The Audio Sewing Box

For Worldwide Release! DRAWMER BOHEMIAN RHAPSODISER Is your latest track not "The best song ever recorded"? Are you lacking five-part harmonies? Mid section missing operatics? Struggling to stay at number 1 for 9 weeks? Fear not, the new "Drawmer Bohemian Rhapsodiser" can change all that and more! "MAGNIFICO!" Rock Ballad Recording Monthly . . . . . #drawmer #drawmerpro #drawmerprofessionalaudio #analogaudio #analoggear #analog #vintagesound #ProAudio #StudioGear #handmadeinbritain #handassembled #handmadeuk #realheritage #buybritish #madeinbritain #aprilfools2025 #bohemianrapsody #Queen

https://www.noz.de/lokales/osnabrueck/video/osnabrueckhalle-ein-blick-hinter-die-kulissen-der-event-location-48462743

Experiments to determine if there is a noticeable difference between using a short speaker cable (approximately 30 ft) and a long speaker cable (approximatel...

Kai Ulrich, live sound engineer for more than 30 years addresses common problems that come up when mixing in small environments and shows solutions. Impresssum: Kai Ulrich, Alfelder Strasse. 3, 28844 Weyhe, Germany Kulrich999@aol.com, +49 421 80901946

New discussion on the paper “Show your scattering coefficients” in the Across Acoustics podcast by Acoustical Society of America, featuring Michael Vorländer from IHTA at RWTH Aachen University. This paper, co-authored by our very own Dr. Stefan Feistel, explores a simplified method for estimating scattering coefficients when working with acoustic simulations. The research presents a solution using an S-shaped curve when estimating scattering behavior as a function of frequency. This paper directly informed the implementation of the S-Curve as a material default property in the EASE 5 Software. Learn the importance of surface scattering in architectural acoustics, how scattering coefficients are measured and used in computer simulations, how an estimated approach works by leveraging tolerance in human sound perception, and how all this concluded in the development of the S-Curve described in the paper. Why is this important? Accurate scattering data leads to better acoustic predictions, improved room designs and superior sound experiences. EASE 5 users can now benefit from this research directly for even more realistic simulations. Listen to the episode here: https://acrossacoustics.buzzsprout.com/1537384/episodes/16664083-show-your-scattering-coefficients Read the full paper here: https://www.afmg.eu/en/show-your-scattering-coefficients-paper #AFMGtechnologies #EASE5Software #AcousticSimulation #AcousticResearch

Willkommen zum Fragebogen für das Level-II-Seminar! Dieser Fragebogen dient dazu, deine Kenntnisse und Fähigkeiten abzufragen, die für die Teilnahme an Level II wichtig sind. Keine Sorge – das ist keineswegs wertend gemeint und ohnehin anonym. Mein Ziel ist es, sicherzustellen, dass du von dem ...

Diese Frage steht im Mittelpunkt einer aktuellen Umfrage im Rahmen einer Masterarbeit der Fachhochschule Münster. KI hat sich längst als fester Bestandteil der Medienwelt etabliert. Während Unternehmen wie OpenAI und Google an immer ...

Sehr spannende Doku! 👍

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Recht unterhaltsam! Gleich mal aboniert. 😄

Want to get the most out of your Ui Mixers or simply want to learn more about the series? Soundcraft Mixers have created a handy video playlist to provide you with all the information you need! Take a look at the playlist 👉 https://loom.ly/Z4eA3c4

Whether you’re working on an analogue or a digital mixing console, here is our Guide to Using FX to Create Space for a Live Performance

Use of overhead mics has the advantage of either being suspended from the ceiling – or on a stand that can position the microphone well above the heads of the singers in the frontline, pointing towards the singers at the back. The task is – at the output of the mix – to make all singers sound equally loud. If the microphones are very close to a few singers and far away from others, the choir sounds like it has fewer members. Only a few voices are heard so the homogenous sound is not present. Great supercardioid microphones exhibit off-axis attenuation of approximately 3 dB at 60°. By pointing to the back, it is possible to obtain equal coverage, front to back. The distance factor, comparing a 60° pickup to an on-axis pickup is approximately 1.4, meaning: A singer positioned on-axis can be 1.4 times further away compared to a singer positioned at 60° (for instance below the microphone). This technique may apply to all choir setups no matter how many there are – two, three or four lines of singers: 1 Point at the singers in the back row. 2 The angle between on axis and the front row should be 60°. 3 The singers in the back row should be 1.4 times further away compared to the front row. Read more about how to mic choirs in the below Mic Uni article.

