AUTOMATIC MIXERS Written by Tom Stuckman and Steve Marks
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Audio Systems Guide for THEATER PERFORMANCES
A Shure Educational Publication AUDIO SYSTEMS GUIDE THEATER PERFORMANCES By Crispin Tapia Audio Systems Guide for Table of Contents THEATER PERFORMANCES Introduction . 4 Microphone Design . 5 Dynamic Microphones . 5 Condenser Microphones . 5 Microphone Directionality . 6 Microphone Selection And Placement . 8 Lavalier Microphones . 9 Headset Microphones . 13 Overhead Microphones . 13 Boundary Microphones . 15 Wireless Microphone Systems . 16 Frequency Coordination . 16 Bodypack Transmitters . 18 Batteries . 20 Receivers And Antennas . 21 Automatic Frequency Selection . 23 Intercom Systems . 24 Assistive Listening Systems . 24 Personal Monitor Systems . 25 Conclusion . 26 Other Recommended Reading . 28 About the Author . 29 Glossary . 30 Theater Performances 3 Audio Systems Guide for THEATER PERFORMANCES Introduction Proper microphone selection and placement in theater applications can dramatically improve and reinforce the impact of the action and emotion on stage. On Broadway as well as on small community stages, in large productions and small, the theater experience relies as heavily on good sound as on any other feature. In small, acoustically pleasing venues, simply projecting your voice may be all that is necessary for everyone to hear. That was how it was done for hundreds of years before the development of electricity and microphones. However, in modern larger theaters and for more complex productions, microphones and sound reinforcement systems often become absolutely necessary. While the physical design of the theater environment and its acoustic qualities must be considered in the design of a sound reinforcement system, the topics we will focus on in this book include microphone selection and placement, and wireless microphone systems. This text will examine how microphones, both wired and wireless, can be used to insure that every word spoken or sung is heard while taking into account some of the complexities of costuming or staging. -
Live Sound Surivial Guide Version 1
CHAPTER 1 PA SYSTEM BASICS AND COMPONENTS CHAPTER 2 CHOOSING AND USING THE RIGHT MICROPHONES Microphone Types Mic Placement and Usage Optimizing the Sound Cables and Connectors CHAPTER 3 BALANCED/UNBALANCED LINES AND CONNECTORS Impedance: No Worries! Cables CHAPTER 4 SPEAKER, MIXER, AND MONITOR SETUP Speaker Positioning Speakers and Walls Positioning the Mixer Positioning Performers or Presenters Positioning Monitors Tonal Setup CHAPTER 5 MIXER Inputs and Outputs Channel Strips Mixer Buses The Master Section Mono vs. Stereo The Importance of “Gain-Staging” Mixer Meets Computer CHAPTER 6 SIGNAL PROCESSING LIVE SOUND Equalizer Types Shelving EQ Applications SURIVIAL GUIDE Parametric EQ Applications Graphic EQ Applications Reverb Limiter Compressor Other Effects CHAPTER 7 AMPLIFYING MUSICAL INSTRUMENTS Mic Placement for Acoustic Sources Electronic Instruments Electric Guitar and Bass “Direct” Setups Singer/Songwriter Setup CHAPTER 8 SOUND CHECK “Ringing Out” the System Adjusting for Room Resonances Checking Sound Levels CHAPTER 9 TROUBLESHOOTING Solving “Out of Phase” Problems Dealing with Feedback Minimizing Distortion Reducing Hums and Buzzes CHAPTER 10 GLOSSARY LIVE SOUND SURIVIAL GUIDE VERSION 1 CHAPTER 1 PA SYSTEM BASICS AND COMPONENTS “PA” staNDS FOR “PUBLIC ADDRESS,” AND THE KEY WORD HERE IS “PUBLIC.” YOU WANT TO AMPLIFY A BAND, PRESENTER, auc- TIONEER, LECTURER, CONFERENCE, WORSHIP SERVICE, OR OTHER SOUND SOURCE SO that THE auDIO CAN BE HEARD CLEARLY BY A LARGE GROUP OF PEOPLE—yOUR LISTENING PUBLIC. The most common public address system components are: the tone or quality, as well as compensate for deficiencies in either the equipment or the audio source. For example, if a lecturer’s voice has a thin quality, signal processors can LOUDSPEAKER. -
