, and Waves SoundGrid, and a configurable architecture of 128 total audio “paths.” The 28-fader surface employs dual rows of 8 encoders below a 12-inch touch screen, all with extensive color-coding. This console… View this story
    Filed in: Live SoundFeatureBlogProductConsolesDigitalInterconnectMixerSoftwareSound Reinforcement

  • Monday, September 15, 2014
    Mark Frink 09/15/14 12:54 PM,
    1) Both Ears Or None. Using only one ear encourages much higher sound levels. Good custom molds provide 20 to 25 dB of isolation, allowing lower monitoring levels for artists, and reduced stage noise to compete with front of house. Mixed mode monitoring combining wedges and personal monitors ultimately results in higher overall SPL. 2) Hard-Wired Equals Hi-Def. Wired personal monitors will always sound better than wireless. In addition to loss of stereo separation and frequency response, multiplexed stereo wireless… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesEngineerMonitoringProcessorSound ReinforcementStage

  • Friday, September 05, 2014
    Mark Frink 09/05/14 04:06 PM,
    With the advent of digital consoles, the monitor engineer’s ability to reset the entire desk with the push of a button is a powerful tool. However, there are many situations where the console must be adjusted from scratch or “zero initial data,” whether it’s a festival, support act or a one-off. Doing a little homework in advance can save valuable time. Look at everything that must be taken care of on the console before the band is on stage: inputs… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesDigitalEngineerMonitoringProcessorSound ReinforcementTechnician

  • Friday, April 18, 2014
    Mark Frink 04/18/14 12:11 PM,
    Ten important things to be aware of in the quest for optimum results with in-ear monitoring: Coordination. TV broadcasts are the dominant feature of the local RF spectrum. Online resources like the Sennheiser Frequency Finder, which uses a ZIP code, and the FCC’s database to provide a list of local TV broadcast stations and their signal strength, helps users tune wireless systems to interference-free frequencies, removing much of the guesswork. Antennas. Most wireless in-ear monitoring transmitters come with a simple… View this story
    Filed in: Live SoundFeatureBlogStudy HallEngineerMonitoringSignalSound ReinforcementWireless

  • Thursday, March 13, 2014
    Mark Frink 03/13/14 05:12 PM,
    Though there are other conventions, it’s generally agreed that the kick drum goes into the first channel of the console, and for time immemorial, inordinate efforts have gone into tediously adjusting it. Sound check never really starts until after this first input has been tweaked to satisfaction. The kick drum is the cornerstone of rock. It puts the pop in pop music and is the one input that holds it all together. It’s the heartbeat of rock and roll. With… View this story
    Filed in: Live SoundFeatureBlogStudy HallInterconnectMicrophoneSignalSound ReinforcementStage

  • Thursday, October 17, 2013
    Mark Frink 10/17/13 07:17 AM,
    Years ago, drum sounds were created with a narrow, well-defined selection of standard microphones and console EQ, plus outboard gates, reverbs and a few compressors, and then spending an inordinate amount of time adjusting it all while each drum was hit repeatedly. In the recording studio, this can take weeks, but for live sound it’s compressed into a day at the tour’s beginning, and no more than an hour a day while on the road. Digital consoles have changed the… View this story
    Filed in: Live SoundFeatureBlogStudy HallEducationEngineerMicrophoneSignalSound ReinforcementStudioSystem

  • Thursday, September 05, 2013
    Mark Frink 09/05/13 06:04 PM,
    Other than the desk, today’s in-ear monitor rig often isn’t much more than a rack of transmitters and a subwoofer or shaker. But a few choice accessories can be helpful to successful in-ear monitor mixing. A digital word clock for re-clocking the digital console isn’t necessary but can provide improvements in audio quality that can be noticeable in IEM mixes. While an Apogee Big Ben can ride in the power supply rack, Black Lion’s 3-by-4-inch, 3-port Micro Clock is small… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertMonitoringSound ReinforcementSystem

  • Wednesday, February 20, 2013
    stage monitors
    Mark Frink 02/20/13 05:41 PM,
    Touring as a monitor engineer has taught me many tricks over the years. Here are some of my favorite pieces of advice for those who may be just starting out… Audio Logs Like Groundhog Day (or a symphony pops tour), I keep repeating the following: the best loudspeaker accessory is the simplest and cheapest. If you have nothing better to do one day, find an hour to cut some 2 x 4 lumber into one-foot lengths and paint them black.… View this story
    Filed in: Live SoundFeatureBlogStudy HallProductionAudioEngineerLoudspeakerMonitoringStage

  • Thursday, January 24, 2013
    sennheiser iem
    Mark Frink 01/24/13 09:16 AM,
    Like wedge-based monitoring, each in-ear mix is very personal, but unlike with wedges, the only way to hear something is if it’s sent to that mix. Stereo generally works better than mono. By leaving the listener’s inputs centered and panning other vocals or instruments, it’s easier to hear all the elements of the mix at a lower volume and this is crucial to hearing conservation over time. This is easily demonstrated by listening to a track in mono and then… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertMonitoringProcessorStageWireless