Stage Monitor System
Feedback is probably the most familiar problem with the stage monitor system. Although on the big stage and international events, this problem can be overcome, but he's still a basic problem for the sound engineer beginners.
Philippe Bouic at the PRO6 FOH.jpgMendapatkan good sound stage monitor system, it is not too difficult. Or setting up a system that is free of feedback, also not impossible. Just to get a stage monitor system air-high SPL, with good sound quality as well as free feedback, surely not an easy task. Since the third point that we are looking at the monitor system turned out to be contradictory. It's easy to get a system that monitors air high SPL. The important thing is huge and its power speaker power sufficient. Bisalah then he lauched to almost 100 dB. But the very large air-SPL would be very risky for the feedback. So dimainkanlah feedback equalizer to counteract it. Already wrong? Not yet! Because the result of a number of frequencies that are cut will make the audio quality to be decreased. This is the dilemma at the stage monitor system!
SOURCE FEEDBACK
Definitely all already know exactly where it came from feedback, that is the sound of the speaker issued recaptured by the microphone. Then sent again to the same speakers. That feedback! How to avoid it also seems to have much to know. Place the speakers as far away from the microphone. And place the microphone as close as possible to the source of the sound. Already wrong? Still not yet! Because the reality on the ground was not as easy on paper. There are quite a lot of factors that often impede the theory can be implemented smoothly. For example, the size of the stage is too small, the level of outstanding instruments on stage is very large, or the gain of the microphone are forced too large, due to weak power singer's voice, and so on. But anyway, here's a live show! And that's where the art. Because he is a puzzle that must be found to answer. For that, we need a decent sound engineer paid.
STANDARD PROCEDURE
To overcome the problem of feedback, we should minimize the risk of feedback itself. It is standard procedure. But indeed this way, the most easily reached, rather than forcing muffle feedback through 1/3 octave graphic equalizer finally setting is not known. First that must be done is to get the most ideal position for all who are in the stage wedges. Find a place that is quite far from the microphone, but also far enough away from the speakers or other sound source. Because when the monitor speaker is placed near a guitar or bass cabinet, then the sound of wedges that will mutually hostile to the sound of the guitar or bass cabinet earlier. So that the sound of the wedges will not sound quite clear. It would be easier to put the monitor speakers, when the stage is quite extensive. But if that is not possible, try to place it in the most ideal position according to the situation.
MONITOR MIXER
Another thing that most or very helpful in getting a good quality monitor is to use a separate monitor mixer altogether from the FOH mixer. Because through an entirely separate mixer, we can get the gain structure is most appropriate for the needs of the stage monitor system. Because as we all know, the need for mixing FOH speaker system is often different from the needs of the monitor mixing system. For the main system (FOH), what is needed is the most excellent sound with the most perfect gain structure. And it is very possible to be obtained, because the main speaker system did not have problems with feedback. With a note when placing the speakers had been right. As for the monitoring system, the feedback is often a major problem. Moreover, when the system was asked to monitor air-SPL large. Then mixing system monitor for each musician on stage is also often different from each other. Thus the flexibility of a setting gain structure so important.
GAIN STRUCTURE
The structure of the gain is an attempt to get the most matching impedance between the signal with a device that will process it. Or in short, the structure of the gain is the gain of the most good for a signal can be processed by a system. On the monitor mixing system, the flexibility of the gain structure is precisely what makes most prefer the sound engineer faders than the gain knob. Because the gain knob can also mean sensitivity control knob or microphone sensitivity level of the sound. Here we discuss the microphone, because the feedback is almost always starts from here. So that it is more sensitive microphone, the greater the likelihood of feedback. Because he will easily capture the sound around him, including from the monitor speaker itself. To determine how much we need to raise the fader, is still up to us. The important thing is still leaving enough headroom, if later required SPL. Generally on several design mixer, there is a number from 0 dB at fadernya. And still leaves a few dB again until the peak fader. So we may as well put the entire fader at 0 dB position it.
