Sound reinforcement system is a combination of microphones, signal processors, amplifiers and loudspeakers in enclosures all controlled by a mixing console that makes the live or pre-recorded sounds louder and can also distribute the sounds to a larger one. or a further audience. In many situations, sound reinforcement systems are also used to enhance or change sounds from sources on the stage, usually by using electronic effects, such as reverbs, rather than just reinforcing unchanged sources.
Sound reinforcement systems for rock concerts in stadiums may be very complex, including hundreds of microphones, sound mixing systems and complex live signal processing systems, tens of thousands of watts amplifier power, and multiple loudspeakers, all overseen by a team of audio engineers and technicians. On the other hand, sound reinforcement systems can be as simple as a small public address system (PA), which consists of, for example, a single microphone connected to a 100 watt reinforced loudspeaker for a singer guitarist playing in a small coffee shop. In either case, the system amplifies the sound to make it louder or distribute it to a wider audience.
Some audio engineers and others in the professional audio industry do not agree whether this audio system should be called a sound reinforcement system (SR) or PA system. Differentiating between two terms with technology and capability is common, while others distinguish from intended use (for example, the SR system is to support live broadcast and PA systems are for the reproduction of speech and recording of music in buildings and institutions). In some areas or markets, the difference between the two terms is important, although the term is considered to be interchangeable in many professional circles.
Video Sound reinforcement system
Basic concepts
Typical sound reinforcement system consists of; transducer input (eg microphone), which converts sound energy like someone who sings into electrical signals, signal processors that change signal characteristics (for example, equalizer that adjusts bass and treble, compressor that reduces signal peak, etc.), amplifiers, a strong version of the resulting signal that can drive the loudspeaker and output transducer (for example, the speaker in the speaker cabinet), which converts the signal back into sound energy (sounds heard by the audience and players). These key parts involve individual components to achieve the desired goal of strengthening and clarifying sound to an audience, player, or other individual.
Signal path
Sound reinforcement in large-format systems typically involves signaling pathways starting with signal input, which may be instrument pickup (on electric guitar or electric bass) or microphone sung by a vocalist or microphone placed in front of a guitar instrument or amplifier. This signal input is plugged into the input jack of a thick multicore cable (often called snake ). The snake then sends signals from all inputs to one or more mixing consoles.
In coffee shops or small nightclubs, snakes may only be forwarded to a mixing console, which will be used by audio engineers to adjust the vocal sound and vocals on stage and the instruments that the audience is listening to through the main speakers and adjust the monitor speaker volume designated for the players.
Medium to large performances usually direct the signal on stage to two mixing consoles: front of house (FOH), and stage monitor system, which is often a second mixer on the side of the stage. In this case, at least two audio engineers are required; one to do the main mix for the audience at FOH and the other to do a mix of monitors for the players on stage.
Once the signal arrives at the input on the mixing console, this signal can be adjusted in various ways by the sound engineer. Signals can be synchronized (eg, by adjusting bass or treble sound), compressed (to avoid unwanted signal peak), or highlighting (sent to left or right speakers). The signal can also be switched to an external effect processor, such as a reverb effect, which emits a wet signal influenced by the signal, which is usually mixed in varying amounts with dry (effect-free ) signal. Many electronic effects units are used in sound reinforcement systems, including digital delays and reverbs. Some concerts use the pitch correction effect (e.g., AutoTune), which electronically corrects unsuitable chants.
The mixing console also has an additional send , also referred to as auxes or aux send (abbreviation for "auxiliary send"), on each input channel so the mix Different can be created and sent elsewhere for other purposes. One use for aux sends is to create a mixture of vocal and instrument signals for a mixture of monitors (this is what the singers and musicians hear from the monitor speakers or in-ear monitors). Another use of aux send is selecting a variety of channels (via aux send buttons on each channel), and then directing these signals to the effect processor. A common example of using both aux sends is sending all vocal signals from a rock band through reverb effect. While reverbs are usually added to the vocals in the main mix, it is usually not added to the electric bass and other rhythm section instruments.
The processed input signal is then mixed to the master faders in the console. The next step in the signal path generally depends on the size of the system in place. In smaller systems, the main output is often sent to an additional equalizer, or directly to a power amplifier, with one or more loudspeakers (usually two, one on each side of the stage in a smaller place, or a large number in large places) which is connected to the amplifier. In large format systems, the first signal is usually routed through the equalizer then to the crossover. A crossover divides the signal into multiple frequency bands with each band sent to separate amplifiers and speaker enclosures for low, medium, and high frequency signals. Low frequency signals are sent to the amplifier and then to the subwoofer, and the middle and high frequency sounds are usually sent to amplifiers that support the full speaker cabinet. Using crossovers to separate sounds into low, medium and high frequencies can produce "cleaner" sounds, more clearly (see bi-amplification) than routing all frequencies through a single full-range speaker system. Nevertheless, many small places still use a single full-range speaker system, as it is easier to set up and cheaper.
