Music and Sound Services include:
concert sound, special events, church celebrations,
festivals, musical productions, meetings, conferences,
seminars, technical theater, amplified wedding vows,
hookup for wedding reception band, DJ, and iPod
two-track or multi-track on site audio recording
Featuring: the Yamaha LS9 digital console
wireless audio mixing from the audience
wireless hand held, earset, and lapel mics
audio spectrum analysis - sound system tuning
serving Asheville, Black Mountain NC, Cherokee,
Lake Lure, Hendersonville NC, Waynesville NC,
and the Western North Carolina Mountains
With over 30 years experience
http://appalachianspa.com Spa directory and mobile spa
Visit our sister sites:
Stewart Audio convection cooled digital amplifiers are completely noiseless, with low power consumption, and provide very clean sound using the Electro-Voice SX-80 or Turbosound enclosures.
http://digiviewrepair.com Camera Surveillance Digital Video Recorder repair
We accept cash, check, and all major credit cards via PayPal.
Sound Service was originally conceived in the late seventies egg carton lined basement studio of a Danish Aage Jensen Musikhuset. Following my Audio/Visual department days in school I started work in that far away music house, with an instrument repair shop and event sound system for rent. So we served the community with live sound reinforcement. The store was a great way to bring touring musicians such as Wasa Express and recording artists "Acropolis" into the studio. I was then free to mic instruments and learn running sound on a pristine 24 channel Mape console. The Sound Service logo was drawn at the time by our resident surgeon and guitarist Jorn Bennebaek of Red Mustang.dk. Thanks to the Eilskov family I read lots of Isaac Asimov, and dreamed of running a sound system without having to be confined to one place...
"Going back to Miami" in 1980 I became a sound man when I was "thrown to the wolves" on a Tapco system: with knobs, not faders! Thank you Randy Rush, and The Front. I worked with numerous bar bands, and began experimenting with Pressure Zone Microphones. During mid-eighties Gainesville Florida I surveyed land by day and ran sound by night for an 11-piece "Rhythm and Blues Review and Show Band," who took the stage for several years. In 1987 A few of the band members played and acted in a full performance of "Hair," which held over due to the non-staged picketers. After that ran sound for the Phoenix kids in a middle school production of "Cats." Joaquin was Rum Tum Tugger, and River played guitar.
Asheville, North Carolina 1991 I installed distributed audio systems, went back to school to earn an electronics engineering degree, and began gathering my own sound equipment. 1993: one day after church I asked Bob Moog if he planned to combine the Moog Synthesizer with the Theremin; he replied "I would rather keep the concept of the Theremin intact." Late 1996: I took a job in computer technical support for a gate access security company, and went on to camera surveillance Digital Video Recorder testing and repair. Meanwhile I was introduced to the Contra dance community and began working sound for the acoustic musicians who perform there. I have been since told I have an ear for bringing the body and character of each instrument into the mix. In 2005 I revived the Sound Service logo from the old Musikhuset business card to use for Alan Phillips Sound Service. In 2007 I constructed a touch screen monitor for use with my portable PC based remote controlled sound reinforcement system and LS9, quite useful in theater and wedding events. Early 2009 saw the buyout and demise of Digitech International; my former day job. This blessing in disguise gave way to better dedication to Sound Service concerts and events, theater audio, and sound reinforcement for the Biltmore Park Town Square® summer concert series, three years Flat Rock Playhouse Music On The Rock series, including sound design for professional musicals.
With the advent of the iPad and the multi-touch StageMix application released for my digital console in 2011, I found this to be the remote solution I had been looking for. There is however no replacement for the tactile response of faders on a sound console like the Yamaha LS9. Running the LS9 and Stagemix together there can be two engineers working a concert sound system, on the same console. The freedom of engineering sound anywhere in the room including the stage, is of course priceless, and is another great tool for optimizing the listening experience for the entire audience.
"There is no substitute for experience"