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Amplify Live Productions, Princeton, TX (2026)

03/11/2026

Behind the Board: Microphone Choice

The microphone is one of the most important pieces of equipment when it comes to audio. Microphones are the start of process of getting your sound out to your audience. But with so many different mics, which is the best for live music?

Before we dive in to which microphones are the best, let's describe the two main types of mics used in live music: dynamic and condenser. Dynamic mics are the most common microphone type found at live music events. They are durable, rugged, and good for traveling gigs. Most dynamic mics have a thin, light diaphragm that moves in response to changes in sound pressure. That movement causes the voice coil, that is suspended in a magnetic field to move, generating a small electrical current. Dynamic mics can often handle high Sound Pressure Levels (SPLs), but because of their mechanical nature they sometimes are less sensitive to attack transients and can't reproduce the high-quality detail that other microphone types can.

Condenser mics are most commonly found in studios, but are starting to make their appearance in the live music scene. Condenser mics have a very simple internal system; a thin, stretched conductive diaphragm that's held close to a metal disk called a back plate. This configuration creates what's called a capacitor, with the back plate receiving electrical charge from an external power source, typically produced by the sound board, called phantom power. When sound strikes the diaphragm, it causes it to vibrate, thus causing the capacitance to change, which causes the output voltage to change. That change in output voltage is how condenser mics send the signal output.

Now that we have described the two types of microphones used in live sound, let's discuss some specs: Impedance and Polar Patterns.

Impedance is how much a device resists the flow of an AC signal, and we measure it in Ohms. Microphones will fall into one of two categories, low impedance or high impedance. Low impedance refers to microphones that have 600 ohms or less, whereas microphones that are considered high impedance have 10,000 ohms and greater. High impedance microphone's responses deteriorates rapidly as the cable length increases, typically with 18-20ft being the maximum length before the signal is compromised. Low impedance mics can transmit signal for hundreds of feet with little to no changes to the signal. For that reason, low impedance mics are typically used in live music events.

Polar patterns are a graph that shows how different microphones respond to sound coming from different directions. These graphs are used to determine how directional a microphone is, or how well it rejects sound from a certain direction. There are two categories that microphones are placed into regarding polar patterns: unidirectional and omnidirectional. Generally speaking, stage microphones are unidirectional with a cardioid (or hypercardioid or supercardioid) polar pattern. This helps keep unwanted sound from entering the microphone.

So which one is the best for live music? There are going to be a lot of factors: What instruments are you miking? What kind of sound are you or the artist wanting from a vocalist? What's your budget? All these are things to consider when choosing the best mic for your gig.

Vocals and guitar amps can benefit from dynamic mics that can handle high SPL. Depending on your vocalists voice, a dynamic mic can bring a warm, thicker sound unless your vocalist has a more delicate, breathy voice. Then a handheld condenser can help bring out the detail from their voice.

Drums typically have their own set of mics that have a specific mic for each drum. The Shure PGADrumkit 7-piece mic set is our personal favorite when it comes to a traveling microphone set. The dynamic mics in this set can handle the high SPL of a drum kit.

When it comes to bass amps, remember: if you can use it on a bass drum, you can use it on a bass amp. A large-diaphragm bass drum mic will be able to pick up all the frequencies of a bass. Combine that with a direct bass signal from a DI for a sweet mix.

Before any gig, it's best to discuss with your artist the sound they are trying to achieve and to make informed decisions as to what microphones would be the best to help them achieve it.

03/04/2026

Behind the Board will be moving to a bi-weekly schedule. See y'all next week!

02/25/2026

Behind the Board: In-Ears vs Wedge Monitors

When it comes to hear-back systems, there are two main forms: in-ears and wedge monitors. Wedge monitors where the classic form of hear-back in the 70's, when rock was becoming more and more popular. Almost every big band had multiple monitors on stage so they could hear themselves. As technology has progressed, live music has transitioned to in-ear monitors. But what's the big difference?

Like we stated earlier, wedge monitors are a classic form of hear-back starting from the late 60's into the early 70's. Their main purpose is to allow the band to hear themselves during a performance. While in theory this idea works, it does have its drawbacks.

