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Location Sound Podcast

Michael The Sound Guy

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Each episode of the Location Sound Podcast, we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you’re a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
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This week's episode is short and sweet as we revisit a very popular topic at From Studio to Stage: Timecode! Will answers a question about how to use Timecode with the PlayAUDIO1U and we break down exactly what is Timecode is and how to use it. Take your first step towards becoming a world-class Playback Engineer, download our free Playback Templat…
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Mike Fitzgerald is a production sound mixer and boom op based out of Orlando, Florida. He uses a Sound Devices 833 mixer/recorder combined with the Sound Devices SL-2. He also uses two Lectrosonics DSR4 receivers and Lectrosonics SMQV and SMWB transmitters. Mike uses Sanken COS-11D lav mics. For timecode, the Denecke JB-1 are his choice for sync bo…
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Will is back with another solo episode from the road. Will is back with another solo episode from the road. In this rapid fire style episode, Will answers X questions about Dante, redundancy when using Timecode, using the Radial BackTrack, and managing CPU usage with Ableton. Part 1 https://youtu.be/_WKGU8RmnRo Take your first step towards becoming…
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Will is on the road for a run of three shows and decides to take some time out for some rapid fire IG questions. Topics include redundancy, stem leveling, and more! Take your first step towards becoming a world-class Playback Engineer, download our free Playback Template! Download for Free https://fromstudiotostage.com/template Send us a question o…
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Will hits the brakes on this week's episode to drop some serious motivation. While we don't specifically get into discussing playback, check out these four tips for success that can apply to anything! Take your first step towards becoming a world-class Playback Engineer, download our free Playback Template! Download for Free https://fromstudiotosta…
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Alan Harris is a production sound mixer and boom op based out of Orlando, Florida. He uses a Sound Devices MixPre-10T mixer/recorder. Alan also uses Zaxcom QRX200 wireless receivers and Zaxcom transmitters. He likes the DPA 4063 lav mics and also the Sanken COS11 lavs. For the boom pole, he likes the Sanken CS-3e shotgun mic and the Sennheiser MKH-…
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This week, we take a break from answering your questions as Will takes us behind the scenes of a recent show at the world famous Red Rocks Amphitheater in Colorado. Key Takeaways: 1. Have a bias towards change 2. Stay in the moment (Stay engaged) 3. Read the room Take your first step towards becoming a world-class Playback Engineer, download our fr…
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On this week's episode of Behind the Space Bar, we're talking about buts. No, not the kind that Sir Mix-a-Lot likes. We're discussing reasons why Ableton might be drifting out of sync while using the PlayAUDIO1U and all the "buts" that Will has heard about why these things tend to happen. Take your first step towards becoming a world-class Playback…
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Join us on Behind The Space Bar as we discuss using Dante with Ableton Live and the different ways to achieve redundancy for live performance! Take your first step towards becoming a world-class Playback Engineer, download our free Playback Template! Download for Free https://fromstudiotostage.com/template Send us a question on Instagram https://ww…
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Doc Justice is CEO and owner of Halter Technical. His company’s products are used on-sets all over the world. The Elite Monitor and Scene Monitor headphones are built for creative pros but durable enough for the rigors of set life. The Microsone Discreet Audio Monitoring System is the world’s smallest rechargeable Bluetooth earbud with crystal clea…
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On this week's episode of Behind the Space Bar, we're answering your questions about redundant light setups and dip our toes into pyro automation. Take your first step towards becoming a world-class Playback Engineer, download our free Playback Template! Download for Free https://fromstudiotostage.com/template Send us a question on Instagram https:…
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Today on the show we tackle timecode vs. MIDI for ProPresenter control; and walkthrough how to use ProPresenter to trigger Ableton! Take your first step towards becoming a world-class Playback Engineer, download our free Playback Template! Download for Free https://fromstudiotostage.com/template Send us a question on Instagram https://www.instagram…
