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Friday, December 07, 2012
Dave Rat 12/07/12 09:18 AM,It’s pretty common knowledge that if you get the wires mixed up when hooking up two loudspeakers that something “not good” happens. Loudspeaker phase (actually, polarity) seems at first glance a pretty simple concept. If both loudspeakers are moving outward at the same time the sound adds together, and if one is moving out while the other moves in, the sound cancels out, especially the low frequencies. Hearing this effect is quite easily demonstrated - listen to your home stereo… View this story
Filed in: Live Sound • Feature • Blog • Study Hall • Consoles • Loudspeaker • Microphone • Mixer • Monitoring • Signal • Sound Reinforcement • Stage -
Sunday, December 02, 2012
Dan Laveglia 12/02/12 03:37 PM,For a long time I wondered about mixing monitor wedges in stereo. I was sure it would sound good, so a while back I took the plunge and set up a pair of loudspeakers to see what it was all about. For about a week I tried different things to see what I could find out. During afternoons on show days, I listened to various instruments and vocal mics. In many ways the sound was better than listening in mono,… View this story
Filed in: Live Sound • Feature • Study Hall • Production • Audio • Concert • Monitoring • Sound Reinforcement • Stage • System -
Monday, November 26, 2012
PSW Staff 11/26/12 12:40 PM,The new KH 310 A is the latest model in the Neumann KH line of studio monitors, suited for use as a near-field monitor for mixing and mastering, or as a front loudspeaker in medium-sized surround systems, or as a rear loudspeaker for larger multi-channel systems. The 3-way KH 310 A is based on newly developed drivers housed in a sealed cabinet to deliver highly accurate reproduction over the entire response at high reproduction levels. The three drivers in each… View this story
Filed in: Recording • News • Product • Loudspeaker • Monitoring • Studio -
Wednesday, November 07, 2012
PSW Staff 11/07/12 07:03 PM,Studio and live sound engineer Lynn Peterson, owner of Maui Recording, helmed a newly purchased DiGiCo SD9 Rack Pack console for four shows celebrating the grand opening of Mick Fleetwood’s new restaurant and club in downtown Lahaina, Maui called “Fleetwood’s on Front Street.” The four-night musical celebration boasted a star-studded roster of performers. Night one kicked off with the Grammy-nominated Mick Fleetwood Blues Band, featuring guitarist/singer Rick Vito, bassist Lenny Castellanos, and keyboardist/harmonica player Mark Johnstone, with blues phenom Jonny… View this story
Filed in: AV • Live Sound • Recording • News • Production • Audio • AV • Concert • Consoles • Mixer • Monitoring • Sound Reinforcement -
Tuesday, September 11, 2012
Mark Frink 09/11/12 04:24 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 Sound • Feature • Blog • Study Hall • Engineer • Monitoring • Sound Reinforcement • Stage • Technician -
Thursday, September 06, 2012
PSW Staff 09/06/12 06:13 AM,Several Allen & Heath iLive digital mixing systems were utilized by APR Audio and SXS Events for separate Olympic events in Weymouth (England), site of all sailing events. Somerset-based APR Audio deployed iLive systems for the opening night at the Weymouth & Portland Beach Live Site, which hosted live entertainment, welcomed the Team Great Britain Sailing Squad, and broadcast a live screening of the London opening ceremony. The company employed the largest control surface in the series - the iLive-176… View this story
Filed in: AV • Live Sound • News • AV • Concert • Consoles • Digital • Mixer • Monitoring • Sound Reinforcement • Stage -
Monday, August 27, 2012
Mike Sessler 08/27/12 12:01 PM,This article is provided by ChurchTechArts. Not too long ago, in a church not that far away, the battle had begun. It started off innocently enough. The bass player and drummer had to share a monitor because there were not enough to go around (budget constraints, you know). The first request was for a little more bass in the monitors. That was followed by a request for more kick and snare, then a little more bass. Now the drummer… View this story
Filed in: Church Sound • Feature • Blog • Mixer • Monitoring • Sound Reinforcement • Stage -
Wednesday, August 22, 2012
Dave Rat 08/22/12 02:22 PM,Back in 1974, the Grateful Dead put together what was easily the most unique, experimental and perhaps complex sound system ever configured for live sound reinforcement in that era. This system was named the “Wall of Sound” and jt was a complete divergence from conventional sound reinforcement thinking. There were two key concepts combined together resulting in a very interesting outcome: 1) Because PA systems of the day were stacked on either side of the stage and often blocked audience… View this story
Filed in: Live Sound • Feature • Study Hall • Production • Audio • Concert • Education • Line Array • Loudspeaker • Sound Reinforcement • Stage • System -
Friday, August 17, 2012
Kent Margraves 08/17/12 03:48 PM,Provided by Sennheiser. Many worship venues have made the transition from “wedges” to “ears” for stage monitoring purposes, and often find that this can be a surprisingly tricky process. Essentially, wedges are loudspeakers that are laid sideways and angled up and at the performers. The signal content, or “mix,” in each monitor or group of monitors is customized for the performer’s needs and sometimes will sound quite different than the house mix that the audience hears. Wireless personal monitors… View this story
Filed in: Church Sound • Feature • Poll • Digital • Education • Monitoring • Signal • Sound Reinforcement • System • Wireless • Audio -
Tuesday, August 14, 2012
PSW Staff 08/14/12 11:20 AM,It’s been nearly 40 years since Bruce Springsteen’s debut Greetings From Asbury Park, NJ, and judging from the 3-hour-plus shows, sold-out arenas, and glowing critical reviews, both rocker and band [minus the late, beloved saxophonist Clarence Clemons and keyboardist Danny Federici] are still regaling in their ‘Glory Days.’ With the Wrecking Ball Tour, in support of their 17th studio album, Springsteen & Co are heading into a two-month U.S. fall stadium tour following a massive world tour that started in… View this story
Filed in: Live Sound • News • Concert • Consoles • Digital • Engineer • Mixer • Monitoring • Stage
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