Here are some interesting videos related to PA and sound reinforcement systems. Wikipedia defines that a public address system (PA system) is an electronic system comprising microphones, amplifiers, loudspeakers, and related equipment. It increases the apparent volume (loudness) of a human voice, musical instrument, or other acoustic sound source or recorded sound or music. The term, sound reinforcement system generally means a PA system specifically for live music or performance. A sound reinforcement system for a rock concert or other large event in a stadium may be very complex.
A brief history of live sound reinforcement
Stage Left Audio – Event Video 11
Dave Rat about his sound engineering for the Red Hot Chili Peppers live tour 2016
LIVE SOUND SUBS SUBWOOFER PLACEMENT & CONFIGURATION: LR, Center, Cardioid, End Fire (Pt1)
Look inside D&B, L’Acoustics and MicroWedge Monitors
DJ Sub and Speaker Placement For Dummies
Cardioid Subwoofers and Nexo Technology Part 1
Time Lapse of a Large PA Audio Sound System Setup for Rock & Roll
#38 – Arena line array system walk-through
How to Set Up a Simple PA System
Sound System Tuning Step-by-Step using TRACT and Smaart
Audio 101- How to do a pro sound check.
983 Comments
Tomi Engdahl says:
Behind the Live Sound of Coldplay
https://www.youtube.com/watch?v=9V89C8_jDwk
Tomi Engdahl says:
How Do Music Festivals Get Great Sound for 60,000 People?
http://earthworksaudio.com/earthworks-microphones-measurement-music-festivals-concerts/
With festival season in full swing, here’s a rundown of how engineers tune their systems with proper measurement microphones to achieve the best possible sound at music festivals.
Proper design and acoustic tuning of music festivals can significantly impact attendees’ experience. Regardless of the location or initial condition of the space, the primary objective for sound engineers is to ensure that the acoustics of the venue enhance the overall festival atmosphere.
Similar to the importance of acoustical accuracy in a recording studio, a well-tuned acoustic environment at a music festival directly affects the time spent on sound production and the quality of the final results. Without appropriate acoustic treatment, sound mixes may not translate accurately to different systems. In the case of large festival venues, such as outdoor stages or performance halls, if the acoustic characteristics of the space are not properly controlled, speech intelligibility can be compromised, and the music may sound harsh or unclear to the audience.
When it comes to measuring acoustic properties in different festival settings, the approach varies depending on the venue. In a recording studio’s control room, for example, the focus is primarily on the listening position—the specific spot where the mix engineer sits to make critical decisions regarding EQ adjustments, panning, and other aspects. In contrast, for a music festival held in a larger venue like an outdoor arena or stadium, the objective is to gather data from multiple seats dispersed throughout the area. This broader data collection provides a comprehensive overview of the overall acoustic performance and the effectiveness of the speaker system in covering the entire space.
Tomi Engdahl says:
Unify Sound, Creation, Recording and Reproduction
https://www.youtube.com/watch?v=Eitrv4L1v5A
The video discusses the challenge of unifying the various elements of instruments, sound reinforcement and playback to enhance engineering and sound system design. The speaker emphasizes the importance of understanding the complexities and nuances of sound capture and reproduction, including mic placement and the use of multiple perspectives. They explain the downsides of sending the same sound to multiple speakers, which creates comb filtering, interference, and summation issues. Techniques for capturing room sound during music recordings are also discussed, along with alternative approaches such as using close mic’ing and adding realistic-sounding reverbs in post-production. The speaker concludes with a demonstration of a Columbia graphophone from 1890 and talks about the mechanisms of horns as acoustic transformers. The video ends with a musical segment featuring the Death Fighter 2000 or DB.
