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.