The Point Of No Return: Pulling Back The Reins To Attain The Desired (Sonic) Result
We have to be in control of the mix. We can’t become hoarders of frequencies and processors or the result is a sonic cesspool of unnecessary junk.
We have to be in control of the mix. We can’t become hoarders of frequencies and processors or the result is a sonic cesspool of unnecessary junk.
I’m a big fan of standardization. It makes it a lot easier to move between venues and host different sound techs if everything is more or less the same. So, what is the standard board layout?
Maybe death metal engineers can get away with the constant drone of metallic hash noise, but for everyone else, please continue to read on…
Detailing a method for “wiring the stage” developed and refined over three-plus decades to produce a very reliable, safe and efficient result.
Observations and suggestions for meeting the challenge of “looking on the bright side” in light of what are really trying times for many in the industry.
An in-depth look at what we should have in our kits, what to do when the job overlaps with other departments, the all-important “selfie,” and much more.
Mixing monitors for a solo artist and supporting band requires a specific set of skills that often have more to do with rehearsals and relationships than tech.
A method to get up and running at a gig as quickly as possible, catch potential problems early, and dial in a good mix, all without bugging the artists.
Working with some great DJs (as well as some not-so-great ones) got me thinking of things that I’ve noticed help the great ones stand out.
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