Sound training for front of house/studio mixing

Tony V.

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So I have been doing front of house and some studio recording engineering for many years. One of the hardest things to do is train someone who is new. Understanding what many of the knobs and dials are for on a sound board (mixer as some call them) and how they react to each other can be a challenge to say the least. Then there is the reaction of "its too loud" or "I cant here the vocals" when mixing a live event at a concert or even church auditorium opening up an even bigger can or worms.

I put together this manual several years ago and even though much of the sound boards are digital now the terminology and adjustments available are the same.

I have attached the PDF file to this post and will put the info in the next post below as well.
 

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Tony V.

Senior Member
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Joined
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Edmonton, AB, Canada
More  
Preamp, Processor or Receiver
Onkyo TX RZ920
Main Amp
Samson Servo 600
Additional Amp
QSC MX1500
Universal / Blu-ray / CD Player
Panasonic 220
Front Speakers
EV Sentry 500
Center Channel Speaker
EV Sentry 500
Surround Speakers
Mission 762
Surround Back Speakers
Mission 762
Subwoofers
SVS PB13u
Video Display Device
Panasonic AE 8000
Remote Control
Logitech 1100
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The purpose of Sound Reinforcement

The main purpose is to CAPTURE, CONTROL and DISTRIBUTE sound.
CAPTURE is done by using microphones or other pickup devices
CONTROL is done by using a mixer and other processing equipment.
DISTRIBUTION is done by using amplifiers and speakers.

Is everyone capable of doing sound

I think Yes, but to do it well you need to:
Be able to use your ear to analyze and assess what is happening at the event you are at. A good musical ear is an important asset.
Attention to detail and being able to focus on individual sounds.
Understanding the correct terminology.
Balancing a mix.

System Startup
  1. Before turning on power to soundboard and amps, check levels on masters for monitors and mains as someone may have played with levels do not assume that all is the way you left them. Turning on the board before doing this could cause serious damage to speakers due to feedback from microphones or excessive volume from CD or other source.
  2. If possible, Turn on soundboard first then amplifiers as reversing this causes a BOOM sound in the speakers and possibly cause damage to speakers.
  3. Run main faders up slowly to there usual position. (if you don’t know what that is ask someone who does)
  4. Send a signal through system for example a CD or Tape. Again bringing levels up slowly.
  5. Check main speakers and monitors to see if they are working properly.

Operation of a Soundboard

A soundboard is a crucial part of a sound system. It is used to combine and mix many individual sources into one or more separate output mixes. Many different paths exist for the incoming signal to leave the mixer.
Common outputs are Stereo, Main bus, Group out and Auxiliary out.
The input signal can come into the board from several sources XLR (Mic in as it is usually referred to) or LINE in and now even a digital input.

Channel layout

Now first of all this is where there are many different layouts and this gets even more complicated with the new digital mixers being used but this is a basic layout and most mixers will have these adjustments.
  1. Phantom power is used for sending power to microphones that require power to work.
  2. Mic / Line switch used to select which signal is being used.
  3. Phase reversal switch used for when you use two microphones in close proximity of each other.
  4. Pad used to reduce the signal level by a certian level if turning down the input gain is not enough.
  5. Input gain is used to adjust the level of the incoming signal so as to not clip or distort the signal.
  6. High pass filter used for cutting off the low frequencies.
  7. Equalizer used to shape the sound of the incoming signal.
  8. Equalizer on / off switch will bypass EQ. If off.
  9. Auxiliary sends used for sending level to monitors or efx. such as reverb.
  10. Auxiliary pre / post switch used to send the signal to monitors or efx. Before going through the fader or after the fader meaning that the fader controls the level as well.
  11. Pan used to move the signal to the left or right speakers or both if using a stereo mix.
  12. Mute used to turn on / off a channel completely.
  13. Sub master assign switches used to select where the signal will go before leaving the mixer to the speakers.
  14. PFL switch (Pre Fader Listen) is used for listening to the signal over headphones (this works even if channel is muted)
  15. Fader is used to send the signal to the main output or sub master.
Output groups / sub master section
  1. Returns used to receive the signal from a processor i.e. reverb so you can send it to the main output.
  2. Auxiliary masters these send the signal form the independent auxiliaries on each channel to the monitors or efx unit.
  3. Sub master section is used to control several levels with only one fader rather than having to adjust several channels independently.
  4. PFL level adjusts the volume to the headphones otherwise known as Pre Fader Listen.
  5. Mute groups are used to turn off several channels at once (not a common feature on soundboards)
  6. Stereo and Mono master faders are the final stop before the signal leaves the mixer to either a recording device or speakers.
 

