Are you still using graphic EQs for shaping your audio? Check out my latest video on how the GEQ actually affects your signal - you might change your mind.

One of the most common questions I get during the private lessons in my Guerrilla Mixing course is “which is the best console” or “which console should I buy”. Those conversations revealed that the term “best console” actually means different things to different people. I thought I might discuss the factors that determine why I would prefer to work with a particular console.

I am a patient guy, but enough is enough. Someone has to speak out about the things that lessen the joy when doing shows. What is your pet peeve?

I don’t know if there is a more divisive topic in the mixing-monitors-from-FOH world than whether one should mix monitors pre- or post-EQ. I have stumbled upon numerous discussions on forums and social media with engineers frantically arguing their side as the only valid approach. So I thought it would be wise to deconstruct this discussion and provide arguments for both sides and also a workaround to this ongoing battle.

If you are a singer, wanting to know more about the sound engineering process or if you are a sound engineer that wants to be more effective in their communication with vocalists, you came to the right place.

In a world of crazy channel counts with consoles that allow you to process more channels than ever possible, simplifying your setup is still a route that you should consider. By judiciously scrutinizing over your input list, you might realize that you can reduce the number of inputs on your console, the number of microphones and microphone stands on stage, and also the set-up time required for the act to get ready for the show.

What will make you stand out as a great monitoring engineer is the speed at which you can perform the tasks of making all of those requests come true. To help me achieve that, here are five things that I always do when setting up my digital console for monitor mixing.