Entertainment Council Rough Guide to Live Sound

by Tim Kerbavaz – ASUCD Entertainment Council Production Coordinator

Basic Audio Terms

Mixer – Also called a console, the Sound Board or simply the Board, an audio Mixer is a
complex-looking device that takes several audio signals and “mixes” them into one
stereo signal. The mixer we use has 24 channels – 20 mic inputs and two stereo inputs
for an iPod or CD player.

Microphone – A device designed to take sound energy (moving air) and turn it into electricity.
There are several different types of microphones used in live sound. We’ll mostly be
using dynamic microphones, which use a diaphragm and a magnet to pick up vibrations
from the air and convert them to electrical impulses. Dynamic Mics work passively,
meaning they don’t need external power. Condenser microphones work differently, and
require electricity to function this can come from a battery, or more often, from
Phantom Power.

Direct Box – A Direct Box or DI (for Direct Insertion) is a tool to allow the connection of guitars,
keyboards and other unbalanced signal generators (like iPods or computers) to connect
to the balanced inputs on the sound board. These can either be passive or active.
Active DI’s require a battery or Phantom Power

Phantom Power – Phantom Power is electrical power, usually 24-48 volts, that the mixing board
provides to condenser microphones. This can be activated with a switch on the console.

Processor –A processor is any device used to change the sound. These are usually external to
the mixer, and are connected by means of cables to the mixer. Some processors include
Equalizers, Gates/limiters, and Effects Units. Our system has all these components
mounted in a “sidecar” rack that sits next to the sound board.

Amplifier –The amplifier, or Amp for short, takes the line-level signals output by the sound
board and turns them into a signal powerful enough to drive speakers or headphones.
We have speakers with built-in amplifiers, so we only have a few amplifiers to power the
stage monitors.

Speakers –Speakers turn the electrical signals from microphones, recorded music, and
instruments into sound that we can hear. We have three kinds of speakers: Main PA
speakers, a Subwoofer, and Stage Monitors. The main speakers produce most of the
 sound the audience will hear, and the subwoofer provides additional bass sound to
adjunct the main speakers. The monitors allow the band to hear what they sound like
through the PA. Each set of monitors has a customized “mix” so that the band members
can each hear what they find most important.

Cables – they keep us connected

There are many different kinds of cables used in the professional public address system. It’s
easiest to identify a cable by its connectors and wire type. Here are the most common
connectors you’ll run into:

¼” Phono Plugs
These come in two flavors; TRS or Tip Ring Sleve, and
TS, or Tip Sleve. It’s easy to confuse the two. In the
image to the right, 1 is the Sleeve, 2 is the Ring, and 3
is the Tip. The spacers between segments are
labeled 4. The TRS connectors are used for balanced
signals, usually connecting outboard equipment to
the sound board, and TS connectors are unbalanced, Figure 1 - TRS and TS Connectors. Illustration by
Søren Peo Pedersen
and are usually used to connect guitars and
keyboards to amplifiers and connect amplifiers to speakers and monitors. We use them in all
three capacities.

XLR Connectors
These three-pin connectors are used to connect
microphones and Direct Boxes to the mixing board. These
are balanced connectors. They come in both a male and
female version. Figure 2 - Male and Female XLR
connectors. Photo by Michael Piotrowski

Speakon Connector
Designed for use with amplified signals, the Neutrik Speakon connector
features covered pins and a locking mechanism. In our system, one
of the monitor amplifiers has Speakon output connectors. We
use cables that go from a Speakon plug to a ¼” connector.
When plugging in the connectors, twist the plug slighty to
align the tabs on the plug with the notches on the jack,
insert, and twist to engage. To disconnect, pull on the collar Figure 3 - Speakon Connector.
courtesy of Neutrik USA
Image

of the plug or use your thumb to slide the metal tab, and
then twist and pull the body of the plug.
Other connectors include RCA and 1/8” Minijack plugs. These are commonly found on
consumer audio gear, such as CD players, Turntables, or iPods.

The actual wires used vary by application, but the basic types are Instrument/line cables, mic
cables, and Speaker Cables. Speaker cables are much thicker than mic or line cables to handle
the much higher signal the amplifier puts out. NEVER use a mic or line cable to carry a speaker
signal.

Stage Snake
One special kind of cable, called a Snake, caries many
signals in one large cable. A Stage Snake is designed
to carry mic and instrument signals from the stage to
the mixing board, and the mixed signals for the
speakers and monitors back to the stage. The snake is
terminated with a Stage Box on one end, and a Fan
or Tail of individual connectors on the other.
The Stage Box goes on the stage (big surprise)
Figure 4 - ProCo brand 24x4 Snake. Image curtsey
and the Tail plugs into the sound board. Sweetwater Sound.

Wrap cords while the sun shines

The most common cables you’ll see are the mic cables. These have an XLR male on one end
and an XLR female on the other. They come in many different lengths, but the most common
are 25ft and 50ft. We have mostly 25ft cables, but we also have a couple of 50 ft cables. We
also have speaker cables with ¼” phono plugs and Speakon connectors. Because these cords
are the bloodlines of our PA, we need to keep them from getting tangled. There’s a special
technique we use to wrap our cables to prevent them from “learning” to be twisty. This
method, sometimes called “over-under” is tricky to get used to, but once you practice a few
times, you’ll be a pro.

The Board – The Heart of the System

Take one look at a professional sound board, and you may feel a bit overwhelmed. All those
knobs, buttons, lights, and faders look pretty intimidating. If you take a closer look, however,
you may notice a pattern. The main mixing surface is divided into identical vertical columns,
called Channel Strips. There are a few other controls to get used to on the board, but the first to
learn is the channel strip.

Channel Strips – An obstacle course for the signal

The first thing many people wonder when looking at the sound board is what are all those
knobs for? The fact that the board controls the volume of the individual microphones is pretty
obvious but isn’t that just the fader at the bottom? What do the Pad, Low Cut, Gain,
Parametric Equalizer, Aux Sends, Mute, and PFL controls do? They provide what we can call an
“obstacle course” for the sound signal. The signal travels from the top of the board down the
channel strip, being adjusted and shunted around as the signal moves along. Once the signal
reaches the bottom of the board, it travels along to the main buses, where signals from every
fader are mixed together to make the main mix. Signals that are “shunted” to the aux sends
allow a separate mix for the musicians’ stage monitors. For more in-depth information on how
to use the channel strip, see the Mackie mixer’s manual, which provides a great introduction to
mixer operation.

For a much more complete guide to live sound, see the Yamaha Sound Reinforcement
Handbook by Gary Davis and Ralph Jones.