Tomi Engdahl says:
Toby Francis: 2022 Red Hot Chili Peppers worldwide tour with WesAudio
https://www.youtube.com/watch?v=r4hcfvezUuc
Toby Francis (FOH: Ariana Grande, Kanye West, Katy Perry) talks about how he utilizes WesAudio equipment with Yamaha PM5000 on RHCP woldwide tour 2022
- 4 x _MIMAS FET compressors: https://wesaudio.com/product/_mimas/
- 4 x _DIONE BUS compressors: https://wesaudio.com/product/_dione/
- 5 x _HYPERION Parametric equalizers: https://wesaudio.com/product/_hyperion/
- 1 x _PROMETHEUS Passive equalizer: https://wesaudio.com/product/_prometh…
- 3 x _RHEA Tube compressors: https://wesaudio.com/product/_rhea/
- 1 x ngBusComp: https://wesaudio.com/product/ngbuscomp/
- 1 x Beta76 FET compressor: https://wesaudio.com/product/beta76/
Tomi Engdahl says:
Sound for Ed Sheeran’s Mathematics Tour: PA Tour with FOH Engineer & System Tech
https://www.youtube.com/watch?v=7W52TzPA_Zg
Do the Math: Ed Sheeran Live
It’s a new world record! Ed Sheeran performed to more than 215,000 people over two dates at the Melbourne Cricket Ground. Can every last punter get a great audio experience?
https://www.audiotechnology.com/features/do-the-math-ed-sheeran-live
Tomi Engdahl says:
How Concert LED Wristbands Work | WSJ Tech Behind
https://www.youtube.com/watch?v=GCsmZA08oD8
Whether it’s Taylor Swift’s Eras Tour, Coldplay’s World Tour or a BTS K-Pop show, light-up wristbands or light sticks have become an expected part of the concert experience.
WSJ goes behind the scenes with PixMob, a leading concert LED company, to see how they use “old tech” to build creative light shows, essentially turning the crowd into a video canvas.
0:00 Wristbands at Live Events
0:47 Radio Frequency
2:57 Infrared
4:42 Bluetooth
#Concerts #Tech #WSJ
Tomi Engdahl says:
How Much Louder Are Subs In The Front Of The Room vs The Back? (Revisited)
https://www.youtube.com/watch?v=eM400tM70CU
00:00 – Intro
01:17 – Measurement Setup
02:25 – Measuring Mains Front to Back
04:21 – Measuring Subs
07:47 – Comparing Mains vs Subs Levels
Tomi Engdahl says:
Which NEXO subwoofer sounds better?
https://www.youtube.com/watch?v=HITuK8qR8fQ
Tomi Engdahl says:
Bassnectar 360 Subwoofer Sound Design
https://www.youtube.com/watch?v=SKjaGkZ8hSQ
Tomi Engdahl says:
A Day in the Life of a Touring Audio Engineer
https://www.youtube.com/watch?v=q162CtXAHhI
A Day in the Life of a Touring Audio Engineer & Tour manager working for rock band While She Sleeps. Shot at LeBikini venue in Toulouse, France on a recent headline tour across France, Spain & Portugal.
00:00 // INTRO
00:44 // LOAD-IN
02:05 // SET UP
03:57 // MICROPHONES
06:33 // CHECK PA
06:45 // RINGING OUT WEDGES
07:50 // LINE CHECK
09:55 // SOUNDCHECK
10:46 // PODCAST RECORD
11:03 // CHANGEOVER
12:00 // SHOW TIME
13:20 // PACK DOWN & LOAD OUT
Tomi Engdahl says:
Monitor Engineer Lewis Chalmers explaining his setup on tour with While She Sleeps
https://www.youtube.com/watch?v=4pMGpb8VggI
While She Sleeps Monitor engineer Lewis Chalmers talks us through his set-up on the latest headline tour across France. Spain & Portugal. Giving us an overview of his console, IEM systems, stage boxes & racks.
00:00 // Intro
00:18 // Console
00:45 // Playback
00:57 // Wireless Vocal
01:06 // IEM Transmitters
01:36 // Stage I/O
02:14 // Shout Mic
02:40 // Back of the Rack
Tomi Engdahl says:
Rammstein : The Show Behind The Show
https://www.youtube.com/watch?v=LElKJJJWQJg
Rammstein’s show is epic in scope and it takes four days to set the stage. Rammstein Production Coordinator Bruno Fernandes was kind enough to take Fox San Antonio behind the scenes at the Alamodome before the band’s tour date in the Alamo City. If you can find a concert with as much planning and pre-production that goes into a Rammstein show, please call our news assignment desk with any helpful information!