SETTING
There are various ways that usually applied sound engineer to monitor the system settings. If it's big enough stage, musicians who perform well are already quite professional with a singer who has a perfect miking techniques, then do the settings like in general, that is getting hot level for the channel, then adjust the output level through each channel fader. Because the singer who has a high flying hours and having a good miking techniques, he will grasp the microphone in an appropriate manner. He also attempted to stand while singing in a position where not susceptible to feedback. And singers like it would prefer the gain structure right in order to get a better tone. But in a totally different situation, it is not likely we defer the gain structure on the monitor system. It's okay to happen in order to get the right level tends to minimize the risk of feedback. Remember, this is a pro audio! And yet no standard how it should be a setting done. So although the tone obtained is not as good as when the signal is at the correct gain structure, but there is always a priority for each situation. And the setting is done by raising the fader prior to Unity Gain (0 dB), then rotate the knob to adjust the gain of the microphone sensitivity level. Do not forget leaving too little headroom to keep the course in the middle of the show when you require a greater level.
IF STILL FEEDBACK
Try to solve it by cutting (cut) at any frequency feedback. To determine the frequency of how the feedback, then we need an RTA (Real Time Analyzer). Through this tool, we will be notified frequency feedback occurs. Do not forget also that the feedback is always occurs at only one frequency only. So we just need to lose a slider just the equalizer graph. No need to force our graphic equalizer so shaped smile! Do not have too many cut-frequency feedback. Because this will result in other frequencies in either side of the slider graphic equalizer will also effect. When setting the gain structure, ekualisernya mixer settings are correct, then it should not be too much going on feedback. If it turns out the feedback still happens everywhere, try to lower the level of the monitor system. If the feedback is still well, it looks like we have to start the process of setting of the initial procedure. What if we do not have the tools whose name RTA to detect the feedback frequency? We still can predict it with feeling. Although this is not easy, but not impossible.
DETERMINING THE FEEDBACK WITHOUT RTA
140612_Full.pngSimaklah feedback occurs. Then estimate in numbers where he is. Are Low, Low Mid, Hi Mid or Hi? Consider the graphic equalizer. Face-to-moment all his slider. Imagine the whole slider was divided into four sections, namely Low, Low Mid, Hi Mid, and Hi. When the equalizer graph consists of 31 sliders, this means that for each area (Low, Low Mid, Hi Mid, and Hi) only will be around 8 sliders only. Means now, the approximate area where the feedback is getting smaller. For starters, we might still be fumbling with lowered one by one slider in the feedback area. And practice will make perfect! Flying hours we will make it easier to estimate the frequency of the feedback. And the possibility of also smaller estimates. Feedback is not the only problem in the stage monitor system. There are still other problems, such as less harsh on the system monitor SPL. But let us discuss some other time.
Feedback is probably the most familiar problem with the stage monitor system. Although on the big stage and international events, this problem can be overcome, but he's still a basic problem for the sound engineer beginners.
SOURCE FEEDBACK
Definitely all already know exactly where it came from feedback, that is the sound of the speaker issued recaptured by the microphone. Then sent again to the same speakers. That feedback! How to avoid it also seems to have much to know. Place the speakers as far away from the microphone. And place the microphone as close as possible to the source of the sound. Already wrong? Still not yet! Because the reality on the ground was not as easy on paper. There are quite a lot of factors that often impede the theory can be implemented smoothly. For example, the size of the stage is too small, the level of outstanding instruments on stage is very large, or the gain of the microphone are forced too large, due to weak power singer's voice, and so on. But anyway, here's a live show! And that's where the art. Because he is a puzzle that must be found to answer. For that, we need a decent sound engineer paid.
