Verfügbarkeit: Rockin' your stage sound

Rockin' your stage sound: a musician's guide to professional live audio

Gespeichert in:

Bibliographische Detailangaben
1. Verfasser:	Gainey, Rob (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Milwaukee Hal Leonard 2010
Schriftenreihe:	Music pro guides
Schlagworte:	Rock groups > Instruction and study Rock music > Instruction and study Rock groups > Vocational guidance Rock music > Vocational guidance Rock concerts > Production and direction Rockmusik Rockgruppe Audiotechnik Live-Auftritt Ratgeber
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	Includes index
Beschreibung:	XV, 246 S. zahlr. Ill., graph. Darst.
ISBN:	9781423492788

Internformat

MARC


LEADER	00000nam a2200000zc 4500
001	BV037336752
003	DE-604
005	20120718
007	t
008	110413s2010 xxuad\|\| \|\|\|\| 00\|\|\| eng d
010			\|a 2010048698
020			\|a 9781423492788 \|9 978-1-4234-9278-8
035			\|a (OCoLC)729973784
035			\|a (DE-599)BVBBV037336752
040			\|a DE-604 \|b ger \|e aacr
041	0		\|a eng
044			\|a xxu \|c US
049			\|a DE-12
050		0	\|a MT733.7
082	0		\|a 781.4/30284
084			\|a 9,2 \|2 ssgn
100	1		\|a Gainey, Rob \|e Verfasser \|4 aut
245	1	0	\|a Rockin' your stage sound \|b a musician's guide to professional live audio \|c Rob Gainey
264		1	\|a Milwaukee \|b Hal Leonard \|c 2010
300			\|a XV, 246 S. \|b zahlr. Ill., graph. Darst.
336			\|b txt \|2 rdacontent
337			\|b n \|2 rdamedia
338			\|b nc \|2 rdacarrier
490	0		\|a Music pro guides
500			\|a Includes index
650		4	\|a Rock groups \|x Instruction and study
650		4	\|a Rock music \|x Instruction and study
650		4	\|a Rock groups \|x Vocational guidance
650		4	\|a Rock music \|x Vocational guidance
650		4	\|a Rock concerts \|x Production and direction
650	0	7	\|a Rockmusik \|0 (DE-588)4115774-6 \|2 gnd \|9 rswk-swf
650	0	7	\|a Rockgruppe \|0 (DE-588)4259813-8 \|2 gnd \|9 rswk-swf
650	0	7	\|a Audiotechnik \|0 (DE-588)4140445-2 \|2 gnd \|9 rswk-swf
650	0	7	\|a Live-Auftritt \|0 (DE-588)4570116-7 \|2 gnd \|9 rswk-swf
655		7	\|0 (DE-588)4048476-2 \|a Ratgeber \|2 gnd-content
689	0	0	\|a Rockmusik \|0 (DE-588)4115774-6 \|D s
689	0	1	\|a Rockgruppe \|0 (DE-588)4259813-8 \|D s
689	0	2	\|a Live-Auftritt \|0 (DE-588)4570116-7 \|D s
689	0	3	\|a Audiotechnik \|0 (DE-588)4140445-2 \|D s
689	0		\|5 DE-604
856	4	2	\|m Digitalisierung BSB Muenchen \|q application/pdf \|u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022490541&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA \|3 Inhaltsverzeichnis
999			\|a oai:aleph.bib-bvb.de:BVB01-022490541
942	1	1	\|c 780 \|e 22/bsb \|f 090511
942	1	1	\|c 780.2 \|e 22/bsb \|f 090511

