Sound System Basics

Session Overview
• Sound Systems
– Audio Connectors & Cables
– Sound System Components
– System Connections
• Live Recording Options &
Connections
• Troubleshooting Tips
 Sound Applications
• Reinforce the sound of:
– Soloists
– Featured sections
– Electric or electronic instruments
– Entire group—typically large indoor
venues & outdoor concerts
 Sound Applications
• Reinforce the sound of:
– Soloists
– Featured sections
– Electric or electronic instruments
– Entire group—typically large indoor
venues & outdoor concerts
• Record rehearsals & performances
 Sound Systems
• Basic function of a sound system is
to reinforce and amplify sound

• Goal is to achieve sufficient loudness

 Sound Systems
Sound System –
• system of components
that blend, shape and
combine audio signals
• amplifies the audio
• converts it from
electrical voltages to
sound waves that we
can hear.
 System Components
• Input Devices
– Microphones
– Electronic and electric instruments
– CD player or tape deck
 System Components
• Input Devices
– Microphones
– Electronic and electric instruments
– CD player or tape deck
• Mixer – shapes, blends & combines audio
 System Components
• Input Devices
– Microphones
– Electronic and electric instruments
– CD player or tape deck
• Mixer – shapes, blends & combines audio
• Effects – enhances, controls or modifies audio
 System Components
• Input Devices
– Microphones
– Electronic and electric instruments
– CD player or tape deck
• Mixer – shapes, blends & combines audio
• Effects – enhances, controls or modifies audio
• Amplifier – boosts (amplifies) audio signal
 System Components
• Input Devices
– Microphones
– Electronic and electric instruments
– CD player or tape deck
• Mixer – shapes, blends & combines audio
• Effects – enhances, controls or modifies audio
• Amplifier – boosts (amplifies) audio signal
• Speakers – converts signal to sound waves
 Audio Connectors
• XLR or Cannon
– Microphones
 Audio Connectors
• XLR or Cannon
– Microphones

• 1/4-inch TS
– Electric & electronic
instruments
 Audio Connectors
• XLR or Cannon
– Microphones

• 1/4-inch TS
– Electric & electronic
instruments

• RCA
– CD Player, Tape Deck
 Audio Cables
Shielded cable
• Metal braid around
conductor shields audio
signal from electrical &
RF interference
 Audio Cables
Shielded cable
• Metal braid around
conductor shields audio
signal from electrical &
RF interference

Unshielded cable
• Amplifier output to
speaker input only
 Audio Cables
Unbalanced
• Uses one conductor plus
a ground conductor—the shield. 25’ cable max.
– 1/4” TS, RCA connector
 Audio Cables
Unbalanced
• Uses one conductor plus
a ground conductor—the shield. 25’ cable max.
– 1/4” TS, RCA connector
Balanced
• Uses two conductors,
plus a ground conductor. The
two circuits “balance” each other.
– Any noise picked up by wires is canceled and
will disappear. Audio signal level is doubled.
– XLR connector
 Audio Connections
Direct Box
• Transforms high-impedance,
unbalanced instrument
outputs to low-impedance,
balanced inputs
• 1/4” TS connector to XLR
• Use for connections over 25’
 Audio Connections
Multi-channel audio cable
• Snake (8 – 40 channels or more)
 Microphone Basics
• Microphones are a transducer
• Basic purpose is to convert acoustical
energy (sound waves) to electrical
energy (voltages)
Microphone Basics
 Microphone Basics
Types of microphones
• The basic design of the microphone
component (element) used to capture
the sound
 Microphone Basics
Two common types of microphones:
• Dynamic
– Moving electromagnetic coil
 Microphone Basics
Two common types of microphones:
• Dynamic
– Moving electromagnetic coil

• Condenser
– Two plates
– one stationary, one moving
 Microphone Basics
Dynamic Microphones
 Microphone Basics
Dynamic Microphones
• Durable – good “jack-of-all-trades” mic
 Microphone Basics
Dynamic Microphones
• Durable – good “jack-of-all-trades” mic
• Typically handles cold, heat, and high humidity
better than condenser mics
 Microphone Basics
Dynamic Microphones
• Durable – good “jack-of-all-trades” mic
• Typically handles cold, heat, and high humidity
better than condenser mics
• Can handle high volume levels without distortion
 Microphone Basics
Dynamic Microphones
• Durable – good “jack-of-all-trades” mic
• Typically handles cold, heat, and high humidity
better than condenser mics
• Can handle high volume levels without distortion
• Frequently used for miking bass (kick) drum,
snare drum, and guitar amps
 Microphone Basics
Dynamic Microphones
• Durable – good “jack-of-all-trades” mic
• Typically handles cold, heat, and high humidity
better than condenser mics
• Can handle high volume levels without distortion
• Frequently used for miking bass (kick) drum,
snare drum, and guitar amps
• Overall ruggedness makes them a good choice
for hand-held close vocal use
Microphone Basics

