2. Licensed under the Creative Commons Attribution-ShareAlike License

3. See the Future... or What you can expect to learn. or What you can expect to learn.

4. The three main categories of audio signal types See the Future... or What you can expect to learn.

5. The three main categories of audio signal types. What is a decibel and why do we care? See the Future... or What you can expect to learn.

6. The three main categories of audio signal types. What is a decibel and why do we care? Audio flow through a typical mixing console See the Future... or What you can expect to learn.

7. The three main categories of audio signal types. What is a decibel and why do we care? Audio flow through a typical mixing console. Equalizer basics See the Future... or What you can expect to learn.

8. The three main categories of audio signal types. What is a decibel and why do we care? Audio flow through a typical mixing console. Equalizer basics Signal to Noise Ratio and Gain Structure See the Future... or What you can expect to learn.

9. The three main categories of audio signal types. What is a decibel and why do we care? Audio flow through a typical mixing console. Equalizer basics Signal to Noise Ratio and Gain Structure. Polar plots See the Future... or What you can expect to learn.

10. The three main categories of audio signal types. What is a decibel and why do we care? Audio flow through a typical mixing console. Equalizer basics Signal to Noise Ratio and Gain Structure. Polar plots Understanding Feedback See the Future... or What you can expect to learn.

11. The Signals we Know and Love

12. Mic level Line level Speaker level The Signals we Know and Love

13. Mic level aprox -60 dBu to -40 dBu   Small and delicate   Shielded cable   Can use tiny cable Line level Speaker level The Signals we Know and Love

14. Mic level approx -60 dBu to -40 dBu Line level approx -8 dBu to +4 dBu   Fairly sturdy   Shielded cable a very good idea   Can still use small cable Speaker level The Signals we Know and Love

15. Mic level approx -60 dBu to -40 dBu Line level approx -8 dBu to +4 dBu Speaker level approx +10 dBu to +40 dBu  Large and robust, somewhat of a bully  Cable twisted, no need for shield  Large cable a good idea

16. Voltage Range of Audio Signals

17. Range of Audio Signals

18. What is a decibel?

19. A decibel is one tenth of a bel (B). Devised by engineers of the Bell Telephone Laboratary to quantify the reduction in audio level over a 1 mile (approximately 1.6 km) length of standard telephone cable, the bel was originally called the transmission unit or TU, but was renamed in 1923 or 1924 in honor of the Bell System's founder and telecommunications pioneer Alexander Graham Bell. In many situations, however, the bel proved inconveniently large, so the decibel has become more common. From Wikipedia

20. What is a decibel? A ratio or comparison It is useless without a reference!

21. What is a decibel? A ratio or comparison It is useless without a reference! “Nice mixer, how much did it cost?” "Twice as much”

22. What is a decibel? ????!!!!???? Two times more... than what? A ratio or comparison It is useless without a reference! “Nice mixer, how much did it cost?” "Twice as much”

23. What is a decibel? A ratio or comparison It is useless without a reference!  There are standard references  For prices, we use dollars.  For sound we use: dBu dBm dB V dB SPL dB FS

24. Range of Audio Signals

25. One channel of an average mixing console.

26. One channel of an average mixing console. This is not any particular mixer. It is one that my fertile imagination invented. Any resemblance to a real mixer is purely coincidental.

27. Block Diagram Input

28. Block Diagram

30. Equalizer

31. Chart of Common frequency ranges

32. Frequency Response Chart 0 6 -6 -12 -18 12 18 2050 1003001k3k10k 20k

33. Frequency Response Chart Frequency 0 6 -6 -12 -18 12 18 2050 1003001k3k10k 20k

34. Level Frequency Response Chart 0 6 -6 -12 -18 12 18 2050 1003001k3k10k 20k

35. Level, or volume, control

38. High boost How much

39. High cut How much

40. Mid cut How much

41. Mid-cut Low How much Where

42. Mid-cut High How much Where

43. Parametric Equalizer How much Where How wide

44. Parametric Equalizer How much Where How wide

45. Signal to Noise Ratio

49. 80 dB

50. Signal to Noise Ratio 30 dB signal

51. Signal to Noise Ratio 90 dB signal

52. Signal Flow

53. Gain Structure

58. Polar Plots

59. It is not:  B-rate movie about the North Pole  Anything to do with polar bears

60. Polar Plots It is not:  B-rate movie about the North Pole  Anything to do with polar bears It is a way to chart signal levels as they relate to physical space.

61. Horizontal Polar Plot Cardiod 180° 90 ° 0°0° -5 dB -20 dB -15 dB -10 dB

62. Cardiod 180° 90 ° 0°0° -5 dB -20 dB -15 dB -10 dB Horizontal Polar Plot

63. Omni-directional 180° 90 ° 0°0° -5 dB -20 dB -15 dB -10 dB Horizontal Polar Plot

64. 180° 90° 0°0° -5 dB -20 dB -15 dB -10 dB In the real world, the pattern changes with frequency!

66. What is “Feedback”? What does it sound like? What is it not. What causes it?

67. What is “Feedback”? What does it sound like?  Usually a single tone - or two...  Often high-pitched What is it not. What causes it?

