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Articles Tagged Peter Janis

  • Tuesday, August 04, 2015
    Peter Janis 08/04/15 10:54 AM,
    When amplifying an acoustic guitar, the use of a microphone can lead to concerns about feedback as well as being able to adequately amplify the instrument. With electric guitars, there are also concerns about the microphone adequately and accurately picking up the sound from the guitar amp, and in many cases, there’s also a desire for a quieter stage. Both scenarios lead to the use of direct (or DI) boxes as an alternative. But note that when selecting a direct… View this story
    Filed in: Live SoundFeatureNewsInterconnectStage

  • Tuesday, June 30, 2015
    Peter Janis 06/30/15 06:33 AM,
    One of the most challenging tasks confronted by a sound engineer is amplifying orchestral instruments on a loud stage. Problems abound, including bleed, resonance, feedback… oh, and frustration! It’s important to first understand the environment before dealing with the challenges. When in a “classical” concert hall, orchestral instruments such as violin, cello or upright bass are usually miked with omnidirectional condenser microphones. Omnis are particularly effective at producing a natural sound as they do not focus their attention on a… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertInterconnectMicrophoneSignalSound ReinforcementStage

  • Tuesday, June 02, 2015
    Peter Janis 06/02/15 06:09 AM,
    An interesting development has occurred in recent times: folks have become much more aware that the acoustic space plays a critical role with respect to the final sound of the room. In other words, unless you “fix the room,” changing the sound system may in fact not solve the problem at all. And truth be known, bringing the room acoustics up to an “acceptable level” is often actually easier than setting up a PA system!  Testing One, Two, Clap Go… View this story
    Filed in: AVFeatureBlogStudy HallAVInstallationMeasurementSignalSound Reinforcement

  • Tuesday, December 02, 2014
    Peter Janis 12/02/14 03:09 PM,
    I go to a lot of concerts. Most of the time, I arrive at sound check to spend some time talking to the techs and engineers about new gear or problems that need fixing. This is also a source of new product development. Then, if time permits, we usually try to go out for a quick dinner before heading back to the venue for the show. My favorite position to hear the band is at front of house. This where… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertEngineerLoudspeakerMeasurementMicrophonePowerSound Reinforcement

  • Thursday, October 09, 2014
    live sound
    Peter Janis 10/09/14 02:53 PM,
    Mention “backing tracks” and it conjures up images of infamous acts such as Milli Vanilli or Ashlee Simpson lip syncing to their songs in concert. But the reality is that backing tracks have actually been around for years and play a significant part in a surprising number of shows. The most famous example is Queen performing Bohemian Rhapsody live - magically delivering a 40-voice choir with four people on stage. Queen did not hide the technology, they embraced it. Backing… View this story
    Filed in: Live SoundFeatureBlogStudy HallDigitalEngineerProcessorSignalSoftwareSound Reinforcement

  • Thursday, June 05, 2014
    di boxes
    Peter Janis 06/05/14 02:47 PM,
    What type of direct (DI) box works best for bass guitar? The answer is easy: it depends. In fact, more than anything else, it depends on the type of bass that the DI is going to be used with. When it comes to signal flow, there are two types of bass guitars: passive and active. The first electric basses, i.e., the original Fender Precision, were passive, and in fact still are today. They employed magnetic pickups to generate the signal… View this story
    Filed in: Live SoundFeatureBlogStudy HallInterconnectSignalSound ReinforcementStage

  • Friday, May 23, 2014
    di boxes
    Peter Janis 05/23/14 05:42 AM,
    Electronic keyboards, the start of it all. Right from the beginning of modern concert sound, DI boxes have played an essential role in getting the sound from the stage to the PA system. Probably the most iconic “direct” instrument of all was the Fender Rhodes. Harold Rhodes started developing the idea as far back as the 1950s, but it was in 1970 that the Rhodes Stage piano took the concert stage bringing the first “portable” keyboard to market. The original… View this story
    Filed in: Live SoundFeatureBlogStudy HallAnalogDigitalInterconnectSignalSound ReinforcementStage

  • Wednesday, April 30, 2014
    studio acoustics
    Peter Janis 04/30/14 03:12 PM,
    This article is provided by Primacoustic   Just like large big commercial studios, smaller and home studios suffer from acoustical interference that can make it more difficult to mix, especially when surrounded with the sound effects and ambiance that now typifies today’s stereo and 5.1 surround sound mixes. In professional studios, the walls are strategically treated with fabric-covered absorptive panels on the sides, front, rear and sometimes on the ceilings. The key to improving intelligibility (or our ability to discern… View this story
    Filed in: RecordingFeatureBlogStudy HallLoudspeakerMeasurementSignalStudio

  • Friday, April 25, 2014
    live sound
    Peter Janis 04/25/14 02:13 PM,
    A few years ago, my company developed a prototype of a console switcher that would enable an engineer to quickly switch to a backup should the main desk go down, or quickly switch between multiple consoles at events such as festivals. But when we showed it to various engineers, the response was all over the place. Some thought it was a great idea, others felt that with modern processors, the need was no longer there, and some suggested fixes such… View this story
    Filed in: Live SoundFeatureBlogStudy HallAnalogConsolesDigitalEngineerInterconnectMixerSound Reinforcement

  • 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