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Welcome to the first episode of the new Behind the Space Bar podcast! We're answering our first two questions in the new format today, and providing some tips on two of the most important topics related to creating and building a playback rig. Take your first step towards becoming a world-class Playback Engineer, download our free Playback Template…
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The long national nightmare is now over, Behind the Space Bar is back! We're back with a new format, and an opportunity to get your questions answered live on the show! Take your first step towards becoming a world-class Playback Engineer, download our free Playback Template! Download for Free https://fromstudiotostage.com/template Send us a questi…
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Ryan Monette is a Production Sound Mixer, Post Audio Mixer, Sound Designer and Composer based out of Orlando, Florida. He uses a Sound Devices MixePre 10 II, Sound Devices A10 TXs and RXs, DPA 6060 lavs and a Sanken CS3e shotgun mic. Ryan also uses Tentacle Sync time code boxes. Listen as Ryan shares about his audio career working in the studio, on…
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Jessie Van Der Vyver is a Production Sound Mixer based out of Kansas City, Missouri and also London, England. Jessie uses a Sound Devices 888 mixer/recorder. He also uses Sound Devices A20 wireless TXs and RXs including the A20 mini transmitters. Additional wireless includes Lectrosonics TXs and RXs. For time code boxes he likes Ambient Recording L…
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Rodolfo Piedras, Production Sound Mixer from Vancouver, BC, was originally on the podcast on Episode 28 in 2019. He returns this episode to catch us up on what he’s been up to the past few years. Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and…
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Alex Haralson, production sound mixer based out of Knoxville, Tennessee, joins us again to catch up on new projects and how the strikes and industry shift has affected his work. Alex was originally on episode 92 so check that one out too. His website is https://www.sonolocus.com/ Each episode we talk with location sound mixers, boom ops and other i…
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Greg Murphy is a production sound mixer based out of Melbourne, Florida. He does a lot of work in live news and also projects for Major League Baseball, the NFL, Super Bowl and NASCAR. For news, he uses a Sound Devices 688 mixer/recorder and for smaller jobs, a Sound Devices 633. For wireless, Greg uses Lectrosonics transmitters and receivers. He l…
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Imagine it's the first night of a an international tour. You're hired as tech to help with playback and drums, and suddenly the MD and keys player gets sick. You've got to step up and run playback and play keys. COULD YOU DO IT? That's exactly what my student David Dombrowski had to do. You'll hear how it went, and why he had the confidence he coul…
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Get Access to my weekly group coaching calls 👇 https://fromstudiotostage.com/subscribe In this episode of "Behind the Space Bar," Will shares tips and tricks for successfully upgrading the operating system (OS) on a computer used for live performances. He emphasizes the importance of waiting for bugs to be fixed and being intentional about the timi…
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Michael Reed, based out of Orlando, Florida, does production sound, post audio mixing and live sound. He’s worked on projects like Burt Reynolds: The Last Interview, Screwball(2018) and Movie Money Confidential. Michael uses the Sound Devices MixPre-10T, Audio Limited A10 wireless, a Lectrosonics DSR4 wireless receiver, DBSM and DBSMD transmitters …
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In this episode of "Behind the Spacebar," Will discusses the essential skills needed to become a successful playback engineer. He emphasizes the importance of service, the ability to say "yes" instead of "no," effective file management, quick edits, working quickly, handling multiple tasks, and staying calm under pressure. Key Takeaways: Playback e…
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For the 100th episode of the Location Sound Podcast, we’ve brought back our very first guest, production sound mixer Larry Williams, Jr. Larry uses Sound Devices mixer/recorders and has a 664, a 688, and MixPre-6. He’s all Lectrosonics wireless with a DSR4, 822 and 411 receivers and likes the Sanken COS-11D lav mics. On the boom pole, he uses a Sch…
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Glenn Sanders founded Zaxcom in 1986 and has been creating innovative audio technology for the feature film, television broadcast, live performance and post-production industries. With a focus on high quality audio products in multi-track recording, mixing and digital wireless, Zaxcom is proud to be honored with technical achievements from the Acad…