Maps Sound reinforcement system
System components
Enter transduser
Many types of input transducers can be found in sound reinforcement systems, with the microphone being the most commonly used input device. Microphones can be classified according to the transduction method, polar pattern or functional application. Most microphones used in sound boosters are dynamic microphones or condensers. One type of directional microphone, called cardioid mics, is widely used in live sound, as they reduce pickup from the side and back, helping to avoid unwanted feedback from the stage monitor system.
Microphones used for sound reinforcement are positioned and installed in many ways, including a base weighted base, podium stand, tie clip, instrument stand, and headset holder. The microphone on the stand is also placed in front of the instrument and the guitar amplifier to pick up the sound. Built-in headset and microphone mounted in the clip are often used with wireless transmissions to allow players or speakers to move freely. Early adopters of headset microphone technology installed include country singers Garth Brooks, Kate Bush, and Madonna.
There are many other types of input transducers that can be used occasionally, including magnetic pickups used in electric guitars and electric basses, plugged first into DI boxes and then into snakes, calling microphones used on string instruments, and piano and gramophone. pickup (cartridge) used in the recording player. In addition, some electronic instruments such as synthesizers can have their output signal directed to the mixing console.
In the 1980s, wireless technology tended to be used only by tourism professionals, but in the 2010s, wireless microphones and instrument transmitters became popular in sound reinforcement. Wireless systems are commonly used for electric guitars, basses and handheld microphones. This lets the player move on stage during the show or even go out into the audience without worry of tripping or disconnecting the cable.
Blending consoles
Mixing console is the heart of sound reinforcement system. This is where the sound engineer can adjust the volume and tone of each input, whether it is a vocalist microphone or signal from an electric bass, and mix, equalize and add effects to this sound source. Mixing for live performances requires a mix of technical and artistic/creative skills. A sound engineer must have expert knowledge of loudspeakers and amplifiers as well as other technologies. In addition, a sound engineer must have a good "ear" for what music should sound like to create a good mix and use the effect unit appropriately. Each genre and style of music has a different approach to live sound mixing. The mixing approach for hard rock bands is very different from mixing approaches for bluegrass music events; hard rock shows usually have a strong subwoofer cabinet to create a "loud" sound on stage. A bluegrass show will usually have a more "acoustic" or "natural" sound, where the PA system only reinforces the calmer instrument volume.
Some consoles can be used for various applications in a single sound reinforcement system. Front of House mixing console (FOH) must be placed where the operator can see the action on stage and hear the output of the loudspeaker system. Some places with permanent installed systems such as religious and theater facilities put mixing consoles in a closed booth, but this approach is more common for broadcast and recording applications. This is much less common in live sound reproduction, because the engineer performs best when he can hear what the audience hears.
Great music productions often use separate stage mixing monitors that are dedicated to creating a mix for monitors on stage or on the ear. This console is usually placed on the side of the stage so that the operator can communicate with the players on stage. In cases where the player must play in a place that does not have a monitor technician near the stage, the monitor mixing is performed by FOH engineers from the FOH console, which is located between the audience or behind the hall. This arrangement can be a problem because players end up having to request changes to the monitor mixed with "... clever hand phrases and phrases" that may be misunderstood. The engineer also can not hear the changes he applied to the monitor on stage, often resulting in a reduction in the quality of the monitor mix on the stage.
Signal processor
In 2010, small PA systems for places such as bars and clubs are now available with features previously only available on professional level tools, such as digital reverb effects, graphic equalizer, and, in some models, feedback feedback circuits that are electronically sensing and prevent "lumbling" feedback before they become a problem. The digital effects unit can offer multiple reverb effects, echoes and related effects that are predefined and varied. The digital loudspeaker management system offers digital delays of voice technicians (to ensure sync speakers to one another), limiting, crossover functionality, EQ filters, compression and other functions in a rack-mountable unit. In the preceding decades, voice technicians typically had to haul up a large number of analogue device effects units mounted on the shelf to complete these tasks.
Equalizer
Equalizer is an electronic device that allows an audio engineer to control the tone and frequency of sound in a channel, a group (eg, All microphones on the drumkit) or an entire mixture of stages. Bass and treble controls on home stereo are simple equalizer types. Equalizers are in a pro-sound reinforcement system in three forms: equalizer rack (usually for the entire bass and treble frequency range), graphic equalizers and parametric equalizer. The graphical equalizer has a fader (vertical slide control) that together resembles the frequency response curve plotted on the graph. The faders can be used to increase or bypass a particular frequency band.