Fresh from the press! First pass of new article on "Why We Frequency Shade". Enjoy! https://www.merlijnvanveen.nl/en/study-hall/211-why-we-frequency-shade

The Eagles switched to using in-ear monitors for their residency at the Las Vegas Sphere, to combat an audio issue the proved challenging for a band that always used on-stage monitors to hear itself. Walsh tells 'Rolling Stone' in a new interview that the audio issue is specific to the Sphere and its state-of-the-art design for pristine live sound. But it was almost a deal-breaker for the Eagles. "One the Sphere there's 160,000 speakers behind the screen," Walsh explained. "No matter where you sit, you have speakers pointing at you, so they don't have to be really loud. To do that, computers have to delay it a little bit from what we're doing. Because it goes everywhere in the Sphere and comes out of these speakers all at the same time, there's a delay there to process that." But that leads to problems if a band is performing live and relying on stage volume for monitoring; they'll get confused as to what they're hearing. "If we're aware of that [delay], we can't play," Walsh continued. "It's like singing the National Anthem at a baseball stadium. [The sound from] right field comes right back at you, and then left field comes back at you, and then center field. There's three of you and you don't know which one you are." Eagles eventually relented and switched to in-ear monitors, so they can't hear sound from the room, only the mics on the band. Walsh admitted that adjusting to in-ears after so many years of touring was a challenge. Eagles have more dates at the Sphere through 2025. Currently, there last gig in the venue is March 15.

The Eagles switched to using in-ear monitors for their residency at the Las Vegas Sphere, to combat an audio issue the proved challenging for a band that always used on-stage monitors to hear itself. Walsh tells 'Rolling Stone' in a new interview that the audio issue is specific to the Sphere and its state-of-the-art design for pristine live sound. But it was almost a deal-breaker for the Eagles. "One the Sphere there's 160,000 speakers behind the screen," Walsh explained. "No matter where you sit, you have speakers pointing at you, so they don't have to be really loud. To do that, computers have to delay it a little bit from what we're doing. Because it goes everywhere in the Sphere and comes out of these speakers all at the same time, there's a delay there to process that." But that leads to problems if a band is performing live and relying on stage volume for monitoring; they'll get confused as to what they're hearing. "If we're aware of that [delay], we can't play," Walsh continued. "It's like singing the National Anthem at a baseball stadium. [The sound from] right field comes right back at you, and then left field comes back at you, and then center field. There's three of you and you don't know which one you are." Eagles eventually relented and switched to in-ear monitors, so they can't hear sound from the room, only the mics on the band. Walsh admitted that adjusting to in-ears after so many years of touring was a challenge. Eagles have more dates at the Sphere through 2025. Currently, there last gig in the venue is March 15.

Longtime U2 live sound engineer Joe O'Herlihy has pulled back the curtain on the monster sound system powering the band's Las Vegas Sphere residency.

Unsere beliebten #INSIDERacoustics sind raus. Erstmals mit dabei: Unser neues Format die #FLASHBACKacoustics THEMEN DIESER AUSGABE. Mastering-Studios, Mitarbeiterwechsel, BEATCON ONLINE AUSGABE HIER LESEN >>> https://links.mbakustik.de/INSIDERacoustics124FB FÜR NEUE AUSGABEN HIER ANMELDEN >>> https://links.mbakustik.de/insideracoustics Viel Spass beim Stöbern. Euer mbakustik-Team __________ #mbakustik #mbakustikgmbh #tonstudio #raumakustik #studioakustik #regieraum #aufnahmeraum #modalanalyse #akustikmaßnahmen #akusatikoptimierungen #studioakustik #schallabsorber #akustikberechnung #akustikplanung #tonstudiobau #recordingstudio #masteringstudio #roomacoustics #studioacoustics #acousticoptimisation #acousticmeasurement #acousticplanning #modalanalysis #soundabsorber #acousticabsorberpanel #acousticplanning #acousticinstallation Mastering Mansion @beatconofficial @royrecklies @fischer.deutschland fischer group

Headliner reviews the iconic AKG C414 microphone range.

Zum heutigen Weltmusiktag lädt die LEaT con 24 Dich zu einer Reise zurück in die Anfänge der Veranstaltungstechnik ein. Wir haben Anekdoten und Bilder aus der Branche gesammelt – und wollen jetzt deine Fotos und Storys aus den Rock'n'Roll-Tagen sehen und lesen!

