Supported By
Adventures in stepping up to be the account manager for the middle of three dates that the sound company was doing on a traveling rock festival.
Regardless of the technology – and the toys – the point is connecting the artist directly to the audience with the least amount of intrusion.
What it was like going from no compressor to one compressor versus today’s reality wherein even some very cost-effective consoles have a compressor on every channel and every output.
With its limited frequency response and relatively high price when new, it’s no wonder that the M-191 didn’t become a staple of stage and studio. But it sure does look cool!
“Forget EQ. forget FX, forget gain – I was just trying to find inputs, which were in no recognizable order anywhere on the console.”
Modifications to the JM-3 as well as later developments that include the JM-10 full-range loudspeaker along with JM-5 and JM-7 subwoofers.
While a bit more modern than some of the company’s more famous vintage mics, it’s still a beauty.
A fledgling audio professional still in high school steps up to assemble a crew and support the West River Festival on Prince Edward Island in 1978.
The career path and experiences of Brooklyn-based audio engineer, tour manager and composer/musician who keeps exploring new directions.