First is volume. With wedge monitors, the fight with the mains and the live audience. Imagine you're a guitarist, and you turn yourself up so you can hear yourself better in the wedge. Well now the bassist can't hear themselves, so they turn themselves up. Then the vocalist can't hear their voice, so they turn themselves up. Do you see the problem? Everyone is fighting to be heard so they just increase their personal volume, adding more and more volume until it becomes overwhelming and a muddy mess.

In-ear monitors fix this problem by giving each musician their own personal mix. They have total control over what they do and don't want to hear. There's no competition to be heard, and musicians can focus more on the performance. Each musician has their perfect mix at a much lower volume rather than one share mix that steadily increases in volume due to "volume wars".

The second drawback is feedback. Feedback is every musician and audio engineer's worse nightmare. Nothing ruins a show faster than feedback. That high pitched screech in the middle of a mellow song totally ruins the vibe. Wedges are commonly the culprit of feedback. Notorious for sending unwanted noise to the microphones, starting feedback loops where that unwanted sound gets to the microphone, then gets caught in a cycle of getting sent back to the wedges and mains, and back through the microphones.

In-ears fix this problem by isolating each individual mix. Each mix is only sent to the corresponding musician, who then decides how loud or soft they want their mix. Now while in-ears fix the big issue of feedback, there are instances where musicians will pull out an in-ear on one side and leave it hanging in-front of a microphone. That will lead to feedback just like the wedges, but by simply tossing that in-ear behind them, it eliminates any chance of unwanted noise reaching the microphone.

Finally, the last drawback is hearing loss. Have you ever been to a concert and upon leaving hear ringing in your ears? That's tinnitus, a dangerous sign of hearing loss. Wedges are known to produce high sound pressure levels and volume. Exposure to volume over 85db for long periods of time can cause hearing loss and or permanent ringing in the ears. Whether you're the musician or the audience, ear protection is always recommended.

Good in-ears can offer noise reduction up to 26db. This will allow you to perform more shows for longer. Listening is key to musicians, so doing anything you can to protect your hearing always works in your favors.

While wedges haven't gone completely obsolete, in-ear monitors remain a popular and safe way to listen back to the music produced on stage. So unless you're trying to tap into that 70's style concert vibe, maybe leave the wedges home and protect you ears for future performances.

02/18/2026

Behind the Board will be back next week!

02/11/2026

Behind the Board: Mic Techniques

Microphones playa huge part in live sound. Whether you're mixing a rock concert or a orchestra, you will use a microphone in one way or another. But how do you capture the best sound with the mics you have? Depending on the group and how you plan on capturing their audio, certain microphone techniques might work better than others.

Obviously, when recording a rock band, most of the musicians will either be using a DI (direct injection) box or an amp with a microphone. The singers will most likely be using some form of a dynamic mic that can handle high SPL and are more durable than other microphones.

But what about other performances? Orchestras, symphonic bands, and even quartets require a vastly different set up. Most classical instruments don't have any electronic components that allow them to plug into an amp or DI box, so microphones are the most common tool used to record and amplify their sound. That's where the different microphone techniques come in handy.

Our first mic technique is the AB method. This is a common technique used to capture sound evenly across a large room or group. This technique requires using two mics (preferably a matched pair) placed about 3-10 feet apart, facing straight towards the performers. This allows for a 180 degree capture area, that evenly captures sound. The AB method is most commonly used for ensembles, but the draw back is the middle of the stage/group may not be as well defined as the outer sides of the stage.

The next technique is the X/Y method. This technique requires angling the mics toward one another, one on top of the other, with the capsules creating a 90-135 degree angle. This method helps eliminate phase cancellations that the AB method can run into by having the mics placed one on top of the other, thus minimizing the time differences.

The final technique we will be discussing is the ORTF method. ORTF stands for Office de Radiodiffuison Télévision Française, which was created as an alternative method to the X/Y. This technique requires placing the mics end to end, pointing outward at a 110 degree angle. The capsules are still on the same plane, just facing outwards, away from each other. This method closely mimics our ears natural positioning, creating a natural sounding stereo image.