Datensatz im Suchindex

_version_	1804145621527953408
adam_text	CONTENTS Foreword ............................................................................................................................. χι Preface ................................................................................................................................ хш Acknowledgments ...........................................................................................................xv Introduction .........................................................................................................................1 Chapter Primer ...................................................................................................................3 Chapter i: Your Tone Getting the Most Out of Your Sound Before You Get Onstage ..............7 Electric Guitars/Basses ................................................................................................8 1. always use fresh strings .............................................................................................8 2. LISTEN IN A QUIET ROOM ..................................................................................................8 3. ELIMINATE BUZZES AND NOISES ........................................................................................8 4. INTONATE YOUR INSTRUMENT ...........................................................................................9 5. CHECK ALL BATTERIES AND KEEP SPARES ........................................................................9 6. USE A QUALITY GUITAR STRAP AND FASTENER ..............................................................10 7. SECURE YOUR INSTRUMENT CABLE ..................................................................................10 8. ADJUST YOUR ACTION PROPERLY ....................................................................................11 9. ADJUST YOUR PICKUPS PROPERLY ...................................................................................11 10. KEEP STRONG MAGNETS AWAY FROM PICKUPS .............................................................12 Drum Sets ...........................................................................................................................13 11. ELIMINATE SQUEAKS AND RATTLES ................................................................................13 12. USE FRESH DRUM HEADS ...............................................................................................13 13. TUNE DRUMS EVENLY ....................................................................................................14 14. ALLOW ROOM FOR MICROPHONES ................................................................................15 15. play with dynamics ...................................................................................................17 Acoustic Stringed Instruments .................................................................................19 16. use a pickup on acoustic instruments ...................................................................19 17. USE A MUTE SWITCH TO PREVENT PROBLEMS ................................................................19 18. use a stage amp for a personal monitor .............................................................19 Reed and Brass Instruments .......................................................................................21 19. use a clip-on mic when you can ............................................................................22 Reed Instruments ...........................................................................................................22 Brass Instruments .........................................................................................................23 Keyboards ........................................................................................................................24 Electronic Keyboards .................................................................................................24 20. carefully check all cables ..................................................................................24 21. carry backup power supplies ................................................................................24 22. keep spare sound cards and discs .......................................................................24 23. keep your gear in working condition .................................................................24 Analog Keyboards ........................................................................................................25 Acoustic Pianos ............................................................................................................26 IV Vocalists ............................................................................................................................27 24. never cup the ball of the mic ..............................................................................27 25. never drop the mic .................................................................................................27 26. never expose the mic directly to the mains or monitors ................................27 Cupping the Mic .............................................................................................................27 27. balance your stage levels with the monitors ..................................................27 28. use your own mic ....................................................................................................28 29. keep wireless systems in the line of sight .........................................................28 30. learn what sounds good on your voice ............................................................28 31. keep your lyrics handy ...........................................................................................29 Amplifiers ..........................................................................................................................30 32. listen to your amp without effects ...................................................................30 Guitar Amps ....................................................................................................................30 33. use fresh tubes ........................................................................................................31 34. buy and use a volt-ohm meter ..............................................................................31 35. check for microphonics in your rig .....................................................................31 36. try your effects one at a time to find problems .............................................32 