The differences between studio engineering and live sound are like the .. Now that you've got PA set up, it's time for load-in, soundcheck and.
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- Live Sound 101: Sound System Design and Setup for a Live Band
- PA Beginners Guide | Yamaha Commercial Audio
The graphic equalizer is used the flatten the frequency response of the house speakers and room so that the entire sound system is accurate or hi-fi. One way to set a graphic EQ is to play some reference tracks alternately through high-quality headphones and through the house loudspeakers. Adjust the graphic-EQ sliders to make the loudspeakers sound like the headphones in their bass-midrange-treble balance. That EQ is used to reduce the levels of frequencies that feed back. The monitor signal from the board is generally pre-EQ, so turning down the bass low frequencies on the mic channel does not turn down the bass in the monitor loudspeakers.
Each crossover offers a high-frequency and low-frequency setting with selectable filter types. A dB-per-octave Link-Riley filter keeps the frequency response flat where both the subwoofer and top are crossing over. If a manufacturer offers time delay settings for your speakers, you can use those to time align the tops and subs.
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The LSP has a 3 ms delay, so adjusting the tops to match the inherent delay of the subs will provide a coherent and phase-accurate wave front. If you have an iPhone or iPad, you can purchase the AudioTools app by Studio Six Digital, which can help you measure and calibrate your sound system. Analog mixers are the mainstay of any audio system, and range in price and features. There are some diehard analog enthusiasts who will not move to a digital mixing board, as they believe the analog components sound superior to digital.
If you are mixing a live band, you will want some additional signal processors to shape the sound of each instrument. Most analog mixing consoles will offer a built-in four band parametric EQ, which helps balance the tonal sound and carves out space for each instrument in the mix. It is rare to find analog consoles with built-in dynamics available on every channel. Therefore, an all-analog setup will require several racks of gear to accommodate the additional signal processing, such as compression and gates for each channel.
Another aspect to consider is the use of wedge monitors or stage monitors. These are speakers that are typically on the floor and angled up toward the performers, offering a dedicated mix, which allows the musicians to hear themselves on stage. Feedback can become a problem, so the use of graphic EQs will be needed to remove the frequencies that are feeding back. Add in additional signal processors like multi-effects, delays, and reverbs and you can see the analog setup may sound better, but will cost more money with the additional signal processing, plus there are additional racks, cabling, troubleshooting, and maintenance involved.
Items discussed in article
Digital mixers have made some considerable advances in recent years regarding the quality of the sound, and pricing that is comparable to many moderately priced analog consoles. Digital mixers offer the best solution for any touring band, with a large channel count and each channel packing four-band EQ, compression, and gating.
Additionally, each output features graphic EQ for ringing out monitors. Many mixers feature internal effects with up to eight insert slots for use with internal sends. You can still use your favorite outboard gear, but the digital platform reduces the amount of gear substantially. Another benefit of the digital mixer is the wireless control options. Many mixers offer iOS and Android control apps. This also allows the engineer to tweak monitors from the stage, while standing next to the musicians.
Live Sound 101: Sound System Design and Setup for a Live Band
Many mixer platforms will allow multiple device setups in which band members may adjust their own mix in real time, allowing the FOH engineer to focus on the main mix. Other features now incorporated in the digital platform include spectral analysis and a real-time analyzer RTA for making adjustments to monitors or to the entire mix. However, I still recommend a dedicated speaker processor for tuning the sound system. A stage box or multi-channel snake is highly beneficial for reducing clutter on the stage.
Some larger stage setups use a splitter that splits the signal from all the sound sources on stage between FOH and monitors. A drum kit may have 8 to 12 microphones set up to capture the sound, so a dedicated sub-snake allows for shorter mic-cable runs and a much cleaner stage setup. S tage S ub- S nakes.
Utilizing stage sub-snakes before going to the main stage snake will keep the cable clutter on stage to a minimum. Many digital mixers offer digital stage boxes that function like an analog stage snake, only instead of a to pair multi-channel cable, the digital snake will use a single CAT5 cable to connect to the mixer in the FOH position. This cuts down considerably on the weight and setup time of the entire system. In order for musicians to be heard, microphones are used to capture vocals, guitar amplifiers, and drums.
PA Beginners Guide | Yamaha Commercial Audio
The mainstay of live music is the use of dynamic microphones. There are many microphone manufacturers, but the favorite of most clubs is still the Shure SM58 for vocals and SM57 for instruments. They have proven their value over time by sounding good and being incredibly rugged. They can literally take a beating and still function.
If there is the budget and desire for wireless microphones, I personally recommend the Shure QLX-D series digital microphones. They offer clean, clear sound without any artifacts, and with a simple setup. Many bands prefer to forgo the use of stage monitors and opt for in-ear-monitors IEM. With a digital mixer, the setup and operation is even simpler, resulting in very happy musicians who are able to set their own monitor mix—and without excessive stage volume. As you can see, there are many directions one can choose when setting up a sound system for your band or event: Each has its pros and cons.
The most important thing is to use your ears when making decisions. Always listen to speakers before purchasing and, if possible, demo speakers and subs together, especially if you are using different brands. I have just recently formed a Metal Band, been playing concerts with provided speaker systems from the venues mainly. But I need to have my own wireless microfone for vocals and speakes. Basically at this stage for people, is it possible to have it upgradable for larger audiences should that miracle happen? So what sort of ranges would it need and what would you recommend?
