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Tips


Here are a few general PA operating principles distilled over the years:


  • Monitors: Use only what is necessary for the musicians to play. The less stage sound, the more control you have with the PA sound. (This concept changes with unplugged sound). Some musicians can perform without monitors and some cannot. Try mixing the FOH first, without monitors, then add some where needed. When used I like to have a separate mix on each, tailored to the particular musician. Keeping the musicians happy is paramount but try to keep the monitor field as minimal as possible.

  • Input gain adjustment: There are three basic ways to do this, the first leads to the last.

    1. Select pre-fade listen (PFL) on one channel only and have the performer do their loudest. Turn up the gain until the meter reaches yellow. Repeat this for each channel in use. Once each channels gain is set, mix using the faders. This method is time consuming but will yeild very accurate results and is usually necessary the first time with a new mic, etc.

    2. With the cannel fader down have the musician perform his loudest. Increase the input gain until the channel clipping light begins to flicker. For most mixers this is about 6dB before actual clipping. Now adjust the fader to the mix. This method is quick and works well on the fly. Adjusting both gain and fader simultaneously can set the input gain without destroying the mix.

    3. When you become familiar with your equipment you will have an idea of which mics need what gain. It is then a matter of adjusting to the particular musician. I usually zero the faders, set the gains according to the mics in use (from memory) and fine-tune at the sound check.

  • Use DI boxes to connect line-powered (keyboards, amplifier line-out...) music sources. This helps to avoid ground loops and the associated hums and buzzes.

  • At smaller events try connecting all system components to the same AC outlet. I have special, local code approved AC cords (2 conductors plus shield) with ground on the shield. I can run one beside the snake to (or from) the stage without inducing hum. With everything on one outlet, there are no loops. Just be sure it can take the current.

  • Have lots of power available. There is nothing like headroom. I like to use the amps to about 50% of their rating. So if you need 200W to get 100dB, use a 400W amp and turn down it's input gain. Learn about mono-bridging amplifiers here.

    -A little compression helps in the above example. Set the threshold to correspond with the 50% rating and use a ratio of about 1.3:1. (Some amps have optional built in compression.)

  • Equalize parsimoniously. Be aware of your power formulas. A 6 dB boost requires 4 times the power. A 10 dB boost requires 10 times the power. Avoid the "smile". A few dB cut or boost here or there is all you should need. Any more is evidence your system needs re-engineering, or you could be going deaf.

    Click here for more on EQ using the mixing console. To learn about room equalization go here, and for audio octave ranges and key frequencies of instruments, click here.

  • When bi-amping use at least twice as much power on the bass speakers as on the mid/highs. If outside then use four times as much.

  • Mix according to the music. Take into consideration the musicians style and what they want to present, and the audience expectations.

These are some basics for general applications. Study these pages if you want to know more about preserving the acoustic experience.

For information on microphone use and more, click here.

Also; here is very comprehensive PA tutorial site. A well organized grounds-up site featuring PA set-up and operation, a glossary of terms, tips and tricks compiled from various contributors and a message board to post PA type questions.

Want to learn more about PA loudspeakers and how to use them? Here is a collection of articles written by a well known authority. Barry and I were buddies in high school. He started work on this one soon afterward. It was first published in 1978 and remains a favorite today. The principle is subtle; begin as a classic and go from there.

Still getting nasty feedback? Click here to learn more about avoiding feedback.


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Copyright © 2001 Anton Niedersteiner. All rights reserved.

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