Dynamic Microphone
 Microphone Basics
Condenser Microphones
 Microphone Basics
Condenser Microphones
• Wider & smoother frequency response than
dynamic mics, especially high-end frequencies
 Microphone Basics
Condenser Microphones
• Wider & smoother frequency response than
dynamic mics, especially high-end frequencies
• Very realistic, transparent sound
 Microphone Basics
Condenser Microphones
• Wider & smoother frequency response than
dynamic mics, especially high-end frequencies
• Very realistic, transparent sound
• Preferred choice for stereo recording or group
sound reinforcement
 Microphone Basics
Condenser Microphones
• Wider & smoother frequency response than
dynamic mics, especially high-end frequencies
• Very realistic, transparent sound
• Preferred choice for stereo recording or group
sound reinforcement
• Great for miking cymbals, woodwind and string
instruments, and studio vocals
 Microphone Basics
Condenser Microphones
• Wider & smoother frequency response than
dynamic mics, especially high-end frequencies
• Very realistic, transparent sound
• Preferred choice for stereo recording or group
sound reinforcement
• Great for miking cymbals, woodwind and string
instruments, and studio vocals
• More fragile & expensive than dynamic mics; use
extra care
 Microphone Basics
Condenser Microphones
• Require power source
– Batteries
– Phantom power from mixer
Microphone Basics

Condenser Microphones
 Microphone Basics
Pickup (Polar) pattern:
• How a microphone “hears the sound”
• Directional response of a mic
 Microphone Basics
Two common pickup (polar) patterns:
• Omnidirectional
– Picks up in all directions
– a full 360º
 Microphone Basics
Two common pickup (polar) patterns:
• Omnidirectional
– Picks up in all directions
– a full 360º

• Cardioid (unidirectional)
– Picks up primarily in front
– rejects sound from rear
 Microphone Basics
Feedback
• A sustained ringing sound that ranges from
a low rumble to a piercing howl or squeal
 Microphone Basics
Feedback
• A sustained ringing sound that ranges from
a low rumble to a piercing howl or squeal
 Microphone Basics
Feedback
• A sustained ringing sound that ranges from
a low rumble to a piercing howl or squeal

Tips to Avoid Feedback

 Microphone Basics
Feedback
• A sustained ringing sound that ranges from
a low rumble to a piercing howl or squeal

Tips to Avoid Feedback

• Use cardioid mics
 Microphone Basics
Feedback
• A sustained ringing sound that ranges from
a low rumble to a piercing howl or squeal

Tips to Avoid Feedback

• Use cardioid mics
• Use less mics; mute unused mics
 Microphone Basics
Feedback
• A sustained ringing sound that ranges from
a low rumble to a piercing howl or squeal

Tips to Avoid Feedback

• Use cardioid mics
• Use less mics; mute unused mics
• Place speakers in front of mics
 Microphone Basics
Feedback
• A sustained ringing sound that ranges from
a low rumble to a piercing howl or squeal

Tips to Avoid Feedback

• Use cardioid mics
• Use less mics; mute unused mics
• Place speakers in front of mics
• Aim mics away from speakers & vice-versa
 Mic Handling Tips
• Speak into a mic to check for sound. Never
blow into or tap the mic capsule.
 Mic Handling Tips
• Speak into a mic to check for sound. Never
blow into or tap the mic capsule.
• Attach cable to the mic before mounting it
on a stand. Wrap the cord around the mic
stand a few times.
 Mic Handling Tips
• Speak into a mic to check for sound. Never
blow into or tap the mic capsule.
• Attach cable to the mic before mounting it
on a stand. Wrap the cord around the mic
stand a few times.
• Hold a mic by gripping it around its body,
rather than around its capsule.
 Miking Ensembles
Stereo Mic Techniques
• Spaced Pair
– Pair of cardioid
condenser mics
– Smooth,
spacious sound
– Mic spacing
is important
 Miking Ensembles
Stereo Mic Techniques
• Coincident (X-Y)
– Good for small to medium size groups
 Miking Ensembles
Area Miking (Area Coverage)
• Use as few mics as possible
• “Less is more”
 Mixers
The main purpose of a mixer is to
blend, shape, and combine audio
signals.
Mixers
 Mixers

