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Running Sound for Your Modern Band 101

Laura Del Rosso (she/they)

Steve Underhill (he/him)

The personal viewpoints expressed in this session are solely those of the presenter and do not necessarily reflect the beliefs or views of Music Will.

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Oh good, you made it! The crowd is already here and there’s no time for sound check! Get up there and rock!

You have 3 minutes to get set up and ready to play “Twist and Shout.” Ready? Go!

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So… what happened?

What went wrong?

Why?

Have you seen this in your classroom before?

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Running Sound 101

Today we will walk through all the components of a standard stage sound system, how it all works, common problems we encounter in the classroom and how to fix them.

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Allow us to introduce ourselves…

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Stations!

Amplifier City

Spend time with Laura learning how to navigate tone knobs and volume controls on the amplifiers (you’ll need this to use the mixer later)!

Speaker Town (Cableton)

Steve will show you how to set up your speakers to minimize feedback and master signal flow.

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Amp City

The personal viewpoints expressed in this session are solely those of the presenter and do not necessarily reflect the beliefs or views of Music Will.

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Nailing the Mix: Our Starting Point

The best place to start learning how to use your mixer, is to know how to use your amplifiers. The principles of gain, volume, and EQ are used on your amplifiers and are transferable to your mixer!

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Important Definitions

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Volume: The output level that goes to the speaker. Only affects loudness.

Gain: Controls the amount of signal going through the amp. Allows for tone adjustment.

Balance/EQ: Adjusting level of specific frequencies (bass, middle, treble)

“Boost” or “Overdrive”switch: “Pushes” the amplifier past its ability to stay clean. Makes the ROCK noises!

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Plug it in, THEN turn it on!

Some set-up checklists for your students.

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Sound Check!

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Alright band! Let’s get up there and fix our amplifiers!

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Cableton

The personal viewpoints expressed in this session are solely those of the presenter and do not necessarily reflect the beliefs or views of Music Will.

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Nailing the Mix: Handling Speakers and Feedback

One of the biggest issues you will face once you get your microphone volume right is feedback and the rest of the band hearing the vocals. The solution? Speaker placement!

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Why do we get feedback?

Feedback happens most often when speakers and/or microphones enter a signal loop with each other and/or the gain is too high.

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Speaker Placement

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(optional)

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Signal Flow - Where Does It Go??

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or

Amp

PA Speakers

Mixer

Monitor

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Plugging in the PA and Monitors

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Main out: Where you connect your PA speakers. One XLR cable out of each channel runs to your R and L speakers respectively.

Monitor input: use a 1/4“ to XLR cable to go into this output. Then you use more XLR cables to connect your monitors.

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Output to Input to Output to Input…

When connecting your speakers, you want to always alternate the inputs and outputs. A good rule of thumb, if you started with an output (on the mixer) you want the cable on the other end to go into the input. And vice versa.

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Daisy Chaining your Monitors

A term used to describe when you connect each monitor to the next so all of them have the same volume + instruments.

To daisy chain the monitors:

From the output on the mixer → to the input on the monitor → new cable runs from the output on this speaker → to the input on the next monitor → continue for as many monitors you have!

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Stations!

Mixburg

Hang out with Steve as he guides you through using the mixer successfully!

Gear County

Dive into mics, cables, snakes and more with Laura!

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Mixburg

The personal viewpoints expressed in this session are solely those of the presenter and do not necessarily reflect the beliefs or views of Music Will.

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Nailing the Mix: Using the Mixer

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The mixer is basically just a bunch of amplifier controls arranged in rows on one board! Easy peasy!

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Mixer Sections

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I/O: Inputs and Outputs. All cables go here.

Gain: Amplifies the incoming signal

EQ: Adjust high, mid, and low frequencies

Aux Send: Level sent to monitors and effects sections

Faders: Sets levels

Effects: Reverb, delay, etc

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Mixer Parts

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Input Jacks:

XLR: Three prong “balanced” cables. Preferred for mics and long cable runs

TS/TRS: Standard looking guitar cables.

