View allAll Photos Tagged LiveSound
This is a neat device, especially when mixing what you have recorded w/ your band... It easily allows multiple people to make changes without handing over the computer controls. Also just gives recording on the computer a better feel being able to press control buttons rather than clicking on them with your mouse. Not essential..but a decent tool that turns out being very useful. I believe they're no longer in production..so it may take some searching to find one to purchase.
You go to a show and see a bunch of bands. You see a shit opener, or an incredible new favorite. You see another band you kind of like. Then you see the band you've wanted to see your whole life. They put on their show one after the other with little intermissions. The intermissions are kinda weird at shows yeah? When the house music comes on and lights are raised. You get a smoke, grab a new drink, take a piss, take your drug of choice, and then you wait, chat with your friends.
While you've been waiting for the next band the band that just rocked you is in a "mad" dash to get the fuck off of their stage. A bunch of serious-looking dudes in black are rushing around the stage morphing the mass of cables, cases, instruments, and black contraptions of all shapes and sizes from what was, into what will be your next entertainer.
From a serious-looking dude in black, and I can't speak for everyone in this photo, but this is one moment on gigs that gets my blood rushing.
Basics of connecting a live sound reinforcement mixer and microphone snake. The other end of the snake will connect to power amps, powered speakers, and other audio components.
A pair of headphones rest on the mixing console at the Edinburgh Castle in San Francisco.
My friend Fritch has been putting together shows at the Blue Danube Cafe (4th & Clement, Richmond District) and at the Castle (Geary & Polk, Tenderloin) for about 6 months now. The series has been pretty successful, and there's been a lot of really good music. I help out and take care of the sound engineering duties whenever there's a show at the Castle.
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Revolution Audio's Soundcraft Si Compact 32 digital mixing console has been a fantastic addition to our inventory, offering vastly improved sound and flexibility to our previous analogue consoles. And with 176 rack units of processing power built into the console, we save a lot of space at gigs too!
I wanted a bass that was left handed to record bass tracks to songs I write/record in my home studio. This turned up. I think I bought it for about 70 or 80 bucks.. I was super suprised on how great it was when I received it. I'm no bassist...but to my ears the thing sounds really great and is super easy to dial in the bass tones that i'm looking for.
Standard acoustic guitar bag an ok amount of padding for under 20 bucks. Wouldn't recommend gigging with it.. you'll end up with broken tuners if something smashed into this in the back of the van...but it'll get you from home to a jam spot.. or if you just need a bag to store your instrument in.
Bought this guitar in '06 or '07 from rondomusic.com Great place if you're left handed and don't have a lot of money. I would compare this to an Epiphone or Yamaha, maybe a little lower in quality but certainly better than a rogue, squire, or first act. I have played it live a few times.. it doesn't have the greatest tone to it but it plays pretty well. I have the imput jack taped up here for the moment, as I'm still planning on how / where to reinstall it. It broke through the side when too much pressure was applied to it. The cheap pressed wood on the sides just doesn't hold up well to anything. I may eventually replace it with an end pin jack.
Teisco Checkmate 88, Dual Speaker, Solid State, Reverb and Tremolo Amp. This was my brother's old amp passed down to me.. I had it in storage for a while then took it out to record some lo-fi tremolo tracks with a synth. I fiddled around with it and found that it actually sounds pretty cool and is a terrific practice amp with great bluesy tones.
In der Bremen Arena durfte zu den Feierlichkeiten zum 20. Tag der deutschen Einheit im Jahre 2010 nichts schief gehen. Im Ton verließ man sich bei der beauftragten Firma BLUE SOUND Veranstaltungstechnik daher gerne auf Mikrofone von Audio-Technica, sowie Allen&Heath´s iLive - Systemkonzepte.
Audio-Technica´s bewährtes Stereomikrofon 4050ST für Raumatmosphären durfte neben den Kleinmembranmikrofonen ATM350 und ATM450 mit Klang und Zuverlässigkeit glänzen. Vielseitigkeit in der Instrumentenabnahme durften Audio-Technicas´s AE5100 Großmembrankondensatormikrofon für Overheadanwendungen und Audio-Technicas´s AE3000 Kondensatormikrofon mit Nierencharakteristik beweisen.
Fernab aller Geräusche wurden auf einer Allen&Heath ML4000 Analogkonsole Subgruppen der Tonsignale erstellt und für die Saalbeschallung, sowie den Funk- und Fernsehton bereitgestellt. Während der Liveton im Saal über eine Allen&Heath iLive-144 gemischt wurde, fungierte eine iLive-112 zur Mischung und Bereitstellung der Monitorsignale auf der Bühne.
Herbert Heinze, Geschäftsführer der BLUE SOUND Veranstaltungstechnik, wusste nach der Veranstaltung zu berichten: „Die Veranstaltung in der Bremen Arena hat Dank der großen Hilfe von Jupp (Anm. d. Red.: gemeint Jupp Hammes, Market Manager Live-Sound Audio-Technica) und der Zuverlässigkeit der Allen&Heath-Pulte hervorragend geklappt! Wir haben ein dickes Lob vom NDR Ton-Ing. Udo-Frank Grap und der Produktionsleitung von Bremedia Kirsten Lukaczik bekommen. Es war eine lockere und entspannte Zusammenarbeit zwischen allen Teams.“
In my punk days, I used to wear those cheesy leather studded belts.. This is what it does to your guitar.
In der Bremen Arena durfte zu den Feierlichkeiten zum 20. Tag der deutschen Einheit im Jahre 2010 nichts schief gehen. Im Ton verließ man sich bei der beauftragten Firma BLUE SOUND Veranstaltungstechnik daher gerne auf Mikrofone von Audio-Technica, sowie Allen&Heath´s iLive - Systemkonzepte.
Audio-Technica´s bewährtes Stereomikrofon 4050ST für Raumatmosphären durfte neben den Kleinmembranmikrofonen ATM350 und ATM450 mit Klang und Zuverlässigkeit glänzen. Vielseitigkeit in der Instrumentenabnahme durften Audio-Technicas´s AE5100 Großmembrankondensatormikrofon für Overheadanwendungen und Audio-Technicas´s AE3000 Kondensatormikrofon mit Nierencharakteristik beweisen.
Fernab aller Geräusche wurden auf einer Allen&Heath ML4000 Analogkonsole Subgruppen der Tonsignale erstellt und für die Saalbeschallung, sowie den Funk- und Fernsehton bereitgestellt. Während der Liveton im Saal über eine Allen&Heath iLive-144 gemischt wurde, fungierte eine iLive-112 zur Mischung und Bereitstellung der Monitorsignale auf der Bühne.
Herbert Heinze, Geschäftsführer der BLUE SOUND Veranstaltungstechnik, wusste nach der Veranstaltung zu berichten: „Die Veranstaltung in der Bremen Arena hat Dank der großen Hilfe von Jupp (Anm. d. Red.: gemeint Jupp Hammes, Market Manager Live-Sound Audio-Technica) und der Zuverlässigkeit der Allen&Heath-Pulte hervorragend geklappt! Wir haben ein dickes Lob vom NDR Ton-Ing. Udo-Frank Grap und der Produktionsleitung von Bremedia Kirsten Lukaczik bekommen. Es war eine lockere und entspannte Zusammenarbeit zwischen allen Teams.“