RECORDING and SOUND REINFORCEMENT by Gino Sigismondi
A Shure Educational Publication INTRODUCTION RECORDING AND SOUND REINFORCEMENT By Gino Sigismondi Introduction to RECORDING AND Table of Contents SOUND REINFORCEMENT Introduction . 4 Recording . 5 The Parts of a Recording System . 5 Microphones . 5 Recording Devices . 11 Mixers . 11 Hooking it up . 12 Sound Reinforcement for Music . 12 A Basic Sound System . 12 Microphones . 13 Mixers, Amplifiers and Loudspeakers . 17 Signal Processors . 19 Hooking it up . 22 Sound Reinforcement for Theater . 23 The Realities of Theater Sound . 23 Lavalier Microphone Techniques for Theater . 25 Summary . 27 Recommended Shure Microphone Models . 28 Appendix . 29 About the Author . 29 Glossary . 30 Recording and Sound Reinforcement 3 Introduction to RECORDING AND SOUND REINFORCEMENT Introduction An often overlooked yet vital part of modern musical performances is the sound reinforcement (PA) system. In a perfect world, a trained professional would always be available to purchase, setup, and operate the sound system. In reality, the funds are not always available for such a luxury. The responsibility then falls to the next most likely person available to run the sound system, the music director. After all, you just need a few microphones and a couple of loudspeakers, and it’s time to go on tour! And we want it recorded as well! Unfortunately, sound system setup is not quite that simple. It doesn’t, however, need to be overly complicated. While the extreme quantity of choices available at your local music shop may seem daunting (Cardioid? Dynamic? Low Impedance! Help!), with a few basic guidelines, you can learn what you need, how to connect it, and even how to make it sound good. -
Selection and Operation of AUDIO SIGNAL Processors
SELECTION AND OPERATION AUDIO SIGNAL PROCESSORS By Gino Sigismondi A Shure Educational Publication Selection and Operation of Table of Contents AUDIO SIGNAL Processors Introduction . 4 What Are Audio Signal Processors? . 4 What Types of Problems Can Benefit from Audio Processing? . 5 Feedback . 6 Chapter 1 Types of Audio Processors . 7 1.1 Volume (Gain) Control . 7 1.2 Filters and Equalization . 7 1.3 Dynamics Processors . 12 1.4 Delay . 16 1.5 Adaptive Audio Processors . 17 Chapter 2 Practical Applications For Audio Signal Processors . 23 2.1 Maximizing Gain-Before-Feedback . 23 2.2 Improving Speech Intelligibility . 24 2.3 Sound System Gain Structure . 26 2.4 Digital Signal Processing . 28 Reference Information . 30 Appendix A: Sound Waves . 30 Appendix B: Potential Acoustic Gain (PAG) and Needed Acoustic Gain (NAG) . 32 Glossary . 34 Shure Product Selection Charts . 36 Bibliography . 38 Acknowledgements . 38 About the Author . 39 Audio Signal Processors 3 Selection and Operation of AUDIO SIGNAL Processors Introduction For any sound system, the primary goal is good if the three primary measures are not satisfied, any sound. What, however, constitutes "good" sound? The subjective terms take on even less importance. Speech three primary measures of good sound are audibility, that is "warm" but unintelligible does the listener little good. intelligibility, and fidelity. Many factors contribute to the Audio signal processors offer a variety of tools to assist quality of the sound, including the quality of the sound in optimizing a sound system for audibility, intelligibility, sources, the sound system, and the room acoustics. and fidelity. While not usually essential for a sound system The audibility of speech or music at the furthest to operate (i.e., provide high-level sound reinforcement listener must be sufficient to achieve the desired effect: of low-level sources), audio signal processors can be usually a comfortable listening level for speech, and more invaluable tools in sound system design. -
