HAL LEONARD
The Ultimate Live Sound Operator's Handbook 3/e
The Ultimate Live Sound Operator's Handbook 3/e
ISBN: 9781538133170
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The third edition of The Ultimate Live Sound Operator’s Handbook offers new sections on digital concepts, wireless considerations, digital mixers, modern digital snakes, routing schemes, block diagrams, signal paths, plug-ins for live sound, and more.
Any live act must sound great to be well received by today’s increasingly demanding audiences. If you’re a sound operator, teacher, musician, or even a music fan who is interested in becoming a sound operator, you know that regardless of the musical genre or venue, high-quality audio is mandatory for an artist or band’s success. This book shows you how to improve your audio skills, including how to build great sounds that form a professional-sounding mix.
Revised and updated, The Ultimate Live Sound Operator’s Handbook, 3rd Edition focuses on each modern and classic aspects of live sound operation in a way that is straightforward and easy to understand—from system, component, and acoustic considerations to miking, mixing, and recording the live show.
Tightly produced online videos clearly demonstrate key concepts presented in the text. These instructional videos, along with hundreds of detailed illustrations and photographs, provide an incredibly powerful and useful learning experience. An access code to the companion website is provided in the book.
The Ultimate Live Sound Operator’s Handbook, 3rd Edition, features:
- Shaping Instrument and Vocal Sounds
- Creating an Excellent Mix
- Mixer Basics
- Digital Mixers and Snakes
- Volume Issues and Sound Theory
- Digital Theory
- Managing the Signal Path
- Signal Processors and Effects
- Modern Plug-ins
- Microphone Principles, Techniques, and Design
- Wireless Systems
- In-Ear versus Floor Monitors
- Loudspeakers and Amplifiers
- Acoustic Considerations
- Miking the Group and Sound Check
By Bill Gibson
Imprint: HAL LEONARD
Release Date:
Format: PAPERBACK
Pages: 456
Preface
Chapter 1. The Changing Qualifications of a Sound Operator
List of Qualifications
Distractions during a Show
Chapter 2. Duties of a Sound Operator
Advance Planning
Initial Setup Procedures
Crucial Tasks
Get to Know the Musical Director
Find Out What the Musical Director Expects
Attend Rehearsals
Listen to Board Recordings
Listen to Current Music
Be Punctual
Learn the Songs
Set Up Gear
Strike Gear
Develop Storage Systems
Cable Storage on the Road
Learn What a Good Mix Is
Chapter 3. Volume Issues
Why Volume Issues Are So Common
EQ versus Volume
Sound Reinforcement versus Music Presentation
The Decibel Meter
Earning the Trust of the Team
Understanding Hearing Differences
Types of Hearing Loss
Aural Hypersensitivity
Chapter 4. Sound Theory
Characteristics of Sound
Speed
Cycles
Frequency
Pitch
Wavelength
Amplitude
Loudness and the Fletcher-Munson Curve
Government Regulations
The Loudness of Everyday Life
A-, B-, and C-Weighting
Phase
Harmonics, Overtones, and Partials
Shape
Envelope
Chapter 5. Digital Theory
Analog versus Digital
Physical Properties of Sound
Bits, Bytes, and Words
Advantage of Binary Code
Pulse Code Modulation (PCM)
Direct Stream Digital (DSD)
Nyquist Theorem
Quantization/Bits
Dynamic Range
Bit Rate
RAM Buffer
Aliasing
Sample Rates
Dither/Quantization Error
Noise Shaping
Converters
Chapter 6. Interconnect Basics
Line-, Instrument-, and Mic-Level Impedance
Balanced versus Unbalanced
Choosing Cable
Cable Construction Standards
Speaker Cables
Instrument-Level Cables
Line-Level Cables
Microphone Cables
Do Cables Really Sound Different?
