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Articles Tagged Rep

  • Monday, September 19, 2016
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    Robert Carr 09/19/16 03:27 PM,
    Editors note: From the archives of the late, great Recording Engineer/Producer (RE/P) magazine, this feature provides a highly in-depth look back at the concert tour of a legendary artist, circa February 1981. (Volume 12, Number 1). The text is presented unaltered, along with all original graphics. With inflation spiraling ever upwards, not many groups can afford to tour extensively, and fill the large arena so popular a few years back. Bruce Springsteen is one of those superstars who can sell… View this story
    Filed in: Live SoundFeatureBlogStudy HallAmplifierConcertConsolesEngineerLoudspeakerProcessorSound ReinforcementSystemWireless

  • Tuesday, September 13, 2016
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    George Koch 09/13/16 06:52 AM,
    From the November/December 1971 issue of the late, great Recording Engineer/Producer (RE/P) magazine, this feature is an in depth look back at the career of a legendary engineer. When a child is learning to walk, he is able to do no more than put one foot in front of the other and shift his weight. He learns quickly (after a couple of falls), that he must master these basics before he can advance to running, skipping, or dancing. His thoughts… View this story
    Filed in: RecordingFeatureProductionAudioAnalogConsolesEngineerMixerMonitoringProcessorSignalStudio

  • Tuesday, September 06, 2016
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    Howard Cummings 09/06/16 09:08 AM,
    From the October 1976 issue of the late, great Recording Engineer/Producer (RE/P) magazine, Howard Cummings interviews a legend of the industry, producer/engineer Alan Parsons. Howard Cummings: How did you get involved in this business? Alan Parsons: Well, I started playing piano when I was 6 or 7 and started playing flute when I was 13. Then I gave up for awhile and kind of lost interest in playing music and had more interest in listening to it. When I was… View this story
    Filed in: RecordingFeatureEngineerStudio

  • Wednesday, June 22, 2016
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    PSW Staff 06/22/16 11:44 AM,
    A discussion that began in the REP Recording Forum here on ProSoundWeb that’s packed with relevant/useful points and references. Question by kifaru I’ve been brought a song to record that has a part in it that requires a chorus to sing part of it. The performer told me that what he had in mind for the part was a sound like the choral parts in Bohemian Rhapsody by Queen. I’m really not sure how to achieve this sound and the… View this story
    Filed in: RecordingFeatureForumOpinionStudy HallConsolesEngineerMicrophoneProcessorSoftwareStudio

  • Monday, June 20, 2016
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    David Brody 06/20/16 12:27 PM,
    From the February 1984 issue of the late, great Recording Engineer/Producer (RE/P) magazine, Dave Brody shares some hard-earned secrets of success for surviving studio drama… Okay, so you know all about the system gain structure, the recorders, and every toy in the outboard rack. You’ve got the console layout under your fingers, and can play it in your sleep. Using your extensive musical background, you make edits so smooth and tight that they all swear the chart was written that… View this story
    Filed in: RecordingFeatureStudy HallBusinessEngineerStudio

  • Friday, May 27, 2016
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    Mel Lambert and Sam Borgerson 05/27/16 12:21 PM,
    From the December 1984 issue of the late, great Recording Engineer/Producer (RE/P) magazine, Mel Lambert and Sam Borgerson interview an icon of the industry. Bob Clearmountain’s resume includes projects for Hall & Oates, Roxy Music, Huey Lewis and the News, Rolling Stones, Bruce Springsteen, Bryan Adams, and many more… Drawing on a rare combination of keen intuition, refined musical sensibility and patient perfectionism Bob Clearmountain has quickly advanced to one of this industry’s leading mixing engineers. In 1984 alone his… View this story
    Filed in: RecordingFeatureEngineerStudio

  • Tuesday, May 17, 2016
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    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
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    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
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    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
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    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



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