Rammstein – Europe Stadium Tour (Time Lapse)
https://www.youtube.com/watch?v=JgGuRKgvWQ4
Tomi Engdahl says:
“The greatest metal band in the world and you’re hearing it for free. Appreciate it”
Download Festival noise reported 15 miles away as Metallica set heard in West Hallam, Derby city centre and Long Eaton
https://www.derbytelegraph.co.uk/news/derby-news/download-festival-noise-reported-15-8507962?fbclid=IwAR3ihFWNo-hcfqbPzb_rusvl4U05kPRvatRXktb1ZCWRWpcRdnMjCbcQ41g
Residents all over Derbyshire were wondering what the booming sound was – with many thinking it was their neighbours blasting out music
Chloe Detheridge in Alvaston said: “It’s bloody loud this year – wish I was there. I can literally see the stage lights too!”
Tomi Engdahl says:
Järjestäjien mukaan juuri valmistunut hiilijalanjälkiraportti on hyvä muistutus siitä, ettei festivaalin järjestäminen ole koskaan varsinainen ympäristöteko.
Provinssin hiilijalanjälki vastaa yli kolmeatuhatta edestakaista New Yorkin lentoa
https://yle.fi/a/74-20035357?utm_medium=social&utm_source=facebook-share&fbclid=IwAR1Ft09rP1gg53zOad9Okz9XnvqTBZb-d6Gr_CP-1BaRDdwfqR_de9e9LqI
Viime vuoden Provinssin hiilijalanjälki on selvitetty. Festivaalin kokonaispäästöllä lentäisi yli 3000 kertaa Helsingistä New Yorkiin ja takaisin.
Festivaalin kokonaispäästöt olivat vuonna 2022 yhteensä 2 257 tonnia hiilidioksidia eli reilut kaksi 2 miljoonaa kiloa hiilidioksidiekvivalenttia. Määrä vastaa yli 3 000:ta edestakaista lentoa Helsingistä New Yorkiin yhdeltä matkustajalta.
Järjestäjien mukaan juuri valmistunut hiilijalanjälkiraportti on hyvä muistutus siitä, ettei festivaalin järjestäminen ole koskaan varsinainen ympäristöteko.
Festivaalikävijöille avataan tänä vuonna myös mahdollisuus hyvittää oma festivaalihiilijalanjälki. Jokaisen kävijän hiilijalanjälki vastaa arviolta 70 kilometrin ajomatkaa henkilöautolla.
Asiakkaat voivat osallistua suojelualueen keräykseen ja samalla hyvittää hiilijalanjälkensä maksamalla 1 euron hyvityksen Luonnonperintösäätiön pisteellä Provinssissa.
Tomi Engdahl says:
Amazing Vintage Photos Of The Grateful Dead’s Wall Of Sound, 1974
https://designyoutrust.com/2020/03/amazing-vintage-photos-of-the-grateful-deads-wall-of-sound-1974/?fbclid=IwAR2xfSZryoAHlU23Gob6Bu4vhfjhkrYLJKPsZxJJgJruxv5K4WybCZ7Eeb4
Weighed over 70 tons, comprise dozens and then hundreds of amps, speakers, subwoofers, and tweeters, stand over three-stories tall and stretch nearly 100 feet wide. Its name could only be the “Wall of Sound”.
Tomi Engdahl says:
Test 50 Pound 800 Watt Amp vs 17 Pound 6400 Watt Amp
https://www.youtube.com/watch?v=o-68znrpR-8
Modern power amps are a fraction of the size and weight of older amps and have much higher power outputs. One of the aspects that has changed significantly is the methods used to specify output wattage as well as the way amplifiers deliver that power. Here is a test where I show and we can hear the differences between older power amp watts and newer power amp watts.
