Ultimate Live Sound Operator's Handbook

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.

• PrefaceChapter 1. The Changing Qualifications of a Sound OperatorList of QualificationsDistractions during a ShowChapter 2. Duties of a Sound OperatorAdvance PlanningInitial Setup ProceduresCrucial TasksGet to Know the Musical DirectorFind Out What the Musical Director ExpectsAttend RehearsalsListen to Board RecordingsListen to Current MusicBe PunctualLearn the SongsSet Up GearStrike GearDevelop Storage SystemsCable Storage on the RoadLearn What a Good Mix IsChapter 3. Volume IssuesWhy Volume Issues Are So CommonEQ versus VolumeSound Reinforcement versus Music PresentationThe Decibel MeterEarning the Trust of the TeamUnderstanding Hearing DifferencesTypes of Hearing LossAural HypersensitivityChapter 4. Sound TheoryCharacteristics of SoundSpeedCyclesFrequencyPitchWavelengthAmplitudeLoudness and the Fletcher-Munson CurveGovernment RegulationsThe Loudness of Everyday Life A-, B-, and C-WeightingPhaseHarmonics, Overtones, and PartialsShapeEnvelopeChapter 5. Digital TheoryAnalog versus DigitalPhysical Properties of SoundBits, Bytes, and WordsAdvantage of Binary CodePulse Code Modulation (PCM)Direct Stream Digital (DSD)Nyquist TheoremQuantization/BitsDynamic RangeBit RateRAM BufferAliasingSample RatesDither/Quantization ErrorNoise ShapingConvertersChapter 6. Interconnect BasicsLine-, Instrument-, and Mic-Level ImpedanceBalanced versus UnbalancedChoosing CableCable Construction StandardsSpeaker CablesInstrument-Level CablesLine-Level CablesMicrophone CablesDo Cables Really Sound Different?Digital-Interconnect CablesConnectorsPlugging InGroundingDanger, DangerChapter 7. Mixer BasicsSignal PathInput LevelsInput StageOutput ImpedanceThe PreampAttenuatorDirect BoxMetersAdjusting VU Levels for TransientsPhasePhantom PowerSignal LevelsChannel InsertAux and Effects BusesThe Difference Between a Live Mixer and a Recording MixerManaging the Signal PathThe EqualizerConsole LayoutThe Analog Mixer versus the Digital MixerFOH Mixer PositionChapter 8. Signal PathInput to the PreampFollowing the Signal PathChapter 9. Digital Mixers and SnakesHistoric TimelineAdvantages and Disadvantages to a Live Digital MixerImportant Digital Mixer Features Digital Snakes and Network ConnectionsChapter 10. Signal ProcessorsDynamics ProcessorsEffects ProcessorsReverberation EffectsChapter 11. Microphone Principles and DesignThe Proximity EffectDirectional CharacteristicPractical ApplicationsOperating PrinciplePhantom PowerComparison between Moving-Coil, Ribbon, and Condenser MicsThe Shaping of the Pickup Pattern Response CharacteristicStereo Mic TechniquesChapter 12. Wireless SystemsBeing LegalComponents of the SystemAM and FM SystemsVHF and UHF SystemsUHF SystemsDigital SystemsCapture EffectDiversityDiversity IndicatorRangeAntenna Distribution SystemsBatteriesSquelchMicrophones for Wireless SystemsWireless Frequency SelectionMute Switch versus Power SwitchCaring for the AntennaAdjusting LevelsConnecting to the Sound SystemChapter 13. LoudspeakersCommercially Built CabinetsManufacturersPro Audio SuppliersCrossover ConfigurationsPowered Cabinets Pros and ConsSpeaker ComponentsThe Importance of EnclosuresComponent AlignmentSpeaker Impedance Chapter 14. The RacksSystem Processing RackDynamicsEqualizersCrossoversThe Amp RackAnalog Effects RackMic PreamplifiersDynamicsEffectsEqualizersMusic Playback DevicesRecording Devices Patch BaysSelecting the Appropriate Connection FormatTypes of Patch Bay ConnectionsWhat Goes into a Patch BayKeeping It NeatLocking Various ComponentsSystem Control OptionsChapter 15. Monitor SystemsFeedbackDirectional CharacteristicMonitor ConnectionsRinging Out the SystemThe Feedback EliminatorMic Technique and MonitorsFloor WedgesTo Wedge or Not to WedgeIn-Ear MonitorsRecommended In-Ear SystemsMethods of Interfacing with FOHGetting WirelessCharacteristics of a Good Monitor MixListen Up!Chapter 16. System Configuration and LayoutMixer PlacementSpeaker PlacementConnecting Multiple SpeakersCenter ClusterArraysZone CoverageKeep It Neat and SimpleFine-Tuning the SystemAnalysis Methods and DevicesDocumentationChapter 17. Acoustic ConsiderationsDealing with Acoustics Mode/Standing Wave/ResonanceThe RectangleSolutions to Acoustical ProblemsTreating SurfacesPower AlleyUsing Your Knowledge of AcousticsWhy Bother with All of This?Chapter 18. Electric, Acoustic, and Bass Guitar SoundsElectric GuitarRunning Direct into the MixerMiking the SpeakerPickupsEqualizing the GuitarDelay EffectsDigital ModelingBass GuitarDirect Box/Direct In (DI)Acoustic GuitarElectric Acoustic GuitarsChapter 19. Drums and PercussionTheories of Drum MikingChoosing the Best Mic TechniqueEqualizing DrumsPhase Coherence Multiple Kick MicsEffects and Dynamics on DrumsPercussionChapter 20. Piano and SynthesizersThe BasicsMic Choice and TechniqueInstrument MaintenanceInput LevelsEqualizing the PianoCompression and EffectsMiking the Vertical PianoConnecting Synthesized SoundsSynth String PadsChapter 21. VocalsMic ChoiceMic TechniqueDynamic RangeBacking VocalsChoirMonitorsChapter 22. Sound CheckSetup Routine…and Then There’s DigitalLine Check: Verify Functionality of All EquipmentPerformer Sound CheckFine-Tune the Monitor MixCommunication with the PerformersBasic TroubleshootingChapter 23. Building a Great MixStructuring the ArrangementCreating Size in a Small RoomControlling the Mix in a Large RoomMiking and Mixing a PresenterBuilding the MixMixing Techniques for Rhythm Section and VoiceEqualization: The Cumulative EffectCombining EQAcoustic DrumsKick DrumElectronic DrumsBass GuitarMixing GuitarsElectric GuitarMixing KeyboardsMixing the Lead VocalPanningReverberationMixing the Event: Focus, Focus, Focus!SummaryMedia ListBibliographyIndex