Opinion
Soundman Versus Live
Music Producer
TX SERIES
Affordable Performance
JTS TX Series microphones offer
performance and durablility at prices you'll
find hard to believe. For vocals, instruments
and drums.
TX Series mics deliver a warm, crisp sound
with tough metal grills and you even get a 4.5
metre XLR-XLR cable into the bargain.
JTS TX8. Ultimate vocal performer.
Warm but detailed sound. Tank-like
build quality. High SPL. Excellent
feedback rejection. Vocal friendly
'spherical' grill.
JTS TX7. High SPL. Tank-like build
quality. Excellent feedback rejection.
'Flat' grill. Great for guitar
amps/cabs, snare, tom, sax, trumpet
and percussion.
JTS TX2. Large diaphragm kick
drum mic. Modern, punchy kick drum
sound with mnimal EQ or
processing. Adjustable pivot for easy
positioning
JTS TX6. Compact, space saving
instrument dynamic. Ideal for guitar
amps/cabs, snare and percussion.
Optional drum clamp.
As someone who occassionally plugs stuff in and turns it
up, I often wonder why it is that studio engineers,
alongside band members may spend hours and hours
honing sounds to perfection, spending days trying out
different mic positions, effects, processing, experimenting
with different amplifier/speaker combinations, etc,etc,
whilst a sound boy/girl in a grass roots music venue might
get as little as 1 0 minutes to fire up the band and make
things sound like a million dollars. Or maybe no sound
check at all. Plug the stuff in and fire it up.
Things tend to be different in a studio. The technical
duties tend to be split between an engineer and a
producer. The producer brings all the threads together,
assisting the band achieving their desired artistic goals
and offering ideas and suggestions, possibly interfacing
between the band and the record label/pursestring
holders who may have some say in the artistic process
and to get the engineer to convert these requirements
and decisions into the final recorded product.
But no such position seems to exist in the world of live
music. At least not a the more 'grass roots' gigging level.
Very often front-of-house 'house' engineers will probably
look after the sound for a band once every now and then
as they pass through his or her venue. The band will often
ask little else of them other than to supply an
approxiamate mix based on his own view of how the band
should sound after hearing them for a short period during
an often rushed soundcheck. There seems very little
requirement for any kind of cretivity on the part the live
sound man.
The monitor engineer's role tends to be a little different in
that her primary function is to make sure the musicians
within the band can hear themselves OK so that their
pitch and timing is correct, and the role of the front-of-
house engineer seems to be much the same for the
audience. Make sure all the instruments and voices can
be heard in roughly the correct proportions and that's
about it.
Gigging Musician
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