68. What is “Feedback”? What does it sound like? What is it not.  Crackles  Pops  Static  Other noises What causes it?

69. What is “Feedback”? What does it sound like? What is it not. What causes it?  More electronic gain than acoustic loss

70. The amplifier completely “makes up for” all the losses from the voice to the loudspeaker. That is, the volume (dB SPL) from the loudspeaker is exactly the same as the voice. 0 dB Reference Amp

71. “A” is the reference point

72. The microphone “hears” everything in the room. Reference -30 dB Fader

73. Balance point! Amp gain = acoustic loss 30 dB Reference Amp Acoustic loss = -30 dB Amp gain = 30 dB Fader

74. Feedback!!!!! Amp gain is greater that speaker-to- mic loss. The sound keeps getting louder! 33 dB Reference Amp Acoustic loss = -30 dB Amp gain = 33 dB Fader

75. Feedback!!!!! Amp gain is greater that speaker-to- mic loss. The sound keeps getting louder! 33 dB Reference Amp Acoustic loss = -30 dB Amp gain = 33 dB So, what can we do about it? Fader

76. So what can we do about it??

77. Increase the acoustic loss. Decrease the electronic gain. So what can we do about it??

78. Increase the acoustic loss.   Move the mic and loudspeaker farther apart.   Change the angle of the loudspeaker.   Change the angle of the microphone. Decrease the electronic gain. So what can we do about it??

79. Increase the acoustic loss.   Move the mic and loudspeaker farther apart. Remember that sound get weaker the further it has to travel.   Change the angle of the loudspeaker.   Change the angle of the microphone. Decrease the electronic gain. So what can we do about it??

80. Increase the acoustic loss.   Move the mic and loudspeaker farther apart.   Change the angle of the loudspeaker. Speakers are rarely omni-directional. Get the mic to a spot that the loudspeaker doesn't cover well.   Change the angle of the microphone. Decrease the electronic gain. So what can we do about it??

81. Increase the acoustic loss.   Move the mic and loudspeaker farther apart.   Change the angle of the loudspeaker.   Change the angle of the microphone. Use the mic's polar plot to “point” the weak pickup area toward the loudspeaker. Decrease the electronic gain. So what can we do about it??

82. Increase the acoustic loss. Decrease the electronic gain.   Change the frequency response of the system.   Turn down the fader. So what can we do about it??

83. Increase the acoustic loss. Decrease the electronic gain.   Change the frequency response of the system. Adjust an equalizer to turn down the frequency to which the mic/speaker/room system is most responsive.   Turn down the fader. So what can we do about it??

84. Increase the acoustic loss. Decrease the electronic gain.   Change the frequency response of the system. Adjust an equalizer to turn down the frequency to which the mic/speaker/room system is most responsive. It will affect the desirable sound too!   Turn down the fader. So what can we do about it??

85. Increase the acoustic loss. Decrease the electronic gain.   Change the frequency response of the system.   Turn down the fader. So what can we do about it??

86. Increase the acoustic loss. Decrease the electronic gain.   Change the frequency response of the system.   Turn down the fader. But now we can't hear because it is too quiet! So what can we do about it??

87. “B” is the reference point

88. The sound in the room is the same volume, but there is less amp gain needed because the source sound is louder. 33 dB Reference Amp Acoustic loss = -30 dB Amp gain = 27 dB Turn down the amp 6 dB So no more feedback! Move mic twice as close +6 dB

89. Instant Replay

90. The three categories of audio signal types. What is a decibel and why do we care? Audio flow through a typical mixing console. Equalizer basics. Signal to Noise Ratio and Gain Structure. Polar plots. Understanding Feedback.

91. Instant Replay The three categories of audio signal types.  Mic, Line and Speaker level What is a decibel and why do we care? Audio flow through a typical mixing console. Equalizer basics. Signal to Noise Ratio and Gain Structure. Polar plots. Understanding Feedback.

92. Instant Replay The three categories of audio signal types. What is a decibel and why do we care?  A convenient way to manage a large range of signal ratios. Audio flow through a typical mixing console. Equalizer basics. Signal to Noise Ratio and Gain Structure. Polar plots. Understanding Feedback.

93. Instant Replay The three categories of audio signal types. What is a decibel and why do we care? Audio flow through a typical mixing console.  Don't be afraid of your owner's manual. Equalizer basics. Signal to Noise Ratio and Gain Structure. Polar plots. Understanding Feedback.

94. Instant Replay The three categories of audio signal types. What is a decibel and why do we care? Audio flow through a typical mixing console. Equalizer basics.  Practices - just not during the service. Signal to Noise Ratio and Gain Structure. Polar plots. Understanding Feedback.

95. Instant Replay The three categories of audio signal types. What is a decibel and why do we care? Audio flow through a typical mixing console. Equalizer basics. Signal to Noise Ratio and Gain Structure.  Apply the gain early in the chain. Polar plots. Understanding Feedback.

96. Instant Replay The three categories of audio signal types. What is a decibel and why do we care? Audio flow through a typical mixing console. Equalizer basics. Signal to Noise Ratio and Gain Structure. Polar plots.  A picture of the sound in 3D space. Understanding Feedback.

97. Instant Replay The three categories of audio signal types. What is a decibel and why do we care? Audio flow through a typical mixing console. Equalizer basics. Signal to Noise Ratio and Gain Structure. Polar plots. Understanding Feedback.  Move the mic closer.

98. Licensed under the Creative Commons Attribution-ShareAlike License It's all over - it's safe to wake up!