37. use only the effects you really need .................................................................32 38. don t wear earplugs—turn down ......................................................................34 Effects ................................................................................................................................35 39. place your effects in the correct order ..........................................................35 Dynamics Processors ...................................................................................................35 Tone Processors ...........................................................................................................35 Pitch Processors ..........................................................................................................35 Time Processors ............................................................................................................35 40. use loop switching to create unusual effects ................................................37 Amplifier Effects Loops ..............................................................................................38 Gates ................................................................................................................................39 Compressors ...................................................................................................................40 EQs ...................................................................................................................................40 Gain and Distortion Pedals .......................................................................................40 Harmonizers and Octave Pedals ...............................................................................40 Flangers/Choruses/Phasers ......................................................................................41 Delay .................................................................................................................................41 Reverb ...............................................................................................................................41 Line Drivers .....................................................................................................................41 In Conclusion ...................................................................................................................42 Chapter 2: Setting Up Conventional and Radical Approaches to Solving Problems .........................45 Setting Up .........................................................................................................................45 The 5.1 Surround Sound Theory ...............................................................................46 Monophonic Sound .......................................................................................................46 V Stereophonic Sound .....................................................................................................46 Surround Sound ............................................................................................................46 Stage Locations ..............................................................................................................48 Stage Terminology .........................................................................................................49 Introduction to Stage Zones ....................................................................................49 Small-Format Setups ....................................................................................................52 1. put the right sound in the right place ..................................................................52 2. find the right spot for your backline..................................................................52 Staging .............................................................................................................................52 3. use doubling to get more stage level ..................................................................55 4. use crossfiring to use less offstage level .........................................................57 5. use cornering to get more stage coverage .........................................................58 6. use a hotshot for tight spots ................................................................................59 7. use stacking as an alternative ...............................................................................60 8. use angling for wider coverage .............................................................................61 9. use sidelining as an alternative ..............................................................................61 Medium-Format Setups .................................................................................................63 10. use a combo or hotshot for acoustic instruments ..........................................64 11. USE A FULL-SIZED AMP FOR SOLOISTS ..........................................................................66 12. know exactly how long it takes to set up .........................................................67 Large-Format Bands ....................................................................................................69 Choosing Stage Locations ..........................................................................................72 13. consider the dynamics of the sound ....................................................................72 14. consider the location of the sound ....................................................................73 15. find the best way to mic the sound ......................................................................73 16. find the best way to monitor the sound .............................................................73 Using Personal Monitors ...........................................................................................75 17. use a personal monitor for best results ............................................................75 18. almost anything can work as a monitor ............................................................76 Tube Amps .......................................................................................................................76 Digital Modeling Amps ................................................................................................76 Plain Old Amps .............................................................................................................76 19. keyboard and guitar sounds should be balanced ............................................77 