The Ultimate Live Sound Operator s Handbook 3rd Edition by Bill Gibson ISBN 9781538134658 1538134659

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Product details:

ISBN 10: 1538134659
ISBN 13: 9781538134658
Author: Bill Gibson

The Ultimate Live Sound Operator s Handbook 3rd Edition Table of contents:

1. The Changing Qualifications of a Sound Operator

List of Qualifications

Distractions during a Show

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

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

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

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

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

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

8. Signal Path

Input to the Preamp

Following the Signal Path

9. Digital Mixers and Snakes

Historic Timeline

Advantages and Disadvantages to a Live Digital Mixer

Important Digital Mixer Features

Digital Snakes and Network Connections

10. Signal Processors

Dynamics Processors

Effects Processors

Reverberation Effects

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

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

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

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

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!

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

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?

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

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

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

21. Vocals

Mic Choice

Mic Technique

Dynamic Range

Backing Vocals

Choir

Monitors

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

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

Media Example 3-1

The Effect of Equalization on Perceived Loudness—Mix Peaked at 2, 3, 4 kHz, Plus 100, 200, and 50

Media Example 7-1

Passive, Active, and Tube DIs on Bass Guitar

Media Example 7-2

VU and Peak Meter from the Same Sound Source

Media Example 7-3 

Media Example 7-4

Comparing High, Mid, and Low Bands

Media Example 7-5

Comparing Brilliance, Presence, Upper Midrange, Lower Midrange, Bass, and Sub-Bass Frequency Bands

Media Example 7-6

Demonstration of Equalizer Types

Media Example 10-1

Demonstration of Compression Parameter Adjustments on an Acoustic Guitar Track

Media Example 10-2 

Demonstrating Slapback, Doubling, Tripling, and Modulation

Media Example 10-3 

Demonstrating Mono and Stereo Phase Shifter, Flanger, and Chorus Effects

Media Example 10-4 

Demonstration of Reverberation Parameters

Media Example 15-1

Ringing Out the System

Media Example 18-1

Direct Guitar and Changing Mic Position on the Speaker Cabinet

Media Example 18-2

Single- and Double-Coil Guitars and Equalizing the Guitar Sound

Media Example 18-3

Chorus Effects, Delays, and Reverberation

Media Example 18-4

Modeled Guitar Sounds

Media Example 18-5

P-Bass through Passive, Active, and Tube DIs and Demonstration of Plucking Techniques

Media Example 18-6 

Demonstration of Bass Guitar Compression and Limiting Techniques

Media Example 18-7

Demonstration of Equalizing the Bass Guitar

Media Example 18-8

Equalizing the Electric Acoustic Guitar

Media Example 18-9

Miking Acoustic Guitar

Media Example 19-1

Drum Miking Techniques

Media Example 19-2

Drum Equalization

Media Example 19-3

Drum Compression, Gating, and Effects

Media Example 20-1

Miking and Equalizing the Piano

Media Example 23-1

Building the Drum Set Sound

Media Example 23-2

Building the Electric Guitar Sound

Media Example 23-3

Building the Lead Vocal Sound

Media Example 23-4 

Transforming a Mono Mix to Stereo

Media Example 23-4

Building the Drum and Bass

Media Example 23-5

Blending All the Mix Ingredients

Selected References

Index

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