Ultrasonic Hearing? Focusing On The Frequencies & Ranges That Matter Most
Our problems aren’t the lack of super-wide-band system performance, but instead what we often don’t get right between 100 Hz and 10 kHz.
Our problems aren’t the lack of super-wide-band system performance, but instead what we often don’t get right between 100 Hz and 10 kHz.
A guide to your “on-board kit” and how it can make your work a little quicker and easier…
Regardless of the technology – and the toys – the point is connecting the artist directly to the audience with the least amount of intrusion.
The key factors and things to understand that separate those who thrive and succeed in worship tech from those who don’t.
Lessons learned by a veteran practitioner in working with a series of outdoor chamber music concerts in Cincinnati, including the genre’s unique language, mic selection and placement, stage plots and more.
It’s everywhere in the digital path, and here’s why it matters — especially in stage monitor applications.
There’s really no such thing as a “typical” event when working with different artists, different styles of music, and different technical situations.
Mute mixing, for lack of a better phrase, enables volume problems to be fixed, EQ oddities to be corrected, and the overall mix to be improved.
If we truly want every detail of the performance to shine through, there could be a different approach than the one we’re typically using right now.
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