Wie funktioniert Immersive Audio für Gaming Produktionen oder exzellentes Klassikrecording in 3D? Beim Immersive Forum nächste Woche teilen Spezialisten ihr Know-How aus der Praxis in hochkarätigen Vorträgen. Alle Themen und Referenten im Überblick gibt es auf unserer Website. Eindrucksvolle Immersive Hörbeispiele und ein entspanntes Ambiente mit lockerem Abendprogramm zum Austauschen mit Branchenkollegen und Netzwerken gehören selbstverständlich wie immer zur Veranstaltung. Am besten jetzt gleich anmelden! https://www.audiopro.de/immersiveforum

Earlier this year I conducted a poll where I asked: "Indoors, main-to-subwoofer alignment should only consider — first — arrivals (direct sound)?" Roughly 80% voted yes, and 20% no. Then I proposed a — thought — experiment. Imagine a single 3‑way — but full‑range — loudspeaker that has been carefully aligned by a skilled manufacturer. Most likely considering direct sound only, for example, in an anechoic chamber. Nowadays, very few users would have reason to question such a factory alignment. Conceptually, now "saw off" the low‑frequency section (ignoring changes in interior enclosure volume, etc.) and merely place it in a different location. Other than a path‑length difference (which is easy to fix with, e.g., delay), I fail to understand why one would — change their mind — and suddenly consider additional factors other than first arrivals. I can also be persuaded otherwise :-) https://www.facebook.com/merlijn.vanveen/posts/949016053269084

Our three distinguished guests have not only been pioneers in professional audio but also advocates of audio education. Bob McCarthy A pioneer in the develop...

My article "The Cheese Grater" — a word of caution on horizontal subwoofer arrays — is featured in this month's issue of Live Sound International magazine. Thank you for the continued confidence! https://www.merlijnvanveen.nl/en/study-hall/209-the-cheese-grater#download

Ein Blick in die Nachbarschaft ... 🙂

Audio engineer Marcela Rada on what inspired her to pursue a PhD in spatial audio for content creation guidelines for spatial audio music productions.

🎶 Great insights from the legendary FOH engineer, Michael "Coach" Conner as he talks through working with Steely Dan and Paul Simon. Discover how his expertise and trusted Yamaha gear have shaped many unforgettable live sound experiences. 🎤✨ Check out the full story here: https://europe.yamaha.com/en/news_events/2024/0919_10_legendary_foh_michael.html #Yamaha #proaudio #LiveSound #FOH #MusicIndustry

Exactly how different are these 8 mixes of the same song, by 8 different Pro producers ? Find out what I think from a mastering perspective !For mix analysis...

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Vergleichende Werbung aus dem Jahre 1983. Interessant. #beyerdynamic #sennheiser #shure #AKG

Erhalte exklusive Einblicke von Experten der immersiven Audiobranche beim immersive Forum 2024 💡 Hier gibt´s alle Infos: https://www.delamar.de/events/audio-pro-immersive-forum-72413/

https://www.ardmediathek.de/video/die-nordreportage/die-anpacker-wenn-buehnen-an-ungewoehnlichen-orten-entstehen/ndr/Y3JpZDovL25kci5kZS9wcm9wbGFuXzE5NjM2MDc5N19nYW56ZVNlbmR1bmc

http://www.zehner.ch/raumakustik1.html

"Headroom Headache: Why Can't We Agree on a Definition" First pass of a new article on a contentious topic. May give it another polish later. But this will have to do for now. Enjoy! https://www.merlijnvanveen.nl/en/study-hall/210-headroom-headache-why-can-t-pro-audio-agree-on-a-clear-definition

Learn about dynamic, condenser, ribbon, USB, lavalier, and shotgun microphones. Find the best mic for live performances, studio recording, podcasts, and film.

Love it or hate it, a distinctive characteristic of modern dance music is the rhythmic pumping and pulsing of instruments — most often a lead and/or bass line ducking in and out around a thumping bass drum. It's a sound we have the likes of Daft Punk to thank for, who used it to great effect in the late ’90s/early 2000s. Sidechaining is a method of triggering a change in a module (anything with a sidechain function) with an external audio signal – most commonly a compressor, i.e. a bass drum signal triggering a change in a compressor on a bass line track. Here’s how to achieve this... https://noisegate.com.au/tutorial-get-your-tracks-ducking-with-sidechain-compression/ #sidechain #compressor #daftpunk #noisegate #noisegateaus

https://www.youtube.com/watch?v=-YkvN-Pvia4