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Building a Playback rig? Don't make this mistake that I see all too often in new Playback Techs. The Playback and Playback Tech community is a wonderful community. I love the trend of sharing rig builds and learning what others are doing. Seeing the gear others rely on, and what they use to craft their sound is inspiring. But... I'm noticing an ala…
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Adam Hecht is a production sound mixer and boom op based out of Phoenix, Arizona. He uses a Zaxcom Nova 2 mixer/recorder, Zaxcom 414 receivers, ZMT4, ZMT4x and ZMT3x Zaxcom transmitters, Schoeps MiniCMIT and CMC 141 shotgun mics. Adam also uses dpa 6061, 4071 and 4063 lavs. For IFBs Adam uses Zaxcom URX50s and URX100s. And finally, Adam likes the B…
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If you're just starting out with Ableton or using tracks, you're not a burden-we're glad you're here! Every month, I hold a call just for From Studio to Stage students. [Want access? Join me here: https://fromstudiotostage.com/subscribe ] This past month, I noticed an alarming trend. There were multiple people asking questions, and apologizing for …
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I’m no swifty… but T-Swift got it right… I’m the problem.. it’s me. Do you believe that the next piece of gear will unlock your potential? We'll debunk the myth of external factors and shed light on the internal drive that genuinely propels us forward. 🚀 Understanding the difference between internal vs. external motivators. Personal experiences fro…
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Are you trying to convince your band to use tracks? Here’s a difference approach you can take. I get it. You’ve seen the light. You want your band to use tracks. It’s going to improve your sound, make it easier to perform on stage, but you can’t get the rest of your band on board. I’ve been there. I’ve coached students that are there (or have been …
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Sure — anybody can learn how to use Ableton as a software program. But the ones who master using Ableton on stage don’t think of it like that. What’s the difference between knowing how to use Ableton and using it on stage to put on a killer performance? It’s pretty simple, really. It’s your mindset in how you approach it. If you only view Ableton a…
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Martin Roberts has had a successful career bringing artists’ records to life on stage (including Shawn Mendes, M83, and others). He’s a playback engineer, music director, system designer, and just an all-around pro. Watch the interview to hear Martin’s thoughts on live performance, playback, gear & music tech, and what it was like working with Shaw…
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The bands that use backing tracks the best are the ones that do it without anyone noticing. But how do they do it? Context is everything. EDM, cover bands, acoustic bands — all different types of bands use tracks. But they don’t all put the same stuff in the tracks because, well, it would be ludicrous for an 808 drop to happen in an acoustic set (o…
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Brian (Not Brain) Funk teaches a class at Berklee Online Online, hosts the The Music Production Podcast, and creates sample packs for Ableton Live (and is also an Ableton Live Certified Trainer). How in the world does he do it all? I got to sit down with Brian to discuss his crazy schedule and how he stays productive and creative with so many thing…
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There’s a lot that goes into a redundant playback rig, and it can feel pretty complex to figure out. So, the natural question is…is it really worth all that time and money? I break it all down for you in this video so you can know whether or not you really should invest in one or if you can get by without it. ★ Support this podcast ★…
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I’ve helped thousands of people get more out of Ableton. But you shouldn’t trust me. Apparently the best way to trigger anyone who uses Ableton is to show them another way to do things. I’ve spent years creating hundreds of videos and tutorials about using Ableton on stage, and most people have found them helpful (over 4,000 people have now downloa…
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If you’re stepping on stage to do anything, embarrassing mistakes are part of the job. I share some of mine and some of my favorites that you all shared with me. If you’ve ever experienced a major on-stage fail, you know what it’s like to want to just crawl into a hole…forever. But you gotta laugh at yourself and just take it on the chin. Especiall…
