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Articles Tagged Rep

  • Tuesday, May 17, 2016
    Mike Joseph 05/17/16 08:02 AM,
    From the July 1990 issue of the late, great Recording Engineer/Producer (RE/P) magazine, technical editor Mike Joseph interviews a studio owner competing against the big boys and flying under the radar. In an effort to promote balanced journalism, RE/P has endeavored to present both sides of the ongoing issues surrounding commercially directed, so-called home project studios. More of a strong concern in the U.S. major coastal markets, the ethical and legal aspects of low-overhead, for-profit, residentially based audio production facilities… View this story
    Filed in: RecordingFeatureAnalogBusinessDigitalDigital Audio WorkstationsEducationEngineerStudio

  • Monday, May 02, 2016
    Barry McKinnon 05/02/16 11:58 AM,
    From the January 1989 issue of the late, great Recording Engineer/Producer (RE/P) magazine, Barry McKinnon interviews a pioneer of our industry. Every industry has its pioneers, those individuals who took the first stab at a field no one else considered or wanted to try, and the sound reinforcement industry is no different. Bill Hanley has been in the mobile sound reinforcement business for more than 30 years and has been involved with major artists and events such as the Beatles… View this story
    Filed in: Live SoundFeatureBusinessConcertEngineerSound ReinforcementStage

  • Wednesday, March 23, 2016
    David Scheirman 03/23/16 09:56 AM,
    Another long lost article from the late, great Recording Engineer/Producer (RE/P) magazine. “I have a speaker cabinet that says it’s rated at 300 watts. What size of power amplifier should I get to hook up to it?” That simple question, posed recently by a part-time musician who had to deal with his group’s sound system, made me stop and think for a minute about power. About watts, ohms, and all of those other things named after English and German scientists… View this story
    Filed in: AVFeatureStudy HallAmplifierSound ReinforcementStage

  • Monday, February 01, 2016
    David Scheirman 02/01/16 06:25 PM,
    From the April 1983 issue of the late, great Recording Engineer/Producer (RE/P) magazine, David Scheirman takes a look inside the Willie Nelson & Family tour of 1983. It is perhaps safe to say that the Willie Nelson organization has been spending more production dollars for sound and lighting than most other country-oriented acts. Nelson’s house mix engineer, Mike Garvey, of Dallas, Texas, explains hie part in the decision-making process when it came down to choosing a sound system for the… View this story
    Filed in: Live SoundFeatureStudy HallAmplifierAnalogConsolesEthernetLoudspeakerMicrophoneMonitoringProcessorSound ReinforcementStageSubwoofer

  • Monday, January 18, 2016
    David Scheirman 01/18/16 06:43 AM,
    From the June 1983 issue of the late, great Recording Engineer/Producer (RE/P) magazine, David Scheirman catches up with Styx on their 1983 tour of North America. To promote their latest album, Kilroy Was Here, the rock group Styx is spending much of 1983 performing in theaters and arenas across North America. The chart topping band has been consistently filling the largest available venues for the past several years. The current tour, however, offers several interesting twists: an initial “small-hall” tour… View this story
    Filed in: Live SoundFeatureAmplifierAnalogConcertConsolesEngineerLoudspeakerMonitoringSound Reinforcement

  • Monday, January 04, 2016
    David Scheirman 01/04/16 06:18 AM,
    From the August 1985 issue of the late, great Recording Engineer/Producer (RE/P) magazine, David Scheirman takes a look at the touring setup for the international tour of the legendary band, Toto. Take one of the music world’s best-known, Grammy Award winning pop rock groups, a custom-tailored concert sound system, 136 stage inputs, computer controlled stage instrumentation, a new concept in monitoring, six (6!!) veteran live sound mixers, and several months’ worth of international touring . . . and the recipe… View this story
    Filed in: Live SoundFeatureStudy HallAmplifierAnalogConcertConsolesEngineerLoudspeakerMonitoringProcessorSoftwareSound ReinforcementStageSubwoofer

  • Tuesday, December 22, 2015
    Robert Carr 12/22/15 02:10 PM,
    From the June 1983 issue of the late, great Recording Engineer/Producer (RE/P) magazine, Robert Carr delves into the career of one of the most accomplished and respected producers in the industry. In 1950, Al Schmitt started work at Apex Recording in New York City, alongside chief engineer Tom Dowd. The studio thrived on sessions for many of the top R&B groups of the Fifties — The Drifters, Clyde McPhatter, and The Clovers. But by 1958, after stints at several smaller… View this story
    Filed in: RecordingFeatureStudy HallBusinessEngineerMicrophoneStudio

  • Tuesday, December 15, 2015
    Ken DeLoria 12/15/15 06:52 AM,
    Editor’s Note: This article appeared in the premier issue of Live Sound and Touring Technology, a supplement to Recording Engineer/Producer magazine, published in January 1992. It provides an interesting time capsule on the state of the sound reinforcement and loudspeaker market of the time in addition to offering salient information that’s relevant today. By the way, that fledgling publication now goes by the name of Live Sound International and will celebrate its 25th anniversary in 2016. Few areas in modern… View this story
    Filed in: AVFeatureStudy HallEngineerLoudspeakerMeasurementSound Reinforcement

  • Tuesday, March 24, 2015
    Scott Putnam & Tom Lubin 03/24/15 12:02 PM,
    A live echo chamber can be a considerable asset for any recording studio, that is providing that it is a good one. That’s the problem — how do you construct a good echo chamber? When someone builds a chamber, they hope it will turn out great and pray it won’t turn out absolutely dreadful and good for nothing but storing echo plates. The truth is there are a number of complex variables which will make each chamber unique. These factors… View this story
    Filed in: RecordingFeatureStudy HallAnalogBusinessEducationEngineerInstallationInterconnectMixerSignalStudioSystem

  • Wednesday, October 03, 2012
    Robert Orban 10/03/12 05:31 AM,
    On the nights of February 16 and 17, 1971, the first commercial quad recording sessions ever were held In San Francisco’s Grace Cathedral. This monumental edifice to God ‘s glory and Episcopalian financial acumen is blessed with a fine pipe organ, a 90-foot ceiling, and a 7-second reverberation time. The latter, in particular, put some stringent limitations on both the recording technique and musical style involved. The session was for side 2 of Paul Beaver and Bernard Krause’s new Warner… View this story
    Filed in: RecordingFeatureBlogStudy HallAnalogMicrophoneSignalStudio

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