The ultimate live sound operator's handbook. (2020)

• Record Type: Book
• Further Information: Note: Bill Gibson.
• Authors: Gibson, Bill (William A.)
• Contents: Preface; ; <span style="font-weight:bold;">Chapter 1. The Changing Qualifications of a Sound Operator; List of Qualifications; Distractions during a Show; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">Chapter 8. Signal Path; Input to the Preamp; Following the Signal Path; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">Chapter 10. Signal Processors; Dynamics Processors; Effects Processors; Reverberation Effects; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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!; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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?; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">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; ; <span style="font-weight:bold;">Chapter 21. Vocals; Mic Choice; Mic Technique; Dynamic Range; Backing Vocals; Choir; Monitors; ; <span style="font-weight:bold;">Chapter 22. Sound Check; Setup Routine; …and Then There’s Digital; Line Check: Verify Functionalit
• Edition: Third edition
• Publisher Details: Lanham : Rowman & Littlefield Publishers
• Publication Date: 2020
• Extent: 1 online resource, illustrations
• Subjects: 621.3893; Live sound recordings -- Production and direction
• Languages: English
• ISBNs: 9781538134658
• Related ISBNs: 9781538133170
• Notes: Note: Description based on CIP data; resource not viewed.
• Access Rights: Legal Deposit; Only available on premises controlled by the deposit library and to one user at any one time; The Legal Deposit Libraries (Non-Print Works) Regulations (UK).
• Access Usage: Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force.