There are many other microphone techniques that all have their advantages in the right situation. Proper research for your group can make the difference when it comes to quality sound.

02/04/2026

Behind the Board: Outdoor Venues

While open air, clear skies and the natural scenery make outdoor venues shine, it can present unique challenges when setting up live sound. Whether it's for a concert, wedding, festival or graduation, there will always be hurdles to overcome to achieve quality sound.

First, some of the challenges of outdoor venues are as followed. Natural elements can hinder audio quality. From a slight breeze, weather, and traffic passing by, any external noise can seep into the mix making it harder get that picture perfect sound.

While open spaces allow for a larger crowd, its also disperses sound quickly. With no boundaries, like the walls of an indoor venue, the sound doesn't have much to reflect off of, loosing some natural amplification. This can lead to volume and clarity issues.

So what steps can you take to get the best sound possible while outdoors?

The use of directional speakers can help focus the sound to specific areas, which can help prevent it getting lost in open spaces. Positioning also matters. Set the speakers at listening level, not over the audiences head, to ensure the sound travels directly towards them.

Sound checks are a must. Arriving early and getting as many sound checks in can help you isolate problems before they arise, as well as get volumes set before the event.

Weather can have a mind of its own. Having weather-proof gear, or weather-proof covers can help keep everything protected in the event the weather turns south in the middle of an event.

While speaker positioning matters, event location also matters. Try choosing a spot away from high noise areas (roads, high traffic areas, busy intersections, ect.) If possible, try bringing barriers (tents and canopies reflect sound similarly to indoor walls) to help keep unwanted sound out of your mix.

Finally, invest in high quality mics. Quality mics can help minimize ambient noise and can bring clarity to outdoor events.

When planning an event outdoors, make the necessary preparations to ensure your audio is crystal-clear, and have backup plans for if the weather decides to try and ruin the day.

02/02/2026

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01/30/2026

Did you know, the average volume at a concert can range between 90 & 120 db (decibles). Rock bands can even reach 125 db! That's loud.

Remember, safe db levels are under 85 db. Anything over 85 db for prolonged time can cause hearing loss. For every 3 db over 85, the length you can "safely" be exposed is reduced by half.

Hearing protection should be utilized to prevent hearing loss. What's your prefered ear protection? Let us know!

01/28/2026

Behind the Board: Mixers

Walk into any recording studio or live sound venue and you’ll find one of two beasts at the center of the operation: an analog or a digital mixing console. Both do the same fundamental job—combining, shaping, and routing audio signals—but they go about it in very different ways. The debate between analog and digital has been around for decades, and while modern technology has blurred the lines, the differences still matter.

Lets break them down.

There are two types of mixers, analog and digital. Analog mixing consoles process audio as a continuous electrical signal. When sound enters the console through a microphone, instrument cable or amp, it remains analog through the entire signal path - preamps, EQ, faders, and outputs.

Digital mixing consoles convert incoming audio into digital data, processes it using internal integrated software, then converts it back into analog at the outputs (unless you're staying digital all the way).

Now that we have defined the two types of mixers, what are their key differences?

Starting off with sound quality, analog consoles are famous for their harmonic distortions and subtle nonlinearities. These imperfections can add character and depth, especially when driven hard. Some engineers consider this "color" a feature not a flaw.

On the other hand, digital consoles aim for transparency. Modern digital consoles offer incredibly clean signal path with low noise and distortion. While early digital consoles were criticized for sounding "sterile", today's models - and high-quality emulations - have largely closed that gap.

When it comes to work flow, analog is fast and intuitive. There are no menus or screens which is great for engineers who mix based on feel. The setback is mistakes require manual correction. Analog consoles encourage commitment. Once you set something, it stays - unless you change it by hand.

Digital work flow is highly configurable. With menus and screens, digital mixing can seem daunting at first, but can easily be learned for faster work flow. Digital consoles also offer automation, recall, and backups saving time and being more efficient. Digital consoles shine in complex environments where scenes need to be recalled instantly or multiple mixes must be managed at once.