Gain: With the fader at “unity” (0 or straight up and down), turn this up until it doesn’t sound good or feeds back.

Compression/EQ:

Use the compressor to set a volume ceiling for the channel. Useful if the instrument/singer changes dynamics quickly.

Use the EQ to shape the sound. Some mixers have knobs for specific bands (measured in Hz and kHz). Others may have a knob to select the band and another to boost/cut that band.

Aux Send:

Sets volume levels for monitor speakers and the effects section of the mixer, respectively

Pan: Shifts the balance of the channel between the L and R speakers. Helps with clarity.

Mute: For emergencies and unused channels.

Fader: Sets the volume level for the channel. Zero is marked near the middle and is referred to as “unity.” Faders are logarithmic (opposite of exponential), which allows for very subtle changes.

5 min. Input: XLR and TRS cables are “balanced”, which refers to the wiring inside the cable and means you’re getting a cleaner signal that can hold up to longer cable runs. TRS cables look like guitar cables, but they have an extra ring

Insert I/O: You can safely ignore this. Typically used with a Y-cable to insert an effect into the channel between the input and the output.

Gain: There are as many methods for setting gain as there are knobs on the mixer, and they vary depending on the setting. For live sound, a common practice is to set the fader at “unity” (0) and adjust the gain to taste. This way, you can make small adjustments with the faders from song to song, and always be able to easily return to the “baseline” balance you set prior to the show.

Compression/EQ: You probably won’t use the compressor. If you have a guitar player who switches pedal effects mid song, it might disrupt the mix if the gain changes significantly. A compressor can rein that in automatically so you aren’t running for the fader. Setting EQ, ESPECIALLY for vocals, can make a massive difference in how your singers sound, and even if they are understood. More on this later.

Pan: Setting competing instruments (rhythm/lead guitars or lead/backup vocals, for example) to different spots on the Pan knob helps each one “pop” and be clearly heard in the mix. Leave the lead singer/guitar in the middle, and set the others slightly off center based on their positioning on stage. This replicates the way your ear hears in 3D!

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Mixer Parts

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Outputs: Main out, external devices, headphones, monitor, and FX all have their own outputs

Channel controls: Duplicated (mostly) across all channels

Effects: Delay, reverb, and other effects can be chosen here. You can use the channel controls to adjust the level of the effect each channel.

Faders: Each input gets its own fader, and so does each output. This way you can adjust your headphones and/or the monitor(s) without messing with the main mix, and vice versa.

2 min. Lets extend this across the board now

Some channels might have different inputs. Different mixers have different features. On smaller mixers, maybe only half of the channels have XLR inputs and send/returns.

Outputs:

Main Out goes to your speakers. One XLR cable for the Left, on for the Right.
2-Track/USB: Some mixers have inputs and outputs for external audio devices like phones, computers, or CD players. USB connections might be on the back of the mixer. Use the input to play a recorded backing track through the mixer. Use the output to record the mix directly to your laptop!
Phones: Headphones
Mon/Aux Send and Return: Connect your monitor speaker to the “Send” output here. “Return” functions like previous; it allows you to insert effects from an external device. If AND ONLY IF you aren’t using the effects on board the mixer, you can use the FX Send to connect a second mixer. If you ARE using the onboard FX, that is all you will hear out of FX Send

Each vertical channel has its own controls just like the first. Some features might only apply to some channels. This mixer has a compression knob for the first 4 channels only.

EQ knobs will affect volume, so check them when troubleshooting
The FX knob determines how much of the effect that channel is getting, if you are using any, OR the level of that channel in your secondary monitor, if you’re using it for that.
When you start feeling comfy with the basics, try playing with QOL adjustments like panning. Assign each type of input to a unique position that roughly corresponds to their position on stage. Ex. drums and vocals in the middle, and other instruments to one side or another. This helps people hear each instrument group more clearly, and replicates the way you hear an unamplified group in 3D.
Look for limiter buttons on your channels to prevent pesky mics or instruments from spiking too high.
Some larger mixers allow you to assign channels to “groups” and have additional faders for those groups that sit between the faders and the main out in terms of the signal flow.