By using the equalizer, the frequency is too weak, like a singer with a simple projection in his lower register, can be improved. Extremely loud frequencies, such as "booming" bass drums, or overly resonating challenger guitars can be cut. Sound reinforcement systems typically use a graphic equalizer with a one-third octet frequency center. This is typically used to equalize the output signal to the main loudspeaker system or monitor speakers on stage. Parametric equalizer is often built into each channel in the console mixing, usually for mid-range frequencies. They are also available as separate rackmount units that can be connected to the mixing board. Parametric equalizer usually uses buttons and sometimes buttons. Audio engineers can choose a frequency band to cut or push, and then use additional buttons to cut or increase this frequency range. Parametric Equalizer first became popular in the 1970s and has remained the equalizer program of choice for many engineers ever since.
High-pass (low-cut) and/or low-pass (high-cut) filters can also be included on the equalizer or audio console. High-pass (low-cut) and low-pass (high-cut) filters limit the channel bandwidth provided. Cutting out low-frequency sound signals (termed infrasonic, or subsonic , an irony) reduces the waste power of the amplifier that does not produce audible and more difficult sounds on low-spaced speakers. A low pass filter for ultrasonic cutting is useful to prevent interference from radio frequency, hum exposure control, or digital circuitry that creeps into power amplifiers. Filters like these are often included with the graphics and parametric equalizer to give full control to the audio engineer over the frequency range. If their response is steep enough, high-pass filters and low-pass filters serve as end-cut filters. A feedback suppressor is an automatically adjustable band-reject or notch filter that includes a microprocessor to detect the "howl" feedback onset and direct the filter to suppress the feedback by lowering the gain directly at the disturbing frequency. Compressor
Compressors are designed to help audio engineers manage the dynamic range (loudness) of an audio signal, or a group of audio signals. Prior to the invention of automatic compressors, audio engineers achieved the same goal as "riding a fader", which meant listening carefully to the mix and lowering the faders of any singers or instruments that were too loud. The compressor accomplishes this by reducing signal gain above the specified level (threshold) to the specified amount (ratio). Without this reduction in gain, the signal that gets, say 10% harder as input, will be 10% harder on the output. As it decreases, the signal that gets 10% harder on the input will probably be 3% harder on the output. Most available compressors are designed to allow operators to choose ratios in the usual range between 1: 1 and 20: 1, with some possible arrangements to: 1. Compressors with infinite ratios are usually referred to as limiter . Compressor speed adjusts signal gain (called attack) is usually adjusted like the final output of the device.
Compressor applications vary greatly from objective system design criteria to subjective applications determined by variations in program materials and engineer preferences. Some system design criteria define barriers for component protection and gain structure control. The manipulation of artistic signals is a subjective technique widely used by mixed engineers to improve clarity or to creatively alter the signal in relation to the program material. An example of artistic compression is the heavy compression commonly used in various components of modern rock drums. Drums are processed to be considered more punchy and full.
Gate noise
A noise gate sets the threshold where if it is quieter then it will not let the signal pass and if it is louder, the gate will open. The function of the gate noise is in the sense opposite to the compressor. The noise gate is useful for microphones that will pick up sounds that are irrelevant to the program, such as the buzz of an electric guitar amplifier or rustling paper at a pastor's speech. The noise gate is also used to process microphones placed near drum drum kits in many hard rock and metal bands. Without voice gates, microphones for special instruments such as tom floors will also pick up signals from drums or nearby cymbals. With the voice gate, the sensitivity threshold for each microphone on the drum kit can be set so that only direct strikes and subsequent drum decay will be heard, not the nearby sound.
Effects
Reverberation and delay effects are widely used in sound reinforcement systems to improve mixed sound and create the desired artistic effect. Reverb and delay add a sense of spaciousness to sound, mimic sounds or instrument of singing in a large and echoing hall. Many mixing boards are designed for live sounds including on-board reverb effects. Modulation effects such as flanger, phaser, and chorus are also applied to some instruments. An exciter "animates" the sound of an audio signal by applying dynamic equalization, phase manipulation and harmonic synthesis of high frequency signals.
The right kind, variation, and level of effect are very subjective and often collectively determined by audio engineers in production, artists, stubborn, music producers, or music directors. Reverb, for example, can provide signal effects that are present in anything from a small room to a large hall, or even in spaces that do not exist in the physical world. The use of reverbs is often overlooked by the audience, as it often sounds more natural than if the signal is left "dry" (no effect). The use of effects in the reproduction of pop music of the 2010 era is often in an attempt to mimic the sound of studio versions of artist music in direct concert settings. For example, an audio engineer can use the Auto Tune effect to produce unusual vocal sound effects that the singer uses on his recording.
