The correct technical terminology is important when talking about the stage and theatrical terms can be confusing. Not any more...
Making sure your information is correct and correlates with reality.
Labelling your inputs clearly and in detail is vital for efficiency on stage.
Justin describes his method for labelling up and positioning your satellite boxes.
There’s more to connecting up your wedges than meets the eye! Being methodical and tidy reduces margin for error, and makes a good impression.
The beauty of the “grealing” system is that once all is properly labeled, patching up your stage is simple and easy. Top tips on reducing margins for error.
Setting your mics stands up properly prevents embarrassing moments in a show. Justin shows you how to set up bullet-proof stands.
Drooping microphones are not acceptable as it is, in fact, avoidable. Learn how to be more professional and impress your clients.
There are many ways to coil a cable, but Justin’s preferred method has the added advantage of being a noise-cancelling coil when the cable is in use.
How to assess your audio environment, set up your work space and a channel-by-channel look at getting a mix together.
Jon and Justin, as visiting engineers at The Plug in Sheffield, explore their territory and assess the tools at their disposal.
Jon and Justin set up the front of house console in The Plug. There are many things that need to be considered when choosing a mix position.
Jon & Justin investigate the house system in the Plug, Sheffield
Jon gives us a comprehensive tour of the Soundcraft series 5.
Jon gives a comprehensive tour of the Soundcraft Series 5’s master section.
Jon gives us a unit by unit breakdown of the various pieces of outboard in the effects rack.
Marcel shares his brilliant multi-microphone drum recording technique, all based on getting the phase relationships right.
A brilliant, very deep discussion about microphone choice, positioning and phase when recording a drum kit.
We hear with two ears, so imitating stereo location clues with the overhead mics helps our brains to perceive the recording as realistic.
Positioning your kick drum within the live room makes all the difference in getting the best out of the low end. Phase comes into play yet again.
EQ for free! Marcel uses four in-phase microphones to achieve a certain amount of tone control without reaching for the EQ knobs.
With four mics on top and two on the bottom, Marcel explain how to get all six in phase for a great snare sound.
Marcel shows us how he decides on a position for the hi-hat mic, and how to avoid wind noise.
Showing how an accidental setting on a HPF filter can damage the recording, Marcel chooses the best position for the Rack Tom mics.
Marcel chooses a position for the Floor Tom mic by listening carefully while he scans the surface of the drum.
Marcel delves deeply into phase aligning the whole drum kit. This is a must-see!
Creating a realistic stereo image by panning the hi-hat and toms to match the stereo image from the overheads.
We compare the sounds of the AKG 414s and the DPA 4011s and decide which to use.
Marcel demonstrates the Glyn John method - a means of setting up overheads so that the kick and snare end up in the centre of the stereo image.