Tech Notes
FLS® –– Taking the Mystery Out of Feedback
by Peavey Electronics
on Aug 01 2026
Acoustic feedback can be caused intentionally—but for most of us, feedback is usually the undesirable result of turning up the monitor feed too loud for Sarah the Singer who's getting drowned out by Buddy the Bass Blaster. At the onset of feedback, Peavey's patented Feedback Locating System® (FLS®), indicates which slider on the graphic equalizer you need to adjust to make the dreaded brain darts go away.
Clipping Revisited: Clipping—What is it and what's the big deal?
by Peavey Electronics
on Jul 30 2026
Whether you are capturing a pristine archival recording of a flute player or managing the high-energy chaos of a live hip hop performance, your primary goal is the same: keeping the integrity of the sound. In the heat of a performance, the difference between a professional result and a compromised one often comes down to how you manage your gain structure. Understanding the mechanics of clipping isn't just academic, it is the key to delivering a clean, impactful mix.
Glossary of Digital Audio Terms
by Peavey Electronics
on Jul 20 2026
A/D Convertor An electronic circuit that transforms an analog signal into a digital form that can be used by a computer or other digital circuits. Aliasing An undesirable effect that is produced by the generation of frequency components during the sampling process of converting an analog signal into digital form: an effect that is caused by improperly filtering the analog signal prior to sampling or by using a sampling frequency that is too low.
Reference of Sound Reinforcement Terms
by Peavey Electronics
on Jul 09 2026
A-B Test Evaluating comparative performance of two or more models of equipment such as amplifiers or speaker systems by listening and switching quickly from one to the other. It is possible to connect an A-B Test to any two pieces of the same type of equipment from anywhere in the audio chain.
by Marty McCann
on Jul 01 2026
Several years ago I wrote four separate articles on Loudspeaker Impedance that were published in various Peavey Monitor Magazines. Realizing that many people may not have read each of the articles, I have decided to address the subject of Impedance in audio once again. This will be a detailed technical paper that will start out with the basics so that sound system operators and technicians may have an opportunity to establish a thorough understanding of the fundamental concepts of loudspeaker impedance and their applications. I will also continue to address the subject of impedance as it applies to the interfacing of those electronic components ahead of the power amplifier.
by Don Boomer
on Jun 30 2026
Aux Fed Subs has been the practice of many regional and national sound providers for years now. This technique can provide you with a way to tame the low-end mud from your system, give you back some punch, and control the clarity of your system. The idea is to eliminate sending “plosives” from vocal mics and footfall pickup from stage floors, as well as the collective roar that seems to bleed into all of your open mics. Channel low-cut filters can reduce some of these problems but do not completely eliminate them from the system.
The Ultimate Drum Tuning Guide
by Steven Volpp
on Jun 01 2026
The first hurdle to overcome in obtaining a good drum sound is that tuning a drum is not hard. Many books, articles, and videos have been written about it over the years, but instead of giving you something else to learn, this guide will let you apply what you already know to tuning your drums, and you will soon agree that tuning your instrument is not hard.
The Loudspeaker Spec Sheet Game
by Jon M. Risch
on Jun 01 2026
Oftentimes, when looking at the spec sheets from different manufacturers, it may seem as though almost everything from a 10" based speaker system to an 18" based system has the same performance, regardless of price. If these specifications are examined closely, only then can one begin to understand what is really being claimed as the product’s performance. In this paper, we will explore what to look for on a loudspeaker spec sheet in order to properly assess competing products.
by Matt Isaacson
on May 29 2026
A standard method for transferring samples via SCSI is now available. Will it catch on? I'm not one to create acronyms for the sake of acronyms, but when I tried to name a new data transfer method I developed, it made sense to link it to another well-known member of the electronic music lexicon. So yes, SMDI (pronounced "smi-dee"), an acronym for SCSI Musical Data Interchange, rhymes with MIDI.
by Peavey Electronics
on Apr 24 2026
The standard SP comes with 1 megaword (2 megabytes) of RAM in the form of a pair of 1 meg x 8 SIMMs (single in-line memory modules). These are 30 pin Macintosh SIMMs. They are not the same as the IBM 1 meg x 9 SIMMs or the Macintosh IIfx types. Upgrading the memory in your SP is as easy as buying and installing more of these 30 pin Mac SIMMs.
by Peavey Electronics
on Apr 22 2026
The following chart is very handy for quickly determining sample time based on the DPM SP's RAM and the sample rate. Sample Memory vs. Sample Time(Sample words/Sample Rate=Time[seconds]) 512K @ 44.1kHz: 5.8 1MB @ 44.1kHz: 11.6 2MB @ 44.1kHz: 22.67 4MB @ 44.1kHz: 45.35 8MB @ 44.1kHz: 90.70 16MB @ 44.1kHz: 181.403 2MB 44.1kHz: 362.81 512K @ 32kHz: 81MB @ 32kHz: 15.6
by Marty McCann
on Apr 01 2026
What EQ Settings/curve would you recommend for a lavaliere mic in a difficult environment such as a reverberant church or hall!" I would recommend a Cardioid pattern lapel mic, even though the pattern is altered when placed on the chest. Some put the mic too far down on their chest. The user should drop their chin to their chest and put the mic directly below that point. The farther down from this point results in even more mid-range chest cavity resonance that colors the sound. This chest cavity resonance an
