Supported By
There’s really no such thing as a “typical” event when working with different artists, different styles of music, and different technical situations.
Our first question with every project: “What products and services are appropriate for the given application?”
Key things to understand from the outset in a profession that often presents a tough way to make a living.
Should we morph our approach to the mix when someone of influence is “contributing” as a member of the “mix committee” at FOH?
As an audio educator, one might expect the author to weigh in strongly on the “pro” side of the equation – but as with many things in life, it’s not quite that simple…
Addressing a range of key issues as the live events world begins getting back to work.
A company is either growing or dying – unless you’re prepared to take some risk to push the envelope, you’ll merely become a soon-forgotten sign that says Under New Management.
The career path and experiences of Brooklyn-based audio engineer, tour manager and composer/musician who keeps exploring new directions.
Although freelancers owning their own console are certainly becoming increasingly common in recent years, it still sometimes elicits surprised reactions from people.
