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    TerryNeudorf Effectiveaudio

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    taiwo_oyeniyi
    Terry Neudorf is an experienced audio engineer who has toured extensively in North America, Africa, and Europe. He has worked with many well-known Christian artists over the years, including Hillsong United, Newsboys, and Brian Doerksen. In this document, Neudorf provides an overview of key concepts for effective live audio mixing, including: setting up input devices and microphones properly; using equalization, bass management, and subgroups to craft a balanced mix; pre-dialing channel settings in advance of soundcheck; and gaining the mix quickly during the soundcheck to establish balanced levels for the audience, monitors, and any recordings. The goal is to produce a clear, well-balanced mix with proper gain

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    TerryNeudorf Effectiveaudio

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    taiwo_oyeniyi
    73 views50 pages
    Terry Neudorf is an experienced audio engineer who has toured extensively in North America, Africa, and Europe. He has worked with many well-known Christian artists over the years, including Hillsong United, Newsboys, and Brian Doerksen. In this document, Neudorf provides an overview of key concepts for effective live audio mixing, including: setting up input devices and microphones properly; using equalization, bass management, and subgroups to craft a balanced mix; pre-dialing channel settings in advance of soundcheck; and gaining the mix quickly during the soundcheck to establish balanced levels for the audience, monitors, and any recordings. The goal is to produce a clear, well-balanced mix with proper gain

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    Terry Neudorf is an experienced audio engineer who has toured extensively in North America, Africa, and Europe. He has worked with many well-known Christian artists over the years, including Hillsong United, Newsboys, and Brian Doerksen. In this document, Neudorf provides an overview of key concepts for effective live audio mixing, including: setting up input devices and microphones properly; using equalization, bass management, and subgroups to craft a balanced mix; pre-dialing channel settings in advance of soundcheck; and gaining the mix quickly during the soundcheck to establish balanced levels for the audience, monitors, and any recordings. The goal is to produce a clear, well-balanced mix with proper gain

    Copyright:

    © All Rights Reserved
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    73 views50 pages

    TerryNeudorf Effectiveaudio

    Uploaded by

    taiwo_oyeniyi
    Terry Neudorf is an experienced audio engineer who has toured extensively in North America, Africa, and Europe. He has worked with many well-known Christian artists over the years, including Hillsong United, Newsboys, and Brian Doerksen. In this document, Neudorf provides an overview of key concepts for effective live audio mixing, including: setting up input devices and microphones properly; using equalization, bass management, and subgroups to craft a balanced mix; pre-dialing channel settings in advance of soundcheck; and gaining the mix quickly during the soundcheck to establish balanced levels for the audience, monitors, and any recordings. The goal is to produce a clear, well-balanced mix with proper gain

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    © All Rights Reserved
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    Download as ppt, pdf, or txt
    of 50

    Welcome to

    Effective Audio
    Presented by

    Terry Neudorf

    Your instructor:
    Terry Neudorf
    Began mixing in
    1982
    Turned pro in
    1993
    Well traveled,
    have toured North
    America
    extensively, as well
    as Africa and
    Europe.
    Have been
    fortunate to work
    with many well
    known artists,
    groups,

    A very brief bio:


    Have worked with Hillsong,
    Hillsong United, Robin Mark,
    Paul Oakley, Paul Baloche,
    Kutlass, Delirious, Newsboys,
    Audio-Adrenaline, Tim
    Hughes, Parachute Band, Noel
    Richards, Vicky Beeching,
    Robin Mark, Jars of Clay,
    Dakona, Promise Keepers and
    many others over the years.
    Current sound engineer for
    Brian Doerksen, Unite in
    Worship Canada as well as
    many other groups, festivals
    and organizations.
    Classified as an A1 technician
    in the world of corporate
    audio.
    Lead audio tech at 2000 seat

    Brian Doerksen
    Dakona

    Promise Keepers Toronto 05

    So, whats my point?


