To continue our series of Ask Me Anything sessions from NAB 2014, here are the highlights from our sit-down with Robert C. Bigelow.
The National Association of Broadcasters (NAB) Show is the world’s largest electronic media show and is a chance for our team to travel to Las Vegas to speak directly to the broadcast audio community.
In this edition of “Where It’s A-T,” we’ll take a look at what we saw, what we did and what we learned at NAB 2014.
In October 2013, Audio-Technica returned to the International Audio Engineering Society (AES) Convention in New York City where the biggest names in audio engineering equipment come out each year to showcase their latest products.
In addition to a display of our mics and headphones, we held a Livestream event called “Ask Me Anything,” where celebrated professionals from the audio engineering field responded to questions from the crowd and online via Twitter.
So, who stopped by the booth? Grammy Award-winning music producer, engineer and mixer Frank Filipetti.
At the 2013 Audio Engineering Society (AES) Convention, Audio-Technica interviewed professionals in the audio industry to explain some of the finer points of the world in which our equipment operates. The “Ask Me Anything” Livestream event questions came from the audience and Twitter. In this week’s installment, we’ll cover highlights from our interview with Richie Castellano.
To continue the series of 2013 AES “Ask Me Anything” interviews, we transcribed our discussion with Joel Singer – engineer, mixer, co-founder and chief engineer of Music Mix Mobile (M3), a mobile audio business that records and broadcasts remotely for clients all over the world. In his role with M3, Singer handles all of the system designs and technical engineering, giving him a wide array of experience to share during our discussion. The audience in our booth asked him questions, as did the people watching the Livestream from Twitter. Fellow sound engineer Richard Chycki even added a question to the discussion.
Joel has engineered recordings and broadcasts for Justin Timberlake from Madison Square Garden for HBO, Barbra Streisand for Showtime, Shakira, Poison, John Mayer Trio, Madonna, Linkin Park Live in Texas and many more. Joel has received a Grammy® Award and a TEC Award for his work.
Industry professionals from all corners of the globe descended on New York City in early October for the 2013 Audio Engineering Society (AES) convention, and we were right there with them.
In addition to the networking and showcasing that took place, we further explored the inner-sanctum of audio engineering by interviewing some heavy-hitting experts with accomplished resumes during our “Ask Me Anything” interviews. We took questions from the crowd in our booth and from Twitter followers online, with the only direction from our pros being “Ask Me Anything.” In this installment, we’ll focus on the highlights from our interview with Jimmy Douglass.
Audio-Technica conducted a Livestream event at the Audio Engineering Society (AES) 2013 Convention where the public had the unique opportunity to ask revered professionals in the audio industry whatever they wanted to know. The questions came from a live audience in the booth and from a Twitter feed following #ATliveAES. The event was as exciting for us as anyone else and we received some incredible insight into multiple levels of sound engineering and the music industry. In this week’s edition, we’ll highlight some of the key responses by Richard Chycki – Toronto-based mixer, engineer and producer.
This is the second installment in guest blogger Steve Lagudi’s series on miking drums – today, Part 1 of a two-part post about kick drums. If you missed his first post on miking live drums, you can read it here.
Kick drums in metal are known for their “clicky” sound. Most of the time when you see a band live, or even on record, the kick drums are triggered…usually sounding like a typewriter. Personally, I can’t stand it! I am a fan of drums sounding natural. Many of the drummers that I work with who use triggers, I don’t end up using them out front. For monitor purposes, I think they are great, they cut right through and everyone can hear it, but for me, I don’t need triggers. I can get that clicky sound and much more just by using the right mic, placement and proper EQ.
It’s our pleasure to introduce you to Steve Lagudi – a veteran live sound (Front of House) and studio/recording engineer who is a good friend of A-T. He’s graciously agreed to guest blog for us so he can share some of the tips and tricks he’s acquired over the years with you, our readers! Unlike most articles you can find on the internet that just give basic techniques and approaches, many of which can be found in textbooks, Steve will go beyond that to give you something new and different. In his upcoming posts, he will explain – in his own words – how to achieve the best sound possible using real world scenarios as examples. His first post will cover miking live drums, but before we dive in, we thought we would give you a glimpse into his work to get you acquainted!