Now let's break down cost, size, and portability.

Analog consoles are known to be large, some taking up entire rooms. They are typically heavier, and typically stationary. Analog is more expensive to maintain and have been known to be power hungry.

Digital consoles come in a variety of sizes, depending on you're needs. Most are compact and portable with the assistance of travel cases. They are cost-effective and with lower maintenance, digital consoles are great for travel gigs.

So which mixer is right for you? The answer depends on how, and where, you're mixing.

Choose analog if you:

•Value tactile control and simplicity
•Love analog coloration
•Work in a studio environment
•Prefer committing to sounds early

Choose digital if you:

•Need recall and automation
•Mix live sound or complex productions
•Want maximum flexibility in a small footprint
•Rely on built-in effects and routing options

The analog vs. digital debate isn’t about which is “better”—it’s about which is better for your workflow. Analog consoles offer character and immediacy; digital consoles offer power and precision. Thanks to modern technology, you no longer have to sacrifice sound quality to gain convenience.

At the end of the day, the best console is the one that helps you focus less on the gear—and more on the music.

01/25/2026

Hope y'all are staying warm!

01/21/2026

Behind the Board: PA Systems

This week we will be discussing the different types of PA systems commonly used in live sound, their pros and cons, and the best settings to use each in.

1. Portable PA systems. These are compact, all-in-one systems designed for convenience and mobility. Portable systems typically include built-in amplifiers, small speakers, and simple mixers, often housed in either a single unit or as a matched pair.

Pros:
•Lightweight and transports easily
•Quick set up and tear down with minimal cables
•Battery-powered options often available

Cons:
•Limited volume and low-end response
•Not ideal for large audiences

Best for:
•Solo performers and presentations
•Small meetings or classrooms
•Street performances or busking

2. Powered Systems. Also referred as active systems, powered systems rely on speakers with built-in amplifiers. Each speaker is designed to work with its internal amp, reducing the need for external equipment.

Pros:
•Simplified design
•Fewer compatibility issues
•Scalable with more speakers

Cons:
•Each speaker requires individual power
•Heavier than passive speakers

Best for:
•Small to medium venues
•Bands, DJs, and hosts
•Mobile sound companies

3. Passive Systems. These systems utilize speakers that require externally powered amplifiers. Amplifiers send amplified signals to the speakers via speaker cables.

Pros:
•Centralized amplification
•Light speakers
•Highly customizable

Cons:
•More complex
•Requires matching of amps and speakers

Best for:
•Permanent installations
•Sound engineers who want full control
•Larger, custom-designed rigs

4. Line Array Systems. Consisting of multiple speaker cabinets stacked or flown vertically. They are designed to project sound evenly over long distanced with minimal volume drop-off.

Pros:
•Excellent sound coverage
•High output with controlled dispersion
•Consistent audio across large audiences

Cons:
• Expensive
•Requires technical expertise to deploy

Best for:
•Concerts and festivals
•Large indoor venues
•Touring productions

5. Column PA Systems. Also commonly known as Array systems, they feature a slim vertical speaker column paired with a subwoofer. They offer a middle ground between portability and performance.

Pros:
•Wide horizontal sound coverage
•Clean, modern appearance
•Quick setup and tear down

Cons:
•Limited low-end compared to larger systems
•Not ideal for loud music genres

Best for:
•Corporate events
•Wedding bands and acoustic acts
•Small to medium venues

6. Installed PA Systems. Designed for the needs of the space and typically permanently mounted in venues such as churches, theaters, schools, and conference centers.

Pros:
•Tailored sound design
• Reliable and consistent performance
•Minimal setup after initial installation

Cons:
•High upfront cost
•Not portable

Best for:
•Fixed venues
•Long-term use

Choosing the right PA system

When selecting a PA system, consider:
•Audience size
•Venue size and acoustics
•Performance type (speaking vs. music)
•Portability needs
•Budget

No single PA system fits every situation. Understanding the strengths and limitations of each type will help you make an informed decision and deliver great live sound every time.

01/19/2026

What are your thoughts?

Amplify Live Productions

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