Keyboard Patches ..........................................................................................................77 Guitar Patches and Channel Switching ...............................................................78 Digital Modeling Amps .................................................................................................79 Channel-Switching Amps ............................................................................................80 FooTPEDAL Overdrive ....................................................................................................80 In Conclusion ....................................................................................................................81 Chapter 3: Monitor Systems Understanding Monitor Systems and Their Limitations ......................................83 Monitor Systems .............................................................................................................83 VI mt Monitor Zones ................................................................................................................84 The Rollover Point .......................................................................................................84 Identifying Monitor Systems .....................................................................................86 Type I Monitor Systems ...............................................................................................87 1. A TYPE I MONITOR SYSTEM IS REALLY A PA SYSTEM .......................................................87 2. IDENTIFY THE ZONES OF THE SYSTEM ............................................................................87 3. USE LOCATION, FOCUS, AND BALANCE TO GET WHAT YOU NEED .................................88 4. SET UP YOUR SYSTEM PROPERLY ...................................................................................90 5. SET GAIN CONTROLS TO CENTER WITH THE MASTER DOWN ..........................................90 6. START WITH YOUR EQS SET TO FLAT ..............................................................................91 7. ADJUST THE GRAPHIC EQ TO CONTROL THE OUTPUT FIRST ............................................91 8. ADJUST THE CHANNEL EQ TO CONTROL THE INPUT ......................................................92 9. AVOID EQ CONTRADICTIONS ..........................................................................................92 10. AVOID GAIN CONTRADICTIONS .....................................................................................93 11. USE THE SAME EQUIPMENT AT REHEARSAL THAT YOU PLAN TO USE AT THE SHOW .... 93 Type II Monitor Systems ..............................................................................................94 12. THERE IS NO CHANNEL EQ ON A TYPE II MONITOR SYSTEM ..........................................95 13. MONITOR LEVELS ARE CRITICAL IN FLOOR WEDGES .....................................................96 14. EACH ZONE REQUIRES A SEPARATE MIX .......................................................................96 15. REPOSITION UNUSED MONITORS ...................................................................................99 Type III Monitor Systems ..........................................................................................102 16. A TYPE III SYSTEM HAS A SEPARATE MONITOR CONSOLE ...........................................102 17. TYPE III SYSTEMS ARE MORE VERSATILE ......................................................................103 18. A TYPE III SYSTEM HAS COMPLETELY INDEPENDENT SIGNAL PATHS ............................104 19. A TYPE III SYSTEM OFTEN HAS SIDEFILLS ...................................................................105 20. SIDEFILLS ARE GREAT TO SEPARATE MIXES ...............................................................105 Type IV Monitor Systems ............................................................................................112 21. A TYPE IV SYSTEM USES MOSTLY IN-EAR MONITORS ....................................................113 22. KEEP IN-EAR TRANSMITTERS IN THE LINE OF SIGHT ....................................................113 23. IN-EAR SYSTEMS WORK BEST ON TYPE Ml/lV PA SYSTEMS ..........................................113 24. IN-EAR MONITORS WORK WITH REASONABLE STAGE VOLUMES ..................................114 25. keep a variety of adapters for your in-ear monitors ....................................115 Hybrid Systems ................................................................................................................116 26. in-ear monitors can have multiple receivers ....................................................118 Monitor Cues ...................................................................................................................119 27. establish hand signals for monitor cues ..........................................................119 Loops and Flies .............................................................................................................120 Loops .............................................................................................................................120 Flies .................................................................................................................................121 VII 28. use a type i system for loops and flies ..............................................................121 29. use a type i system for sidefill monitors ...........................................................121 In Conclusion ..................................................................................................................122 Chapter 4: Input Sources Getting the Right Signal to the Monitors and Mains .........................................125 Input Sources ..................................................................................................................125 Microphones ..................................................................................................................126 1. use dynamic mics for dynamic sounds ...................................................................126 2. use condenser mics for complex sounds .............................................................126 3. cardioid mics are semi-directional .......................................................................127 4. hypercardioid mics are unidirectional .................................................................127 5. omni mics pick up sound from all directions ......................................................127 6. keep omni mics away from monitors ......................................................................127 7. ribbon