ANALOG and DIGITAL

Mixers
 Mixers
The main purpose of a mixer is to
blend, shape, and combine audio
signals.
Two main types of mixers:
 Mixers
The main purpose of a mixer is to
blend, shape, and combine audio
signals.
Two main types of mixers:
• Unpowered
– Requires an external power amp
 Mixers
The main purpose of a mixer is to
blend, shape, and combine audio
signals.
Two main types of mixers:
• Unpowered
– Requires an external power amp
• Powered
– Contains built-in power amplifier
– Mono (single) or stereo (2 channel) amp
 Mixers
Consists of two main sections:
 Mixers
Consists of two main sections:
• Channel strip section
 Mixers
Consists of two main sections:
• Channel strip section
 Mixers
Consists of two main sections:
• Channel strip section
 Mixers
Consists of two main sections:
• Channel strip section
• Master section
 Mixers
Channel Strip
 Mixers
Channel Strip
• Effects & monitor send
 Mixers
Channel Strip
• Effects & monitor send
• EQ (tone control)
 Mixers
Channel Strip
• Effects & monitor send
• EQ (tone control)
• Trim (Pad): matching levels
 Mixers
Channel Strip
• Effects & monitor send
• EQ (tone control)
• Trim (Pad): matching levels
• Volume knob
 Mixers
Channel Strip
 Mixers
Channel Strip
• Trim (Pad): matching levels
 Mixers
Channel Strip
• Trim (Pad): matching levels
• Auxilary (Aux) sends:
– effects & monitors
 Mixers
Channel Strip
• Trim (Pad): matching levels
• Auxilary (Aux) sends:
– effects & monitors
• EQ (sweepable mids)
 Mixers
Channel Strip
• Trim (Pad): matching levels
• Auxilary (Aux) sends:
– effects & monitors
• EQ (sweepable mids)
• Pan (stereo placement)
 Mixers
Channel Strip
• Trim (Pad): matching levels
• Auxilary (Aux) sends:
– effects & monitors
• EQ (sweepable mids)
• Pan (stereo placement)
• Volume fader
 Mixers
Trim Control (Pad, Gain, Attenuation)
• Adjusts signal level going into channel strip
Signal Level
Synthesizer

Elec Guitar
Microphone
 Mixers
Channel Strip
• Trim (Pad): adjusts signal level
going into channel strip
• LED overload indicator
 Mixers
Channel Strip
• Trim (Pad): adjusts signal level
going into channel strip
• LED overload indicator

• Volume fader: adjust volume

level going out of channel strip
 Mixers
Master Section
 Mixers
Master Section
• Master volume fader
 Mixers
Master Section
• Master volume fader
• Subgroup volume faders
 Mixers
Master Section
• Master volume fader
• Subgroup volume faders
• Master aux send and return
knobs for effects & monitors
 Mixers
Master Section
• Graphic EQ
 Mixers
Master Section
• Graphic EQ
• Built-in Digital Effects
– Reverb
– Delay
 Power Amplifier
• Mono & Stereo (two channel)
 Power Amplifier
• Mono & Stereo (two channel)
• Output power measured in watts
– 100 watts; 250 watts per channel
 Power Amplifier
• Mono & Stereo (two channel)
• Output power measured in watts
– 100 watts; 250 watts per channel
• To double the apparent volume level,
the power needs to increase by a
factor of ten.
– 100 watt amp
– 1,000 watt amp
 Speakers
• Speakers are a transducer
 Speakers
• Speakers are a transducer
• They convert electrical
energy (voltages) to
acoustical energy (sound
waves).
 Speakers
• Speakers are a transducer
• They convert electrical
energy (voltages) to
acoustical energy (sound
waves).
• Purpose is to produce a
smooth, full range sound.
 Speakers
Speaker Components
• Horn or tweeter for highs
 Speakers
Speaker Components
• Horn or tweeter for highs
• Woofer for lows
 Speakers
Speaker Components
• Horn or tweeter for highs
• Woofer for lows
Two general types:
• Unpowered (passive)
– Requires power amplifier
or powered mixer
 Speakers
Speaker Components
• Horn or tweeter for highs
• Woofer for lows
Two general types:
• Unpowered (passive)
– Requires power amplifier
or powered mixer
• Powered (Active)
– Built-in power amplifier
 System Connections
• Non-powered Mixer, Power Amplifier,
& Passive Speakers

SPEAKER CABLES
 System Connections
• Non-powered Mixer with
Powered Speakers

SHIELDED AUDIO CABLES

SPEAKER CABLES
 System Connections
• Powered Mixer with digital effects &
Passive Speakers

