Here are some interesting videos related to PA and sound reinforcement systems. Wikipedia defines that a public address system (PA system) is an electronic system comprising microphones, amplifiers, loudspeakers, and related equipment. It increases the apparent volume (loudness) of a human voice, musical instrument, or other acoustic sound source or recorded sound or music. The term, sound reinforcement system generally means a PA system specifically for live music or performance. A sound reinforcement system for a rock concert or other large event in a stadium may be very complex.
A brief history of live sound reinforcement
Stage Left Audio – Event Video 11
Dave Rat about his sound engineering for the Red Hot Chili Peppers live tour 2016
LIVE SOUND SUBS SUBWOOFER PLACEMENT & CONFIGURATION: LR, Center, Cardioid, End Fire (Pt1)
Look inside D&B, L’Acoustics and MicroWedge Monitors
DJ Sub and Speaker Placement For Dummies
Cardioid Subwoofers and Nexo Technology Part 1
Time Lapse of a Large PA Audio Sound System Setup for Rock & Roll
#38 – Arena line array system walk-through
How to Set Up a Simple PA System
Sound System Tuning Step-by-Step using TRACT and Smaart
Audio 101- How to do a pro sound check.
1,023 Comments
Tomi Engdahl says:
Stereo Speaker Placement
https://www.youtube.com/watch?v=mcB1jKs_ifU
“Stereo playback is over a hundred years old, but the principles behind the technology haven’t really changed. Two audio signals are played through two separate speakers that are positioned so that the combination of the two signals creates a coherent sound space.
It’s a simple illusion that makes the reproduced sound that much more vivid by letting the listener localize individual elements. As basic as this technology is, it only works if the speakers are positioned properly.
If you’ve researched room setup before you’re probably already aware of the equilateral triangle setup. Setting your speakers up so that the distance between your listening position and each speaker is the same as the distance between the speakers forms a symmetrical layout that ensures the sound from each speaker reaches the listening position in sync. Push one speaker closer than the other and the sound stage will be distorted as one channel arrives at your ears slightly sooner than the other.
Symmetry isn’t just important for the measurements between the speakers and the listening position, but their placement within the room should also be symmetrical so that the reflected sound from the surrounding surfaces also reaches the listener in sync.
So where you place your speakers is going to be based on your room size and listening position. Ideally your listening position should be placed on one of the room’s thirds and avoid the null in the center of the room.
It’s almost always a better idea to have your listening position face the shorter wall. With the speakers aimed down the length of the room, bass frequencies have moretime to develop and have less energy by the time they strike the rear wall which will make treating your bass issues a lot easier.
Based on these principles, the starting layout is always the same: An equilateral triangle formed between the listening position and the speakers centered along the length of the room.
Tomi Engdahl says:
Ed Sheeran +-=÷x „Mathematics“-Tour • Behind the Scenes: Lighting Design, PA Sound and FOH Crew Life
https://www.youtube.com/watch?v=HvLCHaR4RbY
EventElevator had the chance to meet technical crew members from Ed Sheeran’s impressive +-=÷x „Mathematics“ Tour. Production Manager and FOH Audio Engineer Chris Marsh explains the challenges of the new 360 degree design. Lighting Director Matt Jones provides exciting insights into Marc Cunniffe’s spectacular lighting design concept, which takes place on the six masts and around a center stage. Audio Systems Engineer Charlie Albin and Looper/RF Tech David Bright will also reveal further technical details about the impressive 360-degree show concept.
Tomi Engdahl says:
MAking of – Ed Sheeran Mathematics Tour | Interview with Mark Cunniffe and Matt Jones
https://www.youtube.com/watch?v=hEMQ9fZnbTU
Tomi Engdahl says:
The best XLR Adapter Pro Audio Technicians can carry!?
https://www.youtube.com/watch?v=RZBKNpz6tUo
I asked you what you call this type of adapter & got a ton of interesting answers from all around the world. No matter what you call these though, you should have them in your kit, especially if you’re traveling light. Splitting, combining, turning around and patching, this one cable can do it all. So what is it?
Tomi Engdahl says:
https://www.reddit.com/r/oddlysatisfying/comments/yaykhc/the_organization_of_the_cabling_at_a_rammstein/
Tomi Engdahl says:
Mr Tape scratching reel to reel Tape Decks in 1991
https://m.youtube.com/watch?v=2b6HeJIKl1Q
Tomi Engdahl says:
The best XLR Adapter Pro Audio Technicians can carry!?
https://www.youtube.com/watch?v=RZBKNpz6tUo
Tomi Engdahl says:
Mixing Queen’s “Don’t Stop Me Now” on an Analog SSL Console – GoPro POV
https://www.youtube.com/watch?v=Em9EwVQy-6s
This is not an official mix, this is just for fun.
