In the world of simultaneous interpretation equipment rentals and conference systems, Audiowitch stands out as more than just a provider of high-quality gear. Unlike typical companies in this niche, Audiowitch combines cutting-edge technology with a profound understanding of audio dynamics, thanks to the extensive experience of its team in music production, sound engineering, and live sound setups.

At the heart of Audiowitch’s exceptional service is Dennis Briones, a distinguished audiophile and sound designer with a track record that speaks volumes. Dennis Briones is not only a seasoned professional but also an award-winning talent whose work has resonated across the globe. In 2015, he clinched the prestigious accolade for “Best Sound Design and Best Music Soundtrack Production” at the World Fireworks Competition (L'International des Feux Loto-Québec) in Quebec, Canada. This accolade, awarded to Team Vulcan Hong Kong, is a testament to his expertise and creativity in crafting unparalleled audio experiences.

Dennis’s impressive portfolio doesn’t end there. His involvement in the studio vocal engineering for a Gospel artist who won Best New Artist for East Africa at the UK Music Awards is a clear indication of his versatility and prowess. Furthermore, his contributions to the production of several officially released songs and music albums in the Philippines, China, and The Kingdom of Bahrain highlight his global influence and extensive experience in diverse audio environments.

This wealth of experience sets Audiowitch apart from other providers in the field. While many companies offer equipment for simultaneous interpretation, Audiowitch's advantage lies in the technical know-how and passion for sound that its team brings to the table. The intricate nature of setting up audio systems for conferences and events goes beyond merely providing equipment; it requires a deep understanding of sound design, acoustics, and the nuances of live audio environments.

Audiowitch's team is also and ONLY made up of individuals who are not just technicians but passionate audiophiles with hands-on experience in music production and sound engineering. This specialized knowledge ensures that every conference or event they handle is equipped with more than just functional gear; it’s delivered with a deep appreciation for sound quality and clarity.

The company's approach is rooted in a commitment to ensuring that every audio setup is optimized for the best possible experience. Whether it's a high-profile international conference, a corporate seminar, or any event requiring simultaneous interpretation, Audiowitch's expertise ensures that every word is heard with crystal clarity and every audio output is delivered with precision. This meticulous attention to detail is what truly distinguishes Audiowitch from its competitors.

Moreover, Audiowitch's dedication to quality extends beyond the equipment itself. The team's passion for sound is evident in their approach to every project. From initial consultations to the final setup, Audiowitch ensures that all aspects of the audio experience are meticulously planned and executed. This comprehensive service approach not only guarantees optimal performance but also provides clients with peace of mind, knowing that their event's audio needs are in the hands of true professionals.

In summary, Audiowitch's blend of advanced technology, extensive industry experience, and a passionate, knowledgeable team sets it apart in the field of simultaneous interpretation and conference systems. With impressive credentials and a deep-seated expertise in sound design and production, Audiowitch is not just a service provider but a partner in delivering unparalleled audio experiences. Their commitment to excellence ensures that every conference and event benefits from top-notch audio clarity and performance, affirming Audiowitch’s position as a leader in the industry.

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At times, drum overtones can become a nightmare not only for the drummer but the whole band, sound engineer to the extent of the listening crowd as well. Although, overtones and sustain seem to go hand in hand, it can be annoying when there is too much but also makes your drum sound dull when totally killed. So, where to we draw the line?

Drums and drumming most times is subject to preference so it is hard to pinpoint what is really right or wrong because thereˊs almost none.  Instead, drums can be judged by whatever sounds good or bad, but then again, subject to preference.

Usually, it is wise to dampen or lessen overtones as much as possible because the notes from these overtones actually messes with the whole mix to the point that a song being played could sound out of tune. There are three basic ways to dampen drum overtones: first is by using the drum key, second is by placing a ring damper and third is by using masking tape and tissue paper. Although one can also tackle experimenting with room acoustics which does work, for now we discuss what would be the basic and immediate ways a drummer can use.

