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All Blog Posts

  • Friday, July 01, 2016
    neutrik
    Mike Sokol 07/01/16 11:05 AM,
    Cables are the bane of our existence as sound technicians. Can’t live with ‘em, and can’t live without ‘em. On many gigs I can have upwards of 100 XLR cables, which get used for everything from stage microphones and DI boxes, to sending audio to active loudspeakers for monitors, FOH, and delays. But while running XLR cables to the loudspeakers is certainly the least expensive and possibly most robust solution, many times it’s too cumbersome and creates logistical nightmares. For… View this post
    Filed in: Live SoundFeatureBlogProductReviewDigitalEthernetInterconnectLoudspeakerSignalSoftwareSound ReinforcementWireless

  • Wednesday, June 29, 2016
    image
    Karl Winkler 06/29/16 06:27 AM,
    A book I recently read and reviewed for the AES Journal got me thinking about the blend of art and science we face regularly in professional audio. The book, “Audio Production and Critical Listening; Technical Ear Training” by Jason Corey (Focal Press/CRC Press), is a very comprehensive work and covers every conceivable approach to ear training for mix engineers. As with music, I believe that ear training is important in the audio world. Corey covers everything from EQ to dynamics… View this post
    Filed in: Live SoundFeatureBlogStudy HallConcertEducationEngineerSound ReinforcementStage

  • Monday, June 27, 2016
    church sound
    Kent Morris 06/27/16 11:39 AM,
    According to an old axiom, “Everyone knows two things: their job and sound.” In other words, every audience member is an audio expert. Therefore, it is difficult to deliver a “good” mix since what is proper tonal and level balance to one person is inappropriate to another. A healthy relationship between the front of house engineer and the audience rests on the engineer’s ability to provide a mix acceptable to a plurality of the listeners’ ears. To achieve success, the… View this post
    Filed in: Church SoundFeatureBlogStudy HallBusinessEngineerSound ReinforcementStageTechnician

  • Thursday, June 23, 2016
    image
    PSW Staff 06/23/16 10:32 AM,
    Courtesy of Acoustic Geometry.   Once upon a time, back in the big-dang vinyl-record-label era, I was one of two mixing engineers on a big-dang album project with a huge-dang artist. We had the luxury of working in a recording studio with a vinyl-disc-cutting mastering room down the hallway, so, naturally, we took advantage by having reference discs – “refs” – cut just for us. We then schlepped these one-off 33-1/3 RPM acetate LPs around to different homes and stereo… View this post
    Filed in: RecordingFeatureBlogLoudspeakerMonitoringSound ReinforcementStudio

  • Tuesday, June 21, 2016
    dennis bohn
    Dennis A. Bohn 06/21/16 11:20 AM,
    This article is provided by Rane Corporation.   This paper discusses the pitfalls (often subtle) of our industry’s failure to define and standardize what “unity gain” means, and the conditions necessary to measure it. It further discusses how people improperly use one piece of misinformation (impedance matching) to correct for this lack of standardization. All done, without knowing discrepancies exist between different pieces of equipment, and without knowing impedance matching is unnecessary, signal degrading, and wasteful. For me, it began… View this post
    Filed in: AVFeatureBlogStudy HallAmplifierAVInterconnectMeasurementPowerSignalSound Reinforcement

  • phantom power
    Bruce Bartlett 06/21/16 06:22 AM,
    This article is provided by Bartlett Audio.   Unsure about phantom power? Let’s clear up the mystery. Nearly all mixing consoles and audio interfaces provide phantom power at their microphone input connectors. Most condenser mics need phantom power to operate, so you simply plug the mic into the mixer to power it. But the ways we use and connect phantom power can make a big difference in how well those mics work. So what, exactly is phantom power, and how… View this post
    Filed in: Live SoundFeatureBlogStudy HallConsolesInterconnectMicrophoneMixerPowerSignal

  • Monday, June 20, 2016
    image
    Chris Johnson 06/20/16 06:17 AM,
    This article is provided by Commercial Integrator   A growing number of businesses, learning facilities and houses of worship are embracing AV technologies. After all, services like videoconferencing, multimedia presenting and even full-on telepresence can substantially benefit collaboration and productivity. Rather than leave AV as an afterthought, it’s important for these organizations to prioritize AV during the construction phase of new builds or remodels to ensure the technology performs optimally. Collaborative Tools, Collaborative Construction Ironically, many AV solutions are designed… View this post
    Filed in: AVFeatureBlogAVBusinessInstallationSystem

  • Friday, June 17, 2016
    amplifiers
    Pat Brown 06/17/16 06:26 AM,
      How much power can an audio amplifier produce? As you might expect, “it depends.” I will approach this from two angles—in theory and in practice. This article will deal with the theory. Part 3 will show how things play out in the real world. Importance Of Efficiency Amplifiers don’t make power. They convert it. Any audio power that comes from your amplifier must in turn come from the utility outlet that it is connected to. This is why the… View this post
    Filed in: AVFeatureBlogStudy HallAmplifierAVMeasurementPowerSound Reinforcement

  • Thursday, June 16, 2016
    microphones
    Ken DeLoria 06/16/16 11:18 AM,
    When it comes to microphones, there are a thousand flavors. While some manufacturers seek to advance the state of the art, others work to recreate the classic designs of the 1940s, 50s, 60s and 70s. It goes to show that new isn’t always synonymous with better. Look no further than the popularity of various plugins that model the tonality (i.e., distortion and other imperfections) of tape machines. The plugins – and even the use of actual tape machines themselves –… View this post
    Filed in: Live SoundFeatureBlogStudy HallTrainingMicrophoneSignalSound Reinforcement

  • image
    Bill Mueller 06/16/16 06:08 AM,
    Courtesy of Omega Studios.   Most of us have heard about the New York parallel compression drum mix technique. (Not to be confused with our HOT Drum Setup Tip.) This is where you send a drum mix to a stereo bus and then apply compression to the bus and feed that signal back into the two mix. This method can be used in either very subtle or obvious ways by varying the amount and character of the compression and how… View this post
    Filed in: RecordingFeatureBlogStudy HallConsolesDigitalDigital Audio WorkstationsEngineerProcessorSoftwareStudio



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