00:00 Introduction
01:49 Test Setup
02:43 Crest 4801 Lowest Freq Test
03:27 Crest 4801 Highest Freq Test
04:16 Powersoft T904 Lowest Freq Test
05:40 Powersoft T904 Highest Freq Test
06:44 Crest Power Test
08:14 Powersoft Power Test
09:04 Short Term Power Test
10:39 Hear Power Differences wit Music
12:14 Hear 400 Watts vs 540 Watts
13:39 Outro
Tomi Engdahl says:
https://www.facebook.com/groups/avdisasters/permalink/6037223659739428/
I don’t really do big festival stuff. But can someone explain how this type of disaster happens, is it like some sort of sensor that cuts the pa if it exceeds the limits, if so couldn’t that be isolated from ambient noise coming from literally the other direction? I certainly dont know
Sound level meter measurement microphones are omnidirectional. Measuring which direction sound is coming from is orders of magnitude more complex than setting a limiter system using typical measurement microphones. Also, if the limiter system’s microphone is located at or near noise-sensitive receptors (rather than at the mixing console, for example), the crowd noise and loudspeaker noise would be coming from the same direction.
Okay so there’s three things going on here. The volume of the crowd, the volume of the PA, and the local regulations.
The Crowd:
I was talking with a few engineers who mix FOH for some of the most popular artists at the moment and learned something I would have never thought of. They have a full recording of a rehearsal of the show playing back along side the people on stage, but with the fader all the way down. They have this because with the artists most popular songs, the crowd can sing so loudly that it exceeds 120dBA, completely overwhelming the PA and even the mics on stage. Their solution to this is to push the fader of the prerecorded rehearsal and pull down everything else to keep the show going. When you have 20-30,000 people who are all screaming their favorite song at the top of their lungs, it gets pretty dang loud real quick.
The PA:
Pretty much every amp has some type of limiter to protect not only itself but also the speaker. How good that is depends on the amp. But considering the above, there’s only so loud you can push your PA before limiters start to kick in. I’ve been in scenarios where I’ve been mixing in a venue and they’ve set their amps limiters too low and I’ve completely run out of head room. 92dB in a room that seats 2,000 is too low for a full on concert. But, if they’ve been required by law to do so, that’s a different story.
Local Regulations:
Depending where your show is the local regulations can be RIDICULOUS. One town over from me, indoor shows can’t have any sound bleed to the outside exceed 60dBC 30ft from any door of the venue. That makes certain places with back doors right near the stage screwed. They also have rules that outdoor events can’t exceed 60dBC 50ft horizontally from the stage. Because of that, I’ve sometimes had to set the limiters on my PA processor to make sure the PA doesn’t exceed a certain threshold if I don’t want the police to come shut us down. I’ve attended shows where that’s happened. So let’s assume that the previous two categories are the case, and the local regulations are 100dBC at 50ft horizontally from the stage. If you’re crowd is at 120dBA, what are you suppose to do? Not a thing that everyone runs into, because most places that allow shows don’t have crazy restrictions like this, but they exist.
Here in Barcelona you have to insert an SPL limiter in your signal chain and adjust it not to exceed the limits. those limits depend on several things but it can be determined for each case. It has to be able to record its activity so it can be checked in case there’s a complaint. If it’s a fixed installation it must be connected to some cloud system so it can be remotely monitored.
The most popular approved SPL limiter (look for CESVA if you want to know it) can distinguish the crowd from the music to avoid the unwanted effect that is discussed here.
So maybe it wasn’t properly tuned in that case.
I know a lot about this subject and, yes, it sucks.
One weird thing is that it is analog, I mean it has two analog inputs and two outputs. Nowadays you work with digital signal flow, stage racks, network signal distribution… the touring sound engineers will probably use a matrix output to feed the limiter and forget about its outputs. The device will report this wrong use but, you know, once the show ends and you leave the city… I’ve seen this many times
please tell people that this is a very stupid way of handling things, for one reason: Panic channel. If people are so loud that they shut down the PA, how do you tell them to evacuate the building when they are really screaming and you need to be over their level?
Gwendolin Kořinek you can cut out the lowend and boost the easy to hear frequencies, I think it will do the trick.
