Singers produce a range of sounds, good and bad, and no two voices are alike – the good news is that focusing on the following areas can take a lot of the hassle out of the process.
An answer to the need of drummers for more cue volume from an article that originally appeared in the October 1979 issue of Recording Engineer/Producer (RE/P) magazine.
It’s about how we help so many things come together and the feeling we get from making shows happen.
It’s up to us to realize that the world is filled with patterns and we need to decipher those that will help guide us along the way.
While Seggewiss finds herself at present, like so many others, living an utterly different reality than normal, the ethic she’s adhered to from the very beginning of her career applies just as much in this situation as it did at her first house gig or on the road.
The wireless video camera we received as a gift works great; however, the onboard audio is, shall we say, less than optimum. Thus began a productive (and fun) DIY project to address the situation.
How can we measure how loud our mix is so that it sounds as good as possible online?
From the files of the late, great Recording Engineer/Producer (RE/P) magazine, an October 1979 in-depth profile of the monitoring system and approach of a popular music act of the era.
Meeting the primary goals of being well prepared, helpful and somewhat invisible to the church’s tech team and their efforts.
From an equipment standpoint we were very limited – could we “MacGyver” a streaming rig together and still have a quality final product ready in time?
Clarifying mono, stereo, balanced and unbalanced signals, approaches to eliminate feedback from stage monitors, and how to handle feeling unappreciated.
The past year has shown me just how passionately in love I still am with working in live music.