After my review of the Behringer X32 was published, Behringer got in touch, rather promptly, and we’ve engaged in a conversation about the X32, its components and my opinion of it. An interesting exchange of letters!
Purely by chance I was presented with the topic for this month’s column on a platter when the in-house Digidesign SC48 console at a venue where I work didn’t survive a recent power cut and the interim replacement turned out to be none other than the new, and much talked about, X32 from Behringer.
Columnist Paul Atkins continues his series of articles on making a band sound good in a small club. This month the focus is on guitarists (perpetrators) and vocalists (victims). Let’s see who comes out on top …
Unless you’re fortunate enough to be in a band that only plays through enormous PA systems in arenas to 10,000 + people every night then the volume you perform at on stage can have a dramatic affect on the balance of sounds heard by your audience. Contrary to what some might think, creating a good balanced mix in an arena is easier for a FOH engineer than in a small 200 capacity club. How can it be you ask? Paul Atkins provides the answer …
I was fortunate enough to work with New York based artist Eli Paperboy Reed recently on a UK & European tour. It was my third time on the road with him and he was gracious enough to let me ask him a few questions that I thought of along the way.
This month Paul interviews Dougal Lott who is the resident engineer at north London’s infamous Konk Studios, owned by iconic English singer songwriter Ray Davis from the Kinks.
Columnist Paul Atkins mixes bands live in a very wide variety of venues. This month he gets into how to successfully set up the ‘house’ PA’s graphic equaliser.