Spencer Fleeman’s Guide to Using a Sound Board

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Spencer Fleemans Guide to Using a Sound Board
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Sound Vocabulary

• Input- A connection that takes sound from another
  items output.
• Output- A connection that sends sound from itself
  to whatever other devices input its patched to.
• Source- An item that is reinforced such as a
  persons voice, guitar, keyboard, mini-disc
  player, an entire choir
• Channel- An independent input on a sound board to
  plug in a microphone, CD player, or whatever the
  source is.
• Phantom power- certain fancy microphones need
  additional power to operate, therefore they
  require a battery or a soundboard that supplies
  48 volts down the mic cable, the 48 volts is
  known as phantom power.
• Unbalanced- When a connection is made with a
  cable that has 2 conductors, it is unbalanced.
  This is similar to using a 2-prong extension cord
  instead of one that has 3-prongs making it
  grounded. Unbalanced connections typically do not
  sound as good as ones that are balanced. CD
  players, keyboards, computers, etc. are usually
  un-balanced sources. Cables include RCA and ¼
  with 2 conductors (1 line on the connector.

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Sound Vocabulary (2)

• Balanced- The audio connection is made with a
  cable that has 3 conductors. These connections
  sound better, less risk of having a buzz (like
  one that could be heard between a guitar and a
  guitar amp). XLR cables are always balanced, ¼
  cables are balanced if they have 3 conductors (2
  lines on the connector).
• Group- A grouping of channels that are grouped
  together by picking on each channel with group it
  should go to.
• Direct Box- If a guitar, laptop, VCR, keyboard,
  or any other device that is un-balanced/ has no
  xlr connection. A direct box is used to change
  the ¼ unbalanced connection to a balanced xlr
  connection that can be sent all the way up a long
  mic cable to the sound board.
• Insert- A connection found on each channel or
  group that has a purpose of inserting a device
  onto the channel or group such as an equalizer,
  effect box, or an audio limiter. When a device
  is patched to the insert connection, the channel
  or group it is plugged into will be changed by
  that device.

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Sound Vocabulary (3)

• Equalizer- A device that has an input and an
  output, it takes the sound that is sent to its
  input and changes the frequency tones of the
  source. Ex The whole body mic group sounds like
  it has too much bass, the lower part of the
  equalizer can be turned down to loose some bass
  on everyones body mic on that group. The
  equalizer can be patched to any channel or groups
  insert connection with an insert cable.
• Audio Compressor/limiter- Although un-necessary
  for basic sound reproduction, sometimes it helps
  to have one patched to a channel or group. It
  takes a source and automatically turns it down
  when its too loud or uses its gate function to
  automatically mute the source when its too quite.
  Ex Theres an actor that has random lines where
  he/she is supposed to shout, the compressor would
  turn down their volume automatically when they
  get loud.
• Trim- the first knob on a channel that is used to
  adjust the initial volume of a source. Ex A
  trumpet may need its trim down low to avoid
  distortion, a whispering actor on a backstage
  microphone may need its trim up high to boost
  his/her voice.

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Sound Vocabulary (4)

• Distortion- This occurs when a source is
  overloading a channel, a source overloads a
  device, or an amp is overloaded by the loudness
  sent to it. It makes the sound seem poor and
  rough. To correct distortion, do things like
  turning down trims on channels that have
  distortion or if it is a device, turn down the
  volume of what is being sent to it and turn up
  the devices output instead. Distortion is
  commonly heard in rock music when a electric
  guitar doesnt sound all clean and pretty but
  more rock like.
• Feedback- A woooooooooaaaaaaa, quoooooolllllllllla
  aaaaaaa or a seeeeeeeee noise that instantly
  makes everyone look at you with dissatisfaction
  because their ear drums are bleeding in pain.
  This happens when a mic going through a speaker
  can hear itself from the speaker and it cycles
  around and around. When adjusting a trim to set
  how loud the mic can get, turn the trim up until
  right before the feedback starts. Common day
  example of feedback would be Youre on the phone
  and you turn on a speaker phone while the other
  is still on and you hear the noise- That is
  Feedback! Not just some random noise, it has a
  reason, it happens when we screw up how loud we
  turn something up.

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Sound Vocabulary (5)

• Analog- Sound that is natural, not digitized.
  Ex Microphone, Cassette tape, VCR, old
  cell-phones, amplifiers.
• Digital- Sound that is digitized to record it or
  modify it more easily. The analog sound is
  changed to computer language but is later changed
  back to analog to listen to it. Ex CD Player,
  Mini-disc, Computers, Digital Equalizer, new
  cell-phones, or a keyboard before the sound makes
  it to the speakers.
• Sub Woofer- A speaker that only produces bass
  frequencies that is intended to be used with
  other speakers to produce the middle and high
  frequencies.
• Speaker- A device that is patched to an amplifier
  that makes the sound the audience hears.
• Crossover- A device in the amp rack that
  shouldnt be touched normally, it divides which
  sound should go to the subwoofers and which sound
  should be sent to the speakers.
• Amplifier- Normal sound connections only contain
  enough power to make sound through headphones.
  In order to power speakers, an amplifier must be
  patched to the line and the speakers are
  connected to the amplifier.

