The Ultimate Live Sound Operator's Handbook - Bill Gibson

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Auteur(s) : Bill Gibson

Editeur : Bloomsbury Academic

Langue : Anglais

Parution : 01/07/2020

Format : Moyen, de 350g à 1kg

Nombre de pages : 456.0

Expédition : 1231

ISBN : 9781538133170

Résumé :

The third edition of The Ultimate Live Sound Operator's Handbook offers new sections on digital concepts, wireless considerations, digital mixers, modern digital snakes, routing schemes, block diagrams, signal paths, plug-ins for live sound, and more.

Any live act must sound great to be well received by today's increasingly demanding audiences. If you're a sound operator, teacher, musician, or even a music fan who is interested in becoming a sound operator, you know that regardless of the musical genre or venue, high-quality audio is mandatory for an artist or band's success. This book shows you how to improve your audio skills, including how to build great sounds that form a professional-sounding mix.

Revised and updated, The Ultimate Live Sound Operator's Handbook, 3rd Edition focuses on each modern and classic aspects of live sound operation in a way that is straightforward and easy to understand-from system, component, and acoustic considerations to miking, mixing, and recording the live show.

Tightly produced online videos clearly demonstrate key concepts presented in the text. These instructional videos, along with hundreds of detailed illustrations and photographs, provide an incredibly powerful and useful learning experience. An access code to the companion website is provided in the book.

The Ultimate Live Sound Operator's Handbook, 3rd Edition, features:
Shaping Instrument and Vocal SoundsCreating an Excellent MixMixer BasicsDigital Mixers and SnakesVolume Issues and Sound TheoryDigital TheoryManaging the Signal PathSignal Processors and EffectsModern Plug-insMicrophone Principles, Techniques, and DesignWireless SystemsIn-Ear versus Floor MonitorsLoudspeakers and AmplifiersAcoustic ConsiderationsMiking the Group and Sound Check

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Biographie:
Bill Gibson is president of Northwest Music and Recording, Inc. A music and audio industry veteran, he has spent his career writing, recording, producing, and teaching music. As an audio professional, sound engineer, and instructor at Berklee School of Music and the Art Institute of Seattle, Gibson has developed a unique ability to teach concepts and techniques that produce extremely high-quality audio, both in the recording studio and in live performances. As a two-term national trustee and member of multiple national committees for the Recording Academy, Gibson advocates for the benefit of all music producers, technicians, and performers....

Sommaire:

Preface

Chapter 1. The Changing Qualifications of a Sound Operator
List of Qualifications
Distractions during a Show

Chapter 2. Duties of a Sound Operator
Advance Planning
Initial Setup Procedures
Crucial Tasks
Get to Know the Musical Director
Find Out What the Musical Director Expects
Attend Rehearsals
Listen to Board Recordings
Listen to Current Music
Be Punctual
Learn the Songs
Set Up Gear
Strike Gear
Develop Storage Systems
Cable Storage on the Road
Learn What a Good Mix Is

Chapter 3. Volume Issues
Why Volume Issues Are So Common
EQ versus Volume
Sound Reinforcement versus Music Presentation
The Decibel Meter
Earning the Trust of the Team
Understanding Hearing Differences
Types of Hearing Loss
Aural Hypersensitivity

Chapter 4. Sound Theory
Characteristics of Sound
Speed
Cycles
Frequency
Pitch
Wavelength
Amplitude
Loudness and the Fletcher-Munson Curve
Government Regulations
The Loudness of Everyday Life
A-, B-, and C-Weighting
Phase
Harmonics, Overtones, and Partials
Shape
Envelope

Chapter 5. Digital Theory
Analog versus Digital
Physical Properties of Sound
Bits, Bytes, and Words
Advantage of Binary Code
Pulse Code Modulation (PCM)
Direct Stream Digital (DSD)
Nyquist Theorem
Quantization/Bits
Dynamic Range
Bit Rate
RAM Buffer
Aliasing
Sample Rates
Dither/Quantization Error
Noise Shaping
Converters

Chapter 6. Interconnect Basics
Line-, Instrument-, and Mic-Level Impedance
Balanced versus Unbalanced
Choosing Cable
Cable Construction Standards
Speaker Cables
Instrument-Level Cables
Line-Level Cables
Microphone Cables
Do Cables Really Sound Different?
Digital-Interconnect Cables
Connectors
Plugging In
Grounding
Danger, Danger

Chapter 7. Mixer Basics
Signal Path
Input Levels
Input Stage
Output Impedance
The Preamp
Attenuator
Direct Box
Meters
Adjusting VU Levels for Transients
Phase
Phantom Power
Signal Levels
Channel Insert
Aux and Effects Buses
The Difference Between a Live Mixer and a Recording Mixer
Managing the Signal Path
The Equalizer
Console Layout
The Analog Mixer versus the Digital Mixer
FOH Mixer Position

Chapter 8. Signal Path
Input to the Preamp
Following the Signal Path

Chapter 9. Digital Mixers and Snakes
Historic Timeline
Advantages and Disadvantages to a Live Digital Mixer
Important Digital Mixer Features
Digital Snakes and Network Connections

Chapter 10. Signal Processors
Dynamics Processors
Effects Processors
Reverberation Effects

Chapter 11. Microphone Principles and Design
The Proximity Effect
Directional Characteristic
Practical Applications
Operating Principle
Phantom Power
Comparison between Moving-Coil, Ribbon, and Condenser Mics
The Shaping of the Pickup Pattern
Response Characteristic
Stereo Mic Techniques

Chapter 12. Wireless Systems
Being Legal
Components of the System
AM and FM Systems
VHF and UHF Systems
UHF Systems
Digital Systems
Capture Effect
Diversity
Diversity Indicator
Range
Antenna Distribution Systems
Batteries
Squelch
Microphones for Wireless Systems
Wireless Frequency Selection
Mute Switch versus Power Switch
Caring for the Antenna
Adjusting Levels
Connecting to the Sound System

Chapter 13. Loudspeakers
Commercially Built Cabinets
Manufacturers
Pro Audio Suppl...