    I bring up where Ive
    been and what Ive been
    involved with to simply
    assure you of one thing:
    I live in your world, I know
    personally what your up
    against.
    I understand the issues,
    theyre universal, and
    we all deal with them.

    Hillsongs Steve
    McPherson

    Brian Doerksen in Cairo


    2007

    The Frequency Range

    Input Devices
    Input devices are items such as
    microphones, direct boxes generally
    used for connecting various
    instruments and playback devices like
    CD players and cassette decks.

    Microphones
    Microphones are extremely common and yet
    hardly understood by those who use them.
    How do they work and how do we best use
    them?
    The two most common types you will find are:
    The Dynamic Microphone
    The Condenser Microphone

    How microphones hear...


    Microphones come with pick up patterns, they hear in
    specific ways depending on the type. Here are some
    common types you will encounter:

    Microphone patterns and


    angles of coverage

    Darker shaded areas give prime pick-up areas in


    pattern of coverage. Working within these areas will
    lead to the best pick-up and the most off-axis rejection.

    Feedback
    The causeand the cure
    Cause: microphones
    set too sensitive due
    to improper
    microphone technique
    or placements.
    Cure: using
    microphone properly,
    thus reducing the
    need for extra
    sensitive
    microphones. This will
    give you much more

    Direct boxes (D.I.s)

    Direct boxes are used to convert the audio signal


    from a line level (1/4 jack typically, -10dBu) to a
    balanced format (XLR, +4dBu) format.
    This is done to transfer the signal safely from the
    stage to the mixing console.

    Let the buttons begin...


    Input gain control/amplifier. If an incoming
    signal is too weak you can amplify it here or
    if a signal is too strong you can turn it down

    This is the channel equalizer section. Mixers


    range anywhere from 2 band fixed EQ to 4
    band fully parametric. Shown here is a 4 band
    EQ with two sweepable midrange controls.

    Setting the tone

    Tone controls are just volume


    controls that work on certain
    frequencies.
    Consoles provide different levels
    of equalization control ability.
    Some are very basic, others are
    very complex and capable.

    Visualizing equalization
    The following illustration shows a 2 band EQ in action:

    Visualizing equalization
    This illustrates a 3 band EQ in action:

    Multi-channel EQ tips
    Tonal boosts or cuts combine to
    create a greater sum, or total channel
    volume. Remembertone controls
    are just restricted volume controls.
    Your mix is a summation of all the
    individual channel EQ settings as well
    as the individual channel volume
    settings. It all becomes one mix
    output.

    Multi-channel EQ tips
    Only take what you need from each
    input to create the overall mix. This
    allows each input to have its own
    space
    Taking everything offered can quickly
    lead to a mix with no definition and
    clarity, always remember to not get
    greedy.

    Tips on Bass management


    Because BASS frequencies are much larger than HI
    frequencies it is very easy for BASS to become overpowering.
    Overpowering BASS tends to cause muddy, boomy sound that
    has no clarity or clean sound.
    Sound persons need to be constantly aware of this in order to
    maintain clean, natural sounding and understandable mixes.
    The trick here is to not let unwanted BASS into the system.
    This is done by using high pass filters, rolling BASS out of
    vocal microphones and instrument inputs that do not produce
    BASS to begin with.

    Bass Management
    Many newer mixing consoles have a
    selectable HI PASS Filter available.
    This filter, when it is activated cuts out
    frequencies below a certain level (75 100Hz) and keeps them from getting into the
    channel.
    BASS from your speakers or stage
    instruments can sneak into vocal
    microphones and if you do not manage this
    situation you will unwittingly be amplifying the
    BASS all over againunintentionally.

    The other 85% of the frequencies


    With proper bass management the rest of
    the mix should flow nicely
    Pay attention to articulation, establish
    clean, clear intelligible sounds from the
    various inputs.
    Remember that life is sibilant and alive,
    not dull. Keep your mixes in that live
    sound space
    Try to always find spaces to put things, for
    example, leave some low mid out of the
    synth and piano to make space for guitars

    Why all the attention to bass?


