Why is sound so difficult. By Nathan Lively It’s invisible Why is sound so difficult? By Nathan Lively It’s invisible. It’s incredibly specific. You can only experience it at the location you are at in any given moment, unlike light which can be seen at many different locations at once. We experience it logarithmically, but talk about it linearly. We say that sound is loud or soft, for example, but those words have no meaning on their own. They demand comparison. To actually measure sound you use objective criteria like units of sound pressure. Sound is both a science and an art, and you cannot ignore either component. Sound reinforcement is far from perfect. Air is the medium we use to deliver waveforms from speakers to ears. With constant changes in temperature, humidity, and wind there is nothing constant we can rely on. Our ears are amazing devices. From the thresholds of hearing to pain is an increase of 32 trillion in the power level. The lowest to the highest frequency we can hear is a ratio of 1000:1. Comparatively, our equipment is quite limited. Speakers are “mechanical devices attempting to produce wavelengths that vary in size by a factor of over 600:1.” Our technology is advanced, but it’s far from perfect. So if sound is so hard, what can we do? This is where strategy comes in... using the tools available to us, including our senses, to navigate this invisible world.

Live Production Communication Tools Stage Plot Shows where people and equipment will be located. Inputs needed. (Microphones, XLR, DI) AC Power Requirements. Monitors or In-Ear Mixers

Live Production Communication Tools Avsnap http://www.bosstweedbackline.com/stage-designer/

Live Production Communication Tools Input List Shows how stage inputs will be patched to the soundboard. Common patching order: Drums, Bass, Guitars, Pianos, Synths, Specials, Vocals Festival Patch Patching in the Digital World

Gain Structure Proper gain structure refers to establishing and maintaining good signal strength throughout the entire sound system. In most cases, this means that the relative volume of loudspeakers should ultimately be determined by adjustment of the power amplifiers after all prior system gain settings have been established. 

Gain Structure Clipping

Gain Structure A properly set up gain structure takes maximum advantage of the dynamic range and signal to noise ratio of each piece in the chain. No one piece is doing a disproportionate amount of the amplification unless it is a piece designed for that function (such as a mic preamp). 

Line Check Instrument Check Sound Check