MILFORD, NH — Earthworks has extended its line of High Definition Microphones with its new DP25/C and DP30/C snare and tom microphones. The DP25/C and DP30/C follow the launch of the FlexWand High Definition Microphone and the PianoMic System.
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ORLANDO — Ahnert Feistel Media Group (AFMG) will launch its A/D-D/A converter, the 8-input EASERA Gateway x.8, at Infocomm, with its worldwide distributor Renkus-Heinz, at booth #6608.
Read More »As we head into the summer season—even in a flat-out crappy economy—it means time for festivals, fairs and other outdoor one-offs. We may be coming out of the mire a little earlier than other places but things at least appear to be slowly picking up in Las Vegas. After a really slow few months, more than one company I know of out here is running up to three shows deep some weekends.
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In the months before this venue opened, I posted a blog on ProAudioSpace about “iconic” venues that are all too often all rep and no substance. In other words, they may be famous but they sound like crap. And I must admit that part of what had driven it was a show I had just seen at the old Joint at the Hard Rock. In fact, it was one of two closing performances with a big rock band that made their name in the 1980s.
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Once again, the call came via ProAudioSpace.com. Would I be interested in coming out to cover the Robin Thicke/Jennifer Hudson tour and The Pearl, the high-end concert venue at the Palms Hotel that was covered in FOH back when they were building it? I really liked the idea of the venue, but the one show I had seen there left me underwhelmed because the room was under subbed, and with an act as great as the Black Crowes, that is well nigh unto a sin.
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Long before Billy Joel hit the first notes on his piano during the inaugural date at The Show, a new venue at the Agua Caliente Casino, Resort and Spa in Rancho Mirage, Calif., Kevin Rummel was walking into a meeting to fine tune the room’s audio, lighting and projection systems.
Read More »For a PDF of the June 2009 Buyers Guide, CLICK HERE .
When the first packaged kits containing a complement of microphones for miking a drum kit first appeared, they were really seen as either a way for mic makers to make a few extra bucks by selling several mics at once or a way for the inexperienced to get a package of mics that would all work together properly.
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For all those sound persons feeling guilty about not stimulating the Elkhart Indiana economy, consider buying a Crown XTi6000 power amplifier. I got the blunt reminder after looking at the rear panel and seeing the decal with the U.S. flag and the words “designed and manufactured in the USA.”
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Many engineers may have a box full of high-quality mics, but finding the one that’s “just right” is often difficult. Of course, many factors come into play when choosing a mic. Sometimes it is relative to the register or timbre of the singer, sometimes the venue size plays a role, or it may just be what’s available at the time.
Read More »We knew that the revenue mode for the music industry was shifting to live performances more than a few years ago, back in 2002, when Princeton economics professor Alan Krueger established that 31 of the 35 top-grossing music artists that year made more money from concerts than from record sales, a trend that has continued through most of the decade.
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When Steve Boyce, sound reinforcement director at Morgan Sound in Lynwood, Wash., explains the services that the company offers, he’s very clear about what is on the menu. It’s one thing: sound. That’s all, nothing more.
Read More »I vaguely recall that sometime in the late 1990s I received an evaluation copy of a piece of software from Digidesign called DINR (Dynamic Intelligent Noise Reduction). At the time it was one of the earliest (if not the first) software plug-ins I ever encountered, and, to be honest, I didn’t get it.
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