Feed press
A feedback detector detects unwanted audio feedback and presses it, usually by automatically inserting a notch filter into the system signal path, preventing "howl" feedback from occurring. Audio feedback can create unwanted sounds, screams that interfere with performance, and which can damage the listener's hearing and speaker and audience. Audio feedback from the microphone occurs when the microphone "hears" sounds taken through the monitor speakers or main speakers. While audio microphone feedback is almost universally perceived as a negative phenomenon, in hard rock and heavy metal, electric guitarists deliberately create guitar feedback to create a unique and continuous sound with their guitar and guitar boosters. This type of feedback is sought by the guitarist, so the sound technician does not try to prevent it.
Power amplifier
The power amplifier is an electronic device that uses power and electrical circuits to improve low voltage level signals (such as signals from the vocalist microphone) and provides enough electrical power to drive the loudspeaker and produce sound. All speakers, including headphones, require power reinforcement. Most professional audio amplifiers also provide protection from clipped signals (overloaded), because power amplifiers that are pushed into clipping can damage or destroy speakers. Amplifiers also typically provide protection against short circuits throughout the output, and excessive temperatures (eg, overheating). Limiter is often used to protect loudspeakers and amplifiers from power amp clippings.
Audio engineers choose an amplifier that provides sufficient headroom. "Headroom" refers to the amount at which the signal handling capability of the audio system exceeds the nominal level specified. Headroom can be regarded as a secure zone that allows the transient audio peak beyond the nominal level without damaging the system or audio signal, for example, through clipping. Standard bodies differ in their recommendations for nominal and headroom levels. When an audio engineer has chosen an amplifier (or amplifier) ​​with sufficient headroom, it also helps to ensure that the signal will remain clean and undistorted.
Like most sound reinforcement products, professional amplifiers are typically designed to be mounted in a standard 19-inch rack. Rack-mounted amps are usually stored in a road box, a sturdy plastic protective box that prevents damage to equipment during transportation. The built-in speaker has built-in amplifier internally selected by the manufacturer to be a good amplifier to use with the loudspeaker provided. Some active loudspeakers also have integrated equalization, crossover and mixing circuits.
Because amplifiers can generate significant amounts of heat, heat dissipation is an important factor for operators to consider when installing an amplifier into the equipment rack. Many power amplifiers display internal fans to draw air from their heat sinks. Heat sinks can become clogged with dust, which can affect the cooling capability of the amplifier.
In the 1970s and 1980s, most PAs use heavy Class AB amplifiers. In the late 1990s, power amplifiers in PA applications became lighter, smaller, stronger, and more efficient, with increased use of Class D switching power supplies and amplifiers, which offer significant weight and space savings and increased efficiency. Often installed in railway stations, stadiums and airports, Class D amplifiers can run with minimal additional cooling and with higher shelf density, compared to older amplifiers.
The digital loudspeaker management system (DLMS) that combines digital crossover, compression, restriction, and other features in a single unit has become popular since its introduction. They are used to process mixes from the mixing console and direct it to various amplifiers. The system can include multiple speakers, each with its own output optimized for a certain frequency range (ie bass, midrange, and treble). Bi-amplification, tri-amplification, or quad-amplification of sound reinforcement system with the help of DLMS results in the use of more efficient amplifier power by sending each amplifier only the appropriate frequency for each loudspeaker. Most DLMS units designed for non-professional use have calibration and testing functions such as a pink disturbance generator coupled with a real-time analyzer to allow automatic space equalization.
Transduser output
Main loudspeaker
Simple and inexpensive PA loudspeakers may have single full-range loudspeaker drivers, which are housed in the appropriate enclosure. A more complex, professional caliber amplifier loudspeaker can incorporate separate drivers to produce low, medium, and high frequency sound. The crossover network directs different frequencies to the appropriate driver. In the 1960s, the horn-encoded theater loudspeaker and PA speakers were almost always "columns" of some drivers mounted on vertical lines within high scope. The 1970s and early 1980s were a period of innovation in loudspeaker design with many sound boosting companies designing their own speakers. The basic design is based on a commonly known design and the speaker component is a commercial speaker.
Innovation areas in cabinet design, durability, ease of packing and transportation, and ease of setup. This period also sees the introduction of hanging or "flying" the main loudspeakers at big concerts. During the 1980s, major speakers started producing standard products using 1970s innovations. It is a smaller two-way system with 12 ", 15" or double 15 "woofer and high frequency drivers attached to high-frequency horns.The 1980s also saw the start of a loudspeaker company focusing on sound reinforcement market.In the 1990s, an view of the introduction of Line arrays, in which a vertical array of loudspeaker lengths with smaller cabinets is used to improve efficiency and provide even dispersion and frequency response. This period also sees the introduction of the plastic conductor speakers mounted on top of the tripod stand. they are practical for non-professionals to set up and operate successfully. The sound quality available from these simple 'speakers' varies greatly depending on its implementation.