NON-SHIELDED SPEAKER
SPEAKER
CABLES
CABLES
 AC Power Connections
• 3-prong grounded extension cords
• Surge protection & power conditioning
 Live Recording
Computer with audio interface and
digital audio recording software
 Live Recording
Dedicated hard disk recorder
– Boss BR-1180 or BR-1600
 Live Recording
Connecting sound system mixer
outputs to a recorder
 Pre-flight Check List
Double-check all connections
before turning the power on to
any equipment.
 Pre-flight Check List
Double-check all connections
before turning the power on to
any equipment.
Neatly dress all cables. Tape down
cables that cross walkways.
 Pre-flight Check List
Double-check all connections
before turning the power on to
any equipment.
Neatly dress all cables. Tape down
cables that cross walkways.
Make sure the mixer’s master volume
fader (or knob) is all the way down.
 Power-on Sequence
Start with the beginning of the audio
change and work towards the end.
 Power-on Sequence
Start with the beginning of the audio
change and work towards the end.
1. Electronic instruments, CD player…
 Power-on Sequence
Start with the beginning of the audio
change and work towards the end.
1. Electronic instruments, CD player…
2. Effects processors
 Power-on Sequence
Start with the beginning of the audio
change and work towards the end.
1. Electronic instruments, CD player…
2. Effects processors
3. Mixer
 Power-on Sequence
Start with the beginning of the audio
change and work towards the end.
1. Electronic instruments, CD player…
2. Effects processors
3. Mixer
4. Amplifier or powered speakers
 Power-off Sequence
Turn the mixer’s master volume fader
(or knob) all the way down.
 Power-off Sequence
Turn the mixer’s master volume fader
(or knob) all the way down.
Start with the end of the audio change
and work towards the beginning.
 Power-off Sequence
Turn the mixer’s master volume fader
(or knob) all the way down.
Start with the end of the audio change
and work towards the beginning.
1. Amplifier or powered speakers
 Power-off Sequence
Turn the mixer’s master volume fader
(or knob) all the way down.
Start with the end of the audio change
and work towards the beginning.
1. Amplifier or powered speakers
2. Mixer
 Power-off Sequence
Turn the mixer’s master volume fader
(or knob) all the way down.
Start with the end of the audio change
and work towards the beginning.
1. Amplifier or powered speakers
2. Mixer
3. Effects processors
 Power-off Sequence
Turn the mixer’s master volume fader
(or knob) all the way down.
Start with the end of the audio change
and work towards the beginning.
1. Amplifier or powered speakers
2. Mixer
3. Effects processors
4. Electronic instruments, CD player…
 Troubleshooting 101
Always check the obvious first
 Troubleshooting 101
Always check the obvious first
• AC power cables are plugged in
 Troubleshooting 101
Always check the obvious first
• AC power cables are plugged in
• AC power strip is turned on
 Troubleshooting 101
Always check the obvious first
• AC power cables are plugged in
• AC power strip is turned on
• All gear is turned on
 Troubleshooting 101
Always check the obvious first
• AC power cables are plugged in
• AC power strip is turned on
• All gear is turned on
• Phantom power is turned on for condenser mics
 Troubleshooting 101
Always check the obvious first
• AC power cables are plugged in
• AC power strip is turned on
• All gear is turned on
• Phantom power is turned on for condenser mics
• Audio cables are plugged into the correct jacks
 Troubleshooting 101
Always check the obvious first
• AC power cables are plugged in
• AC power strip is turned on
• All gear is turned on
• Phantom power is turned on for condenser mics
• Audio cables are plugged into the correct jacks
• Used correct type of cable
 Troubleshooting 101
Always check the obvious first
• AC power cables are plugged in
• AC power strip is turned on
• All gear is turned on
• Phantom power is turned on for condenser mics
• Audio cables are plugged into the correct jacks
• Used correct type of cable
• Cables are completely—all the way—plugged in
 Troubleshooting 101
Always check the obvious first
• AC power cables are plugged in
• AC power strip is turned on
• All gear is turned on
• Phantom power is turned on for condenser mics
• Audio cables are plugged into the correct jacks
• Used correct type of cable
• Cables are completely—all the way—plugged in
• Volume on instruments, mixer & amp is up
 Troubleshooting 101
Always check the obvious first
• AC power cables are plugged in
• AC power strip is turned on
• All gear is turned on
• Phantom power is turned on for condenser mics
• Audio cables are plugged into the correct jacks
• Used correct type of cable
• Cables are completely—all the way—plugged in
• Volume on instruments, mixer & amp is up
• Carry spare parts, extra cables, duct tape