Digital-Interconnect Cables
Connectors
Plugging In
Grounding
Danger, Danger
Chapter 7. Mixer Basics
Signal Path
Input Levels
Input Stage
Output Impedance
The Preamp
Attenuator
Direct Box
Meters
Adjusting VU Levels for Transients
Phase
Phantom Power
Signal Levels
Channel Insert
Aux and Effects Buses
The Difference Between a Live Mixer and a Recording Mixer
Managing the Signal Path
The Equalizer
Console Layout
The Analog Mixer versus the Digital Mixer
FOH Mixer Position
Chapter 8. Signal Path
Input to the Preamp
Following the Signal Path
Chapter 9. Digital Mixers and Snakes
Historic Timeline
Advantages and Disadvantages to a Live Digital Mixer
Important Digital Mixer Features
Digital Snakes and Network Connections
Chapter 10. Signal Processors
Dynamics Processors
Effects Processors
Reverberation Effects
Chapter 11. Microphone Principles and Design
The Proximity Effect
Directional Characteristic
Practical Applications
Operating Principle
Phantom Power
Comparison between Moving-Coil, Ribbon, and Condenser Mics
The Shaping of the Pickup Pattern
Response Characteristic
Stereo Mic Techniques
Chapter 12. Wireless Systems
Being Legal
Components of the System
AM and FM Systems
VHF and UHF Systems
UHF Systems
Digital Systems
Capture Effect
Diversity
Diversity Indicator
Range
Antenna Distribution Systems
Batteries
Squelch
Microphones for Wireless Systems
Wireless Frequency Selection
Mute Switch versus Power Switch
Caring for the Antenna
Adjusting Levels
Connecting to the Sound System
Chapter 13. Loudspeakers
Commercially Built Cabinets
Manufacturers
Pro Audio Suppliers
Crossover Configurations
Powered Cabinets Pros and Cons
Speaker Components
The Importance of Enclosures
Component Alignment
Speaker Impedance
Chapter 14. The Racks
System Processing Rack
Dynamics
Equalizers
Crossovers
The Amp Rack
Analog Effects Rack
Mic Preamplifiers
Dynamics
Effects
Equalizers
Music Playback Devices
Recording Devices
Patch Bays
Selecting the Appropriate Connection Format
Types of Patch Bay Connections
What Goes into a Patch Bay
Keeping It Neat
Locking Various Components
System Control Options
Chapter 15. Monitor Systems
Feedback
Directional Characteristic
Monitor Connections
Ringing Out the System
The Feedback Eliminator
Mic Technique and Monitors
Floor Wedges
To Wedge or Not to Wedge
In-Ear Monitors
Recommended In-Ear Systems
Methods of Interfacing with FOH
Getting Wireless
Characteristics of a Good Monitor Mix
Listen Up!
Chapter 16. System Configuration and Layout
Mixer Placement
Speaker Placement
Connecting Multiple Speakers
Center Cluster
Arrays
Zone Coverage
Keep It Neat and Simple
Fine-Tuning the System
Analysis Methods and Devices
Documentation
Chapter 17. Acoustic Considerations
Dealing with Acoustics
Mode/Standing Wave/Resonance
The Rectangle
Solutions to Acoustical Problems
Treating Surfaces
Power Alley
Using Your Knowledge of Acoustics
Why Bother with All of This?
Chapter 18. Electric, Acoustic, and Bass Guitar Sounds
Electric Guitar
Running Direct into the Mixer
Miking the Speaker
Pickups
Equalizing the Guitar
Delay Effects
Digital Modeling
Bass Guitar
Direct Box/Direct In (DI)
Acoustic Guitar
Electric Acoustic Guitars
Chapter 19. Drums and Percussion
Theories of Drum Miking
Choosing the Best Mic Technique
Equalizing Drums
Phase Coherence
Multiple Kick Mics
Effects and Dynamics on Drums
Percussion
Chapter 20. Piano and Synthesizers
The Basics
Mic Choice and Technique
Instrument Maintenance
Input Levels
Equalizing the Piano
Compression and Effects
Miking the Vertical Piano
Connecting Synthesized Sounds
Synth String Pads
Chapter 21. Vocals
Mic Choice
Mic Technique
Dynamic Range
Backing Vocals
Choir
Monitors
Chapter 22. Sound Check
Setup Routine
…and Then There’s Digital
Line Check: Verify Functionality of All Equipment
Performer Sound Check
Fine-Tune the Monitor Mix
Communication with the Performers
Basic Troubleshooting
Chapter 23. Building a Great Mix
Structuring the Arrangement
Creating Size in a Small Room
Controlling the Mix in a Large Room
Miking and Mixing a Presenter
Building the Mix
Mixing Techniques for Rhythm Section and Voice
Equalization: The Cumulative Effect
Combining EQ
Acoustic Drums
Kick Drum
Electronic Drums
Bass Guitar
Mixing Guitars
Electric Guitar
Mixing Keyboards
Mixing the Lead Vocal
Panning
Reverberation
Mixing the Event: Focus, Focus, Focus!
Summary
Media List
Bibliography
Index
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Author Bio
Bill Gibson is president of Northwest Music and Recording, Inc. A music and audio industry veteran, he has spent his career writing, recording, producing, and teaching music. As an audio professional, sound engineer, and instructor at Berklee School of Music and the Art Institute of Seattle, Gibson has developed a unique ability to teach concepts and techniques that produce extremely high-quality audio, both in the recording studio and in live performances. His writings are acclaimed for their straightforward and understandable explanations of audio concepts and applications. As a two-term national trustee and member of multiple national committees for the Recording Academy, Gibson advocates for the benefit of all music producers, technicians, and performers.