sound training 2b
DESCRIPTION
Sound Training 2B. 23/30th November 2011 JP & JC. Objectives. Understand some theory about sound and the equipment used Learn how to fully build and plug in a sound rig for a typical band night in Rubix Learn how to soundcheck and mix a drum kit (and maybe other instruments). Sound Theory. - PowerPoint PPT PresentationTRANSCRIPT
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Sound Training 2B
23/30th November 2011
JP & JC
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Objectives
• Understand some theory about sound and the equipment used
• Learn how to fully build and plug in a sound rig for a typical band night in Rubix
• Learn how to soundcheck and mix a drum kit (and maybe other instruments)
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Sound Theory
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Sound in Air & the Ear
Sound is a type of wave, which our ears detect and convert into electrical signals
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Wave/Sound Properties
• Amplitude• Frequency (1/Time Period)• Wavelength
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The dB (decibel)
• “The decibel (dB) is a logarithmic unit that indicates the ratio of a physical quantity (usually power or intensity) relative to a specified or implied reference level.”
• dBu• dBF• dB(SPL)
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Loudness (According to the Ear)
dBA “weighting” SPL follows the 40 phon curve
dBB “weighting” SPL follows the 70 phon curve
dBC “weighting” SPL follows the 100 phon curve
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Common dB(A) levels
• 20 – rustling leaves
• 40 – bird singing / quiet talking
• 70 – toilet flushing
• 90 – heavy city traffic
• 110 – rock band
• 130 – pneumatic drill
• 150 – jet plane close by
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The Law (at work)
• 80 dBA Leq over 8h (or 135dBC instantaneous) - ear protection available on request
• 85 dBA Leq over 8h (or 137dBC instantaneous) - ear protection issued
• 87 dBA Leq over 8h (or 140dBC instantaneous) - max legal level (after reduction by protectors)
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Exposure & Recovery
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Signal Sources, Speakers
& the bits in between
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Microphone Types
• Dynamic (we use live)
• Condenser (we use live)
• Ribbon
• Piezoelectric
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Dynamic Mics
• High SPL sources (e.g. vocals, drums, guitar)
• No power required
• Rugged design
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Condenser Mics
• Low SPL sources
• Can be good for HF sounds e.g. cymbals, flute
• Require power (phantom power)
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Mic Pickup Patterns
Typically used on stage
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Other Sources
• Some instruments already output an electrical signal (e.g. keyboard, bass guitar, laptop)
• If unbalanced source (to be explained later) then usually plugged in via a DI (direct injection) box
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Speakers
• Many sizes
• Certain sizes reproduce sound more efficiently than others
• Therefore, often many speaker sizes in one box
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Active / Passive
In active systems, a crossover is used to split up the sound into frequency ranges to send to
different amplifiers and speakers
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Active / Passive
Passive systems amplify the sound before splitting the signal to go to different speakers – only one
amp required
You may notice the wedges (aka monitors) have an active/passive switch – we usually use them in
active mode
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Active / Passive
WARNING!!! Double definition!
Active/Passive can also refer to whether a piece of equipment has amplifiers built in.
E.g. RCF drum fills are a type of ‘active’ system
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FOH & Monitor Speakers
• FOH speakers are used so audience can hear the act (usually just left and right speakers)
• Monitors are so the act can hear themselves play clearly (many sets of speakers – maybe 1 per band member)
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Point Source Speakers
• Many speakers are pointed as to cover the listening area
• E.g. our Turbosound rig
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Line Array Speakers
• Lots of small speakers joined together to work as one big speaker
• E.g. our d&b rig
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Feedback
• Certain frequencies of sound get stuck in a loop between the microphone and the speaker
• The level of that frequency increases and causes the often painful ‘squeeling’ noises
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Signal Path
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Sound Cabling
• Balanced / Unbalanced
• Connector types
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Signal Processing
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Frequency Control
• “Equalisation” or “EQ”
• 2 main types• Parametric• Graphic
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Filters
• Low Pass (LPF)
• Band
• High Pass (HPF)
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Amplitude Control – Compressors / Limiters
“Reduce
dynamic range”
“Gets rid of peaks in volume”
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Amplitude Control - Gates
Let sound ‘through’ when above a set level
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Effects – Delay
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Effects – Reverb
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Phase
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Now the fun bit…