Power Tools: Avid VENUE Live Console

Feb 1, 2011, By George Petersen

Over the past couple years, we’ve noticed a trend of more studio engineers going out with the band, taking on a front-of-house mixing role for the tour once the group hits the road. With that in mind, we spoke to Avid senior market specialist (and award-winning live sound mixer) Robert Scovill, who shared some advice for Pro Tools–savvy studio engineers taking this leap into live sound and using Avid’s VENUE Series consoles. ...

Dave Morgan Q&A

Feb 1, 2011, By George Petersen

Don’t tell anyone, but it’s the best gig anyone could ever have. We go in around 4 in the afternoon and we’re out at 9:30. Living out here, I never had to get on a bus. If it weren’t for the fact that I love working for James Taylor more than anyone else in the world, I’d never give this up. ...

Plug-Ins Live | The Digital Roadcase

Jan 1, 2011, By Sarah Benzuly

It was only a few years ago when we began to see live sound engineers carrying less outboard and relying more on onboard plug-ins. Today, an engineer not mixing with these onboard gems would be a rare find...

Editor's Note: The Ever-Changing, Ever-Expanding Universe of Live

Jan 1, 2011, By Tom Kenny, Editorial Director

In 1988, when I joined Mix, I knew what Live Sound was. It was stadium dates with the Rolling Stones and club gigs with Nick Cave. Sheds for the newly annointed Platinum-sellers and Red Rocks for the jam band that nobody paid attention to at MTV but who could fill three nights outdoors on a summer weekend....

Wireless Rulings

Jan 1, 2011, By Tom Kenny

“Ninety percent of wireless users will likely see no difference,” says Lectrosonics’ Karl Winkler, in reference to the September 2010 decision by the FCC to open up portions of the broadcast spectrum to “white spaces devices,” meaning new portable consumer gadgets and the coming enhanced Wi-Fi networks being pushed by companies such as Google, Dell and Microsoft. “For typical wireless users,” Winkler continues, “those who run fewer than 16 channels in a fixed installation where the mics are in close, they should be fine. But if you go out to the edge with a large number of channels that are unregistered in a crowded market, you could find yourself in trouble.” ...

iPad Mixing

Jan 1, 2011, By Sarah Benzuly

It can be argued that Apple’s iPad has changed the way people make music. But for mixing a live show? You bet. Granted, you won’t be seeing front-of-house engineers at the next arena date walking around the floor, pushing “faders” up and down on an iPad while the digital console sits idle. But for smaller venues of 1,000-capacity and below—where house (and visiting) engineers are contending with multi-levels, multi-zones and an FOH board in a less-than-ideal spot—you may start seeing more iPad-mixed shows. And that’s exactly what house engineer Bobby Crown of the famed Troubadour club (Los Angeles) is doing. ...

Vinyl Music Hall | From Rubble to Big Leagues

Jan 1, 2011, By Sarah Benzuly

In just a few months, the new Vinyl Music Hall venue (Pensacola, Fla.) emerged in a spot that was formerly occupied by a gutted three-story Masonic temple. At the heart of the club are dual DiGiCo SD8s: an SD8-36 at front of house and an SD8-24 at monitors; a d&b audiotechnik Q1 P.A. system; and Meyer Sound USM-1P wedges, all supplied by Pensacola-based All Pro Sound. ...

FixIt: Gaelic Storm FOH Engineer Peter Wildermuth

Jan 1, 2011

With the unique combination of instruments in this band, the most challenging thing is making the mix sound full, without sounding brittle or harsh. There is an abundance of upper-midrange frequencies, especially in the fiddle and bagpipes, that require careful notch filtering. ...

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