László Yes but as far as I understood, in OP’s situation, the people created so much noise that the PA shut down. In case of emergency, they will scream. If you cannot give them any info via panic channel, that could cost lives.
wait how does it automatically shuts down? sorry noob question
Vince Andrei it exists but I’ve only seen it in bars and small clubs. It’s a relay box with calibrated mic input, if the mic exceeds a set level for a set amount of time, it triggers the relay. Some city councils require endstage amps to be powered through one of those monstrosities
Wind. Plays havoc with the sound from line arrays. Possibly the weather was causing issues.
it‘s interressting how different countries or states or communities handle noise exposure at venues.
in germany there is something called „TA Lärm“ and some other paragraphs and the DIN … or sth which tell you that a max of 99dBA is ok to be exposed over 120 min to human beings without causing severe damage. it comes from work safety law…
therefore some „fitter“ communities give absurd guidelines of ordinance —> permanent NTI station for the whole venue with crazy limitings. it‘s nothing but audience safety cause compared to woodstock back in the days people are way more posh and whimpy. if they get the chance they sue you right away if stuff happens to them…
Quit enjoying yourselves or we’re shuttin’ er down
Cam Riva I mean to be fair if the decibel limit was like 140 it could be stopping it from going so loud that no one can enjoy themselves hahah (I know that’s not the case, funny to think about though)
Tomi Engdahl says:
For acoustics fans, moderator Norman Varney explains how a common diffuser works in the physical world at different wavelengths. How do you think it reacts at 100 Hz to a wave coming from an angle to the wall? Don’t tell me here, hop on down to
https://www.digido.com/forums/topic/appropriate-diffuser-type-vs-loaction/#post-5853
Tomi Engdahl says:
Test 50 Pound 800 Watt Amp vs 17 Pound 6400 Watt Amp
https://www.youtube.com/watch?v=o-68znrpR-8
Tomi Engdahl says:
Building a Pro Power Distributor
https://www.youtube.com/watch?v=rqlUAZn1LnA
In this video we will build a professional power distribution box in a 2U rack shassis, it will have 8 Schuko sockets and a switch for each outlet and a fuse.
We can write the name of the loads in the rectangles above the fuses (or stick a narrow paper sticker with the printed name).
Tomi Engdahl says:
POWER DISTRIBUTION BOX
https://www.youtube.com/watch?v=xrNHDGpCOGY
Soldering wires to go into terminal block is not a proven working long term solution. Over the time the screw will untighten. Better use ferrules instead of solder.
Live Sound Power Distribution
https://www.youtube.com/watch?v=8pi3Bt2h9Cw
Tomi Engdahl says:
POWER DISTRIBUTION,3PHASE IN SINGLE PHASE OUT,2channel,.main source..
https://www.youtube.com/watch?v=2W8YAgFeRT0
L21-30 Power Distro / Amp rack tour
https://www.youtube.com/watch?v=vDBTE2eNcXM
Tomi Engdahl says:
EUROVISION SONG CONTEST 2023 • Stage & Lighting Design • Behind the Scenes
https://www.youtube.com/watch?v=M5XE_EjWagE
The EUROVISION SONG CONTEST 2023 in Liverpool came to a brilliant end with an ultra-exciting final in the glorious Liverpool Arena. Swedish singer Loreen was able to win the trophy for a second time. This year, Great Britain took over the organization of the contest on behalf of last year’s winner Ukraine. The stage, light and show concept was outstanding and the BBC welcomed millions of viewers worldwide with open (light)arms. EventElevator captured tech details of the stage, light and show concept. Lighting Designer icon Tim Routledge and the renowned Stage Designer Julio Himede are explaining insights to this year’s stage concept and how to celebrate 37 delegations and numerous interval acts minute by minute. Damien Jackson from Lighting Supplier Neg Earth Lights and Lighting Programmer Tom Young add more technical details on equipment and programming of the truly massive show event that united everyone with music.