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Sound Vocabulary (6)

• Hotspot- A small speaker that is used in
  situations where a few people need to hear a
  device(s) It still must be connected to an
  amplified line. Ex Stage managers, Choral
  director, piano player, keyboardist, or actors
  backstage.
• Pan- Knobs on the sound board that choose whether
  a source belongs on the left or right side of a
  stereo mix/ whether the source goes to an even
  group or an odd group.
• Stereo- Sound that is divided into two separate
  channels. Ex The left speaker in an auditorium
  as to the right speaker. Ex 2 You are listening
  to a band on an ipod and you notice one singer is
  heard in your left ear and the other is in your
  right ear as well as hearing a lead guitar on the
  left and the keyboard on the right. This is a
  stereo mix.
• Mono- No division of channels is necessary,
  everything is pooled together. Ex Podium mic
  going through all speakers equally. Ex 2 A
  recording from before the 1960s when stereo
  sound started.

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CablesYou couldnt use anything without them
Female
Male

• XLR to XLR- The cable that is used most, a
  balanced connection that locks securely. Ex
  Microphones, Mixer connections, Amplifiers,
  Processing Devices, Jacks around the room.
• ¼ to ¼ Balanced (TRS)- A patch cable that is
  balanced, it has 3 conductors (2 lines) just like
  an xlr but does not lock. Ex Board to board
  connections/ processing devices
• 1/4 to ¼ Un-balanced (TS)- A cable that does
  not lock but only has 2 conductors (1 line).
  This cable will be likely to buzz because it is
  not balanced.

Notice the ¼ unbalanced has one line on the tip.
Notice the ¼ balanced has two lines on the tip.
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Cables (2)
¼

• RCA to ¼- CD Players, VCRs, Mini-disc, DVD
  players use RCA connectors to send and receive
  sound, the sound board does not have RCA
  connectors. Use the RCA to ¼ cable to connect
  devices like these to the sound board or a direct
  box, they are unbalanced cables.
• RCA to XLR- Same thing as RCA to ¼ except has a
  XLR connector for when ¼ is not available.
• ¼ to XLR- A cable that takes a ¼ connector and
  connects it to an xlr connector. These would be
  used commonly with connecting the mixer to
  processors or amplifiers that only have XLR
  connections.
• ¼ to ¼ unbalanced thick gauge- This is an
  unbalanced ¼ to ¼ except the wires are thicker
  to carry high voltage audio which speakers have.
  These are used to connect speakers to amps or
  speakers to jacks that lead to an amp.

RCA
¼ to XLR
RCA to XLR
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Cables (3)

• ¼ to speakon- A speaker cable that is for
  speakers that do not have ¼ connectors but
  instead have a locking speakon connector. Some
  speakers in the auditorium have speakon while
  others have ¼
• ¼ to banana- Some amplifiers do not have ¼ or
  speakon connectors but instead have a red and a
  black post like connector, these are called
  banana plugs, use the cable to change banana to
  the ¼ connector found on the speaker.
• ¼ balanced (TRS) to two ¼ unbalanced (TS)
  connectors. This is known as an insert cable, the
  TRS end plugs into an insert connector on a
  channel or group and changes it to two TS
  connectors for send and receive to make the
  insertion. Another use would be to take a stereo
  output on a device and change it to two mono
  connections (one for left, one for right). EX To
  connect a keyboards stereo output to one direct
  box for left and another for right. EX 2 To
  connect an equalizer to group 3 or channel 10 on
  a sound board.

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Cables (4)

• 1/8 balanced (TRS) to two ¼ unbalanced (TS)
  connectors- Same thing as the ¼ insert cable
  except with an 1/8 connector that is smaller.
  This would be used to patch a portable device
  such as an Ipod or computer to the sound board.
• XLR to TA3 (Tiny audio 3)- This is used to
  connect floor microphones to xlr connections in
  the wall, snake, or sound board.
• MIDI- These 5 or 6 pin cables are used to connect
  keyboards to keyboard equipment or computers to
  use software with the keyboard. They are used
  rarely for ordinary sound.
• Coax- A cable that is usually used for cable TV
  connections but is also used for connection
  antennas to body mic equipment.

