Theory and Practice

Are you doing everything possible to maximize the performance of your wireless microphones, instrument and IEM systems? As the airwaves grow more crowded with activity from cellular signals, routers and terrestrial broadcasts (not to mention those pesky Martian game show broadcasts), our MI wireless systems face more competition — and are therefore more susceptible to interference than ever. Here are some tips on squeezing the most out of your RF gear.

Once upon a time on these very pages, we discussed the procedure and benefits of using Real Time Analysis (RTA) as a tool for revealing problems in a live sound system. RTA or spectrum analysis can help expose room anomalies, problems with a P.A. or to help ring out monitor mixes (“Interpreting RTA Measurement Techniques,” March 2013, and “Ten Tips for Better Monitor Mixes,” Jan. 2014).

Converting a band from stage wedges to in-ear or “personal” monitors can be a beautiful thing, yielding better front-of-house and monitor mixes, more enjoyable performances and quite possibly, hearing conservation. Unfortunately, some musicians are so unwilling to change their habits that you might have an easier time converting them to a different religion! Here’s how to present the idea in a way that ensures a positive experience for everyone involved.

Suggestions for Getting a Great Sound at Lower SPL’s

How loud is your P.A. at the mix position? 100 dB? 105 dB? 115 dB? Do you even know? When was the last time you had a reality check and measured the average SPL for your show? Do you really need to mix that loud?

Last month, we visited the nuts and bolts of compression. This time, let’s take a look at compression settings for a few specific instruments. As with many things audio-related, these suggestions should be treated as a starting point for your own techniques.

Are you in a depression over compression? Have no fear; your audio shrink is here. Compression is an effect that travels under the radar but, especially in sound reinforcement applications, might be the most important tool at your disposal.

Low-frequency content is an extremely important part of live sound for most modern music. The physical impact created by air movement helps make live music exciting, so even in small clubs, it almost goes without saying that subwoofers are a requirement. There are a few different ways to route audio into subwoofers, each having advantages and disadvantages. Let’s have a look.

Last month, we discussed the concepts of power requirements, and ensuring that the in-house service is up to the task of powering your P.A. system. This time we’ll look at some specific power distro products that can help make life on stage a bit easier.

One book that should probably never be written is Power Distro for Dummies. Given the high voltages in play where power distribution is concerned and the danger of physical harm, it’d be a better idea if dummies stayed out of the electrical room and left electrical work to licensed electricians. However, there are certain things about power that audio people need to know, and though we do not suggest that you attempt adding a new circuit breaker box to a venue unless you are a licensed electrician, it might make your life easier if you knew a bit regarding power distro requirements.

So you’re loading into a small theater for a gig and a remote truck pulls into the loading area. You’re thinking, “Oh wow, So and So must be recording their show here tomorrow.” You start speaking with the guys from the remote recording company and find out they are there to record tonight’s show to multitrack. But management forgot to send you the memo. After you’re done swearing at the intern who didn’t pull you into the email trail, your blood pressure drops below 200 and you figure it’s time to get to work. So exactly what do you need to do?

Summertime is touring time and hopefully you’ll be busy, busy, busy. Before departing for your next overseas soirée, here are some things to contemplate.

#1: The Voltage Over There Ain’t the Same as Here

Unless you’re going to Canada or Mexico, expect the AC mains voltage to be different from that in the U.S., which in theory is 120 volts AC with a frequency of 60 Hz (in practice it varies from 110 to 120 VAC with an average around 117 V). Let’s examine voltage as it relates to two popular power supply types used for audio and MI gear: external “wall wart” and internal.