With the drum key, you need to adjust the bottom sides first or opposite the skins that you hit, called resonant skins or snare side skin for the snare. It should be adjusted just tight enough so that it can still have flexibility to move or resonate. After that, you go on to the batter side and adjust it according to your preferred note. Now, when you hear and think that itˊs got an intrusive overtone, try tightening or loosening the resonant side until you hear the overtone become weaker without losing your desired note. After that, adjust only one lug on the batter side while hitting the drum. Slowly loosen that lug until you the overtone is gone or at least minimal. It is important that you adjust only one lug.

For the second option, you can buy a ring damper which is actually the same material as the drum skins cut like a donut. Dampers are available in different sizes and usually it can solve drum overtone problems easily just by placing them on top of a drum. Although for some instances using dampers can become too much that it ruins the drumˊs natural sound, most times it works fine which is why as a drummer, I always bring dampers for the snare, tom 1, tom 2 and floor tom and use them depending on how the room acoustics affect the drum sound. This is a rule of thumb for drums or any music source for that matter: Same equipment and same players, set up at different rooms or venues equates to different sound each time.

Now letˊs go to what seems to be a more barbaric solution by using adhesive tapes and tissue paper. As crude as this may sound, this works on the same principle as the ring dampers that you can buy but actually more efficient. Yes, efficient because you actually have control of just how much damping you need to apply to achieve minimal overtone nuisance but enough sustain. Just make sure that your are using soft tissue and adhesive or masking tape that really sticks.

Although most times, our concern is to kill overtones, there are actually instances that we need them and some artists that want them.

I, in particular, love overtones as long as they are in tune. Of course this would depend on the Key scale of a particular song you are performing so using overtones is best used inside the controlled environment of a recording studio but not recorded when playing multiple songs of different keys in a live performance. I actually started using overtones for recorded work by accident. I was on a studio session run and my drum track had this terrible overtone on the toms which was colliding with the other instruments. I was struggling to lessen the overtones without sacrificing natural sustain since the song seems to ask for it. Our sound engineer recommended that I tune the whole kit to a scale within the key of the song and I did so with reference to a keyboard. It was a tedious task since unlike a guitar where you only turn one knob to tune, a snare or tom would has 12 to 16 lugs. After more than an hour of tinkering and tuning the kit, we were ready so we did another take, but this time, we did not dampen the drums to kill the overtones and instead highlighted it. It was amazing! The drumkit produced loud powerful notes with overtones which blended well with the mix. I was blown away and my perception of drum overtones totally changed after that.

Summary tip of the day: Drum overtones can be a nightmare which you may want to kill but it can also be your friend; the key is knowing the difference.

The Mighty Shure SM58 Microphone

Without doubt, the classic Shure SM58 is the most popular vocal microphone in the planet. From beginners and small acts to rockstars, Shureˊs SM58 is a famous choice and even if artists have upgraded their gear to more expensive and hi end mics, chances are they have cone across the SM58.

Although it is the most used and abused microphone, many argue that it is not the best and the answer is, yes it is not. It may not have the frequency and dynamic range of other expensive mics, but at a price tag of USD100 on the average, the SM58 is a steal and a must have for anyone engaged in music performances. Yes there might be tons of mics out there with features that would simply outshine the SM58, but the reality is, musicians, the music industry and the whole listening world has been so accustomed to its sound and use. A lot of performers are most comfortable using it in terms of dynamics and handling.

Another thing that the SM58 is known for is its durability - literally built like a tank! Over the years of performing live and being part of a sound rental company, countless times Iˊve witnessed the SM58 torture test in live performance scenarios. Iˊve seen it fall from 10 feet down to solid concrete and still function continuosly with just a dent on the screen cover; an upcoming rockstar with attitude using the SM58 to hit cymbals and toms; a singer swinging the mic cable like a lasso sending it to towards crowd before falling to the ground 15 feet away.... it just doesnˊt stop working. Itˊs almost impossible to destroy its body and the cover is replaceable and cheap so the dents are not a big issue. Built to last, the SM58 can literally be handed over to your grandchildren in working condition without you even taking good care of it.