Many sound reinforcement loudspeaker systems incorporate protection circuits, preventing damage from excessive force or operator error. The coefficient of positive temperature resistors, special limiting current light bulbs, and circuit breakers are used alone or in combination to reduce driver failure. During the same period, the professional soundproofing industry made Neutrik Speakon NL4 and NL8 connectors standard input connectors, replacing 1/4 "jack, XLR connectors, and Cannon multipin connectors that are all limited to a maximum of 15 amps of current XLR connectors are still standard input connectors in the active loudspeaker cabinet.
Three different types of transducers are subwoofers, compression drivers, and tweeters. They all feature a combination of voicecoil, magnet, cone or diaphragm, and a frame or structure. The loudspeaker has a power rating (in watts) that shows its maximum power capacity, to help users avoid being too strong. Thanks to the efforts of the Audio Engineering Society (AES) and the ALMA loudspeakers industry group, the power handling specifications are becoming more reliable, although adoption of the EIA-426-B standard is far from universal. Around the mid-1990s, trapezoid-shaped sheets became popular because this form allowed many of them to be easily arranged together.
A number of companies are now making portable and lightweight speaker systems for small places that route low-frequency parts of music (electric bass, bass drum, etc.) to powerful subwoofers. Routing low frequency energies to separate amplifiers and subwoofers can greatly improve the bass response of the system. Also, clarity can be increased, because low-frequency sounds require a lot of strength to strengthen; with only a single amplifier for the entire sound spectrum, a power-hungry low-frequency sound can take a disproportionate amount of the sound system power.
Professional loudspeaker speaker systems often include special hardware to "fly" them safely above the stage area, to provide more sound coverage and to maximize line of sight at the venues.
Monitor the loudspeaker
Monitor the loudspeaker, also called the "foldback" loudspeaker, is a speaker cabinet used on stage to help players listen to their songs or games. Thus, the monitor speakers are directed to the player or part of the stage. They generally send a mixture of vocals or different instruments from the mixture sent to the main loudspeaker system. The loudspeaker cabinet monitor is often a wedge shape, directing their output upwards towards the player when set on the stage floor. Two-way design, dual drivers with speaker cone and horn are common, because the monitor loudspeakers must be smaller to save space on stage. These speakers typically require less power and volume than the main speaker system, as these speakers only need to provide sound for some people within close proximity of the loudspeaker. Some manufacturers have designed loudspeakers for use either as a component of a small PA system or as a monitor loudspeaker. In the 2000s, a number of manufacturers produced powered monitor speakers, which contained integrated amplifiers.
Using the monitor speaker instead of the ear monitor usually results in an increased volume of the stage, which can cause more progressive feedback problems and progressive hearing damage to the players in front of them. The clarity of mixes for players on stage is also usually not as clear as they hear sounds more alien from around them. The use of monitor loudspeakers, active (with integrated amplifiers) or passive, requires more cabling and equipment on stage, resulting in a more cluttered stage. These factors, among others, have led to the increasing popularity of in-ear monitors.
Monitor in-ear
In-ear monitors are headphones that have been designed to be used as monitors by live players. They are one of the "universal fit" or "custom fit" designs. The universal fit in ear monitors has rubber or foam tips that can be put into almost anyone's ear. Custom fit in ear monitor is created from the impression of the user's ears that have been made by the audiologist. In-ear monitors are almost always used in conjunction with wireless transmission systems, allowing players to move freely on stage while maintaining their monitor mix.
In-ear monitors offer enough isolation for players who use them, which means that monitor engineers can create a much more accurate and clear mix for players. With in-ear monitors, each player can deliver their own custom mix; although this also happens to the monitor speakers, the in-ear monitor of one player can not be heard by other musicians. The downside of this isolation is that the player can not hear the crowd or comments of other players on a stage that does not have a microphone (for example, if a bass player wants to communicate with a drummer). This has been improved by larger production by setting up a pair of microphones on each side of the stage that are facing an audience that is mixed into the inner ear monitor transmission.
Since its introduction in the mid-1980s, in-ear monitors have become the most popular monitoring option for major touring activities. The reduction or removal of the loudspeaker other than the instrument amplifier on stage has enabled a cleaner and less problematic mixing situation for home and monitor engineers. The audio feedback is greatly reduced and there is less sound that bounces behind the stage wall to the audience, which affects the clarity of the mix created by the front home engineer.
Apps
Sound reinforcement systems are used in a variety of different settings, each having different challenges.