Tomi Engdahl says:
VOLBEAT • Servant Of The Road World Tour • Show Design, Lighting Rig, Audio Concept
https://www.youtube.com/watch?v=_ZzzQGDDM08
Danish Lighting Designer Niller Bjerregaard and Volbeat have been a sworn team since the band’s early years. No question that Bjerregaard also staged the latest tour with glam, galore plus an untamed pack of new Martin Mac Ultras. After the pandemic, the renowned Nordic rock band could finally get back “on the road” and thrill fans with their blend of rockabilly, metal and punk. Bjerregaard and Tour Manager Guy Sykes explain to EventElevator the current show concept of the „Servant Of The Road World Tour“. D3 Operator Jean-Luc Williams expands on this with details of the video concept, and Monitor Engineer Pat Rowe reveals his interesting method of measuring in-ears with the tricky MiEMi adapter. Dennie Miller is on board for the tour as FOH as well as System Engineer, sharing his experiences with the fresh Meyer Sound PANTHER speakers. Brace yourselves…
Tomi Engdahl says:
Electric Callboy – Tekkno Train – Behind The Scenes
https://www.youtube.com/watch?v=Mrg5XPyN4qQ
Electric Callboy auf „TEKKNO” Tour 2023: Licht, Beschallung, Montoring und SFX
https://www.youtube.com/watch?v=KTHSOhcopYU
Tomi Engdahl says:
Why I Quit Using Aux Fed Subs (And Do This Instead)
https://www.youtube.com/watch?v=U76Tskmrg6M
I’m going to come right out and say it. I think aux fed subs are the wrong way to manage your low end. I’m not saying you should forego control of your subs, but an aux or a bus is the wrong tool for the job.
Today I’ve got four reasons why you shouldn’t use aux fed subs, then I’ll walk you through how I set up my console and system processor to handle my low end.
My name’s Michael I love helping you level up your audio and business skills so you can build a career you love.
We’ll cover:
- Why the mono bus (as well as auxes/buses) set your low end up for failure
- What bad habits we’re borrowing from film world
- How your brain has to think twice as hard about mixing low end with an aux-driven setup
00:00 – Intro
01:20 – Clarification, Defining Aux Fed Subs
02:29 – Reason #1
07:01 – Reason #2
07:58 – Reason #3
09:24 – Reason #4
11:39 – How I Route and Control My Subwoofers
14:56 – Conclusion
Tomi Engdahl says:
Understanding and Preventing Comb Filters | Live Sound Basics
https://www.youtube.com/watch?v=ABF1vfjK3S0
We often blame comb filters for many of our audio woes, but do you understand what’s going on under the hood?
What most engineers describe as a hollow, “phasey” sound is the telltale sign of comb filtering. How can we use discerning ears to find it and the right tools to prevent it?
We’ll cover:
- Why you can’t fix comb filtering with EQ
- What’s the predictable patterns comb filters have?
- How to run your own experiment and analyze comb filters yourself
00:00 – Intro
01:08 – Physics of Sound Basics
04:56 – What is a Comb Filter?
13:10 – What does a Comb Filter Sound Like?
14:08 – Creating and Analyzing Comb Filters
17:38 – How can we prevent Comb Filters?
Tomi Engdahl says:
These Four Business Tools Matter More Than Your Website | The Minimum Viable Software Suite
https://www.youtube.com/watch?v=eyDTuJyOHfY
Timestamps:
00:00 – You Don’t Need A Website (Yet)
02:27 – Notion – The Hub of Hubs
06:17 – Google Workspace – Email, Cloud Storage, and Almost Everything Else
08:56 – Quickbooks – Taking Your Business’ Financial Pulse
00:11:01 – Linktr.ee – Your One-Stop Business Card
15:14 – Conclusion & Next Steps For You
Viewer comments:
Another option for the hub is Obsidian. Large learning curve, but works great once you get the hang of it
Level up your live audio skills and land more gigs with my FREE Audio Toolkit.
https://www.producedbymkc.com/audiotoolkit
Tomi Engdahl says:
Audio Geekery! | L’ Acoustics KARA, SB18, KS28, LA RAK, LA8, LA12x, Avid Venue walk thru Seattle HD
https://www.youtube.com/watch?v=uCWoO5egU4o
Audio geekery refers to the detailed and often obsessive interest in the technical aspects of audio equipment, recording, and reproduction. Audio geeks are passionate about the science and technology behind sound, and they often spend a lot of time and money on equipment and accessories to achieve the best possible audio quality.
Here are some examples of audio geekery:
High-end audio equipment: Audio geeks are often obsessed with the quality of their audio equipment, and they may spend thousands of dollars on speakers, headphones, amplifiers, and other components to achieve the best possible sound.
Recording and mixing: Audio geeks are often interested in the technical aspects of recording and mixing audio. They may use specialized software and equipment to create the best possible sound, and they may spend hours tweaking and adjusting levels to achieve the perfect balance.