mics have a figure-8 pattern .....................................................................128 8. use volume/mute pedals for bullet mics ...........................................................128 9. most unbalanced mics are cheap toys .................................................................128 10. megaphones work well onstage .........................................................................128 11. wireless systems have less headroom ................................................................130 12. some wireless systems are better than others ...............................................130 13. make sure your wireless is in the line of sight .................................................131 14. use fresh batteries for every show ....................................................................131 15. heavy-base stands pick up stage noise .................................................................131 16. boom stands pick up stage noise ...........................................................................131 17. clip-on mic stands and mics eliminate noise .......................................................132 18. internal mics work best in tight spots ...............................................................132 19. use the smallest stand that will work .............................................................133 20. use a shockmount for heavy-base stands .......................................................134 21. allow space for microphones ..............................................................................134 22. get the mic in the best location you can ..........................................................134 23. focus mics toward the best tone range ...........................................................136 24. use the rejection range of a mic to reduce stage noise ...............................137 Line Inputs .......................................................................................................................140 25. USE CONTACT MICS AND PICKUPS FOR PERSONAL MONITORS ..................................140 26. use direct boxes before the amp .......................................................................140 27. use direct boxes after volume and mute controls .........................................142 28. choose keyboard di locations for your needs ................................................145 Loops and Flies .............................................................................................................146 29. an 808 should have its own output to the console ....................................148 30. flies need a click track on a different output .............................................148 In Conclusion .................................................................................................................150 Chapter 5: Getting Organized Assembling the Tools to Make Your Show Consistently Great ......................153 Inventory ..........................................................................................................................155 VIII 1. ASSEMBLE A BACKUP KIT FOR YOUR GIGS..................................................................... 156 2. MAKE A PERSONAL INVENTORY SHEET ........................................................................ 157 3. MAKE A MASTER INVENTORY FOLDER ...........................................................................158 4. MAKE A STAGE PLOT ...................................................................................................158 5. SHOW DETAIL IN YOUR STAGE PLOT ............................................................................159 6. MAKE AN INPUT LIST .....................................................................................................159 7. MAKE A MONITOR CUE SHEET .....................................................................................160 8. SHOW INSTRUMENT CHANGES AND CUES ....................................................................162 9. MAKE A SOUND/LIGHT CUE SHEET ..............................................................................162 10. LIST THE CUES IN THE SET ORDER .............................................................................163 11. KEEP CUES SHORT AND PRECISE ..................................................................................163 12. MAKE A SHOW PLAN AND ITINERARY ........................................................................164 13. ORGANIZE YOUR PROMOTIONAL MATERIALS ...............................................................166 14. PURCHASE AND USE A LEDGER SHEET .......................................................................166 15. GET A BUSINESS LICENSE ...........................................................................................166 16. DO A QUICK SHEET FOR BAND PAYROLL ....................................................................167 17. keep detailed business records ............................................................................167 In Conclusion ..................................................................................................................168 Chapter 6: Soundchecking A Systematic Approach to Consistency ..................................................................171 1. get there early ..........................................................................................................173 2. have a look around .................................................................................................174 3. get set up as quickly as possible ..........................................................................175 4. start with your rehearsal settings .....................................................................176 5. adjust your placement and levels for the stage ..............................................176 6. balance your stage levels evenly ........................................................................177 7. bring up the monitors first ....................................................................................179 8. check for ground loops and faults ...................................................................180 9. use a windscreen to avoid getting shocked ......................................................180 10. refocus your cabinets if you need to .................................................................181 11. use eq to get slight volume changes ...................................................................181 12. log your settings before and after the show .................................................183 13. be careful