Mar 1, 2011,
By Sarah Benzuly
It began as nightly recordings for archival purposes; for the past couple of years Blues Traveler has been offering concert fans a high-quality recording they can take home after the gig. But for FOH engineer Adam Fortin, who has been with the band since 2006, finding the right combination of gear to get the best multitrack recordings with some digital consoles has been a challenge....
Mar 1, 2011,
By Sarah Benzuly
The Bowery Presents—with assistance from Scorpio Sound Systems—recently retrofitted its Boston venue with a new state-of-the-art sound system, which includes a d&b P.A and Avid Profile boards at both front of house and monitors....
Mar 1, 2011
The Cinematic Orchestra usually uses wedge monitors, but for the Royal Albert Hall performance, almost all the bandmembers had to use in-ears, and we used wedges for the guest vocalists, supporting acts and as a general backup, along with some spot monitoring for the conductor and some sections of the London Metropolitan Orchestra. I took eight returns...
Feb 1, 2011,
By Pete Keppler
The sheer number of different amps, amp simulators, direct-input systems and acoustic pickups on the market today for guitar is pretty staggering—probably not that far from the number of musicians who are out there actually plugging into it all. In the world of guitar amps alone, dozens of boutique companies have sprung up in the past 10 to 20 years, not to mention the major manufacturers that keep cranking out new models every year and bringing out various re-issues of their classic amps from the 1950s, ’60s and ’70s. With so much gear out there, the quest for a killer guitar tone in your live mix may seem a little daunting. It will take a bit of experimentation, but assuming your player has settled on a rig that they’re comfortable with onstage, it’s relatively easy to zero in on your options and make a choice for the best method of capturing that sound.
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Feb 1, 2011
Flyleaf originally wanted a recording truck or mobile setup to come out, but we felt confident that we could capture the audio ourselves and then just hand them a hard drive of the whole tour. Using existing budget, we purchased a Pro Tools HD rig and added a MADI-to-Digilink interface. That instantly turned the [Soundcraft Vi6] desk into a 64-track mobile studio with full virtual soundcheck capability....
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.
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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.
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Jan 1, 2011,
By Sarah Benzuly
When Pyxis Industries (Riverside, Calif.) was asked by North Coast Church to bid on the design and installation of sound systems at two different locations (North Coast Live and The Edge, pictured), owner Chad Costanzo didn’t hesitate—despite only having six weeks to do the job. ...
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NAMM 2011: Fairlight CMI
State of NAMM 2011