Teamconnect Ceiling 2 Truvoicelift
TeamConnect Ceiling 2 TruVoicelift. Sennheiser‘s Interpretation of Voice Lift. Sennheiser electronic GmbH & Co. KG Am Labor 1, 30900 Wedemark, Germany, www.sennheiser.com AN 1300 v1.0 | 05/21 TruVoicelift TeamConnect Ceiling 2 Content Introduction . 3 Voice Lift in General . 4 Difference to Sound Reinforcement (SR) . 4 Technical Challenges . 5 Distribution of Sound . 5 Room Characteristics . 7 Risk of Feedback . 8 PAG/NAG Calculation . 9 TruVoicelift Mode in TeamConnect Ceiling2 . 10 Automatic Feedback Protection . 10 Unique Frequency-Shifting Technique . 10 Mute Threshold . 10 Mute Interval Time . 10 Noise Gate . 11 Noise Gate - Threshold . 11 Noise Gate - Hold Time . 11 Advanced Exclusion Zones . 12 Priority Zone . 14 Additional TeamConnect Ceiling 2 Benefits . 16 Checklist for Voice Lift Design . 17 Glossary . 18 AN 1300 v1.0 | 05/21 TruVoicelift TeamConnect Ceiling 2 Introduction TeamConnect Ceiling 2 is the leading microphone solution for video and webconferencing around the world . The easy installation and integration combined with the most flexible beamforming tech- nology and advanced zone control distinguish this most powerful microphone from other offerings on the market . The new TruVoicelift feature ensures the best natural speech experience with an outstanding speech intelligibility . Your voice can be heard throughout the room, right to the back row of a classroom, lecture hall or larger boardrooms and more . This document describes what voice lift means in a typical audio-visual (AV) application and which of the challenges an installer might face during the installation . TeamConnect Ceiling 2 with TrueVoice- lift technology makes setup and configuration a lot easier . Overview of TeamConnect Ceiling 2 Features Automatic Beamforming Technology The revolutionizing beamforming technology records all the audio signals in the meeting room . -
• Audio Signal Processing Basics ISO87 Course Description
• Audio Signal Processing Basics ISO87 Course Description • Get the basics of compressors, delays, automatic gain controls, noise cancellation, automatic mixers, gates, and acoustic echo cancellation in conferencing and meeting room audio applications. • This course covers the configuration of audio equipment. 2 Listen – What problems have you heard? What problems can be solved with DSP? 3 Problems • Audio levels too high to low or inconsistent • Reverberation • Echo • Distortion • Noise Proper System Design • Gain before feedback • Direct to Reflection ratios • Signal to Noise ratios • Other poor performing equipment in the system 5 Sound Level 6 Word Articulation 7 Setting Levels to Optimize System Performance • Know how the equipment metering works • Know the level that clipping happens 8 dB Units • dB - logarithmic ratio of two values • dBu - for measuring voltage – 0dBu = 0.775 volts • dBV - for measuring voltage – 0dBV = 1.0 volt • dBFS - decibels relative to Full Scale – Refers to the maximum signal level possible Gain Structure To high - Clipping Maximum Level (dBFS) That’s the way we like it To low – Poor S/N Noise Floor 10 Distortion • The shape of the original sound wave is modified • It occurs in the audio circuitry, algorithms, and encoding • Clipping the signal causes harmonic distortion Bit Resolution • Every bit gives you 6 dB of dynamic range • The bit resolution sets the total dynamic range available • CD’s are 16 bits while DVD’s go up to 24 bits • A CD has 6*16 = 96 dB of dynamic range • A DVD has 6*24 = 144 dB of dynamic