STANDARD PROCEDURE
To overcome the problem of feedback, we should minimize the risk of feedback itself. It is standard procedure. But indeed this way, the most easily reached, rather than forcing muffle feedback through 1/3 octave graphic equalizer finally setting is not known. First that must be done is to get the most ideal position for all who are in the stage wedges. Find a place that is quite far from the microphone, but also far enough away from the speakers or other sound source. Because when the monitor speaker is placed near a guitar or bass cabinet, then the sound of wedges that will mutually hostile to the sound of the guitar or bass cabinet earlier. So that the sound of the wedges will not sound quite clear. It would be easier to put the monitor speakers, when the stage is quite extensive. But if that is not possible, try to place it in the most ideal position according to the situation.
MONITOR MIXER
Another thing that most or very helpful in getting a good quality monitor is to use a separate monitor mixer altogether from the FOH mixer. Because through an entirely separate mixer, we can get the gain structure is most appropriate for the needs of the stage monitor system. Because as we all know, the need for mixing FOH speaker system is often different from the needs of the monitor mixing system. For the main system (FOH), what is needed is the most excellent sound with the most perfect gain structure. And it is very possible to be obtained, because the main speaker system did not have problems with feedback. With a note when placing the speakers had been right. As for the monitoring system, the feedback is often a major problem. Moreover, when the system was asked to monitor air-SPL large. Then mixing system monitor for each musician on stage is also often different from each other. Thus the flexibility of a setting gain structure so important.
GAIN STRUCTURE
The structure of the gain is an attempt to get the most matching impedance between the signal with a device that will process it. Or in short, the structure of the gain is the gain of the most good for a signal can be processed by a system. On the monitor mixing system, the flexibility of the gain structure is precisely what makes most prefer the sound engineer faders than the gain knob. Because the gain knob can also mean sensitivity control knob or microphone sensitivity level of the sound. Here we discuss the microphone, because the feedback is almost always starts from here. So that it is more sensitive microphone, the greater the likelihood of feedback. Because he will easily capture the sound around him, including from the monitor speaker itself. To determine how much we need to raise the fader, is still up to us. The important thing is still leaving enough headroom, if later required SPL. Generally on several design mixer, there is a number from 0 dB at fadernya. And still leaves a few dB again until the peak fader. So we may as well put the entire fader at 0 dB position it.
SETTING
There are various ways that usually applied sound engineer to monitor the system settings. If it's big enough stage, musicians who perform well are already quite professional with a singer who has a perfect miking techniques, then do the settings like in general, that is getting hot level for the channel, then adjust the output level through each channel fader. Because the singer who has a high flying hours and having a good miking techniques, he will grasp the microphone in an appropriate manner. He also attempted to stand while singing in a position where not susceptible to feedback. And singers like it would prefer the gain structure right in order to get a better tone. But in a totally different situation, it is not likely we defer the gain structure on the monitor system. It's okay to happen in order to get the right level tends to minimize the risk of feedback. Remember, this is a pro audio! And yet no standard how it should be a setting done. So although the tone obtained is not as good as when the signal is at the correct gain structure, but there is always a priority for each situation. And the setting is done by raising the fader prior to Unity Gain (0 dB), then rotate the knob to adjust the gain of the microphone sensitivity level. Do not forget leaving too little headroom to keep the course in the middle of the show when you require a greater level.
IF STILL FEEDBACK
Try to solve it by cutting (cut) at any frequency feedback. To determine the frequency of how the feedback, then we need an RTA (Real Time Analyzer). Through this tool, we will be notified frequency feedback occurs. Do not forget also that the feedback is always occurs at only one frequency only. So we just need to lose a slider just the equalizer graph. No need to force our graphic equalizer so shaped smile! Do not have too many cut-frequency feedback. Because this will result in other frequencies in either side of the slider graphic equalizer will also effect. When setting the gain structure, ekualisernya mixer settings are correct, then it should not be too much going on feedback. If it turns out the feedback still happens everywhere, try to lower the level of the monitor system. If the feedback is still well, it looks like we have to start the process of setting of the initial procedure. What if we do not have the tools whose name RTA to detect the feedback frequency? We still can predict it with feeling. Although this is not easy, but not impossible.
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