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Channels

• Each device needs to be patched to a channel,
  either XLR or ¼ balanced/ unbalanced, choose ¼
  or XLR with the switch on the channel labeled
  line/mic
• The Avlex board has 32 mono XLR/1/4 channels and
  4 stereo channels that have a left ¼ and a right
  ¼ input.
• Use stereo channels for CD player, Mini-disc,
  computer, etc.
• Mono channels are best used with microphones or 2
  separate channels for a stereo source.
• Each channel has trim for a pre-volume, an
  equalizer, auxiliary sends, mix B, a volume
  fader, and assignment switches with a pan knob to
  fade L to R / 1 to 2
• Also, each is equipped with a green low-cut
  switch, push it in unless the channel has a
  piano, bass, or other sources that produce low
  frequencies.

Mono Stereo
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Channels (2)

• Each channel with exception to the stereo ones
  has 5 connections.
• First is an XLR, use it for all microphone
  connections and devices with xlr outputs. If the
  device requires phantom power (see defined
  terms), push down the phantom switch next to the
  xlr input.
• Next is a ¼ unbalanced or balanced, use it for
  cd players, board patches, devices with ¼
• Insert connection is used to patch a device to
  modify a channel (EQ box, effect box, compressor)
• Direct out is used if you need to send the sound
  of only one channel to an additional item such as
  another sound board.
• Tape input is never used in our situation but it
  is an alternate input.

XLR
Insert
1/4
Direct Out
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Channels (3)An example

• Channels 1-10 may have body microphones
• Channels 11-16 may have stage microphones
• Channels 17-20 may have handheld microphones
• Channel 21- piano low, 22- piano high, 23- bass,
  24- guitar, 25- drums, 26- violins
• Channels 27-32 should be used for the matrix
  controls.

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Trim -also known as gain, headroom, clip, or as I
call it pre-volume

• Trim- also known as gain, headroom, clip, or as I
  call it pre-volume
• Next to the trim knob, there is a green light and
  a red light, if the channels singer or whatever
  is singing and the green light is blinking, the
  trim is at a good level, if the red light is
  blinking, the trim is too loud and is distorting
  the sound on the channel, so turn it down!
• A good way to set the trim on a live microphones
  channel is to bring the fader up all the way and
  turn the trim up until the microphone starts a
  feedback noise over the sound system, then bring
  the trim back to where the feedback goes away,
  but dont turn the trim up so far that the red
  light blinks with the singers voice.

Bad
Good
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Equalizer settings

• Each channel on a sound board has EQ settings.
• The Avlex board has 6 knobs per channel for EQ
• The high and low knobs are similar to a stereos
  bass and treble knobs.
• The high mid knob controls what the top part of
  the mid spectrums frequencies sound like and the
  low mid knob controls the bottom part of the mid
  spectrums frequencies.
• The high and low mid knobs also have an
  additional knob ganged to them that choose which
  low or high mid frequency is changed
• Leaving all EQ knobs in the middle takes no
  frequency away while also not adding any
  therefore, leave them all in the middle unless
  the item on the channel sounds like it needs a
  change.

High volume
High mid frequency choice
High mid volume
Low mid
frequency choice
Low mid volume
Low volume
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Auxiliaries

• Auxiliaries are used to send a channels source
  to an extra place besides the main speakers.
• Includes Dressing rooms, VCRs, sound effects
  speakers, orchestra pit monitors.
• On the Avlex board 1-4 always send sound even if
  channel is muted, 5-6 are joined with 7-8
• Best way to use them is to send an entire group
  from the matrix to an auxiliary- Ex send group
  one body microphones to auxiliary 1, 2, and 4 for
  all monitors

Sends 5 and 6 to 7 and 8
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Solo- also known as pre-fader listen, cue,
headphones

• So the show is going and you notice the trombone
  on channel 11 sounds like it needs to have its EQ
  changed and you cant turn everything off to
  listen to it.
• You can press its channels solo button and in
  the headphones connected to the sound board, only
  the trombone is heard so you can adjust the EQ
  without hearing anything else in the headphones
• The rest of the sound system remains to sound the
  exact same with or without solo buttons selected

Solo button
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Groups
Send Aux returns to a group
Pan knob
Choose group on channel

• Groups are used to organize channels
• Each channel has 1/2, 3/4, 5/6, 7/8, and L/R
• Go from 1 to 2, L to R etc. by turning the pan
  knob from the left to the right. (example, in the
  middle, both in left and right)
• Auxiliary returns can also be sent to groups by
  pressing their assignment switch.