Rental system
Audio visual (AV) rental systems should be able to withstand heavy use, and even abuse from tenants. For this reason, rental companies tend to have highly reinforced speaker cabinets and are protected with steel corners, and electronic equipment such as power amplifiers or effects are often installed into protective road cases. In addition, rental companies tend to choose equipment that features electronic protection, such as a speaker-speaker circuit and limiter amplifier.
In addition, leasing systems for non-professionals should be easy to use and manage, and they should be easily fixed and maintained for the hiring company. From this perspective, speaker cabinets should have accessible horns, speakers, and crossover circuits, so repairs or replacements can be made. Some rental companies often hire amplifiers, mixers with onboard effects, and powerful subwoofers for use by non-professionals, which are easier to set up and use.
Many major company tours and events will rent out a large sound reinforcement system that usually includes one or more audio engineers on staff with rental companies. In the case of rental systems for touring, there are usually some audio engineers and technicians from rental companies who tour with the band to organize and calibrate equipment. Individuals who mix bands are often chosen and provided by the band, as they have become familiar with various aspects of the show and have worked with actions to build a general idea of ​​how they want the event to be heard. The mixing engineers for an act sometimes also occur on staff with the rental company selected to provide equipment for the tour.
Live music club and dance show
Setting up sound reinforcement for live music clubs and dances often presents unique challenges, as there are a variety of places used as clubs, from former warehouses or music theater to small restaurants or underground pubs with concrete walls. Dance events can be held in large warehouses, airplane hangars or open spaces. In some cases, clubs are placed in multi-storey places with balconies or in "L" shaped spaces, which makes it difficult to get a consistent sound for all audiences. The solution is to use rechargeable speakers to get good coverage, using delays to ensure that the audience does not hear the same sound at different times.
The number of subwoofer speaker cabinets and dedicated power amplifiers for low-frequency sound used in the club depends on the type of club, the music genre played there (directly or via DJ), and the size of the venue. A small coffee shop where a traditional group, bluegrass or jazz is a major player who may not have a subwoofer, and instead rely on a full main PA speaker to produce a bass sound. On the other hand, clubs where rock bands or heavy metal music play or nightclubs where DJ house music plays dance music may have some big subwoofer sized 18 inches in a big closet and powerful amplifiers dedicated to the subwoofer, because the genre and style of this music is usually use strong and deep bass sound.
Another challenge with designing a sound system for live music clubs is that the sound system may need to be used for both previously recorded music played by DJs and live music. If the sound system is optimized for previously recorded DJ music, then the sound system will not provide the appropriate sound quality (or mixing equipment and monitoring equipment) required for live music, and vice versa. The club system designed for DJ requires a DJ mixer and space for the recording player. The club tends to focus on live music performances or DJs. However, clubs featuring both types of performances may face the challenge of providing the desired equipment and settings for both uses. Instead, live music clubs require mixing boards designed for live sound, stage monitor systems, and multicore "snake" cables that run from the stage to the mixer. Lastly, live music clubs can be a hostile environment for sound equipment, where the air may be hot, humid, and smoky; in some clubs, storing cold rack power amplifiers might be a challenge. Often the room is air-conditioned only for amplifier use.
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Designing systems in churches and similar religious facilities often poses challenges, since the speaker may not have to bother to blend in with antique wood and stone. In some cases, the audio designer has designed a special painted speaker cabinet so that the speakers will blend into the church architecture. Some church facilities, such as a sanctuary or chapel are long rooms with low ceilings, which means that additional speakers are needed throughout the room to provide good protection. The additional challenge with the SR church system is that, once installed, they are often operated by amateur volunteers from the congregation, which means they should be easy to operate and complete.
Some mixing consoles designed for houses of worship have an automatic mixer, which rejects unused channels for noise reduction, and an automatic feedback removal circuit that detects and outputs the feeding frequency. These features can also be available in multi-functional consoles used in convention facilities and multipurpose places.
Tour system
The tour sound system should be strong enough and flexible enough to cover many different spaces and places, and available in different sizes and shapes. The tour system ranges from intermediate systems to bands that play nightclubs and other mid-sized venues to large systems for groups playing stadiums, outdoor arenas and festivals. They also need to use "field replacement" components such as speakers, horns, and fuses, which are easily accessible for improvement during the tour. The tour sound system is often designed with substantial redundancy features, so that in case of equipment failure or overheating, the system will continue to function. The tour system for band performances for a crowd of several thousand people and a ride is usually arranged and operated by a team of technicians and engineers who travel with the performers to every show.
The mainstream bands that will perform in medium to large sized venues during their one to two week technical training schedule with the entire concert system and production staff, including audio engineers, are on hand. This allows audio and lighting technicians to become familiar with events and create presets on their digital equipment (for example, digital mixers) for each part of the event, if needed. Many modern music groups work with their Front of House and monitor the mixing of engineers during this time to establish what their general idea is about how performances and mixes should be heard both for themselves on stage and for the audience.
