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Articles Tagged Rep

  • 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

  • Monday, January 18, 2016
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    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
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    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
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    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



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