As a freelancer, I get to work with a variety of amazing artists.
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I give you a behind-the-scenes look at prepping for a big music festival.
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Scaling up to arena-sized shows can have its challenges.
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Normally we don't think about timecode in live sound — but it can be an effective tool.
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Microphones can “color” a sound by their unique frequency response.
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It was fun mixing live comedy shows with Fred Armisen — even though we had a different mixing console almost every night.
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Sometimes you don’t have all the prep time you need for a show.
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The pressure involved with mixing live music can be intense — but also very exciting!
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There are many different audio positions in live music production.
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Sometimes it takes persistence to get the job you want.
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One of the main reasons I like my job is touring with amazing colleagues.
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Having a clear idea of the signal chain can help you troubleshoot effectively.
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The type of cable you use determines how far you can run the signal.
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Manipulating frequencies is one the main ways we shape our mixes.
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Ribbon microphones can provide a much different sound than dynamic or condenser mics.
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Amanda Davis discusses her experience in live sound.
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Being in a TV studio usually means working with the program’s engineer to dial in a mix.
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Many audio engineers start in the studio before transitioning to the live music industry.
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Specializing your audio skills can be a great way to focus your career.
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An electric guitar can have a wide array of tones and levels.
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