SIGNAL FLOW

SIGNAL FLOW

Input transducers

 

Audio engineers use a range of microphones for different live sound applications.

 

Cardioid mics are widely used in live sound, because their "apple-shaped" pickup pattern rejects sounds from the sides and rear of the mic, making it more resistant to unwanted feedback "howls".

Many types of input transducers can be found in a sound reinforcement system, with microphones being the most commonly used input device. Microphones can be classified according to their method of transduction, polar pattern or their functional application. Most microphones used in sound reinforcement are either dynamic or condenser microphones. One type of directional microphone, called cardioid mics, are widely used in live sound, because they reduce pickup from the side and rear, helping to avoid unwanted feedback from the stage monitor system.

Microphones used for sound reinforcement are positioned and mounted in many ways, including base-weighted upright stands, podium mounts, tie-clips, instrument mounts, and headset mounts. Microphones on stands are also placed in front of instrument amplifiers to pick up the sound. Headset mounted and tie-clip mounted microphones are often used with wireless transmission to allow performers or speakers to move freely. 

Other types of input transducers include magnetic pickups used in electric guitars and electric basses, contact microphones used on stringed instruments, and pianos and phonograph pickups (cartridges) used in record players. Electronic instruments such as synthesizers can have their output signal routed directly to the mixing console. A DI unit may be necessary to adapt some of these sources to the inputs of the console.

Wireless

Wireless systems are typically used for electric guitar, bass, handheld microphones and in-ear monitor systems. This lets performers move about the stage during the show or even go out into the audience without the worry of tripping over or disconnecting cables.

Mixing consoles

 

Mixing consoles are the heart of a sound reinforcement system. This is where the sound engineer can adjust the volume and tone of each input, whether it is a vocalist's microphone or the signal from an electric bass, and mix, equalize and add effects to these sound sources. Doing the mixing for a live show requires a mix of technical and artistic skills. A sound engineer needs to have an expert knowledge of speaker and amplifier set-up, effects units and other technologies and a good "ear" for what the music should sound like in order to create a good mix.

Multiple consoles can be used for different purposes in a single sound reinforcement system. The front of house (FOH) mixing console is typically located where the operator can see the action on stage and hear what the audience hears. For broadcast and recording applications, the mixing console may be placed within an enclosed booth or outside in an OB van. Large music productions often use a separate stage monitor mixing console which is dedicated to creating mixes for the performers' on-stage. These consoles are typically placed at the side of the stage so that the operator can communicate with the performers on stage. 

Signal processors

Small PA systems for venues such as bars and clubs are now available with features that were formerly only available on professional-level equipment, such as digital reverb effects, graphic equalizers, and, in some models, feedback prevention circuits which electronically sense and prevent audio feedback it becomes a problem. Digital effects units may offer multiple pre-set and variable reverb, echo and related effects. Digital loudspeaker management systems offer sound engineers digital delay (to ensure speakers are in sync with each other), limiting, crossover functions, EQ filters, compression and other functions in a single rack-mountable unit. In previous decades, sound engineers typically had to transport a substantial number of rack-mounted analog effects unit devices to accomplish these tasks.

Equalizers

 

Graphic equalizer

Equalizers are electronic devices that allow audio engineers to control the tone and frequencies of the sound in a channel, group (e.g., all the mics on a drum kit) or an entire stage's mix. The bass and treble controls on a home stereo are a simple type of equalizer. Equalizers exist in professional sound reinforcement systems in three forms: shelving equalizers (typically for a whole range of bass and treble frequencies), graphic equalizers and parametric equalizers. Graphic equalizers have faders (vertical slide controls) which together resemble a frequency response curve plotted on a graph. The faders can be used to boost or cut specific frequency bands.

Using equalizers on frequencies that are too weak such as a singer with modest projection in their lower register can be boosted. Frequencies which are too loud, such as a "boomy" sounding bass drum, or an overly resonant dreadnought guitar can be cut. Sound reinforcement systems typically use graphic equalizers with one-third octave frequency centers. These are typically used to equalize output signals going to the main loudspeaker system or the monitor speakers on stage. Parametric equalizers are often built into each channel in mixing consoles, typically for the mid-range frequencies. They are also available as separate rack-mount units which can be connected to a mixing board. Parametric equalizers typically use knobs and sometimes buttons. The audio engineer can select which frequency band to cut or boost, and then use additional knobs to adjust how much to cut or boost this frequency range. Parametric equalizers first became popular in the 1970s and have remained the program equalizer of choice for many engineers since then.

