Sign up for ProSoundWeb newsletters
Subscribe today!

Forums Presented By: 

Articles Tagged Techniques

  • Thursday, July 02, 2015
    Greg Stone 07/02/15 12:03 PM,
    From the outside looking in, the term “equalization” seems harmless enough: Using equipment to tame or enhance audio frequencies in order to obtain a more balanced overall effect. When I’m working a gig, after the old “Are you the DJ?” question, the next thing I usually hear involves EQ: “How do you do it?” While some prefer to let the new “automated” gear do the lion’s share of the EQ setup, others go by ear. My own preference is a… View this story
    Filed in: Live SoundFeatureBlogEngineerProcessorTechnician

  • Tuesday, June 30, 2015
    microphone images
    Tim Vear 06/30/15 11:31 AM,
    Microphone techniques (the selection and placement of microphones) have a major influence on the audio quality of a sound reinforcement system. In order to provide some background for these techniques it is useful first to understand some of the important characteristics of the microphones themselves. The most important characteristics of microphones for live sound applications are their operating principle, frequency response and directionality. Secondary characteristics are their electrical output and actual physical design. Operating Principle The type of transducer inside… View this story
    Filed in: Church SoundFeaturePollStudy HallMicrophoneSound Reinforcement

  • Friday, June 26, 2015
    David Gans 06/26/15 11:47 AM,
    This article originally appeared in the June 1983 issue of Recording Engineer/Producer magazine. The Grateful Dead have been playing their unique brand of improvisational, eclectic music going on 18 years now. Though their records are modest sellers, and more or less ignored by radio and the “establishment” press, the Dead are consistently among the highest-grossing concert acts in the country. What they do musically is improvisational, existential, and not always satisfactory; but since the beginning the Dead have been attended… View this story
    Filed in: Live SoundFeatureAnalogConcertConsolesEngineerLoudspeakerMicrophoneMixerSound ReinforcementStageSubwooferSystem

  • image
    PSW Staff 06/26/15 08:23 AM,
    Front of house engineer “Big Mick” Hughes, who has mixed more than 1,500 Metallica shows over three decades, is confirmed as a guest speaker on the Meyer Sound Mixing Workshop webinar series. Hughes will be joining program host and veteran mixer Buford Jones. In the webinar, Hughes will share his lessons from mixing Metallica, the evolution of his techniques, as well as his approach to selecting equipment from consoles and microphones to loudspeaker systems. An open Q&A will be available… View this story
    Filed in: Live SoundNewsEducationEngineerLoudspeakerManufacturerSound ReinforcementStage

  • Thursday, June 25, 2015
    Bruce Bartlett 06/25/15 07:18 AM,
    Take a breath of fresh air on a country morning. That’s the sensation you get from a well-amplified acoustic ensemble. Guitar, upright bass, mandolin, dulcimer, banjo – all produce a sweet, airy sound that can be captured with the right approach. Acoustic music heard over a sound reinforcement system is all about beauty and naturalness, not hype. Listen to a number of well-recorded CDs of old-time country, bluegrass and acoustic jazz. In most cases you’ll hear no effects except some… View this story
    Filed in: Live SoundFeatureStudy HallMicrophoneSound ReinforcementStage

  • Wednesday, June 24, 2015
    Joe Gilder 06/24/15 12:21 PM,
    Article provided by Home Studio Corner.   When I say reverb what comes to mind? How about delay? For a lot of people who are just starting out with recording and mixing, they may think that reverb is that awesome plug-in you use to make everything sound like it’s in a cathedral. And when they think of delay you may think of The Edge from U2. The truth is, there is SO MUCH you can do with reverb and delay… View this story
    Filed in: RecordingFeaturePollProcessorSignalStudio

  • Monday, June 22, 2015
    Bobby Owsinski 06/22/15 05:32 PM,
    This article is provided by Bobby Owsinski.   By my count, there are 8 “constants” that we find in vocal recording. These are items or situations that almost always prove to be true. Just keeping them in mind can save you a lot of trouble in the search for a sound that works for you and your vocalist. Here are a few tips taken from The Recording Engineer’s Handbook and The Music Producer’s Handbook to help you get a great… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneSignalStudio

  • Friday, June 12, 2015
    Bruce Bartlett 06/12/15 11:30 AM,
    The live sound world goes well beyond the concert realm into areas such as the performing arts, including theatrical plays, musicals, and opera. It also can extend to things like magic shows, dance troupes, puppet shows, jugglers, and even ventriloquists. Each act presents special microphone requirements, which we’ll explore here. Performing arts applications usually involve at least one of four types: floor mics, hanging mics, wireless lavalier mics, and wireless headworn mics. On The Floor Stage floor microphones, also known… View this story
    Filed in: Live SoundFeatureBlogStudy HallLoudspeakerMicrophoneSound ReinforcementStage

  • Wednesday, June 10, 2015
    Gary Zandstra 06/10/15 11:20 AM,
    This article is provided by Gary   Sometimes my first reaction to something isn’t always my best reaction. Recently I was mixing a group that I’d handled a few times before, and after about 30 minutes of rehearsal, the leader walked out in to the house to listen to the mix. What happened next is where I thankfully took time to process rather than react. After a few minutes, the leader shouted, in what I interpreted as a rather… View this story
    Filed in: Church SoundFeatureBlogConsolesMixerSignalSound Reinforcement

  • Friday, June 05, 2015
    Ken Lewis 06/05/15 07:18 AM,
    Courtesy of Universal Audio.   When it comes to layering guitars, it may be hard to believe, but often times, less is more — really. I frequently receive songs to mix that have quadruple tracked guitars (or more) that don’t sound any bigger than the double tracks, which, incidentally, don’t sound very good to begin with. I’m going to give you some tips on how I build bigger and better guitar parts in my productions through layering. Change Something! So,… View this story
    Filed in: RecordingFeatureNewsStudy HallEducationEngineerMicrophoneProcessorStudio