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Produktbild: The Ultimate Live Sound Operator's Handbook

The Ultimate Live Sound Operator's Handbook

Aus der Reihe Music Pro Guides

53,99 €

inkl. gesetzl. MwSt., Versandkostenfrei

Beschreibung

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

15.07.2020

Verlag

Rowman & Littlefield

Seitenzahl

456

Maße (L/B/H)

27,9/21,5/3 cm

Gewicht

1276 g

Auflage

3. Auflage

Sprache

Englisch

ISBN

978-1-5381-3317-0

Beschreibung

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

15.07.2020

Verlag

Rowman & Littlefield

Seitenzahl

456

Maße (L/B/H)

27,9/21,5/3 cm

Gewicht

1276 g

Auflage

3. Auflage

Sprache

Englisch

ISBN

978-1-5381-3317-0

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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  • Produktbild: The Ultimate Live Sound Operator's Handbook

  • 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