Tony V.

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Onkyo TX RZ920
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Samson Servo 600
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QSC MX1500
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Panasonic 220
Front Speakers
EV Sentry 500
Center Channel Speaker
EV Sentry 500
Surround Speakers
Mission 762
Surround Back Speakers
Mission 762
Subwoofers
SVS PB13u
Video Display Device
Panasonic AE 8000
Remote Control
Logitech 1100
Streaming Subscriptions
Denon DT 625 CD/Tape unit, Nintendo WiiU, and more
Mixing Techniques
  1. The first thing you need to do is turn down all AUXILIARY levels and the FADER then determine what kind of input signal it is. (LINE or MIC) and what channel it is pluged into
  2. After that you need to adjust the gain so it doesn’t clip the input. To do this look at the indicator lights for that channel and see if you are overloading it (the red light or LED as it is called) should only flicker occasionally at the highest level. If it is on solid turn down the GAIN. The opposite is true if you can’t see or have a very low level. On a Digital console The level should be much lower than clipping and normally should be set to run in the low yellow or about halfway up. Clipping a digital signal makes it unusable.
  3. Then you need bring up the FADER slowly up to around 0dB Remember to have the MONO or STEREO masters up to there normal levels and have the signal selected on the SUB MASTER assigns to send to mono or stereo. The channel faders should be up ¾ of the way and use the mono master to control the volume. (START LOW)
  4. Listen to what you hear as this is where you need to use your ear and adjust the EQUALIZER so as to make it sound as natural as possible (this can take a while) do not adjust the EQ so it looks pretty use your ears not your eyes.
  5. Once that has been completed send the desired level to the monitors by first determining what monitor channel is used for that part of the stage than bringing it up using the AUX sends for that monitor. Always use caution when doing this as this is where feed back can develop this is where you use the pre/post buttons located just below the Aux sends with the exception of wireless mics these should be on the pre setting, again listen to the mix. The monitor mix should NEVER be louder than the mains. (at least 5% under)
  6. At this point you are done using this channel for now go on to the next signal and do the same until you are done.
  7. Now you need to decide if you want to use your SUB MASTER assigns or just continue sending it straight to the master.


Mixing is a lot like driving a car

Keep your head up watch the performers not the knobs and meters
Hands should be on the mixer not the coffee mug!
Pay attention don’t be talking to your girlfriend / boyfriend
A map is a good thing to have when driving so is a service outline or program when doing sound Know what is coming up and be prepaired.

Structure of a mix (a 3 layer cake)

Lead vocalists are the icing or top layer of the cake and should be slightly louder then instruments and other sounds.
The instruments that provide support to the vocals i.e. piano or keyboard and Acoustic Guitars need to be the next layer, background vocals can be placed here also.
The bottom layer consists of the drums, Bass and percussion.
Marbled throughout the cake are the sweeteners that add to the mood and make music interesting i.e. woodwinds, strings second keyboards and guitars.
(Remember we may be mixing for a Church service or other worship event not a rock concert) even though even a rock concert needs to be layered

Selective listening

Once you have mixed it all together it may sound muddy or not clear i.e. the vocals don’t seem to be understandable or the piano is not cutting through. Than you need to EQ them so they have more edge adding some high mid frequencies (4-8KHz) will help this even though by them selves they seem too shrill. You also may need to cut back on some low mids (200-600Hz) on things like Bass and Keys.