The user-friendly yet rugged design of the Shure PGX system measures up to provide years of reliable use in halls, houses of worship, clubs, theaters, restaurants, bars, etc. Designed for high-quality audio reproduction, portability and flexibility, the EON can be used in a variety of configurations and scenarios. The speaker features on-board factory EQ presets that allow you to set the system as a main house speaker, as a monitor speaker, or as a top speaker for use with the EON subwoofer.
The EONS is a powered portable PA subwoofer, designed to deliver high-quality sound reproduction in a variety of applications supporting EON and other full range systems. A lightweight, durable enclosure allows the speaker to be easily transported and set up wherever low frequency reinforcement is needed. Hay im a drummer been playing many years in many bands. Thing is ive never need any mics to my drums or a pa system so i really never had to work or figure out a PA till now that i have started my own band. Im looking for the best sound i can get working with what i can afford and what i can buy when i have the chance to buy it ive had no help and knowledge about any of this other from what the music store tells me.
So i have for my mains the dual 15inch jbl. And 2 18inch peavey black widow. Im pushing it with a beringer inuke i have a analog 16ch EV mixing board. A peavey 2ch EQ and a lexicon digital effects. I dont have a clue how to really hook any of it up rigjt now i have just the lexicon effects going to the mixing board and its workimg cause it changes the sound of my vocals but i dont have a clue now how to hook up the EQ or if even really need it right now and if i dont what should i get right now for better sound.
Some people said i need a crossover is this true? I read where you said that a signal prossor and a gate conditioner is the first thing that you should have when running thru a analog mixer if that is true what should i get and is their any way you can walk me threw hooking it up i really need help.. Each input can be processed with five assignable parametric or shelving filters. Each output has five assignable parametric or shelving filters. The unit also offers high pass and low pass filtering with a slope of up to 24 dB per octave for crossovers as well as an RMS limiter on each output and polarity reversal.
Each input and output offers an adjustable delay of up to ms with steps of 22 microseconds which makes it possible to time align and configure a loudspeaker system within a space. Additionally, each input and output can have a custom name assigned to it. Control software is available via an included CD or via download from the manufacturer's website. The SM57A cardioid dynamic microphones are popular with recording and live sound engineers. The microphones are well suited for capturing snare, toms, conga, bongos, timbales, cymbals, overheads and more.
The Beta 52A features a tailored frequency and sensitivity response for accurate reproduction of kick drums, floor toms, timpani and other low-frequency producing percussion instruments. The A56D universal mounts are rugged and effectively mount the SM57's to drum and percussion rims, hardware, etc. The entire kit is designed to withstand the rigors of life on the road, in the studio or at home. Please contact us via e-mail if you have additional questions: We use a variety of systems depending on who's closest to the gig. Depending on the show we use a variety of TC Helicon personal monitors along with a couple of Kustom Don't Judge powered floor monitors.
What's the best way to run that through my system for live sound? This product is very easy to use, but is very flexible and offers tons of options for live use. Please review the user's manual and spend time experimenting with different settings before your next gig. This was very helpful. Would you mind if you could recommend a mid-range sound system components for church purposes with people hall. Are you looking for a portable system?
Wi-Fi and Bluetooth capabilities are provided by the included SoundTouch Wireless Link adapter, which connects via a supplied audio cable to the L1. The system uses interlocking components that require no cables or stands. It sits at The built-in mixer offers controls for volume, treble, and bass, plus ToneMatch presets further enhance your tone. The L1 Compact Wireless can be carried in a single trip due to its built-in handle and supplied carry bag for the extensions. The integrated ToneMatch processing and zEQ help you get a great sounding mix quickly and effectively. The Bose ToneMatch processor is natural sounding on vocals and instruments, while the zEQ focuses your tone for effective adjustments on-the-fly.
The illuminated, tactile controls, and indicators offer quick, spontaneous sound adjustment, even on dark stages. Additionally, the ToneMatch system offers advanced features such as tap tempo delay, a built-in chromatic tuner, and recallable scenes to create a professional on-stage companion for any performing artists. Each channel offers a trim knob, a channel edit button, an FX mute button, a volume knob, and a dedicated channel mute. The main output features a master volume control, an independent headphone volume control, and phantom power for working with condenser microphones.
I'm using the Mackie ProFX22 mixer for a 5-piece classic rock band. That mixer has 2 aux sends. We send one to the drummer's in-ear monitor and the other is sent to a pair of stage monitors. Power up sound system in reverse signal flow order. Run signal from CD to the speakers at very low level, check that the proper signal reaches the proper drivers. If cables are not numbered at both ends label them now. Optimize placement of mics, monitors and back-line on stage for minimization of spill, feedback and stage bleed. Tuning the crossovers, use a CD you are familiar with and match x-over frequency by ear.
Use narrow band noise source and measure drivers response. Most systems will not require you to tune the x-overs as they use preset controllers. Using the CD you are familiar with, adjust sliders on graphic EQ until it sounds right. Using a microphone check-one-two method , adjust for a natural vocal sound. Use the ring method. Using the graphic EQ boost each frequency band until you get feedback.
Adjust input gain leave some headroom. Monitor sends first then some of the EQ. Go through instruments sequentially making sure to leave the previous channels open. Contact Audio Academy [contact-form-7 "Not Found"].