A high-pass (low-cut) and/or low-pass (high-cut) filter may also be included on equalizers or audio consoles. High-pass and low-pass filters restrict a given channel's bandwidth extremes. Cutting very low frequency sound signals (termed infrasonic, or subsonic) reduces the waste of amplifier power which does not produce audible sound and which moreover can be hard on the low-range speakers. A low-pass filter to cut ultrasonic energy is useful to prevent interference from radio frequencies, lighting control, or digital circuitry creeping into the power amplifiers. Such filters are often paired with graphic and parametric equalizers to give the audio engineer full control of the frequency range. High-pass filters and low-pass filters used together function as a band-pass filter, eliminating undesirable frequencies both above and below the auditory spectrum. A band-stop filter, does the opposite. It allows all frequencies to pass except for one band in the middle. A feedback suppressor, using a microprocessor, automatically detects the onset of feedback and applies a narrow band-stop filter (a notch filter) at specific frequency or frequencies pertaining to the feedback.

Compressors

A rack of electronic audio compressors

Dynamic range compression is designed to help the audio engineer to manage the dynamic range of audio signals. Prior to the invention of automatic compressors, audio engineers accomplished the same goal by "riding the faders", listening carefully to the mix and lowering the faders of any singer or instrument which was getting too loud. A compressor accomplishes this by reducing the gain of a signal that is above a defined level (the threshold) by a defined amount determined by the ratio setting. Most compressors available are designed to allow the operator to select a ratio within a range typically between 1:1 and 20:1, with some allowing settings of up to ∞:1. A compressor with high compression ratio is typically referred to as a limiter. The speed that the compressor adjusts the gain of the signal (attack and release) is typically adjustable as is the final output or make-up gain of the device.

Compressor applications vary widely. Some applications use limiters for component protection and gain structure control. Artistic signal manipulation using a compressor is a subjective technique widely utilized by mix engineers to improve clarity or to creatively alter the signal in relation to the program material. An example of artistic compression is the typical heavy compression used on the various components of a modern rock drum kit. The drums are processed to be perceived as sounding more punchy and full.

 

Noise gates

A noise gate mutes signals below a set threshold level. A noise gate's function is in, a sense, opposite to that of a compressor. Noise gates are useful for microphones which will pick up noise that is not relevant to the program, such as the hum of a miked electric guitar amplifier or the rustling of papers on a minister's lectern. Noise gates are also used to process the microphones placed near the drums of a drum kit in many hard rock and metal bands. Without a noise gate, the microphone for a specific instrument such as the floor tom will also pick up signals from nearby drums or cymbals. With a noise gate, the threshold of sensitivity for each microphone on the drum kit can be set so that only the direct strike and subsequent decay of the drum will be heard, not the nearby sounds.

Effects

Reverberation and delay effects are widely used in sound reinforcement systems to enhance the sound of the mix and create a desired artistic effect. Reverb and delay add a sense of spaciousness to the sound, imitating the sound of a singing voice or instrument in a large, reverberant hall. Many mixing boards designed for live sound include on-board reverb effects. Modulation effects such as Flanger, phaser, and chorus are also applied to some instruments. An exciter, such as a "Harmony" or "Octave" effect, "livens up" the sound of audio signals by applying dynamic equalization, phase manipulation and adding artificially synthesized harmonic frequencies.

The appropriate type, variation, and level of effects are quite subjective and are often collectively determined by a production's audio engineer, artists, bandleader, music producer, or musical director. Reverb, for example, can give the effect of signal being present in anything from a small room to a massive hall, or even in a space that does not exist in the physical world. The use of reverb often goes unnoticed by the audience, as it often sounds more natural than if the signal was left "dry" (without effects).  The use of effects in the reproduction of 2010-era pop music is often in an attempt to mimic the sound of the studio version of the artist's music in a live concert setting. For example, an audio engineer may use an Auto Tune effect to produce unusual vocal sound effects that a singer used on their recordings.

Feedback suppressor

A feedback suppressor detects unwanted audio feedback and suppresses it, typically by automatically inserting a notch filter into the signal path of the system, which prevents feedback "howls" from occurring. Audio feedback can create unwanted loud, screaming noises which are disruptive to the performance, and which can damage performers' and audience members' ears and speakers. Audio feedback from microphones occurs when a microphone "hears" the sound it is picking up through the monitor speakers or the main speakers. While microphone audio feedback is almost universally regarded as a negative phenomenon, in hard rock and heavy metal music, electric guitarists purposely create guitar feedback to create unique, sustained sounds with their guitar and guitar amplifier. This type of feedback is sought out by guitarists, so the sound engineer does not try to prevent it.