Room acoustics: Audio geeks are often concerned with the acoustic properties of their recording or listening environment. They may use specialized acoustic panels or room treatments to improve the sound quality of their space.
Cables and connectors: Audio geeks are often interested in the quality of cables and connectors used in their audio setup. They may spend a lot of money on high-end cables and connectors to ensure the best possible audio quality.
Audio file formats: Audio geeks are often concerned with the quality and format of audio files. They may prefer lossless audio formats like FLAC or AIFF over lossy formats like MP3 or AAC.
Overall, audio geekery is about the pursuit of the best possible audio quality, and it can be a rewarding and satisfying hobby for those who are passionate about sound.
Audio
Tomi Engdahl says:
(POV) Mixing FOH Audio at Church (with captions) | House of the Lord
https://www.youtube.com/watch?v=9Wql_pSNvsM
Tomi Engdahl says:
Rig Tour: Post Malone Front-of-House Engineer, Burton Ishmael
https://www.youtube.com/watch?v=0jQfWYGxQP0
Rig Tour: Post Malone’s FOH Engineer, Burton Ishmael
https://www.sweetwater.com/insync/rig-tour-post-malones-foh-engineer-burton-ishmael/?irclickid=2tqSHt09KxyPWMXUVWy2lTICUkFxHaVc-SyJx80&irgwc=1&utm_source=Impact&utm_medium=YoutubeOrganic&utm_campaign=Online%20Tracking%20Link
Tomi Engdahl says:
Meet Broadcast Engineer, Celine Wienand
https://www.youtube.com/watch?v=TP_jmhB0prs
Tomi Engdahl says:
Bob Strakele (FOH Engineer – Slipknot) interview
https://www.youtube.com/watch?v=5LKFaIbqWek
It is a very special interview with a very special user. Bob Strakele has been touring as FOH engineer for Slipknot for years and he has been using our Dictator compressor in live application for a year now. We asked him to tell us about his experiences and about his other outboards as well. We went through his rack and he told us many interesting facts. Thanks to him and the entire Slipknot crew for providing the wonderful rare opportunity.
Tomi Engdahl says:
Stage evaluation
https://youtu.be/G6KRCT_OG5I
Tomi Engdahl says:
Chili Peppers FOH Live Sound Analog Mixing Setup
https://www.youtube.com/watch?v=HRh_zJPT2_c
I found a video I made in 2016 about the FOH gear I carried with Chili Peppers. This is a new and never released different version that does not have the focus issues.
Cool cool.
00:00 Intro
00:10 RTA and Mic
00:35 FOH EQ
01:38 PFL Metering, Sum and Difference
02:44 Effects
03:27 Compression
04:30 Left/Right Metering
04:52 Gates
05:16 Actively controlled Sub Crossover and limiters
06:00 Custom Sub processor and synth
06:26 Additional EQs
06:58 Console channels and groups
08:10 Outro
Tomi Engdahl says:
Red Hot Chili Peppers live „UnlimitedLove“ Tour 2022 – Sound, stage and lighting design
https://www.youtube.com/watch?v=BOuLyroIvBA
Interview with Toby Francis (FOH Engineer Red Hot Chili Peppers) – Midas HD96 on Tour
https://www.youtube.com/watch?v=a5dYqwFSk8U
Tomi Engdahl says:
https://www.coverbandcentral.com/stuff-you-should-say-on-the-mic-when-your-band-is-performing-on-stage/
Tomi Engdahl says:
5 CREATIVE WAYS TO USE THE EQ
https://www.thomann.de/blog/en/5-creative-ways-to-use-the-eq/?utm_source=facebook.com&utm_medium=cpc&utm_campaign=feed&utm_content=blog_5creative_ways_to_use_the_EQ&fbclid=IwAR3GzZtizm4XJduAaFJI8BjVx3nq-UuVtsIml6hg68rW0Djy8wg49oRSqiA_aem_th_AaAaFzCZiVbrfRMcZkqlH15M9D1V4f9Tq2v8npIKOPDaPtYMsJ7YLrChvCaO-IcpZNT6SqFWHE68hA1jQx_YZYov
Tomi Engdahl says:
MIKSI PEDAALINI HURISEVAT JA VINKUVAT – VOIKO SYY OLLA VIRRANSYÖTÖSSÄ?
