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All Feature Posts

  • Monday, September 12, 2016
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    M. Erik Matlock 09/12/16 11:41 AM,
    I first met Tony Hill while working with Chuck Colson’s Prison Fellowship in the late 1990s. Not a typical “sound guy,” he displayed a passion for the craft that seemed to fall second only to his passion for people. A minister in every sense of the word, with technical prowess to match. Now the owner of AV systems firm Ears 2 Hear Audio in Indianapolis, he’s never been content with his skill level, possessing a desire to continuously improve and… View this post
    Filed in: Church SoundFeatureAVBusinessConsolesDigitalEngineerInstallationSound ReinforcementTechnician

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    Barry Rudolph 09/12/16 06:35 AM,
    During a session, I remember when an artist was on mic, out in the studio ready to start vocal overdubs, and the producer asked: “How do we look in here from out there?” Interesting, because he knew the appearance of the control room to the artist might affect the vocal performance. The control room (from the studio) does look like an aquarium with the huge window and the silent action of the animals encased within it. Reactions to performances reflected… View this post
    Filed in: RecordingFeatureBlogStudy HallAnalogConsolesDigitalEngineerMicrophoneProcessorSoftwareStudio

  • Friday, September 09, 2016
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    Curt Taipale 09/09/16 11:16 AM,
    This article is provided by Church Soundcheck.com.   Lapel (also commonly called lavalier) microphones have served churches and other audio applications admirably for decades. They’ve been a great tool and are often still preferred for a controlled sound environment like a video recording studio or TV newsroom. But for live sound applications, earset (a.k.a., earworn or headworn) mics have quickly found favor with church sound techs and pastors alike. Think back with me for a moment. How did we start… View this post
    Filed in: Church SoundFeatureStudy HallAVMicrophoneSound ReinforcementWireless

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    Samantha Potter 09/09/16 06:13 AM,
    I’ve been to my fair share of church services, and more than my fair share of contemporary/modern church services. Some of the mixes I hear are fantastic! Some of them, however, are less than stellar. I’d like to think I know it all, but know enough to understand that’s completely not true. Certain mixes hit my ear different than others, and that’s O.K. All I can offer is what I believe to be that modern, pop-y Christian mix. I need… View this post
    Filed in: Church SoundFeatureStudy HallEngineerSound ReinforcementStage

  • Thursday, September 08, 2016
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    Bob McCarthy 09/08/16 12:06 PM,
    Editor’s Note: Follow the links to check out part 1 (loudspeakers) and part 2 (signal processing) of this series. The high-resolution dual-channel audio analyzer is a standard front-of-house tool in the modern sound system. There are quite a few versions available, such as Rational Acoustics Smaart, Meyer Sound SIM, SATlive, AFMG Sys-Tune, Metric Halo Spectrafoo, and more.  These tools are common, quite inexpensive, and offer information that’s fairly easy to understand and act upon. It was only a short time… View this post
    Filed in: Live SoundFeatureStudy HallEducationEngineerInstallationMeasurementProcessorSoftwareSound ReinforcementSystemTechnician

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    Joe Gilder 09/08/16 06:38 AM,
    This article is provided by Home Studio Corner.   There are a lot of things to focus on during a tracking session, especially when you’re recording a dozen or more inputs at once. You want to make sure you’re getting a good sound from each microphone. That’s step one. Let’s be honest, you’ll spend the rest of your recording life perfecting step one… For now, I want to focus on step two – getting good levels, both when you’re tracking… View this post
    Filed in: RecordingFeatureBlogStudy HallAnalogConsolesDigitalDigital Audio WorkstationsEngineerMonitoringProcessorSignalSoftwareStudio

  • Wednesday, September 07, 2016
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    Craig Leerman 09/07/16 10:42 AM,
    Whether it’s a large festival line array rig or a single loudspeaker on a stick, all audio systems have one thing in common and that’s a need for power. Before starting to design, build, or use any power distribution equipment, the local laws and electric code should be consulted. The place to start is the National Electrical Code (NEC), sponsored by the National Fire Protection Association (NFPA) and published every three years. The purpose of the NEC is to safeguard… View this post
    Filed in: Live SoundFeatureStudy HallTrainingAVBusinessConcertEducationEngineerMeasurementPowerSound ReinforcementStageSystemTechnician

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    Karl Winkler 09/07/16 06:20 AM,
    I’ll bet you have some of these, too: things people say or concepts they have wrong but won’t change, despite considerable evidence. The pro audio market is rife with some of these things. There are good reasons for us to keep doing what we’re doing – if it’s been working. (“If it ain’t broke” and so on.) Nevertheless, if we aren’t continuing to learn, grow and change, we’re stagnating or worse. O.K., let’s start with getting the ones with wireless… View this post
    Filed in: AVFeatureBlogStudy HallAVConsolesDigitalEducationEngineerInstallationMeasurementProcessorSignalSound ReinforcementSystemTechnicianWireless

  • Tuesday, September 06, 2016
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    Live Sound Staff 09/06/16 01:06 PM,
    Last year we presented a collection of quotes (here) from various folks working in pro audio, all of which have appeared on ProSoundWeb as well as Live Sound International magazine over its 25 years of existence. It proved a popular feature, so popular in fact, that we decided to serve up another round of sage advice and observations collected from audio professionals along the way. Enjoy. “Anybody can provide equipment; it’s the way you implement that equipment and the attitude… View this post
    Filed in: Live SoundFeatureAVBusinessEducationEngineerSound ReinforcementStage

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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 post
    Filed in: RecordingFeatureEngineerStudio



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