Stage setup / Sound check

A sound check is essential; an event should never take place unless one has been done.
A good rule of thumb is a sound check should last 1hr. 15min. And you should be done ½ hr. before the event starts or doors open giving you time to do system checks.
It is NOT a practice for the musicians it’s for the sound technicians.
Should be of a verity of fast and slow songs (no need to do complete song)
Specials should be done as well so as not to have surprises
If need be go through each instrument and vocal one at a time to adjust EQ and other settings.

As sound systems very from church to church and venue to venu and acoustics play a large role in how sound is heard. An empty building will usually sound completely different than a full one. Do not assume that once you have a good mix that your job is done a sound technician must be ready for the unexpected to happen i.e. a wireless mic picking up interference or a bad cord that worked during sound check. Also depending on if the soundboard is used for Sunday services or for other functions will be a factor on how much you will need to do for each setup.

Final Sound Adjustments

When you finally have a good mix of sound that you are happy with the next thing you need to do is establish an overall volume level for Sunday services or concert. Again acoustics play a large role in how you assess the situation but a good rule of thumb is look at the seniors in the congregation and see if they are holding there hands over there ears…ok just kidding. First, you need to get your hands on a sound level meter this is not an expensive device that reads sound volume in Decibels or dB as seen on most meters. Once you have one of these you want to have it where you can see it and adjust the house sound to around 90dB with peaks never above 100dB (for a concert most people expect it to be a bit louder in the 90-110db range) remember that each dB is 10x louder than the last. Next walk around the room with the meter and check that you don’t have spots that are louder than 100dB reflection off of walls and ceilings can also affect this. Remember that once the room fills up this reading will change.

Microphone Types
  1. Unidirectional come in various pattern sizes designed to pick up sound only from the front and slightly on the side called Cardioids, Hypercardioids are a little more sensitive and Shotguns that only pick up what’s in front of it.
  2. Omnidirectional pick up sound from all around even behind
  3. Dynamic mics have a good overall frequency response are used for vocals are rugged and do not need a power source (Phantom Power)
  4. Condenser mics have a much higher frequency response and are very sensitive, great for choir or group pickup as well as cymbals and percussive sounds they are not good for holding as they tend to transmit the handling sound into the mic. These mics need Phantom Power to operate and feed back very easy (using around monitors or speakers is not recommended).

Microphone Technique

Hold the mic as close to the mouth as possible on the chin is best (Its an ice cream cone if you can’t touch it with your tongue than its to far away)
DO NOT EVER blow into mic or stand close to a speaker or monitor and cause feedback* deliberately.
Pull the mic away from your mouth if you are going to get loud or yell.

*Feedback is caused by a microphone or other pickup device hearing its self. Pointing it at or by just having it too loud in the speakers or monitors. To fix this you can do three things:

1)Turn down the volume of the device feeding back**.
2)Move the speaker or monitor away from the device feeding back or vice versa.
3)Use your EQ on the soundboard to get rid of the frequency that is feeding back.

**Always do this first as feed back will cause serious damage to speakers if left to get out of hand not to mention it’s hard on the ears.


Connecting Instruments to Soundboard

1)Using a Direct Box (DI) this box converts a line or guitar High Z signal (Unbalanced) to a Low Z mic signal (Balanced) so it can travel farther distances over 20 ft. (you may create noise in the system if you don’t)
2)Using mics designed for instruments i.e. SM57 made by Sure (using vocal mics can damage them as they have a much larger pickup aria and can easily be overloaded)
 
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Hworst

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digital it is now. kids don't even know how it was. that's sad for them.. i could add view digital related? easier to make things happen but consequences are bigger when missing essentials.
 

Tony V.

