From the SoundProLive Bloggers

We lost a couple of bigger than life personalities lately; namely Patrick Stansfield and most recently legendary monitor engineer Davey Bryson—two gentlemen who demanded reverence simply by the mention of their names.

Lead Vocal Compression





"So to achieve your desired results, you're talking about, say, at lest eighteen inches of water down that trail leading up the hill?" front of house asked monitors with an expansive wave of his arm toward the window...

The art of designing a sound system is really very simple. Does it meet and conform to GODs laws of physics or not. (Uh, oh math). There is no such thing as “Magic Ears”. Feelings do not count. Describing sound through colors does not cut it

I've been so focused on being a console snob that I neglected to consider or remember that only about 10 years ago I was mixing on a beat up Crest GT40 with random outboard gear

In my travels around the globe, both on behalf of Avid Technologies as well as for my touring clients, I have met countless men and women who desire to get into the field of music production. In nearly every one of those encounters there is one undeniable thread that runs through them; the quest for more knowledge on the subject and more “training”.

Over the years, I have been faced with making the conversion from freelancer to production company man and back to freelancer. Sometimes i made the decision and sometimes the decision was made for me.

By: Steve Nazarian

The audio electronics company I worked for in the 1990s was called Crest Audio. I was hired to write the user manuals and promotional literature for a new series of mixing consoles called the “Century Series.”


This new line of consoles was a shift down market from the rarefied air that the company’s Gamble EX series occupied. As colorful and exciting as mixing consoles are, the company’s bread-and-butter was power amplifiers. Having been an innovator since the 1970s, the Crest had a reputation for building amplifiers of both the highest power and quality.


In 1987, Crest introduced the Professional Series 8001 amplifier. At the time it delivered the most power in the smallest package and it did it while sounding… well, awesome.

So I had to ask myself why fix it if it ain’t broke? Is knowing when your mix is in the pocket an instinct? When the venue cooperates, the PA is phenomenal and the console is humming nicely why the need to “fix” it?

Hi Sue: I try to take care on the road and make sure all the stages are wired properly and all but every now and then