Live Sound

  • Retrofit Fitness Studio Gets A Sound Upgrade

    When you think of establishments where great live sound is absolutely an essential element, you probably think about music venues, movie theatres and houses of worship. If you ask Retrofit owner Brad Goodstein, fitness studios also deserve to be on this list. 

    "Music is everything for fitness," Goodstein says. "It sets the mood. It motivates people. It can control the intensity of a class. Workouts can thrive with the right music." Continue reading

  • FOH Engineer Brian Pomp Talks Mixing Analog And Digital On DNCE Tour

    Front of House vet Brian Pomp has handled live sound responsibilities for Iggy Azalea, Hollywood Undead, Kesha and American Idol winner Kris Allen, just to name a few. He's currently out on the road with the Joe Jonas-led band DNCE and has brought out some exciting new pieces of gear for this round of touring. Continue reading

  • Vintage King Transforms The Sound of Baker's Keyboard Lounge

    Tucked back on the outskirts of Detroit's Avenue of Fashion, adjacent to the famed 8 Mile Road, sits Baker's Keyboard Lounge.The legendary jazz venue started as a sandwich shop in 1933, but began booking pianists when Clarence Baker felt there needed to be music in the building during his shifts. Continue reading

  • Choosing A Personal PA System For A Gigging Band

    You're in a band that plays out quite a bit and you've grown tired of relying on venues with less than stellar sound systems. What do you do? While the option for renting a PA is always on the table, the investment of purchasing your own system is probably the ideal answer. Continue reading

  • Five Ways Trinnov D-Mon Will Supercharge Your Studio

    Do you trust your monitoring environment? Do your mixes translate as you expect them to? For most of us, the likely answer is “no”, or at best, “somewhat”. If you think the problem might be your monitors or room acoustics, you’re right, but that doesn't necessarily mean your gear or space needs a complete overhaul. Continue reading

  • NAB 2017 Introduces New Gear To Content Creators From Around The World

    The National Association of Broadcasters, which holds its annual convention in Las Vegas, opened its doors to anyone working in the converging worlds of media, entertainment and technology this past weekend. While many of the exhibits focused on television, radio, cable and internet production, distribution and delivery, there were still plenty of audio products on display for content producers working in other fields to check out. Continue reading

  • Vintage King Live Sound Expert Paul Johnson Discusses Etiquette For Wireless Mics

    Awhile back on our blog, Vintage King's Live Sound expert Paul Johnson wrote about if making the move to wireless microphones was in the best interest for your present live rig. In an effort to continue the conversation, Johnson has created a new video series called Vintage King Live Sound 101 that will educate viewers about different aspects of running sound at a venue, including a few lessons on wireless mics. Continue reading
  • Bethesda Christian Church Receives Video Overhaul From Vintage King

    Looking to spread their message via online streaming, the Bethesda Christian Church of Sterling Heights, Michigan asked Vintage King's Live Sound expert Paul Johnson to help bring in new gear for their video rig. Continue reading
  • How To Decide Between A Wired Or Wireless Microphone


    If you are a speaker, a vocalist or a pastor at a church, eventually there will come a time when you must select a new microphone that fits your needs. When this situation arises, not only will you have to select from many different manufacturers and models, but you will also need to make the decision between a wired or wireless microphone. Continue reading

  • Simplifying Your Soundcheck: How WIFI Control is Changing Live Sound


    Since the beginning of amplifier powered PA systems, it has been a multi-person task to create an efficient sound check. You typically would have your main mix engineer behind the console, and then have at least one other stagehand. This person would either be on stage mixing a completely separate console for stage monitors, or there would be a 2-way communications system in use for the front of house engineer. This was a painstaking process. The stage hand would verbalize requests like "I need more guitar in the drum monitor." The front of house engineer would continue this process over and over again until the mix issues were resolved. Continue reading

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