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EV Sentry 500
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EV Sentry 500
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Mission 762
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Mission 762
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SVS PB13u
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Feel free to add any info you have that would help,
Welcome to AV NIRVANA :wave:
 

Nakdoc

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Interesting idea to write a guide. I've been out of concert sound since college (a very long time ago) but I would like to add to your idea about setting overall levels by using a meter. First of all, the temptation (at least for rock, and unfortunately for just about every thing else) is to crank any system to levels which make it sound loud. What makes a system sound loud is distortion. A small system will reach that condition at lower absolute levels than a massive tri-amped 40 driver wall of sound. (Ever hear a Rumba class with 2 powered Berringers in a gym playing ear bleedingly loud?)
The small system might not be capable of producing 100dB peaks, while the wall of sound will send everyone home with temporary deafness.
My advice is to experiment with the system and learn the early signs of distress, aka distortion, memorize that level, then bring the main house levels down so you have at least 6dB of headroom. Mark your master meter level if you want until you get a hang of it (those peak lights are for individual inputs, not the master output level). You are going to need a bit of that 6dB headroom to compensate as the house fills with bodies. A dB or two more comes in handy to punch up the levels when the music and crowd are really having fun, but always save some headroom so the audience enjoys a clean and clear concert or show.
 

Tony V.

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Edmonton, AB, Canada
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Onkyo TX RZ920
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Samson Servo 600
Additional Amp
QSC MX1500
Universal / Blu-ray / CD Player
Panasonic 220
Front Speakers
EV Sentry 500
Center Channel Speaker
EV Sentry 500
Surround Speakers
Mission 762
Surround Back Speakers
Mission 762
Subwoofers
SVS PB13u
Video Display Device
Panasonic AE 8000
Remote Control
Logitech 1100
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Denon DT 625 CD/Tape unit, Nintendo WiiU, and more
Some great points, thanks for your input :T
 

Nakdoc

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Kenwood L-07MmkII
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Front Speakers
DCM Time Windows
Center Channel Speaker
Ha!
Surround Speakers
zilch
Surround Back Speakers
nada
Front Height Speakers
imaging
Rear Height Speakers
imaging
Subwoofers
a dog named sweetie
Other Speakers or Equipment
Sota Sapphire turntable Nakamichi 680 cassette
Video Display Device
Hitachi CT2066
Streaming Subscriptions
Revox B77, A700 reel
I just met a musician who plays "incidental percussion and noise" for a synth+horn band that is going to play a festival in Louisville tomorrow. What are some guide lines to follow when something unconventional is being set up on stage? I recall seeing the Paul Winter Consort. The percussion "area" included 8 foot linear racks holding bells. The B3 organ did not have the usual Leslie, rather it had a Klipschorn with a portable plywood corner. The bells were mic'd in an open manner using a boom rising about 10 feet above the stage. I do not recall how the organ was done, but the K Horn is 2 way, so the mic has to be some distance from the speaker. How they dealt with feedback is another story.
Back to my new acquaintance. He has sheets of steel that he plays. he rips paper. he breaks glass (or would like to if he can figure out how to mic it) If you have half an hour to set up mics, how do you handle something odd like this guy?
 

Tony V.

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Onkyo TX RZ920
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Samson Servo 600
Additional Amp
QSC MX1500
Universal / Blu-ray / CD Player
Panasonic 220
Front Speakers
EV Sentry 500
Center Channel Speaker
EV Sentry 500
Surround Speakers
Mission 762
Surround Back Speakers
Mission 762
Subwoofers
SVS PB13u
Video Display Device
Panasonic AE 8000
Remote Control
Logitech 1100
Streaming Subscriptions
Denon DT 625 CD/Tape unit, Nintendo WiiU, and more
He has sheets of steel that he plays. he rips paper. he breaks glass (or would like to if he can figure out how to mic it) If you have half an hour to set up mics, how do you handle something odd like this guy

Interesting question, With that sort of thing really the only way to mic is to use a condenser mic on a boom. or if you know exactly the area where he is making the noises from a shotgun mic would work. placing him behind a sheet of plexi glass might also help with control of the sound from the rest of the stage.
 
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