A Tale of Two Consoles
A few weeks ago, I mixed a show on an analog console for the first time in months. No, I’m not going into a riff… Read More »A Tale of Two Consoles
Read More »A few weeks ago, I mixed a show on an analog console for the first time in months. No, I’m not going into a riff… Read More »A Tale of Two Consoles
Read More »We’ve all experienced working in venues where the mix position was “less than optimal” — which sometimes equates to unworkable at best or simply nightmarish.… Read More »Livin’ In The Near Field
Read More »The Bright (and Dark) Side of Software Plug-ins Being a live sound engineer in the 21st century is a beautiful thing. The tools at our… Read More »Pluggin’ Away
Read More »Editor’s Note: Starting with this month, Steve La Cerra moves into the “On The Digital Edge” slot, a column that ironically enough, he originally helmed… Read More »Ain’t Nothing Like the Real Thing, Baby
Read More »In the text of last month’s column (FRONT of HOUSE, June 2018, page 55), I discussed the imminent separation of shared internal processing platforms between… Read More »Separation Anxiety, Part II
Read More »While we were in production rehearsals in Jacksonville, FL, I received a potentially ominous email from my friends at DiGiCo. Highlighted in red in the… Read More »Separation Anxiety
Read More »The final preparatory phase for this year’s tour would be accomplished in Lititz, PA, at the world headquarters of Clair Global, our longtime audio supplier.… Read More »Tour Planning, Part 3: Entering the Final Phase
Read More »This month’s column completes last month’s (FOH, March 2018, page 39) list of agenda items for this winter’s off-the-road production dialog. This part includes the… Read More »Touring Planning, Part 2: Maintaining a Production Dialog
Read More »Although our touring schedule does not resume until later this spring, there are always off-the-road research tasks to be accomplished and proposed modifications to be discussed in preparation for the next run of shows. This year’s itinerary will include several gear transitions outside the U.S. Reproducing our extensive gear spec overseas will require detailed advance planning. That process begins with publishing a precise description of the sound system elements that will be provided by Clair Global for the spring and summer U.S. shows.
Read More »About 10 years ago, I started exploring Earthworks’ complete microphone product line in greater detail. The live sound industry has long relied on the company’s excellent precision measurement mics, but I was only marginally acquainted with its widely acclaimed series of small diaphragm omnidirectional studio mics. And I was completely uninformed about Earthworks’ products designed the live sound market. At that time, there was an increasing word-of-mouth buzz within the live sound community regarding a new family of Earthworks products suited for live sound applications. I was especially interested in the new drum mics that received great user reviews. This marked the beginning of a relationship with Earthworks that has remained beneficial and strong for the past decade.
Read More »Somehow, 2017 brought the loss of so many legendary and influential musicians. Among those taken from us were South African guitarist/vocalist/writer/producer, Ray Phiri, and Cameroon’s celebrated guitarist/writer/arranger, Vincent Nguini. It was my immense honor and distinct artistic pleasure to have worked literally hundreds of shows with these gentlemen while both were members of Paul Simon’s touring band. Ray joined the aggregation for the 1987-89 Graceland tours after co-arranging and co-producing much of the landmark, scene-changing Graceland album. Vincent joined the tour in 1990 after collaborating heavily on what may be Paul Simon’s most intricate and luxuriant musical endeavor, The Rhythm of the Saints.
Read More »This past fall, I had the pleasure of participating in two one-off shows that each turned into the kind of magical experience that sustains us all in the fiercely competitive music business.
The first was a unique and exquisite performance by Fiona Apple at the beachfront Ohana Festival in Dana Point, CA. The second was a private event in a small hotel ballroom that included an outstanding set performed by Stevie Nicks and her virtuoso band.
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