    Bass waves are large, much larger than
    mid and high frequency sound waves.
    Therefore it is easy for these bass
    frequencies to overpower ALL other
    frequencies
    Intelligibility is established in the mid/hi
    ranges. Without proper representation of
    these frequencies your mix will not be
    clearly defined and easy to hear
    If you do not pay close attention to your
    bass mix the rest of your mix wont matter

    The rest of the buttons


    Channel strips also offer
    AUXILIARY SENDS.
    Aux. sends are used to send a
    signal to different locations, other
    than the main speakers. They are
    used to create stage monitor mixes,
    recording mixes, effects sends.
    They fill other needs you may have
    for separate & area specific mixes.
    Each channel will have Aux. sends.

    Getting it to the audience


    Some mixers simply send the individual channels directly
    to the main outputs.
    Others allow the user to assign them to subgroups first,
    allowing the user to control multiple channels with one
    subgroup fader.
    This is very easily done once understood. Essentially all
    subgroup capable mixing consoles operate the same
    way.
    All you have to do is simply decide which subgroup you
    want a channel to go to, push a button, turn a dial and
    you are there.

    Subgroups
    For example, if we wanted to take this channel
    and route it to subgroup #3, we would first press
    the button that says 3-4. This tells the mixer that
    we want the channel to go to these subgroups.
    To have the channel only go to subgroup #3,
    turn the pan control at the top all the way to the
    left. This is known as the odd # side
    Going to the right on the pan control is the even
    # side which would have sent the channel to
    subgroup #4.

    On with the mix!


    Welcome to the hot seat!
    Its rarely the same twice and
    always subject to change.
    A mix wakes up and comes
    alive when the sound person
    does!
    This is where the fun starts!!!

    Controlled Chaos
    There is generally not a lot of time
    Different techs have different
    styles
    Equipment is not left in a standard
    setup or configurationaltered & not
    reset
    Musicians sometimes dont
    understand the purposes of soundchecks

    Putting together a mix


    This can be the most frustrating
    part trying to put it all together in
    the few minutes they give you

    It does not have to be hard!


    With a few basic guidelines and
    house rules set up, sound-check
    and the performance can be
    creative and fun.

    Here we go
    How would you like to be able to set
    input gain (volume) levels, audience
    mix levels, monitor mix levels,
    recording mix levels, all within two
    songs?
    And get it right too?

    You can.

    Start your mix with the basics.


    What will you want to hear?
    What will the singers want to hear?
    What will the musicians want to hear?

    Audience/Soundperson needs
    As a soundperson
    your goal should
    be to achieve a
    linear mix
    nothing drastically
    louder than
    something else, so
    that everything
    can be clearly
    heard.

    Singer/musician needs
    Singers & musicians
    generally want the
    same thinga nice
    even stage mix with
    consistent volumes.
    Stage monitor mixes
    will have different
    priorities but the
    mix still needs to be
    linear and even.

    Brian Doerksen in Biel, Switzerland

    Preparing the mix


    Get the console set up as
    much in advance as you can
    based on the info you have
    A large part of your events
    success will depend on preplanning, on advance
    technical needs information. If
    you dont have infowhy not?

    Get an early start on the mix...


    Set the stage as you expect it will
    be
    Connect the input devices
    Have a clean stage, cables neatly
    run
    Label the channels on the console
    Test the inputsensure they are
    working
    Prepare as much stuff as

    Get an early start on the mix...


    Make some assumptions about whats
    going to be needed and start there.
    Then
    PRE-DIAL.
    Watch thissee how easy it can be.

    The Pre-dial
    You know you
    will need some
    input gainset
    all used
    channel gain
    controls to 10
    o-clock.

