Click for the PAforMusic home page
www.paformusic.info		   Training

Back to PAforMusic Home

This site can only provide static information, and is not intended as a substitute for professional training that includes practical hands-on experience of working with live performers. This page provides a structured list of topics as a guide to the kind of material that would be covered in a comprehensive live sound engineering course; this may be of assistance in evaluating courses on offer, though remember that a course may cover incidentally many topics that are not explictly advertised. You can also use this page as a list of topics to assist in evaluating or refreshing your present knowledge. Many of the topics have links into the Glossary, which you can follow for a reminder of what they are about. If you can think of anything missing from this list, please let me know.

Contents

Basics
  • The need for sound reinforcement
    • A brief history of sound reinforcement
      • Unamplified vocals & acoustic instruments − greater sound level required more performers − large orchestras & large choirs
      • Pipe-organ solution for large venues (not just churches)
      • Capital & maintenance expense drove electronic organ development (dance halls, cinema)
      • Position maintained until 50’s/60’s music revolution − amplified instruments & vocals
      • Advancements in electronics allowed increasing complexity & decreasing size & weight
    • Operated versus non-operated systems
      • The system came first, then the operator
      • Who is capable of the task?
      • Mixer location − stage versus audience
    • Sound engineering − or art?
      • Taste, preference & opinion − ‘painting a sound’
      • Technical aspects of system design & assembly
      • Technical aspects of operation & problem-solving
    • The role of the sound engineer
      • Importance
      • Relied upon & trusted by the performers
      • Meeting expectations of the audience, as far as possible
      • Responsibility
      • Considering the overall sound
      • Reacting to changes in the schedule & to problems occurring
      • Contributions to the programme − e.g. play CDs/videos

  • The primary system components
    • Microphones
      • Purpose
      • Very many types − suited to application (target sound + environment) & to budget
    • Mixers
      • Purpose (simplest arrangement)
      • Channels
      • Master section
    • Power amplifiers
      • Purpose
      • May be integrated within mixer or within speakers
    • Speakers
      • Purpose
      • Very many types − application, power handling & environment
    • Equipment interconnections

Back to Contents

The Nature of Sound

Back to Contents

Electrical Fundamentals

Back to Contents

Electrical Signals

Back to Contents

Microphones

Back to Contents

Speakers

Back to Contents

Amplifiers

Back to Contents

Signal Interconnections

Back to Contents

Effects

Back to Contents

Mixers

Back to Contents

Power Distribution

Back to Contents

Safety
  • Principles

  • Legislation awareness − relevant to country/region
    • UK: Health and Safety at Work Act
    • UK: Electricity at Work Act
    • UK: Public liability
    • UK: BS 7909 & BS 7671

  • Electrical
    • Overview of plugs, fuses/MCBs and distribution
    • Overload
    • Overview of electric shock
    • Direct contact shock hazards
      • Damage to insulation or enclosures
      • Connectors
      • One contact − incidental path to earth
      • Two contacts − e.g. guitar/microphone scenario
      • 3-phase supplies
    • Indirect contact shock hazards
    • Cause of hazards
      • Class I − disconnection of earths (earth loops)
      • Class II − internal equipment damage
    • Condition of equipment
      • User safety checks
      • Formal safety checks & records
      • PAT testing
    • Reliance on integrity of fixed installation
      • Earthing
      • Periodic inspection & testing
    • RCDs
    • Precautions in damp/wet situations
      • Outdoors
      • Special effects etc

  • Fire
    • Combustible materials
    • Sources of heat
    • Selection & use of appropriate fire extinguisher types
    • Evacuation procedures
    • Fire exits & signage

  • Optical
    • Intensity, beam-width & distance
    • Safe testing
    • Connector covers
      • Safety
      • Dust protection

  • Acoustic
    • Exposure limits − SPL vs duration
    • Safe use of headphones
    • Earplugs

  • Trip hazards

  • Drop hazards

  • Carry hazards
    • Weight awareness
    • Lifting technique
    • Carrying height

Back to Contents

Care of Equipment
  • General
    • Protection from shock and impact
    • Protection from weather
    • Extremes of temperature and humidity
    • Flight cases

  • Microphones
    • Likely modes of abuse
      • Drops & knocks
      • Saliva & breath
      • Inappropriate testing
    • Resilience − dynamic vs condenser
    • Care during use
    • Storage

  • Speakers

  • Cables
    • Cabling damage modes
      • Strain
      • Abrasion, impact & compression
      • Twisting
      • Flexibility factors
    • Connector damage modes
    • Transport & storage

  • Mixers etc
    • Protection from ingress of solids & liquids
    • Protection from dust
    • Care in cleaning

Back to Contents

System Design & Assembly
  • Working relationships
    • Professionalism
    • Managing expectations of systems
    • Event/Production Managers
    • Venue staff
    • Musical Director
    • Stage Manager, DSM, ASM
    • Other technical staff − sound, lighting, video
    • The performers
    • The audience
    • Unskilled personnel

  • Situations
    • Installed systems
    • Halls
    • Theatres
    • Commercial − conferences etc.
    • Places of worship
      • Architectural constraints
      • Operator skill levels
    • Outdoors
      • Weather resilience − rain, wind/snow loading
    • Mobile
      • Limitations on space / weight / power

  • Technical riders
    • Contractual basis
    • Typical content
    • Desired vs achievable/affordable − negotiation

  • System sizing

  • Mono versus stereo
    • Speakers

  • Assembly sequences
    • Early decisions about locations
    • Staffing factors

  • Rack systems

  • Speaker location and orientation
    • Audience orientation
    • Horizontal plane
    • Vertical plane
    • Visual analysis

  • Delayed feeds


  • Mixer location


  • Miking vocals

  • Miking instruments
    • Guitar
    • Piano
    • Woodwind & brass
    • Drums
      • Max SPL
    • Backline

  • Monitor positioning
    • Target listeners
    • Avoiding feedback
    • Minimising spill to audience

Back to Contents

System Operation

Back to Contents

Problem-Solving

Back to Contents

Buying to a Budget

Back to Contents

Introduction to Recording

Back to top of page.

Back to:

© 2006-2011 Mark Phillips

This page last updated 18-Aug-2011.