On board effects can vary a lot from mixer to mixer. However they are generally located in the same place and are controlled in the same way. Set the FX Send fader to Unity, select the desired effect from the effects sections, and adjust the FX knob for each channel to taste.

Just like each input has a fader, each output has a fader. The Main Out usually has one for each speaker, and each other output has its own.

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Mixer Sections

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I/O: Inputs and Outputs. All cables go here.

Gain: Amplifies input signal

EQ: Adjust high, mid, and low frequencies

(refine tone)

Other Outputs: To monitors and headphones

Faders: Sets output [volume] levels

Effects: Reverb, delay, etc.

Terms to Know!

Inputs: Mics/instruments

Outputs: Speakers/headphones

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Mixer Parts

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Input Jacks:

XLR: Three prong cables. Preferred.

TS/TRS: Standard looking guitar cables.

Gain: With the fader at “unity” (0 or straight up and down), turn this up until it doesn’t sound good or feeds back.

EQ: Use the EQ to shape the sound. Some mixers have knobs for specific bands (measured in Hz and kHz). Others may have a knob to select the band and another to boost/cut that band.

Fader: Sets the volume level for the channel. Zero is marked near the middle and is referred to as “unity.”

Extras:

A “PAD” button will reduce the output (volume) by a set amount to reduce distortion.
An “HPF” or high pass filter, cleans up the sound by removing unwanted low end rumble, hum, etc.

5 min. Input: XLR and TRS cables are “balanced”, which refers to the wiring inside the cable and means you’re getting a cleaner signal that can hold up to longer cable runs. TRS cables look like guitar cables, but they have an extra ring

Insert I/O: You can safely ignore this. Typically used with a Y-cable to insert an effect into the channel between the input and the output.

Gain: There are as many methods for setting gain as there are knobs on the mixer, and they vary depending on the setting. For live sound, a common practice is to set the fader at “unity” (0) and adjust the gain to taste. This way, you can make small adjustments with the faders from song to song, and always be able to easily return to the “baseline” balance you set prior to the show.

Compression/EQ: You probably won’t use the compressor. If you have a guitar player who switches pedal effects mid song, it might disrupt the mix if the gain changes significantly. A compressor can rein that in automatically so you aren’t running for the fader. Setting EQ, ESPECIALLY for vocals, can make a massive difference in how your singers sound, and even if they are understood. More on this later.

Pan: Setting competing instruments (rhythm/lead guitars or lead/backup vocals, for example) to different spots on the Pan knob helps each one “pop” and be clearly heard in the mix. Leave the lead singer/guitar in the middle, and set the others slightly off center based on their positioning on stage. This replicates the way your ear hears in 3D!

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Mixer Parts

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Outputs: Main, monitor, and headphones all have their own outputs.

Inputs & Channel controls: Duplicated (mostly) across all channels.

Effects: Delay, reverb, and other effects (if your mixer has it)can be chosen here.

Faders: Each input gets its own fader, and so does each output. This allows you to adjust the main speakers, the monitors, and your headphones independently.

Extras:

Phantom Power is for condenser microphones. You probably don’t have one. If you have a funky mic and its not making sound, try this.

Some mixers will have extra inputs & outputs for things like external playback/recording devices. If you see something called and FX Loop, you can safely ignore it.

5 min. Input: XLR and TRS cables are “balanced”, which refers to the wiring inside the cable and means you’re getting a cleaner signal that can hold up to longer cable runs. TRS cables look like guitar cables, but they have an extra ring

Insert I/O: You can safely ignore this. Typically used with a Y-cable to insert an effect into the channel between the input and the output.

