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Sound Advice

Talking Monitors with Mike Rowland

August 2nd, 2016

 

Mike RowlandMike Rowland is a live sound engineer who has worked with Marianas Trench, City & Colour, Big Wreck, Blackstone Cherry, and Theory of a Deadman, among others. He is a U.K. expat who is now based in Toronto.

PS: On the recent Marianas Trench tour, you were using plug-ins extensively as the monitor engineer. Is that typical for you?

MR: It’s something that I fall back onto quite a lot, the reason being it seems the artists I work with either own or are used to dealing with Avid products. With Marianas Trench, we wanted to make the jump to Midas for this album cycle but, to be honest, we knew that as soon as we did that, we would have to take a couple of steps backwards as soon as we landed on any other continent. When we’re in those circumstances, we need to be as prepared as we can.

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Talking Modern Mastering With Jonathan Wyner, Part 2

June 5th, 2016

Jonathan Wyner

Jonathan Wyner is the president and chief mastering engineer at M Works Mastering Studios in Cambridge, MA and an associate professor of music production and engineering at the Berklee College of Music. He has mastered recordings by Aerosmith, David Bowie, Pink Floyd, Bruce Springsteen, the London Symphony Orchestra, and others. Read the rest of this entry »

Talking Modern Mastering With Jonathan Wyner

April 13th, 2016

Jonathan Wyner

Jonathan Wyner is the president and chief mastering engineer at M Works Mastering Studios in Cambridge, MA and an associate professor of music production and engineering at the Berklee College of Music. He has mastered recordings by Aerosmith, David Bowie, Pink Floyd, Bruce Springsteen, the London Symphony Orchestra, and others.

PS: Why do you think streaming could end the loudness wars? Read the rest of this entry »

Less Is More In Live Mic Selection

February 13th, 2016

Bernd Neubauer
Professional Sound caught up with Bernd Neubauer at Cherry Beach Sound in Toronto during an event hosted by beyerdynamic and Techni+Contact Canada. In addition to his role as an application engineer for beyerdynamic, Neubauer has worked as a live sound engineer, with particular emphasis on miking drums, for Phil Collins and Genesis, Nickelback, Bruce Springsteen, The Eagles, Rhianna, Enrique Iglesias, and more.
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Some Tips For Writer/Producers

December 13th, 2015

By Erik Alcock

Erik Alcock

I’ve been a professional songwriter for 12 or 13 years. When I first started, you’d write a song, you’d work it all out, you’d work on an arrangement, and then and only then would you find a studio, rent out a block of time, and hire a producer to record a demo. But nowadays, since everyone can have a studio on their laptop, that model has changed. Now, you can literally be recording while writing, and as a result, writers (like me) have had to embrace and learn more about production than past generations were expected to. And it’s fantastic. Read the rest of this entry »

Lowering Ambient Noise Can Improve Your Bottom Line

October 24th, 2015

By Peter Janis

Peter JanisIn a 2015 dining trends survey by Zagat, the number two complaint by patrons, after service issues, is excessive ambient noise. We have all had to speak louder to be heard by dining companions sitting right next to us. Bottom line is this problem must be fixed or it will affect your bottom line. If acoustics are poor, it will only serve to leave a bad taste in the mouth of your patrons, no matter how great the menu.

When you combine the sound generated by a music system, patrons trying to converse, staff communicating, and even ambient kitchen noise, it builds up and reaches a point where the energy in the room is no longer able to be absorbed or dissipated; moreover, design trends have evolved towards very open spaces (high ceilings) with hard, reflective surfaces (wood, metal, stone, tile, glass). This wide variety of sound in restaurants bouncing off these reflective surfaces increases the baseline volume, causing people to talk louder. The increased noise (noise floor) causes the music to be turned up and this cycle continues, resulting in a loud, unintelligible mass of noise. Read the rest of this entry »

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