https://www.customboards.fi/pages/why-do-my-pedals-hum-and-buzz-can-a-power-supply-be-causing-this
Tomi Engdahl says:
https://hackaday.com/2023/07/01/exploring-the-tech-behind-concert-led-wristbands/
Tomi Engdahl says:
What’s it like to organize a concert tour? It’s insanely complicated. Watch this video.
https://www.ajournalofmusicalthings.com/whats-it-like-to-organize-a-concert-tour-its-insanely-complicated-watch-this-video/
When we go to a show, the lights go down, the music starts, it ends, and we go home. Here are the insanely complex logistics behind that. (Via Open Culture)
Tomi Engdahl says:
Does Analog Gear Sound Better? Ultimate Plugin vs. Hardware Test!
https://www.youtube.com/watch?v=mMJfR_bQ2kU
Spot the difference in this shootout between vintage, analog gear and digital plugins
Tomi Engdahl says:
Electric Callboy auf „TEKKNO” Tour 2023: Licht, Beschallung, Montoring und SFX
https://www.youtube.com/watch?v=KTHSOhcopYU
More news, reports and 19″ here:
https://www.mothergrid.de
Production Design –3:50
Blick ins Rig – 6:27
Pyrotechnik, Feuer und Konfetti – 10:21
The sound of „TEKKNO” – 12:51
Tomi Engdahl says:
Four Subs, Seven MORE Setups | Gradient Squared, Endfire, and Other Fancy Subwoofer Arrays
https://www.youtube.com/watch?v=CydAmcyRp5I
00:00 – Intro
01:50 – 1 – Tight Line
03:24 – 2 – Physical Arc
06:01 – 3 – Delay Arc
07:05 – 4 – Flown Four Element End Fire
10:15 – 5 – Flown Gradient Squared Array
12:42 – 6 – Flown Vertical Stack
14:21 – 7 – Infra + Regular Sub
17:07 – Conclusion & Key Takeaways
Tomi Engdahl says:
https://theproaudiofiles.com/10-ways-to-affect-the-frequency-spectrum-without-traditional-eq/
Tomi Engdahl says:
Las Vegas’ $2.3 Billion MSG Sphere Shows Off Its Absolutely Bonkers Exosphere
The venue officially opens in September with U2′s “Achtung Baby Live At Sphere” residency
https://consequence.net/2023/07/las-vegas-msg-sphere-exosphere/
Tomi Engdahl says:
https://theproaudiofiles.com/live-sound-pa-tuning-101/
Tomi Engdahl says:
Unlocking Precision in Distance-Based Crossover Alignment: 9 essential tips for accurate measurements
https://www.sounddesignlive.com/unlocking-precision-in-distance-based-crossover-alignment-9-essential-tips-for-accurate-measurements/
Tomi Engdahl says:
Seuraavaksi katsotaan, millaisia nappuloita Iron Maidenin äänimiehen tiskistä löytyy
Maidenin kiertuevideosarja jatkuu.
https://www.soundi.fi/uutiset/seuraavaksi-katsotaan-millaisia-nappuloita-iron-maidenin-aanimiehen-tiskista-loytyy/?utm_medium=Social&utm_source=Facebook&fbclid=IwAR0LD6iK-NUlqDcmSzdCuAn_cb1ePaiIDwifZDYiIBsUjqXZ7UxAplLl5A0#Echobox=1690559286
Tomi Engdahl says:
“Man, I like this thing!”: Watch Billy Gibbons play the blues on a cardboard Strat
By Jackson Maxwell published 3 days ago
Even with the odd body material, the ZZ Top man looks – and sounds – right at home
https://www.guitarworld.com/news/billy-gibbons-cardboard-strat-blues?utm_medium=social&utm_campaign=socialflow&utm_source=facebook.com&utm_content=guitar-world&fbclid=IwAR3nDFOWuyQfyPuVj5ytC4Jdhl_kXmIidqAV2Eh5q-YpQo9Lh_0SHbzjJtM