But when you hear it, it puts you in a very different frame of mind. “So, It was a really challenge to get quality out of that source. Next, add that the band was recorded with only three mics, and their signal was being transmitted by a Marti transmitter (used for remote broadcasts back in the day), sent to an FM station, and then recorded by a listener at home at only 1 7/8 ips!” Not only did I have limited bandwidth to work with, but these songs were recorded off the air from a mono FM radio broadcast. Doesn’t provide a heckuva lot of bandwidth! When quality is at stake, faster tape speed is preferred to create more bandwidth, but that didn’t happen here. Jeff: “Well, most were quarter-track recorded at 1 7/8 ips. How was the condition and quality of the original recordings? Anyhow, another guy who worked at WYNK, Page Dew, knew a guy who had been recording these Old South Jamboree shows at home on a consumer reel-to-reel deck-a total of about sixteen reels.” That’s where Elvis Presley, Carl Perkins, all the old greats got their start to the music biz. There were a few shows like that back in the day, like Louisana Hayride, which goes back to the 50s. Jeff: “Well, Going back in time… back in the 70s, WYNK would broadcast the shows from the Old South Jamboree every Saturday night.
LIVEPROFESSOR WITH STUDIOLIVE 24.4.2 PLUS
They would pay me 45 cents an hour plus all the records I could eat!” We’d turn the transmitter on every morning before the show. and sign off at midnight, it wasn’t a 24-hour station. Jeff: “I was a DJ at WYNK-FM back in the day-they are still on the air today. Hey Jeff! First, can I get some background on yourself and your work in audio? I can make just about any drum kit sound like a million bucks with those preamps. I also like the solid punchy sound of the preamps. Festival stages love this because we only tie up two channels on their snake.
However, using this board and my iPad, I can stand right out in the sweet spot of the audience and mix the show from there. It could be a club with an old 16-channel board (we need 22, minimum) or a festival with some unfamiliar digital console. This helps us out because we never know what situation we are showing up to. When on tour, we will mix the show through the StudioLive 24.4.2 and just send a left/right to the front of house. I constantly have to set my mixer up on the stage, or side stage, for instance, because the show we are playing is for a wedding, I can remotely mix without ruining any the pictures of the bride’s special day. In my business, being able to adapt to whatever situation is thrown at you is paramount. Tags: Central Station Plus, Koba, korea, Maytree, StudioLive 16.0.2, StudioLive 16.4.2 Obviously, MayTree showed up, and nailed their fabulous performance with the help of their StudioLive 16.0.2! The StudioLive 16.4.2 was also used as the main console at the small stage where our musicians performed. We connected various monitors via the Central Station Plus so attendees could check out all the sounds we prepared through various monitors. People were very excited about the new PreSonus products, especially the Eris studio monitors.
This year’s show ran from May 13 th to May 16 th with 42,459 visitors. Established in 1991, the show’s all about audio, light, and products for broadcast as well. The KOBA exhibition is Korea’s biggest audio fair.
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