Gain: There are as many methods for setting gain as there are knobs on the mixer, and they vary depending on the setting. For live sound, a common practice is to set the fader at “unity” (0) and adjust the gain to taste. This way, you can make small adjustments with the faders from song to song, and always be able to easily return to the “baseline” balance you set prior to the show.

Compression/EQ: You probably won’t use the compressor. If you have a guitar player who switches pedal effects mid song, it might disrupt the mix if the gain changes significantly. A compressor can rein that in automatically so you aren’t running for the fader. Setting EQ, ESPECIALLY for vocals, can make a massive difference in how your singers sound, and even if they are understood. More on this later.

Pan: Setting competing instruments (rhythm/lead guitars or lead/backup vocals, for example) to different spots on the Pan knob helps each one “pop” and be clearly heard in the mix. Leave the lead singer/guitar in the middle, and set the others slightly off center based on their positioning on stage. This replicates the way your ear hears in 3D!

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Sound Check!

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The vocals are too quiet, what are some things you could adjust to increase their volume?

Gain is down too far.

Speakers are panned too far to one side.

Balance is “off”.

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Gear County

The personal viewpoints expressed in this session are solely those of the presenter and do not necessarily reflect the beliefs or views of Music Will.

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Inherited some gear?

Don’t know what you’re looking at?

Need recommendations?

WE GOT YOU!

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Oh So Many Supplies!

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XLR (mic) cables)

1/4“ cable (instrument cable)

XLR to 1/4“

(You may need this for a keyboard amp, or your monitors)

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In all seriousness…

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SpeakON (or speaker twist connector)

TS speaker cable (not always this thicc)

TS instrument cable

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Cable organization and storage

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Cable Ties!

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How to roll your cables

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Image credit: https://blogs.uoregon.edu/uocinetech/cine-equipment-info/maintenance-safety/rolling-cables/

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MORE CABLES!

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Mics

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Wired mics

Vocal mic (SM 58)

Instrument mic (SM 57)

Wireless mics

Don’t mix brands!

Other mics?

Condenser mics can be helpful for back-up vocalists

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Get the right equipment!

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Decide what part of your system is making the power:

Mixers and speakers can be powered (active) or unpowered (passive)

If it’s heavy and has a power switch, it is (probably) powered!
You don’t want BOTH to be powered.

If you have an unpowered mixer and unpowered speakers, you’ll need a separate power amplifier.

IF YOU DON’T KNOW, ASK BEFORE YOU BUY!

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Tape

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Gaffer Tape!

Colored masking tape is great for color coding your mics/cables and labeling the board.

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Resources!

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Mixer Quickstart Guide from Sweetwater: https://www.sweetwater.com/sweetcare/articles/mixer-quickstart-guide/

Essential EQ Tips for Live Sound from Sweetwater: (The Vocals bit is especially good)

https://www.sweetwater.com/insync/essential-eq-tips-for-live-sound/

Setting Gain Levels for Live Sound from Behind The Mixer:

https://www.behindthemixer.com/how-set-gain-levels-live-sound-methods/

How to Use Compression from Behind the Mixer:

https://www.behindthemixer.com/how-use-compression/

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Glossary: Mixer Basics

Equalization (EQ): The balance of different frequencies that combine to create an audio signal.

Treble: Higher frequencies in the audio signal.
Mids: Middle frequencies in the audio signal.
Bass: Low frequencies in the audio signal.

Fader: Control for the final (processed) output volume of a signal or mix

Gain: Volume applied to a signal before its processed. Initial signal strength.

Inputs: Instruments or microphones you are amplifying.

Level: Volume

Line Level: Stronger signal used for transmission between devices like mixers and amps.
Mic Level: Weaker signal usually produced by microphones.

Mix: The combined input signals processed by a mixer and sent out to the speakers.

Outputs: Speakers of some kind (including headphones).

PA Speakers: The ones facing the audience.
Monitor Speakers: The ones facing the players.

