Helping younger performers optimize the sound check process.
by Aleš Štefančič

Part 2 on measuring a system and band’s power requirements.
by Mike Sokol

Clarifying latency and putting it into context.
by David Williams

Looking into loudness as it relates to audio streaming.
by Samantha Potter

Why playing on battery power alone can be useful in 2022 (and beyond).
by Mike Sokol

Mike Sokol has worked as a sound system designer and engineer for more than 50 years and is also noted as a top audio educator. In addition, he serves as a noted consultant on power to the RV industry.

Is your amplifier designed to drive a loudspeaker or a heater? by Dale Shirk

Dale Shirk is senior applications engineer for the Loudspeakers Solution Group at Biamp. A graduate of the Institute of Audio Research in New York, he has more than 30 years of experience in audio contracting, including 25 years as owner of Shirk Audio & Acoustics, specializing in house of worship sound systems and acoustic consulting. He’s also contributed numerous technical articles to SynAudCon.

Total recall for a better workflow and to avoid embarrassment. by Beth O’Leary

Beth O’Leary is a freelance live sound engineer and tech-based in Sheffield, England. While studying for her degree in zoology, she got distracted working for her university’s volunteer entertainment society and ended up in the music industry instead of wildlife conservation. Over the last 10 years, she’s done everything from pushing boxes in tiny clubs to touring arenas and spends a lot of her life in muddy fields working on most of the major festivals in the UK. She has a particular passion for flying PA, the black magic that is RF, travel, and good coffee.

Setting reference levels objectively — not subjectively. by Ike Zimbel

Long-time audio professional Ike Zimbel is a now a top freelance wireless frequency coordinator and technician based in Toronto. Reach him via LinkedIn.

What leads someone down the path of mixing monitors. by Becky Pell

Becky Pell is a monitor engineer with more than 20 years of experience in live sound. She toured as a monitor and RF tech with Black Crowes, Travis and Kylie Minogue before moving behind the desk to mix monitors for artists such as Aha, Muse, Westlife, Anastacia and Take That.