Aside from being an industry standard sounding microphone for vocals, the SM58 can also be a great instrument microphone. Its low impedance functions well with loud and sudden sound sources such as drums, even the bass drum. Aside from it having the capacity to mic almost anything, the SM58 is also easy to mix on your board.

One might wonder about its use inside the studio and youˊll be surprised at just how many professional and famous recordings used the SM58 for its tracks.

From personal experience, there was a time when I quickly needed to record and mix a song. We were taking the main vocal track and under time pressure. On session, I used a large diaphragm Audio Technica Studio Mic and a Shure SM58 at the same time on separate tracks. My reason for doing so was because that time my line for the Audio Technica were having problems and I did not want to ruin a take so I had the SM58 track as back-up. The signal lines worked well so both tracks were clean. Upon mixing, after some efforts trying to tweak the Audio Technica line, it seemed it will take more time. I took a break and when I got back I tried the track recorded by the SM58. To my surprise, without mich processing, it was almost close to the sound we wanted and in no time, we had a quality sounding vocal track using a hundred dollar microphone. After that incident, there were numerous times Iˊve used the SM58 for professional recordings and still do to date.This is not to say that it can fully replace the big league Rolls Royce mics in recording, but given due circumstances and knowing what you want and how to tweak it right, the SM58 can definitely function as a competent recording studio microphone.

Having used a wide variety of types and brands of microphones, I must say the Shure SM58 is my favorite. Itˊs cheap, durable, friendly to use for vocalists, easy to.mix on the board and can be used for about almost anything you need a mic on. I strongly recommend it as part of oneˊs arsenal for live performances and studio applications.

Summary tip of the day: When in doubt as to what microphone to use, consider the Shure SM58. Although not the best for some situations, it can handle most very well.

This question has long been debated by sound reinforcement rental companies and sound engineers.

I will tell you in great certainty that the answer is both. There is no right or wrong or better, but rather which set-up is best or appropriate for a certain gig. The choice between Mono and Stereo should be subject to the case to case differences of various events. It also relies on preference of the artist, producer and sound engineer; not precisely in that order.

Aside from personal preferences, factors that need to be considered are venue size and nature or type of playback or amplified material and speaker placement set-up. For small venues where speaker distances are not that far, stereo and mono applications might even have very slight difference at all. But if you have a set-up where the speakers are so far apart and the playback material has all of its hi-hats panned hard left, the ones on the right would have missed those notes or sound which are essential for the whole listening experience. This applies to all sound source where there is panning involved in the mix. At some instances, stereo would be best if you are going for sound placement effect as in surround speaker system in the movies where you know exactly from where a sound is coming from.

Some productions who are well aware of their sound outputs shift from mono to stereo whenever necessary meaning they have the best of both worlds. As a conclusion, if you are doing a fast set-up and not well briefed on the sound source outputs, go for mono. Best is to have a system rigged for stereo but set in mono with the option to switch to stereo when needed. Also bear in mind that by shifting from mono to stereo, certain elements will be affected as well such as your EQs, compressors, gates and effects so if you think it will be difficult for you to do real time fast calibrations, just donˊt do it. A solution to this is by using digital mixers where you can shift from one scene to another such as mono to stereo or live band to choir with a push of a button and all the audio processing elements adjusted at the same time. Of course, it would have to be set up ahead of time before the event starts.

A very important note: Even if you are going for a mono set-up, make sure that you are getting a stereo signal from your playback source such as a cd player or laptop and combining the left and right for a mono output. This can be done by using a stereo to mono cable or on-board your main mixer or a sub-mixer such as a DJ mixer. If you donˊt do this, you will greatly miss out on a lot of sound necessary for the whole mix output.

Summary tip of the day: Know your eventˊs audio requirements and source before you decide for a mono or stereo set-up.