Size

Size refers to both the actual drum sound itself and the allowed "space" the drums occupy within the recording. Size is equated to all of the following characteristics: realistic (or unrealistic) ambience, a good aural "picture" of the drum stage, good internal drum balance between the individual drums, good low frequencies and high frequencies, punchiness or "weight" in the low mid-range frequencies and dynamic range or how well you can hear the subtle to the loudest hits without distortion.

Of all acoustic instruments

 drums and percussion instruments seem the most elusive to capture with a compelling sound. Pop recordings are (mostly) driven by an unique and attractive drum sound. The definition of what makes a "good drum sound" has been greatly expanded since the advent of drum machines, samplers and the endless manipulations possible with Pro-Tools. Record producers are looking for the drummer to drive the "feel" of the song and their drum sound to "fill" a certain amount of space within the song's recording. Musical tastes and emotion evoke feel while genre and current trends and fashion usually dictate the exact "size" and specific nature of the drum sound. Of course there are always exceptions to any rule.

For use with balanced destinations,

  the Ground Sense
output may be treated as ‘cold’ allowing the connection to
be made normally. Where the destination has an
unbalanced jack input, a two-core (balanced-type) lead
should be made up as shown. Unbalanced jacks may also be
plugged directly into Ground Compensated Output jack
sockets, but the benefit of hum rejection will be lost.

IF YOU ARE AROUND ONITSHA AND ENVIRONS DONT MISS THIS.

Compressor/Limiters

A compressor reduces the difference between the loudest
and quietest parts of a performance. It works on a threshold
system where signals exceeding the threshold are processed
and those falling below it pass through unchanged. When a
signal exceeds the threshold the compressor automatically
reduces the gain. How much gain reduction is applied
depends on the ‘compression ratio’ which on most
compressors is variable: the higher the ratio, the stronger
the compression. Very high ratios cause the compressor to
act as a limiter where the input signal is prevented from
ever exceeding the threshold.
Compressors are the most commonly used processor and
are particularly popular for maintaining constant vocal and
bass guitar levels live and in the studio. This is because, out
of all instruments, singers tend to vary their levels the most.
Compressors help to achieve the much sought-after tight,
"punchy" sound.
Setting

Microphones

Most of the microphones used in live applications are
dynamic cardioids because they are tough, produce an
intelligible sound and their directional response helps
prevent spill or feedback. Dynamic microphones can
handle anything from drums to vocals. However, condenser
types, with their greater sensitivity to high frequencies are
invariably used for jobs such as overhead pick-up on a
drum kit or mic’ing acoustic instruments.

Setting Up

• Position the mixing console so that you can hear the onstage performance as the audience will hear it. Ensure that you have a clear view of the performers.

If feedback is a real problem

 consider moving the main PA speakers away from the mics a little. Also check the back of the stage, because if the wall is acoustically reflective, some sound from the room will be reflected back into the mics
increasing the risk of feedback.• Avoid excessive use of boosted EQ as this can encourage
feedback and may also spoil the basic character of the sound. Consider it an aid to fine tuning rather than as a means of making radical changes.• The use of stage monitors will also worsen the feedback
situation so run these at the lowest volume that the performers can comfortably work with. Position the
cabinets so as to allow as little direct sound as possible to enter the vocal microphones. If possible, use a graphic EQ on each monitor.

Avoiding Feedback

• Turn down or mute any mics not in use. This reduces the
risk of feedback and avoids the back line being picked up.

BASS GUITAR

• Most engineers DI the bass via an active DI box and a compressor. This provides a clearer sound.

• Use the compressor to keep signal peaks under control. • Check the player’s technique; the harder the instrument is played, the brighter the tone. • Consider the use of a budget graphic EQ.

Recommended effects/processor settings: EQ: Boost: at 80-100Hz to add more weight and punch,

between 2 and 4kHz to add edge. Cut: below 50Hz to

System testing

A sound reinforcement system should be able to accurately reproduce a signal from its input, through any processing, to its output without any coloration or distortion. However, due to inconsistencies in venue sizes, shapes, building materials, and even crowd densities, this is not always possible without prior calibration of the system. This can be done in one of several ways. The oldest method of system calibration involves a set of healthy ears, test program material (i.e. music or speech), a graphic equalizer, and last but certainly not least, a familiarity with the proper (or desired) frequency response. One must then listen to the program material through the system, take note of any noticeable frequency changes or resonances, and subtly correct them using the equalizer. Experienced engineers typically use a specific playlist of music every time they calibrate a system that they have become very familiar with. This process is still done by many engineers, even when analysis equipment is used, as a final check of how the system sounds with music or speech playing through the system.

Digital loudspeaker management systems (DLMS)

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 in use. Systems may include several loudspeakers, each with its own output optimized for a specific range of frequencies (i.e. bass, midrange and treble). Bi, tri, or quad amplifying a sound reinforcement system with the aide 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.

Large music productions

Large music productions often use a separate stage monitor mixing console which is dedicated to creating mixes for the performers' on-stage or in-ear monitors. These consoles are typically placed at the side of the stage so that the operator can communicate with the performers on stage.

In cases where performers have to play at a venue that does not have a monitor engineer near the stage, the monitor mixing is done by the FOH engineer from the FOH console, which is located amongst the audience or at the back of the hall. This arrangement can be problematic because the performers end up having to request changes to the monitor mixes with "...hand signals and clever cryptic phrases". The engineer also cannot hear the changes that he is applying to the monitors on stage, often resulting in a reduction of the quality of the mix.

Signal path

Sound reinforcement in a large format system typically involves a signal path that starts with an instrument pickup or a microphone (transducer) which is plugged into a multicore cable (often called a "snake"). 

The snake then routes the signals of all of the inputs on two mixing consoles: Front of the House (FOH) Main mix, and Monitor mix at the side of the stage. Once the signal is at a channel on the console, this signal can be equalized, compressed, or panned before being routed to an output bus.

The signal may also be routed into an external effects processor, which outputs a wet (effected) version of the signal, which is typically mixed in varying amounts with the dry (effect-free) signal.

sound reinforcement system

A sound reinforcement system is the combination of microphones, signal processors, amplifiers, and loudspeakers that makes live or pre-recorded sounds louder and may also distribute those sounds to a larger or more distant audience.[1][2] In some situations, a sound reinforcement system is also used to enhance the sound of the sources on the stage, as opposed to simply amplifying the sources unaltered.

2 Track Tape Returns

Allow you to connect the outputs of your cassette or DAT player and listen back to your completed masterwork. They may also be used for playing pre-show music at a gig using

2-Track to Mix switch (not shown in illustration).

Monitor “Engineer’s” / Control Room Outputs

These let you listen to any solo, mix, submix from a group, or the 2 Track tape return via an external amplifier and speakers, or the headphone socket