of the reason the crowds keep returning to multiple performances . For most other sound operators , there is a necessary compromise when it comes to volume control . First of all , as the sound operator , it is your obligation to listen to and comply with the requests of the people paying you . As your skills increase , you will get better at providing a mix that sounds powerful and yet is non-offensive . A mix like this will please more listeners than it angers .
AGREEMENT IS THE SOLUTION Volume issues that become a problem must be addressed , and all parties must agree upon a resolution . Nothing good can come from ignoring the problem . It will get worse , people will get angry , and feelings will be hurt .
To accomplish an agreement , invite the MD to join you at the sound board during a performance . Set up the mix and ask him or her to help you decide on a proper volume — use a decibel meter to quantify your settings . Once you ’ ve been through the technical portions of this book , you should have plenty of techniques available to help you build a pleasing mix at all reasonable volume levels .
Often , the musical director doesn ’ t take the opportunity to actually hear what the team sounds like . It ’ s difficult to get an accurate picture of what the audience hears without experiencing the show from the audience ’ s perspective . Simply bringing the musical director , manager , or any other relevant person into the sound operator ’ s area is the best way to resolve a potential volume problem . It is best to establish an agreed-upon target volume before there is a problem , but once there is a problem , this step is essential .
Once the interested parties have experienced the sound at the mixer , they will have a better idea of just how the team is perceived . Make changes while they ’ re with you , and try to set up a mix that everyone agrees is acceptable . Once you get the stamp of approval from the musical director , do your best to maintain a similar-sounding mix at all times .
Use a decibel meter when the musical director and management are with you so there is a quantifiable measurement of acceptability you and the other sound operators can refer to in the future . Although a decibel reading is a somewhat vague representation of the musicality of any mix , it does provide a point of reference .
EQ VERSUS VOLUME Very often , someone will complain about the mix being too loud , but what they ’ re really hearing is a particular frequency out of balance . Piercing vocals typically contain an abundance of frequencies between two and three kilohertz . To many people , especially the elderly , those frequencies are painful . For them , the mix might sound too loud even when the decibel meter reads in the acceptable range .
Once you understand the proper use and application of equalization , you ’ ll be able to construct a mix that is full and pleasing to the majority of the audience .
Whereas the highs are often too edgy and harsh for some people , low frequencies can be tolerated by most . Try to create a mix that is full in the low end and inoffensive in the highs . This type of mix will typically receive the most accolades from the largest segment of the
To many people , especially the eldery , some frequencies are painful for them , the mix might sound too loud even when the decibel meter reads in the acceptable range . audience .
PAINFUL FREQUENCIES VERSUS COMFORTING FREQUENCIES The previous examples reveal that even mixes created at identical signal levels ( readings on the output meter ) can sound louder or softer depending on the frequency balance across the audible spectrum . Typically , elevated frequency levels between 1 and 4 kHz seem louder than elevated frequency levels below 1 kHz or above 4 kHz .
The human ear does not have a flat frequency response across the frequency or volume spectrum . It is most sensitive to the frequency band between 1 and 4 kHz , especially at volumes below 80 dB SPL .
Low frequencies , below about 150 Hz , tend to round out the sound — they help the sound operator create a full-sounding mix . A mix with clean highs above 7 or 8 kHz and warm lows below about 150 Hz typically sounds good at reasonable levels — it usually doesn ’ t need to be loud to sound full . As we work our way through equalization and other sound-shaping techniques , we ’ ll discover how to balance the frequency spectrum throughout the mix in a way that sounds good and non-offensive .
SOUND REINFORCEMENT VERSUS MUSIC PRESENTATION Sound reinforcement systems support the acoustic sound coming from the stage . A music presentation system is a playback system that amplifies a pre-recorded music program from any music playback device .
The greater the amount of acoustical sound coming from the stage , the more difficult it is to create a mix with stunning clarity and intimacy . Too much stage volume causes many of the volume problems we face in the pursuit of excellent live sound . It ’ s not uncommon for a band to be about 100 dB SPL in the hall before the main speakers are turned up .
Acoustic drums , guitar amplifiers , vocal