System Engineer is one of the most critical audio positions in large-scale productions.
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In-ear-monitors carry risk of hearing damage. Audio pros know how to prevent that.
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Great sound for artists can mean more than just an IEM mix.
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Every venue carries its unique set of challenges.
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If you’re new to livestreaming audio, start by making sure you have a solid understanding of LUFS.
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It’s critical to think about dynamic range when mixing for broadcast.
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Tour Managers keep live music running.
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This handy trick has been a life saver when I’m mixing monitors from FOH.
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I’m lucky to mix on some multi-million dollar PA systems. But we still use a lot of the same audio techniques in arena productions as we do in small venues.
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Direct Boxes (DIs) are how we connect electrical audio signals to the mixer.
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A speaker may need more than one channel of amplification.
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Ex-touring audio pro Tim Iseler discusses financial planning for audio freelancers.
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Alice shares some of her experiences working as a live sound engineer.
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Plug-ins can be wonderful audio tools to use, but they aren’t always seamless.
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To understand the difference between dBa and dBC, we need to look at the frequency curves they use.
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The needs for PA zones varies on the venue and type of performance.
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Many engineers use both a mic and a DI for bass guitar. This gives us options while building a mix.
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Two input sources for the same instrument don’t always line up perfectly.
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There are tons of options for how to mic a drum set. Here’s where I start.
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Residencies are increasingly common for touring artists.
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