LSI University | SR Techniques

Proper training for stagehands. A sound company shares a very effective plan for properly training stagehands, boosting productivity and communication.

“You know, I’ve been doing sound here at my church for about two years now, and there are a couple of things that aren’t quite clear to me. First, where’s the bass and treble control? And, what are these knobs for - the ones on the console labeled high, mid and low?”

Subs can create what’s termed a “power alley” - regions where LF energy is too hot. An explanation and solutions. (Courtesy DAS Audio)

Brian Elwell of Acoustic Dimensions on determining how much gain is needed for a system and how to set gain structure properly.

Members of the LAB community began the LAB Subwoofer Project years ago, and many members have contributed drawings, specs, photos, and experiences in designing and building a LAB subwoofer. We have a forum dedicated to the LAB Subwoofer and all the LSP Documentation right here.

Microphone techniques (the selection and placement of microphones) have a major influence on the audio quality of a sound reinforcement system.

How do you correct phase shift? You can only do so much to an EQ before you lose all your power so how do you correct it correctly(?)?

A well-rounded discussion of the role of EQ with systems and the listening space, answers to pesky questions.

For a long time I wondered about mixing wedges in stereo. I was sure it would sound good, so recently I took the plunge and set up a pair of loudspeakers to see what it was all about.

When first starting out in audio a newcomer will hear terms that may seem like a whole new language. These terms are very common to hear in arenas, union halls, theatres, and similar venues. While not so common in clubs, even there you can hear some of these terms used by the seasoned veterans of the business. This would be particularly true of clubs that work with regional and national touring acts.

My current assignment has found me behind a monitor console once again. It’s been a while since I stage-mixed on a regular basis, so I am enjoying the change of scenery.

When I walk to the left and right of a monitor wedge, it seems like the tone changes. Is that a mystery, or is it simply because the higher of the frequencies emanating from the LF element make a narrower “cone” that may not match up with the wider dispersal pattern of the HF horn?

Noise is never welcome in an audio system; wireless mics are certainly no exception.