Signal Chain: All the equipment used to get sound from the source to the speaker.

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Glossary: Advanced Mixer

Compression: Restricting a signal’s level by setting an upper and sometimes also a lower limit. Used to balance out a mix of signals that have varying dynamic ranges. Also used to keep wild singers from randomly blowing out your mic.

Effects (FX) Loop: An output and input positioned between the input channels and the processing section of a mixer. Allows for adding other equipment like effects pedals into the signal chain that can affect the entire mix.

High Pass Filter (HPF): A filter that allows higher frequencies to pass through, and removes unwanted low frequencies. Used to eliminate hum, rumble, and sub-bass frequencies. AKA low cut.

Pad: Mixer control that reduces the input gain on a specific channel, usually by 20-26dB.

Pan: Mixer control that adjusts the balance of signal sent to the left and right speakers. Applying a unique pan position to each channel can help with clarity in a large mix.

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Glossary: Equipment

Balanced Cable: Fancy cable that reduces noise accumulation in the signal. Important for vocals and long cable runs (over 20’). XLR and TRS cables are balanced. TS Cables are not.

TS cable: Standard, unbalanced instrument cable. Mono. One ring on the plug.
TRS cable: Balanced instrument cable. Stereo, and usually only used for stereo applications. Two rings on the plug.
XLR cable: Balanced audio cable. Three prongs, with male and female ends.

Condenser Mic: Sensitive mic used in studio recording or for orchestras, choirs, etc.

Daisy Chain: 1) A series of monitors chained together from a single mixer output. 2) An inexpensive power supply for multiple guitar pedals at once.

DI Box: A Direct Input device used for plugging electric instruments directly into a mixer without an amp. Typically used for basses and keys, it transforms a line level signal into a mic level signal.

Dynamic Mic: Standard vocal mic like the SM57.

Passive (mixer/speakers): Describes a mixer or speaker that does not have a built in power amp.

Phantom Power: Extra electricity provided by a mixer or audio interface for condenser mics.

Power amplifier: The part that actually makes everything louder. Either the mixer or speakers need them (not both).

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Glossary: Amps & Effects

Chorus: Effect that adds duplicate signals at slightly shifted timings and pitches, to create the illusion of a group.

Clipping: The distorted sound of too much signal through an amp. AKA Rock and Roll.

Contour: Amplifier control that boosts or cuts middle frequencies.

Delay: Effect that repeats the signal like an echo.

Distortion: Overdrive but harder clipping for a heavier sound.

Flanger/Phaser: Similar to each other, these create sweeping EQ effects that can sound like a rotating speaker or the swirling sound of a jet engine going by. (See also Van Halen)

Fuzz: Very heavy distortion with a unique “fuzzy” clipping sound.

Looper: Pedal that can record, playback, and overdub what is played into it.

Overdrive: Effect that simulates pushing an amp past it limits. Typically softer clipping than distortion.

Presence: Amplifier control that boosts treble frequencies.

Reverb: The sound of a space, like a room or concert hall. Named for the kind of space it is emulating or the technology originally used to create it, which can be relevant when playing certain genres/eras.

Tremolo: Rapid fluctuation in volume. Mistakenly used by Fender to refer to the bar on a guitar that creates vibrato. The name stuck. Also why the “vibrato” knob on many old and reissue Fender amps adjusts tremolo.

Vibrato: Rapid fluctuation in volume. Found in pedals and on guitars with “whammy” bars.

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Showtime!

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Thank you for coming!!!

Connect with us!

Laura - ldelrosso@schools.nyc.gov

Steve - sunderhill@schools.nyc.gov

The personal viewpoints expressed in this session are solely those of the presenter and do not necessarily reflect the beliefs or views of Music Will.

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Music Will will make all presentations available after the conference.

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The personal viewpoints expressed in this session are solely those of the presenter and do not necessarily reflect the beliefs or views of Music Will.