with fans onstage ..............................................................................183 14. pay attention to stage props onstage ...............................................................184 15. use stage props to control your zones ...........................................................184 Stage Resonance .............................................................................................................184 16. check for stage resonance ..................................................................................185 17. make adjustments for noisy stages .....................................................................185 Line Checking ..................................................................................................................187 18. use settings from rehearsals for line checks .................................................188 19. check your rig carefully before the show ......................................................190 20. the first two songs are your soundcheck .....................................................190 21. make adjustments conservatively .......................................................................190 22. don t always trust audience opinions ..............................................................190 IX 23. get offstage quickly ..............................................................................................191 24. pack your gear up offstage .................................................................................191 In Conclusion ..................................................................................................................193 Chapter 7: Making It Work A Complete Review. .......................................................................................................197 Working the System .....................................................................................................197 Working with Sound Engineers ............................................................................202 Working with Stage Managers .............................................................................205 In Conclusion .................................................................................................................207 Chapter 8: Technical Aspects Applying the Skills You Need to Succeed ...............................................................211 Volt-Ohm Meter .............................................................................................................211 1. LEARN TO OPERATE A VOLT-OHM METER ......................................................................212 2. LEARN HOW TO TEST IMPEDANCE .................................................................................212 3. LEARN HOW TO TEST CABLES .....................................................................................213 4. LEARN HOW TO CHECK FUSES ......................................................................................214 5. UNDERSTAND OHM S PRINCIPLES .................................................................................214 Ohms ...................................................................................................................................214 6. ALWAYS USE THE CORRECT IMPEDANCE .......................................................................217 Solid-State Amps ...........................................................................................................217 Tube Amps .........................................................................................................................218 7. use the correct type of cable ...............................................................................219 8. understand the difference between balanced and unbalanced connections .....................................................................................219 9. learn how to make a hotshot ..............................................................................222 10. LEARN HOW TO USE AN ATTENUATOR .......................................................................225 11. UNDERSTAND UNITY GAIN ...........................................................................................226 12. CORRECTLY TERMINATE ALL CONNECTIONS ................................................................228 13. LEARN HOW TO CALCULATE DELAY TIMES ..................................................................229 14. LEARN HOW TO CALCULATE TEMPO ..........................................................................230 15. understand product specs ....................................................................................231 In Conclusion .................................................................................................................233 Glossary of Audio Terms .........................................................................................235 Web Extra at rockinyourstagesound.com Unusual Stages and Other Oddities ....................................................................239 About the Author .........................................................................................................241 Index ...................................................................................................................................243
any_adam_object	1
author	Gainey, Rob
author_facet	Gainey, Rob
author_role	aut
author_sort	Gainey, Rob
author_variant	r g rg
building	Verbundindex
bvnumber	BV037336752
callnumber-first	M - Music
callnumber-label	MT733
callnumber-raw	MT733.7
callnumber-search	MT733.7
callnumber-sort	MT 3733.7
callnumber-subject	MT - Instruction and Study
ctrlnum	(OCoLC)729973784 (DE-599)BVBBV037336752
dewey-full	781.4/30284
dewey-hundreds	700 - The arts
dewey-ones	781 - General principles and musical forms
dewey-raw	781.4/30284
dewey-search	781.4/30284
dewey-sort	3781.4 530284
dewey-tens	780 - Music
discipline	Musikwissenschaft
format	Book
