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Licensed under the Creative Commons Attribution-ShareAlike License
See the Future...See the Future... or or
What you can expect to learn. What you can expect to learn.
The three main categories of audio signal types
See the Future...See the Future...or or
What you can expect to learn. What you can expect to learn.
The three main categories of audio signal types.
What is a decibel and why do we care?
See the Future...See the Future...or or
What you can expect to learn. What you can expect to learn.
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...See the Future...or or
What you can expect to learn. What you can expect to learn.
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...See the Future...or or
What you can expect to learn. What you can expect to learn.
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...See the Future...or or
What you can expect to learn. What you can expect to learn.
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...See the Future...or or
What you can expect to learn. What you can expect to learn.
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...See the Future...or or
What you can expect to learn. What you can expect to learn.
The The Signals we Signals we Know and Know and
LoveLove
Mic level Line level Speaker level
The Signals we Know and LoveThe Signals we Know and Love
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 LoveThe Signals we Know and Love
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 LoveThe Signals we Know and Love
The Signals we Know and LoveThe Signals we Know and Love
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
Voltage Range of Audio Signals
Range of Audio Signals
What is a What is a decibel?decibel?
What is a decibel?What is a decibel?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
What is a decibel?What is a decibel? A ratio or comparison It is useless without a reference!
What is a decibel?What is a decibel? A ratio or comparison It is useless without a reference!
“Nice mixer, how much did it cost?”
"Twice as much”
What is a decibel?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”
What is a decibel?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
Range of Audio Signals
One channelOne channelof an of an
averageaveragemixing mixing
console.console.
One channelof 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.
Block Diagram
Input
Block Diagram
Block Diagram
Equalizer
Chart of Common frequency ranges
Frequency Response Chart
0
6
-6
-12
-18
12
18
20 50 100 300 1k 3k 10k 20k
Frequency Response Chart
Frequency
0
6
-6
-12
-18
12
18
20 50 100 300 1k 3k 10k 20k
Level
Frequency Response Chart
0
6
-6
-12
-18
12
18
20 50 100 300 1k 3k 10k 20k
Level, or volume, control
Level, or volume, control
Level, or volume, control
High boostHow much
High cutHow much
Mid cutHow much
Mid-cut LowHow muchWhere
Mid-cut HighHow muchWhere
Parametric EqualizerHow muchWhereHow wide
Parametric EqualizerHow muchWhereHow wide
Signal to Signal to Noise Noise RatioRatio
Signal to Noise RatioSignal to Noise Ratio
Signal to Noise RatioSignal to Noise Ratio
Signal to Noise RatioSignal to Noise Ratio
Signal to Noise RatioSignal to Noise Ratio
80 dB
Signal to Noise RatioSignal to Noise Ratio
30 dB
signal
Signal to Noise RatioSignal to Noise Ratio
90 dB
signal
Signal FlowSignal Flow
Gain StructureGain Structure
Gain StructureGain Structure
Gain StructureGain Structure
Gain StructureGain Structure
Gain StructureGain Structure
Polar Polar PlotsPlots
Polar PlotsPolar Plots It is not:
B-rate movie about the North Pole Anything to do with polar bears
Polar PlotsPolar 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.
Horizontal Polar Plot
Cardiod180°
90°
0°
90°
-5 dB
-20 dB
-15 dB
-10 dB
Cardiod180°
90°
0°
90°
-5 dB
-20 dB
-15 dB
-10 dB
Horizontal Polar Plot
Omni-directional
180°
90°
0°
90°
-5 dB
-20 dB
-15 dB
-10 dB
Horizontal Polar Plot
180°
90°
0°
90°
-5 dB
-20 dB
-15 dB
-10 dB
In the real world,the patternchangeswithfrequency!
What is “Feedback”?
What does it sound like? What is it not. What causes it?
What is “Feedback”?
What does it sound like? Usually a single tone - or two... Often high-pitched
What is it not. What causes it?
What is “Feedback”?
What does it sound like? What is it not.
Crackles Pops Static Other noises
What causes it?
What is “Feedback”?
What does it sound like? What is it not. What causes it?
More electronic gain than acoustic loss
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
“A” is the reference point
The microphone “hears” everything in the room.
Reference -30 dB
Fader
Balance point! Amp gain = acoustic loss
30 dB Reference
Amp
Acoustic loss = -30 dB
Amp gain = 30 dB
Fader
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
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
So what can we do about it??So what can we do about it??
Increase the acoustic loss. Decrease the electronic gain.
So what can we do about it??So what can we do about it??
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??So what can we do about it??
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??So what can we do about it??
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??So what can we do about it??
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??So what can we do about it??
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??So what can we do about it??
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??So what can we do about it??
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??So what can we do about it??
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??So what can we do about it??
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??So what can we do about it??
“B” is the reference point
The sound in the room is the same volume, but there is less amp gain needed because the source sound is louder.
33 dB
ReferenceAmp
Acoustic loss = -30 dB
Amp gain = 27 dB
Turn down the amp 6 dB
So no more feedback!
Move mictwice as close +6 dB
Instant Instant ReplayReplay
Instant ReplayInstant 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.
Instant ReplayInstant 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.
Instant ReplayInstant 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.
Instant ReplayInstant 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.
Instant ReplayInstant 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.
Instant ReplayInstant 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.
Instant ReplayInstant 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.
Instant ReplayInstant 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.
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