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All Blog Posts

  • Wednesday, February 10, 2016
    image
    Kevin Young 02/10/16 01:23 PM,
    Although he’s only been in the audio industry for 12 years, Dr. Adam J. Hill has packed in a huge amount of work, splitting his time lecturing at the University of Derby in the UK and working “across the pond” with Chicago-area-based Gand Concert Sound (GCS) as an audio engineer. At Derby, the 31-year-old teaches on the university’s BSc (Hons) Sound Light and Live Event Technology program (considered by many to be the leading program of its ilk in the… View this post
    Filed in: Live SoundFeatureBlogStudy HallBusinessEducationEngineerMonitoringSound ReinforcementSubwooferTechnician

  • recording
    Ward Lionel Kremer 02/10/16 10:31 AM,
    Here’s a simple, common-sense method to record a great-sounding drum kit on only four tracks. I’ve always been a follower of the less-is-more philosophy, and this kit technique goes all the way back to my analog 4-/8-/12-track days when track economy was a must. There have, of course, been volumes dedicated to recording “trap kits,” from only two microphones to two mics on each drum! I think the concept of a drum kit as a group of separate instruments is… View this post
    Filed in: RecordingFeatureBlogStudy HallEducationMicrophoneMixerProcessorStudio

  • prosoundweb
    Craig Leerman 02/10/16 08:46 AM,
    There are many different ways of checking PA systems. Some of us play music and walk around the venue, while others use sweeps or pink noise and deploy on a measurement program. Many do a combination of both. Regardless, at some point in the process, we usually grab a microphone and listen to the PA with our own voice. Witnessing hundreds (thousands?) of these voice checks over the years has led me to compile the following “types.” Which one do… View this post
    Filed in: Live SoundFeatureBlogConcertEngineerMeasurementSignalSound ReinforcementTechnician

  • Tuesday, February 09, 2016
    live sound
    Nicholas Radina 02/09/16 12:14 PM,
    Career-building and understanding the “biz of the business” is important for everyone working in pro audio, but perhaps even more so for the independent practitioner, a.k.a., Lone Audio Ranger. So let’s step back a bit from the technical side and address some equally important techniques that can put you in control of the work you want and strategies to help you get more of it. Hiding In Plain Sight When it comes to “getting the gig,” being selected from a… View this post
    Filed in: Live SoundFeatureBlogStudy HallBusinessEducationEngineerNetworkingSound ReinforcementTechnician

  • stage monitors
    Craig Leerman 02/09/16 07:25 AM,
    My company has worked countless smaller to mid-sized festivals and variety shows over the years, and through trial and error we’ve discovered several approaches and problem-solvers that make life a little easier when it comes to working with stage monitoring. As always, the first step to success is advancing the gig. We never take the promoter’s word that the riders we’ve received are current, so we call each artist’s representative to make sure we’ve got the latest monitoring requirements. The… View this post
    Filed in: Live SoundFeatureBlogStudy HallAnalogConcertConsolesDigitalInterconnectLoudspeakerMixerMonitoringSound ReinforcementStage

  • Monday, February 08, 2016
    worship audio
    Steve Harvey 02/08/16 05:46 PM,
    For nearly two decades, the 268 Generation, a Christian organization that hosts gatherings worldwide of college students between the ages of 18 and 25, has traditionally held its annual U.S. national Passion Conferences at multiple venues throughout January and February. For the recent Passion 2016, however, organizers vowed to bring an identical experience to all attendees, ambitiously staging simultaneous three-day events at three locations, with real-time audio, video, and control data streaming and synchronized between the locations, and with a… View this post
    Filed in: Live SoundFeatureBlogConcertConsolesDigitalEthernetInterconnectLine ArrayNetworkingSound Reinforcement

  • direct boxes
    Mark Frink 02/08/16 01:32 PM,
    In audio there are inputs and outputs, sometimes called sources and destinations. Audio input sources break down into two basic types: microphones and direct inputs (DI), which also stands for “direct injection.” We commonly refer to the devices that perform this function as a direct box, a DI box, or a DI for short. The various kinds of microphones utilized in pro audio are acoustic-to-electric transducers that convert sound waves in the air into electrical signals. A DI, on the… View this post
    Filed in: Live SoundFeatureBlogStudy HallAnalogDigitalInterconnectSignalSound ReinforcementStage

  • Friday, February 05, 2016
    prosoundweb
    Andy Coules 02/05/16 02:28 PM,
    Over the last few years I’ve been fortunate enough to use some of the best sound systems currently available from many of the leading manufacturers, and one of the things that struck me is how far we’ve come in terms of delivering the bottom end of the mix. Subwoofer technology and placement techniques have developed to the point where we have a lot more control over how this important band of frequencies is deployed. So I thought it would be… View this post
    Filed in: Live SoundFeatureBlogStudy HallLoudspeakerProcessorSignalSound ReinforcementSubwoofer

  • prosoundweb
    Al Keltz 02/05/16 10:55 AM,
    Election cycles are getting longer and longer, and more campaigns are on the road for extended periods of time while cable and Internet news outlets hunger for content to fill their 24-hour news formats. This has resulted in an increased demand to sound companies and AV rental houses for providing press conference feeds. If you don’t have at least one press mult in inventory and available, you may be missing out on increased revenue opportunities. A Menu For Feeding The… View this post
    Filed in: AVLive SoundFeatureBlogStudy HallAVInterconnectMixerSignalSound Reinforcement

  • monitors
    Bruce A. Miller 02/05/16 06:39 AM,
    This article is provided by BAMaudioschool.com.   Simply, good monitors are very important. Video productions monitor using screens. Audio productions monitor using loudspeakers that are driven by amplifiers. Every decision made in a musical production (not only regarding sounds but also arrangements and even performances) is based on what everyone is hearing. For example, if you’re recording a bass sound and the monitors sound thin, you may mistakenly believe that the bass sound itself is thin and compensate by adding… View this post
    Filed in: RecordingFeatureBlogStudy HallAmplifierLoudspeakerMonitoringSignalStudio



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