fullrecord	<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02054nam a2200553zc 4500</leader><controlfield tag="001">BV037336752</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20120718 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">110413s2010 xxuad\|\| \|\|\|\| 00\|\|\| eng d</controlfield><datafield tag="010" ind1=" " ind2=" "><subfield code="a">2010048698</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9781423492788</subfield><subfield code="9">978-1-4234-9278-8</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)729973784</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV037336752</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">aacr</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="044" ind1=" " ind2=" "><subfield code="a">xxu</subfield><subfield code="c">US</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="050" ind1=" " ind2="0"><subfield code="a">MT733.7</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">781.4/30284</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">9,2</subfield><subfield code="2">ssgn</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Gainey, Rob</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Rockin' your stage sound</subfield><subfield code="b">a musician's guide to professional live audio</subfield><subfield code="c">Rob Gainey</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Milwaukee</subfield><subfield code="b">Hal Leonard</subfield><subfield code="c">2010</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">XV, 246 S.</subfield><subfield code="b">zahlr. Ill., graph. Darst.</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="490" ind1="0" ind2=" "><subfield code="a">Music pro guides</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Includes index</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Rock groups</subfield><subfield code="x">Instruction and study</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Rock music</subfield><subfield code="x">Instruction and study</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Rock groups</subfield><subfield code="x">Vocational guidance</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Rock music</subfield><subfield code="x">Vocational guidance</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Rock concerts</subfield><subfield code="x">Production and direction</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Rockmusik</subfield><subfield code="0">(DE-588)4115774-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Rockgruppe</subfield><subfield code="0">(DE-588)4259813-8</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Audiotechnik</subfield><subfield code="0">(DE-588)4140445-2</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Live-Auftritt</subfield><subfield code="0">(DE-588)4570116-7</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="0">(DE-588)4048476-2</subfield><subfield code="a">Ratgeber</subfield><subfield code="2">gnd-content</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Rockmusik</subfield><subfield code="0">(DE-588)4115774-6</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Rockgruppe</subfield><subfield code="0">(DE-588)4259813-8</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Live-Auftritt</subfield><subfield code="0">(DE-588)4570116-7</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="3"><subfield code="a">Audiotechnik</subfield><subfield code="0">(DE-588)4140445-2</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022490541&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-022490541</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">780</subfield><subfield code="e">22/bsb</subfield><subfield code="f">090511</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">780.2</subfield><subfield code="e">22/bsb</subfield><subfield code="f">090511</subfield></datafield></record></collection>
genre	(DE-588)4048476-2 Ratgeber gnd-content
genre_facet	Ratgeber
id	DE-604.BV037336752
illustrated	Illustrated
indexdate	2024-07-09T23:22:22Z
institution	BVB
isbn	9781423492788
language	English
lccn	2010048698
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-022490541
oclc_num	729973784
open_access_boolean
owner	DE-12
owner_facet	DE-12
physical	XV, 246 S. zahlr. Ill., graph. Darst.
publishDate	2010
publishDateSearch	2010
publishDateSort	2010
publisher	Hal Leonard
record_format	marc
series2	Music pro guides
spelling	Gainey, Rob Verfasser aut Rockin' your stage sound a musician's guide to professional live audio Rob Gainey Milwaukee Hal Leonard 2010 XV, 246 S. zahlr. Ill., graph. Darst. txt rdacontent n rdamedia nc rdacarrier Music pro guides Includes index Rock groups Instruction and study Rock music Instruction and study Rock groups Vocational guidance Rock music Vocational guidance Rock concerts Production and direction Rockmusik (DE-588)4115774-6 gnd rswk-swf Rockgruppe (DE-588)4259813-8 gnd rswk-swf Audiotechnik (DE-588)4140445-2 gnd rswk-swf Live-Auftritt (DE-588)4570116-7 gnd rswk-swf (DE-588)4048476-2 Ratgeber gnd-content Rockmusik (DE-588)4115774-6 s Rockgruppe (DE-588)4259813-8 s Live-Auftritt (DE-588)4570116-7 s Audiotechnik (DE-588)4140445-2 s DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022490541&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Gainey, Rob Rockin' your stage sound a musician's guide to professional live audio Rock groups Instruction and study Rock music Instruction and study Rock groups Vocational guidance Rock music Vocational guidance Rock concerts Production and direction Rockmusik (DE-588)4115774-6 gnd Rockgruppe (DE-588)4259813-8 gnd Audiotechnik (DE-588)4140445-2 gnd Live-Auftritt (DE-588)4570116-7 gnd
subject_GND	(DE-588)4115774-6 (DE-588)4259813-8 (DE-588)4140445-2 (DE-588)4570116-7 (DE-588)4048476-2
title	Rockin' your stage sound a musician's guide to professional live audio
title_auth	Rockin' your stage sound a musician's guide to professional live audio
title_exact_search	Rockin' your stage sound a musician's guide to professional live audio
title_full	Rockin' your stage sound a musician's guide to professional live audio Rob Gainey
title_fullStr	Rockin' your stage sound a musician's guide to professional live audio Rob Gainey
title_full_unstemmed	Rockin' your stage sound a musician's guide to professional live audio Rob Gainey
title_short	Rockin' your stage sound
title_sort	rockin your stage sound a musician s guide to professional live audio
title_sub	a musician's guide to professional live audio
topic	Rock groups Instruction and study Rock music Instruction and study Rock groups Vocational guidance Rock music Vocational guidance Rock concerts Production and direction Rockmusik (DE-588)4115774-6 gnd Rockgruppe (DE-588)4259813-8 gnd Audiotechnik (DE-588)4140445-2 gnd Live-Auftritt (DE-588)4570116-7 gnd
topic_facet	Rock groups Instruction and study Rock music Instruction and study Rock groups Vocational guidance Rock music Vocational guidance Rock concerts Production and direction Rockmusik Rockgruppe Audiotechnik Live-Auftritt Ratgeber
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022490541&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT gaineyrob rockinyourstagesoundamusiciansguidetoprofessionalliveaudio

Verfügbarkeit

Es ist kein Print-Exemplar vorhanden.

Fernleihe Bestellen Achtung: Nicht im THWS-Bestand! Inhaltsverzeichnis

MARC

Datensatz im Suchindex

Es ist kein Print-Exemplar vorhanden.

Ähnliche Einträge