Power amplifiers

 

A power amplifier is an electronic device which uses electrical power and circuitry to boost a low-voltage level signal (e.g., the signal from a vocalist's mic) and provides enough electrical power to drive a loudspeaker and produce sound. All speakers, including headphones, require power amplification. Most professional audio amplifiers also provide protection from clipped (overloaded) signals, as a power amplifier pushed into clipping can damage or destroy speakers. Amplifiers also typically provide protection against short circuits across the output, and excessive temperature (e.g., overheating). A limiter is often used to protect loudspeakers and amplifiers from power amp clipping.

Audio engineers select amplifiers that provide enough headroom. "Headroom" refers to the amount by which the signal-handling capabilities of an audio system exceed a designated nominal level.  Headroom can be thought of as a safety zone allowing transient audio peaks to exceed the nominal level without damaging the system or the audio signal, e.g., via clipping. Standards bodies differ in their recommendations for nominal level and headroom. When an audio engineer has selected an amplifier (or amplifiers) with enough headroom, this also helps to ensure that the signal will remain clean and undistorted.

Like most sound reinforcement equipment products, professional amplifiers are typically designed to be mounted within standard 19-inch racks. Rack-mounted amps are typically housed in road cases, sturdy plastic protective boxes which prevent damage to the equipment during transportation. Active loudspeakers have internally mounted amplifiers that have been selected by the manufacturer to be a good amplifier for use with the given loudspeaker. Some active loudspeakers also have equalization, crossover and mixing circuitry built in.

Since amplifiers can generate a significant amount of heat, thermal dissipation is an important factor for operators to consider when mounting amplifiers into equipment racks. Many power amplifiers feature internal fans to draw air across their heat sinks. The heat sinks can become clogged with dust, which can adversely affect the cooling capabilities of the amplifier.

In the 1970s and 1980s, most PAs employed heavy Class AB amplifiers. In the late 1990s, power amplifiers in PA applications became lighter, smaller, more powerful, and more efficient, with the increasing use of switching power supplies and Class D amplifiers, which offered significant weight- and space-savings as well as increased efficiency. Often installed in railroad stations, stadia, and airports, Class D amplifiers can run with minimal additional cooling and with higher rack densities, compared to older amplifiers.

Digital loudspeaker management systems (DLMS) that combine digital crossover functions, compression, limiting, and other features in a single unit have become popular since their introduction.  They are used to process the mix from the mixing console and route it to the various amplifiers. Systems may include several loudspeakers, each with its own output optimized for a specific range of frequencies (i.e. bass, midrange, and treble). Bi-amplification, tri-amplification, or quad-amplification of a sound reinforcement system with the aid of a DLMS results in a more efficient use of amplifier power by sending each amplifier only the frequencies appropriate for its respective loudspeaker. Most DLMS units that are designed for use by non-professionals have calibration and testing functions such as a pink noise generator coupled with a real-time analyzer to allow automated room equalization.

Main loudspeakers

 

A simple and inexpensive PA loudspeaker may have a single full-range loudspeaker driver, housed in a suitable enclosure. More elaborate, professional-caliber sound reinforcement loudspeakers may incorporate separate drivers to produce low, middle, and high frequency sounds. A crossover network routes the different frequencies to the appropriate drivers. In the 1960s, horn loaded theater loudspeakers and PA speakers were almost always "columns" of multiple drivers mounted in a vertical line within a tall enclosure. The 1970s to early 1980s was a period of innovation in loudspeaker design with many sound reinforcement companies designing their own speakers. The basic designs were based on commonly known designs and the speaker components were commercial speakers.

The areas of innovation were in cabinet design, durability, ease of packing and transport, and ease of setup. This period also saw the introduction of the hanging or "flying" of main loudspeakers at large concerts. During the 1980s the large speaker manufacturers started producing standard products using the innovations of the 1970s. These were mostly smaller two way systems with 12", 15" or double 15" woofers and a high frequency driver attached to a high frequency horn. The 1980s also saw the start of loudspeaker companies focused on the sound reinforcement market. The 1990s saw the introduction of Line arrays, where long vertical arrays of loudspeakers with a smaller cabinet are used to increase efficiency and provide even dispersion and frequency response. This period also saw the introduction of inexpensive molded plastic speaker enclosures mounted on tripod stands. Many feature built-in power amplifiers which made them practical for non-professionals to set up and operate successfully. The sound quality available from these simple 'powered speakers' varies widely depending on the implementation.