    EQ pre-dialing
    Adjust the channel
    EQs as you think they
    might be best used
    per input type & item
    Remember, channel
    EQ affects the total
    channel gain
    structureits best to
    pre-dial at this time.

    Monitor mix pre-dialing

    Set any monitor mixes up as


    you would expect them to be
    needed
    If using Aviom prepare the Aviom
    direct sends or auxiliary sends
    using the predetermined format
    for Aviom mixer channel layouts

    Setting up the main mix


    Set ALL used
    channel faders to
    the Unity or 0
    position.
    Subgroup items as
    needed.
    Set subgroup
    faders to Unity
    as well.
    Set Masters to -10

    What are you doing right now?


    Due to the fact that you have predialed a lot of stuff already your next
    task is to set the input gain
    structure.
    As the band plays work your way
    across the gainsusing them to
    create your main mix. Increase and
    decrease volumes as needed with
    the volume controls to set up the
    mix blend.

    Bring on the band!


    Sound-check is for the soundperson.
    To begin the sound-check the band
    needs to just start playing a songand
    they need to KEEP playing the song.
    The only way a soundperson can set up
    the mixes is to have input program
    coming in, so the band need to give the
    soundperson 2 back to back songs.
    This time is strictly for the technician.

    The mix key


    The input channels GAIN
    control is the master
    volume control for the
    entire channel strip.
    This includes the main
    channel output and all of
    the Auxiliary sends your
    console offers.
    One master volume per
    channel when used wisely.

    Remember...
    Its not about how much gain you
    can take in before you clip the
    channel.

    Its about only taking what


    you need and giving back
    what you dont need.

    Doing a bunch at once.


    Due to the fact that the gain control
    is the channel master volume control,
    control
    and due to the fact that musicians
    basically want the same as you do
    when you dialed in what you wanted
    with the gain controls you also dialed
    them in at the same time.
    Now you can fine tune the mixes
    easily.

    After the two songs...


    You are now ready to
    take requests from
    stagefine tuning the
    monitor mixes. Ask
    each mix how things
    are and adjust as
    asked
    You should find that
    the changes are minor
    Let the band continue
    rehearsing, fine tune
    your mix as needed.

    MJC (Mennonite Jazz Committee)

    Staying in touch
    Because you started
    off your mix with lots
    in common with the
    bandyou will be able
    to accurately correct a
    drastic shift in an
    inputs level
    If an inputs level
    drastically changes
    use the gain control to
    bring it back in line,
    thereby fixing not only
    the main mix but also
    the monitor mixes on
    stage

    Dakona

    Stage monitor guidelines

    Monitors are there to give the


    artist direct sound for
    accurate monitoring of their
    performances.
    Monitors should be the first
    thing a musician hears, not
    the only thing. When this rule
    is followed stage monitors will
    never be too loud out front.
    Physics wont allow it.
    Less is more. The more things
    in a mix the harder it is to
    hear each of those things.
    Have artists differentiate
    between what they want and
    what they need in their
    mixes. This will greatly
    enhance the mixes clarity.

    Monitor console, Today recording. 21 stage


    mixes.

    One very important thing...


    A sound tech should NEVER
    compromise the audience for the sake
    of a performer.
    Especially when mixing in Church!
    Musicians & worship leaders please
    be sensitive to & respect the techs
    foremost responsibilitythe
    congregation!

    Have the right mind set


    Mixing audio is not a power thing
    A calm, easy going professional
    manner will go miles in easing
    performer tension
    Remember that the happier the
    musicians are the better you ALL
    sound
    Be in control in such a way that
    others think that they are, but

    You are the direct link!


    Understand that
    you are the
    centre of the
    hour glass.
    You represent
    the
    congregation
    first, worship

    One very important thing...


    Never, ever, for any other
    reason than an Act of God
    compromise the audience
    for the sake of a performer.
    Especially when mixing in
    Church!

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