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Jeff is the creator of one of my favorite MIDI controllers ever made: the Oakboard Mini. In this interview, Jeff talks about how he came up with the idea for the Oakboard Mini, and how that eventually grew into a fully-fledged music software and hardware company. I love Jeff’s story because he never set out to start a company. He just started solvi…
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Sometimes what seems like the simplest solution is actually the worst. If you’re using your computer to run in-ears, there are a lot of things that can go wrong. I’m as much an advocate for using computers on stage as anyone, but this is one thing that you shouldn’t use your computer for. I’ve got 8 reasons why and what you should do instead. P.S. …
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Here’s how to use tracks on stage, without cheating and feeling like a fraud. We’ve all seen those videos of a pop artist’s performance going sideways with tracks and all of the sudden the whole world knows they’re lip-syncing. And yeah, I’m not a fan of that. But that’s not what the way most artists use tracks. Some of the best musicians in the wo…
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I’ve been an Ableton Certified Trainer for 13 years. These are the 8 most common questions I get. I take a few minutes to answer each question, but I also share where you can get loads of free resources to dive deeper into each topic. My suggestions on the best gear for live performance 👇 https://fromstudiotostage.com/gear Session View vs. Arrangem…
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Mike is a pro drum tech and playback tech — building and setting up rigs for some of the biggest metal artists to…Avril Lavigne and Smashing Pumpkins? Yep. Plus, he’s a From Studio to Stage student. Mike was kind enough to hop on a call with me and share his story about becoming a playback tech and what really helped him get to the point he’s at no…
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I’ve made this dead simple. These are the only 5 pieces of gear you need to start running tracks with your band. When it comes to buying gear to run tracks, you’ve got more options than you know what to do with. And if you’re just starting out, it’s hard to know what’s actually necessary versus what can wait til later. Well, I’m making it easy. The…
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I branched out from Ableton and live audio for two whole years to run a video broadcast. What I learned surprised me. I never wanted to be a broadcast video guy, and honestly, I don’t know if I’ll do it again. But for 2 years, that was my job. And it was 100% worth it. It made me a better Ableton trainer and playback tech, and it taught me some bas…
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I used to see other people in my industry as a threat. And it turned me into a bit of a jerk. But I eventually flipped the script and became a champion of others rather than just viewing them as the competition. I guess I’m still a jerk, but I’ve made a lot of progress (yep, it really was that bad). So to build on this, I’m focusing on community ov…
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If I were in charge of a music tech company, these would top my list of things to create. These three pieces of music tech don’t exist yet, or if there’s a version of them that does, there are things I’d change. Or maybe I’m not aware that they do exist! (Drop a comment with a link if they do!) What’s in this episode: 3 ideas for music gear and/or …
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Wanna learn Ableton the best and fastest way? Start with these 7 tips that you can do before spending any money. I started using Ableton on stage to run tracks 20+ years ago. I made a lot of mistakes, but also did some things well. Book a 15-minute coaching session with me 👇 https://fs2s.link/15minute Book a 1-hour coaching session with me 👇 https:…
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What goes into being a musical & exec producer for a live TV special? How do you manage 40+ musicians on stage? And how do you plan and prepare for it all within just a few weeks? Keith Everette Smith is here to break it all down for us. Keith and I have been friends for long enough to make us both feel old, and he recently invited me to run playba…
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Charge too much — no clients. Charge too little — wasting your time. These are both myths. Watch to find out why and learn how to set your rates for teaching Ableton (including a breakdown of my own rates and the reasoning behind them). If you’ve been using Ableton for a while and think you’re ready to start teaching others what you’ve learned, you…
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Ableton crashes suck. Take a deep breath, and let’s get you up and running ASAP. Few things are as frustrating as software not working properly. And I get it — you’re relying on Ableton for a live performance. You’ve gotta get this fixed RIGHT NOW! But you can’t rush through troubleshooting — at least not if you want to do it successfully. So do wh…
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