Post on 19-Dec-2015
Fundamentals of Audio Production. Chapter 12
11
Fundamentals of Audio Fundamentals of Audio ProductionProduction
Chapter Twelve:Chapter Twelve:
Live Sound ReinforcementLive Sound Reinforcement
Fundamentals of Audio Production. Chapter 12
2
Live sound terminology
• Terms are often interchangeable
• Public address (PA) systems – most often describes systems for voice – i.e. sports venues, paging systems
• Sound reinforcement – describes systems for live music– i.e. concerts and live performances
Fundamentals of Audio Production. Chapter 12
3
Controlling feedback
• Feedback is the result of the speakers’ output being picked up by microphones and re-amplified by the system
• Feedback is self-sustaining oscillation of the system
• Feedback is controlled by proper placement of the microphones is relation to the speakers
Fundamentals of Audio Production. Chapter 12
4
Controlling feedback
Fundamentals of Audio Production. Chapter 12
5
Controlling feedback
• Use of cardioid microphones helps eliminate feedback by rejecting sound from the front-of-house speakers and monitors
• The null or off-axis side of the microphone should be place toward the live speakers
Fundamentals of Audio Production. Chapter 12
6
Tuning the system
• Each room has unique modes resulting from its dimensions and shape
• Modes may cause some frequencies to “ring” or resonate – other frequencies may be difficult to propagate or hear
• Precise “tuning” of the system with a 1/3 octave equalizer can compensate for room modes by boosting or cutting some frequencies
Fundamentals of Audio Production. Chapter 12
7
Tuning the system
• Systems may be tuned by playing white noise, and then measuring the response with a real time analyzer
• RTAs capture the sound using a calibrated accurate microphone
• RTAs provide a visual display of the frequency response
Fundamentals of Audio Production. Chapter 12
8
Tuning the system
PC-based RTA display, left and right channels
Fundamentals of Audio Production. Chapter 12
9
Loudspeakers and monitors
• In many large systems, the signal from the console is split by external crossovers, then routed to appropriate high, mid, or low frequency enclosures in the speaker array
Fundamentals of Audio Production. Chapter 12
10
Crossovers
Fundamentals of Audio Production. Chapter 12
11
Monitor mixing
• In small to medium systems, the sound is mixed for the on-stage monitors on the front of house console
• “Pre-fader” signals from individual microphones may be mixed and routed to the monitors without being affected by the main faders
Fundamentals of Audio Production. Chapter 12
12
Pre-fader versus post-fader
Fundamentals of Audio Production. Chapter 12
13
Monitor mixing
• In large complex live systems, the monitor mix is created on a separate console, usually located just off-stage
• The signals from the microphones are split at the snake box, and routed to the two separate consoles
Fundamentals of Audio Production. Chapter 12
14
Monitor mixing
Fundamentals of Audio Production. Chapter 12
15
Monitor mixing
Fundamentals of Audio Production. Chapter 12
16
Monitor mixing
• In ear monitors, or ear buds, have become popular alternatives to on-stage floor wedges
• Keeps stage sound levels lower
• Requires a limiter to assure that feedback or other loud transients do not damage hearing
Fundamentals of Audio Production. Chapter 12
17
Monitor mixing
Fundamentals of Audio Production. Chapter 12
18
Sound check
• The system is tuned to the room
• Gain and output levels are set
• Automated consoles recall settings from previous shows or set changes
• Caveat: Some performers will play much louder during performance than sound check
Fundamentals of Audio Production. Chapter 12
19
Avoiding equipment damage
• Amplifiers should be turned on last after consoles and all other outboard equipment
• Amplifiers should be turned off first before powering down consoles and other gear
• This will avoid speaker-damaging “pops” from the power surges
Fundamentals of Audio Production. Chapter 12
20
Level management
• More and more venues are placing restrictions on sound pressure levels
• Some because of noise ordinances in local municipalities
• Some because of the fear of liability for hearing damage to patrons
• Many live sound engineers keep a sound pressure level meter at the FOH console
Fundamentals of Audio Production. Chapter 12
21
Ground loops
• Ground loops cause hum in the system due to differing potentials on different power circuits
• If possible, all equipment should share a common earth ground point
• If hum is present, connecting the console and amplifiers to the same circuit may eliminate it
Fundamentals of Audio Production. Chapter 12
22
Connections
• Professional systems use balanced connections
• Wiring contains two conductors for hot (+) and cold (-) signal, plus a shield
• Unbalanced cabling only uses one conductor and a shield
• Unbalanced connections are more susceptible to hum and interference
Fundamentals of Audio Production. Chapter 12
23
Types of shielded cabling
Fundamentals of Audio Production. Chapter 12
24
XLR connectors
Female (left) and male (right) use 3 contacts, with pin “1” connected to
shield
Fundamentals of Audio Production. Chapter 12
25
Connectors
1/8-inch tip-ring-sleeve
1/4-inch tip-ring-sleeve
1/4-inch tip-sleeve
Fundamentals of Audio Production. Chapter 12
26
Connectors
RCA connector is popular in consumer electronics – but not widely used in professional systems
Fundamentals of Audio Production. Chapter 12
27
Connectors
Speakon (left) is used for speaker connections, DIN (right) is used for connecting MIDI signals
Fundamentals of Audio Production. Chapter 12
28
Impedance matching
• The method by which speakers are connected to the amplifier will affect the impedance or “load” on the amplifier
• Mismatching the load on the amplifier can rob the system of power, or cause damage to the amplifier
Fundamentals of Audio Production. Chapter 12
29
Impedance matching