This often involves the programming of different effects and signal processing for use on certain songs, to make the sound of a song somewhat similar to the studio version. To manage the show with many effects changes, mixing engineers for the event often choose to use digital mixing consoles so they can store and automatically remember many of these settings between each song. This time it is also used by system technicians to get used to the combination of special equipment that will be used in the tour and how the acoustic response during the show. The technician remains busy during the show, making sure the SR system is operating correctly and that the system is properly tuned, because the room or place acoustic response will respond differently throughout the day depending on temperature, humidity, and number of people in a room or room.
PA system "Weekend band" is a niche market for small and powerful tour equipment. The weekend bands require a system small enough to fit into a minivan or trunk of a car, yet powerful enough to provide sufficient voice distribution and voice clarity and even in noisy clubs or bars. In addition, the system should be easy and fast to set up. Sound boosting companies have responded to this demand by offering equipment that meets various roles, such as powered mixers (mixers with amplifiers and integrated power effects) and powered subwoofers (subwoofers with integrated power amplifiers and crossovers). These products minimize the number of cable connections that the band has to make to manage the system and they take less time to set it up. Some subwoofers have mounted speakers mounted on top, so they can be duplicated as a base for a complete PA speaker cabinet.
Live Theater
Voices for live theaters, operatic theaters, and other dramatic applications can cause problems similar to those of churches, in cases where theater is an old heritage building where speakers and cables may have to mingle with wood. The need for clear line of sight in some theaters can make the use of ordinary speaker cabinets unacceptable; on the contrary, sleek and low-profile speakers are often used instead.
In live theater and drama, players move on stage, which means wireless microphones may have to be used. The wireless microphone must be set and properly maintained, to avoid interference and reception problems.
Several higher-budget theater performances and musicals are mixed in live surround sound, often with event sound operators that trigger sound effects mixed with music and dialogue by mixing event engineers. These systems are usually much wider for design, usually involving separate sets of speakers for different zones in the theater.
Classic and opera music
A subtle type of sound reinforcement called acoustic enhancement is used in some concert halls where classical music such as symphonies and operas is performed. The acoustic enhancement system helps provide a more even voice in the hall and prevents "dead spots" in the audience seating area by "... adding to the acoustic characteristics of the acoustics hall." The system uses the "... array of microphones connected to the computer connected to the loudspeaker array." However, since the audience has realized the use of this system, the debate has arisen, because "... purists maintain that natural acoustic sounds [Classical] [sound] instruments in the given hall should not be altered."
The Kai Harada article Little Secret Gross Opera states that the opera house has started using an electronic acoustic upgrading system "... to compensate for the shortcomings in the acoustic architecture of the venue." In spite of the uproar that arose among the operagoers, Harada pointed out that no opera house uses an acoustic enhancement system "... using traditional Broadway-style sound reinforcement, where most if not all singers equipped with radio microphones mix with a series of loudspeakers are seen scattered throughout the theater. "In contrast, most opera houses use sound reinforcement systems for acoustic enhancement, and for smooth enhancement of off-stage sounds, stage dialogue and sound effects (for example, church bells in Tosca or thunder at the Wagnerian opera).
Acoustic upgrading systems include LARES (Lexicon Acoustic Reinforcement and Enhancement System) and SIAP, Systems for Acoustic Performance Improvement. The system uses a microphone, computer processing "with delay, phase, and frequency-response changes", and then sends a "... signal to a large number of loudspeakers placed in the extremities of the venue." Another acoustic upgrading system, VRAS (Variable Room Acoustics System) uses "... different algorithms based on microphones placed around the room." Deutsche Staatsoper in Berlin and the Hummingbird Center in Toronto use the LARES system. The Ahmanson Theater in Los Angeles, the Royal National Theater in London, and the Vivian Beaumont Theater in New York City use the SIAP system.
Lecture hall and conference room
The lecture hall and conference room poses a challenge to reproduce the speech clearly into the large hall, which may have a reflective surface, and produce an echo. One of the problems with reproducing speech is that the microphone used to pick up a person's voice can also pick up unwanted sounds, like rustling paper on a podium. More focused microphones can help reduce unwanted background noise.
Another challenge with conducting live events for individuals speaking at conferences is that, compared to professional singers, individuals invited to speak on forums may not be familiar with how the microphone works. Some people may accidentally point the microphone to speakers or monitor the speakers, which can cause audio feedback to "howl". In some cases, when an individual who speaks does not speak directly enough to the microphone, the audio engineer may ask the individual to wear a lavaliere microphone, which can be cut into the collar.