Groups
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Groups (2)

• Each group has 3 outputs, on the board they are
  labeled outputs 1-24, 1-8 would go to groups 1-8.
  9-16 go to groups 1-8 again 9 to 1, 10 to 2, 11
  to 3 etc. 17-24 go to 1-8 as well, 17 to 1, 18
  to 2, etc.
• A ¼ balanced cable would be used to patch a
  group output to the matrix, amplifier, recorder,
  or whatever other sound device.

1
2
3
These are the outputs..
1
2
3
1
2
3
Inserts are these jacks through here
As well as outputs, each group has an insert in
which just like a channel, you can insert a
device onto a whole group as to individual
channels. (Ex a reverb box on group 1 for all
mens body mics.
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Groups (3)

• Groups 1 through 6 need one of their 3 outputs to
  be patched directly to the matrix, group 7 is
  patched to the front ceiling amp in the amp rack
  and group 8 goes to the amp for the balcony
  ceiling speakers.
• If a multi-input recorder is used to record a
  musical and needs each groups sound, patch to
  the extra outputs on each group.
• The inserts on each group should be patched to
  the equalizers and compressors, chances are they
  should be set neutral so that they do not do
  anything but Defeo will be happy to see the
  1,000 equalizers in use.

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Masters

• Like groups 1-8, channels and auxiliary returns
  can also be patched to L/R (Mix), on this
  theatres setup, the stack speakers are patched
  to the L-Mix-R
• The blue mono fader is the Left and Right mix
  faders combined making it mono, the mono fader is
  not used in our set up.

The left, right, and mono can also have a device
inserted on them.
The actual outputs are XLR
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Auxiliary Returns

• An auxiliary return is like a channel without EQ,
  auxiliary sends, and pre-volume/trim
• Use them to plug in the return from an effect
  device, the mix B ceiling assignment, or other
  devices where only basic control is needed.
• The Avlex sound board has 6 of them and return 1
  is used for the ceiling mix (assigned to group
  7/8 for front and balcony)

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The Matrix!AKA- Spencers Creation
Pre-volume leave at 10 o-clock
Equalizer for group

• The channels 27-32 on the board are used as a
  Matrix system.
• They are used to pick where groups 1-6 go.
• They can be sent to Auxiliaries 1-8, group LR
  for stacks, and Mix B for ceiling

Auxiliaries
Front/Balcony Ceiling
Left/Right
Stacks
Left/right selected
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How The Ceiling Send Works(Using Mix-B)
Each channels mix B knob

• On the matrix channels, there is a volume knob
  labeled Mix-B
• The Mix-B knob has its own pan knob, fades source
  from front to balcony.
• Mix Bs output is connected to Auxiliary 1 return
  which is assigned to groups 7 and 8 which output
  to the ceiling amplifier.
• To mute Mix B, use the source switch within the
  Mix Bs area, in for on and out for off, use it
  to take a group in or out of the ceiling.

Master Mix B
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Kinds of Microphones

• To mic a vocalist, presenter, or even drums,
  horns, and guitars- use a sm-58. The theatre
  currently has about 7 to use
• To mic critical items such as a group of singers,
  violins, piano, or a flute, or as an extra
  hanging mic use a cm-700, theatre has 8
• If STUCO or someone risky needs a microphone, use
  the RE-10, it is like a brick and sounds
  terrible.

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Kinds of Microphones (2)

• To mic a vocalist for a recording, mic an entire
  choir, or even instruments a large diaphragm
  studio mic is a good choice, currently have 4
• If a person needs a mic to sing or speak into but
  does not want a cord, use a wireless sm-58 (have
  5) or the Mipro Wireless (have 1)
• A great mic for area use with plays, use the 2
  (hopefully more) shotgun mics
• Across the stage and in the little theatre there
  are hanging mics to amplify play

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Body Microphones

• Different than a microphone that is held in the
  hand, body microphones are when a small mic is
  taped to ones head and are discreetly wired to
  a transmitter that is belted around the person.
• The voice goes through the mic, then to the
  transmitter pack, through the air, to the
  assigned receiver
• Patch the receiver to an empty channel on the
  soundboard with an xlr cable
• Occasionally when the actor shouts a lot or has a
  loud voice, it is necessary to turn down the gain
  knob inside the pack, youll know when this
  occurs if the mic sounds distorted even with a
  low level on the board.

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Body Microphones (2)

• The newer body mics can be programmed to any of
  the new receivers, simply hold the pack up to the
  receiver, press the ACT button and the pack is
  then connected to the receiver.
• The old Shure body mics that hopefully will be
  gone soon have more problems with going out of
  range, make sure the packs antenna is sticking
  out of the actors costume.
• The antennas for the rack of Shure body mic
  receivers can be placed anywhere, you just run
  coax cable to them, in the booth sit the antennas
  in the window sill but when in the house, tape
  the antennas to the balcony railing.