What did you want to learn

[london sound]

I have been asked to to give a series of talks on doing live sound, I would be interested in what was it that you wished someone had explained early on, and I do not mean things like don't bother.

For instance EQ, gates, gain structure etc.

 

 

Ian

[Mr.Si]

Hey,

 

I'd say that gain structure is an important thing for people to learn.

 

as for everything else, well! - it is difficult to suggest, because there's always something else that someone wants to know.

 

Who would it be for anyway? - beginners? professionals? lawyers? lampies?

 

Si

[IanG]

I'd say that gain structure is an important thing for people to learn.

<{POST_SNAPBACK}>

 

I'll echo that. It's one easy thing to do that can make a lot of difference to how things actually sound.

[Paul J Need]

I'd echo gain structure also.

-1- Moreover, Frequencies: and how to work with Graphic EQ properly

-2- How to work out speaker coverage

-3- The use of delay; explanation how to achieve audio imaging

-4- Microphone choice, placement and why etc.

-5- Compression

[PoppaDom]

Quick response as I am on a dialup but I concur with the gain structure theory however I would add to that the importance of when/how to break the recommended/theoretical practise of gain theory.

 

Examples including utilising gain to maximise fader travel on limiting desks, using it to gain effects (such as on a kick drum using clipping to add click effect) and other associated.

 

I believe it is as important to realise when to break the rules as to when to apply them, even from the beginning!

 

Poppadom.

[sam.henderson]

The basics first- Source Equipment, Sound Desk, Amps and Speakers!!

 

Sam

[london sound]

Thanks for all the input, the students prime interest seemed to be the channel eq, so I have now explained the uses for channel eq (in the absence of graphic or parametric eq) to help reduce feedback about a dozen times. They had a feedback destroyer which in my experience or more of a gain destroyer.

 

Just for you information the group were a faith based organization in East London, quite a nice crowd and very eager

 

Seem to be doing alot of tuition recently, I suppose it goes with the aging process.

I guess I might have to put a teaching plan together next :D

 

 

 

 

Ian

[london sound]

PoppaDom

 

using it to gain effects (such as on a kick drum using clipping to add click effect

 

I'm curious why you want a channel clipping? the resultant square wave is not necessary healthy for other things down the line, if you want a click effect, mic placement/choice will sort this out.

 

I agree that certain pre-conceptions can be stretched but certain laws are best stuck with.

 

 

Ian

[slim_mcslim]

rather than the gain structure - you should cover the basic aspects of sound system operation - speakers/amps/ohms/x-over/limiting - then move onto the signal path, of which gain structure applies to, then differences in microphones, why a 3.99 cpc special doesn't sound like a sm58

[PoppaDom]

PoppaDom

 

I'm curious why you want a channel clipping? the resultant square wave is not necessary healthy for other things down the line, if you want a click effect, mic placement/choice will sort this out.

 

I agree that certain pre-conceptions can be stretched but certain laws are best stuck with.

 

 

Ian

<{POST_SNAPBACK}>

 

The idea behind pushing gain into clipping and square wave can produce some very interesting effects. As for the equipment down the line?? I am intreagued as to hear further your comments on this...

The clipping itself creating a cropped sine wave, not pure square wave, shouldn't be detremental to any equipment further down the line as I understand it?!

As for certain laws being best stuck with? Which laws as such are these stated, manufacturers guidelines? For optimum results....not the only way!

 

One of the reasons I still like to use tape for some applications is the ability to overload it to produce effects, techniques like these having being used by many large record companies for years...

 

Poppadom

[James]

Poppadom.

 

I assume you know what a Fourier transform of a square wave lookes like Basicaly by creating a square wave you create harmonics with frequencies rising up to daylight.

 

This has severe implications in amplifiers as high frequencies have a habit of heating up and burning out speaker coils.

 

However I would assume that the clipped signal you have on the kick channel is vastly different to that you would get at the end of the signal chain. (after passing through numerous LPF's...)

 

James

[PoppaDom]

Poppadom.

 

I assume you know what a Fourier transform of a square wave lookes like Basicaly by creating a square wave you create harmonics with frequencies rising up to daylight.

 

This has severe implications in amplifiers as high frequencies have a habit of heating up and burning out speaker coils.

 

However I would assume that the clipped signal you have on the kick channel is vastly different to that you would get at the end of the signal chain. (after passing through numerous LPF's...)

 

James

<{POST_SNAPBACK}>

 

As you have stated yourself a well set up system has systems in place to protect the speakers from such damage. (Highlighting the importance of curbing the top end response of your system and not just selecting the anything 20khz plus option! as I have seen in numerous theatres across the country!)

 

As for Fourier, this problem is highlighted through all wave forms following theory, although granted square is probably the worst offender! Although this still adds to the protected system that is correctly set up!

 

Poppadom