In some conferences, sound technicians must provide a microphone for a large number of people who speak, in case of a panel or debate conference. In some cases, automatic mixers are used to control the microphone level, and turn off the channel for the unspoken microphone, to reduce unwanted background noise and reduce the possibility of feedback.
Sport voice system
Systems for outdoor sports facilities and ice rinks often have to deal with substantial echoes, which can make speech incomprehensible. Sport and recreation sound systems often face environmental challenges as well, such as the need for weatherproof outdoor speakers in outdoor stadiums and humidity-resistant and splash-proof speakers in the pool. Another challenge with the sports sound reinforcement setting is that in many arenas and stadiums, spectators are on all four sides of the field. This requires 360 degree voice coverage. This is very different from the norm with the music festival and music room, where the musicians are on stage and the audience is sitting in front of the stage.
Set up and test
Large-scale sound amplifier systems are designed, installed, and operated by audio technicians and audio technicians. During the design phase of the newly built premises, audio technicians work with architects and contractors, to ensure that the proposed design will accommodate the speakers and provide the right room for sound technicians and audio equipment racks. The sound engineer will also advise on audio components that best suit the space and purpose of use, and on the placement and installation of the correct components. During the installation phase, the sound technician ensures that high-powered electrical components are fitted and securely connected and that the speakers on the ceiling or wall are properly installed (or "flown") into the rigging. When sound amplifier components are installed, the sound technician tests and calibrates the system so that the sound production will be evenly distributed across the frequency spectrum.
System test
The sound reinforcement system must be able to accurately reproduce the signal from its input, through any processing, to its output without coloring or any distortion. However, due to inconsistencies in the size of place, shape, building materials, and even crowd density, this is not always possible without prior system calibration. This can be done in one of several ways. The oldest method of system calibration involves a healthy set of ears, testing program material (ie music or speech), graphic equalizer, and last but not least, familiarity with appropriate frequency response (or desirable). One must then listen to the program material through the system, record any changes or visible frequency resonances, and fine-tune using the equalizer. Experienced engineers typically use certain music playlists they already know each time they calibrate the new system. The process of "earing" is still done by many engineers, even when analytical tools are used, as a final examination of how the system sounds with music or play speech through the system.
Other methods of manual calibration require a pair of high quality headphones patched into any input signal before any processing (such as pre-fade-listen from the test program input channel from the mixing console, or the headphone output from the CD or tape player deck). One can then use this direct signal as an almost perfect reference which can be used to find the difference in frequency response. This method may not be perfect, but can be helpful with limited resources or time, such as using pre-show music to correct changes in responses caused by the arrival of crowds. Since this is still a very subjective method of calibration, and since the human ear is so dynamic in its own response, the program material used for testing should be as close to the system as possible.
Since the development of digital signal processing (DSP), there are many computer tools and software designed to shift most of the system calibration work from the interpretation of human hearing to software algorithms running on microprocessors. One tool for calibrating sound systems using DSP or Analog Signal Processing is Real Time Analyzer (RTA). This tool is usually used by emitting pink sound into the system and measuring the result with a calibrated special microphone connected to RTA. Using this information, the system can be customized to help achieve the desired response. The response displayed from the RTA microphone can not be considered as a perfect representation of the room because the analysis will be different, sometimes drastically, when the mic is placed in different positions in front of the system.
Recently, voice technicians have seen the introduction of "fast-fourier transform" audio analysis software that allows an engineer to see not only vs. frequency information. amplitude (pitch vs volume) provided by RTA, but also to see the same signal (sound) in the time domain. This provides engineers with data that is far more meaningful than the average. Also, dual fft analysis allows one to compare the source signal with the output signal and see the difference. This is a very quick way to calibrate a system to sound as close as possible to the original source material. Just like a measuring instrument like that, it should always be verified using real human ear. Some DSP system processing tools have been designed for use by non-professionals who automatically make adjustments in the EQ system based on what is being read from the RTA microphone. It's practically never used by professionals, because they almost never calibrate systems as well as professional audio engineers can manually.
Store supplies equipment
Professional audio stores sell microphones, speaker enclosures, monitor speakers, mixing boards, rack-mounted effect units, and related equipment designed for use by audio engineers and engineers. Professional audio stores are also called "pro audio stores", "pro sound stores", "sound reinforcement" companies, "PA system companies" or "audio-visual companies", with the last names used when stores supply large amount of video equipment for events, such as video and screen projectors. Stores often use the word "professional" or "pro" in their store name or description, to distinguish their store from a consumer electronics store, which sells consumer-grade loudspeakers, home cinema equipment and amplifiers, designed for personal, home use.
References
- Eargle, John; Foreman, Chris (2002). Audio Technique for sound reinforcement . Milwaukee: Hal Leonard Corporation.
Further reading
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Source of the article : Wikipedia
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