Tomi Engdahl says:
SSL XL Desk – Analog goodness at Mix11 Studios
https://www.youtube.com/watch?v=Pshwa7HzVKg
SoundCraft Vi7000
https://www.youtube.com/watch?v=j75RlpHVOyg
Tomi Engdahl says:
SSL XL desk and Aviom stereo mix setup.
https://www.youtube.com/watch?v=2BWjR2QTc-c
Tomi Engdahl says:
Behringer X32 Mixer Console Training and Setup
https://www.youtube.com/watch?v=qyXSPBp6BE4
Tomi Engdahl says:
Inside The Abbey Road Reverb Chamber
https://www.youtube.com/watch?v=h3F-8kBAac8
Located deep in the heart of Abbey Road Studios, the original Studio Two echo chamber has lent its rich ambience to everyone from Cliff Richard to the Beatles. Resurrected in the 1990s, it’s a part of recording history and a unique resource for today’s artists and producers. In our exclusive video, Mirek Stiles explains how EMI’s studio boffins developed their secret weapon, and puts it through its paces on drums, guitars, vocals and more.
Chapters
00:00 – What Is An Echo Chamber?
01:30 – Abbey Road Reverb Development & Use
04:31 – Listening To The Studio 2 Echo Chamber
06:03 – Abbey Road Echo Chambers
08:24 – Snare Sound
09:10 – Has The Space And Usage Changed?
11:06 – What Are The Pipes For?
12:08 – Synths With The Echo Chamber
13:10 – Microphone & Speaker Setup
14:43 – Guitar Sound
16:31 – Waves Abbey Road Reverb Plug-in
17:15 – Full Mix With Reverb
Tomi Engdahl says:
EUROVISION SONG CONTEST 2021 • Behind the Scenes • Lighting Design, Audio, Signal Distribution
https://www.youtube.com/watch?v=XrqKsaq_WXQ
This year’s EUROVISION SONG CONTEST (ESC) in Rotterdam was one of the first major European music events after many, many months of stagnation in the event industry. The creation of the popular event was a shining sign of hope for the whole industry. EventElevator spoke to the professionals behind the event via chat and live. We learned exciting production details first hand from Head of Production Erwin Rintjema, Lighting Designer Henk Jan van Beek, Set Designer Florian Wieder and Head of Live Sound Jeroen ten Brinke. As further interview partners, CEOs Thomas Riedel (Riedel Communications) and Marcus Graser (Claypaky) will speak about the importance of this signature event and how to deal with the time of the corona crisis.
After a long tendering phase, the Dutch company Ampco Flashlight was selected as the technical service provider, who perfectly equipped the 65th ESC in the areas of audio, light and rigging. Faber Audiovisuals was responsible for the technical support in the area of video this year.
Tomi Engdahl says:
Things you didn’t realize about bass… until now.
https://www.youtube.com/watch?v=23q3zoKiuGs
Devin and Austin explore bass reflex designs with slow-motion footage, as well as acoustic nozzles, advanced cardioid configurations, V-shaped phase-shifting slotted ports and just have a whole lot of fun. Grab your headphones and strap in!
Tomi Engdahl says:
The Console That Changed Mixing Forever
https://www.youtube.com/watch?v=KmwGACcltdQ
ound On Sound met up with former Solid State Logic System and Support Team Leader Karen Down at Echotown Studio for a deep dive into the automation and recall technology that brought about a revolution in mixing.
Integrating a computer and VCA automation into an inline mixing console, Solid State Logic’s 4000 E-series was the first to combine total parameter recall, level automation, tape transport control and comprehensive channel EQ and dynamics. The 4000 E launched in 1979 and allowed engineers to record, edit and overdub their fader moves to floppy disk, defining many of the automation modes we now take for granted. This console and its descendants dominated the music recording industry for the next 20 years, creating new working practices and changing the sound of popular music.
In this exclusive Sound On Sound feature video, Karen demonstrates some of the key features that set the SSL console apart from its contemporaries and gives a tutorial on how to use the integrated computer.
Chapters
00:00 – Introduction
00:40 – What Makes The SSL SL 4000 Mixing Console Special?
02:39 – Loading A 24 Track Tape Onto A Reel-to-Reel
03:49 – How Does The Automation System Work?
05:56 – Setting Up A New Session With The SSL Console Computer
07:10 – Finding The Start Of The Song
07:52 – Adding Names For Tracks And Cue List
09:39 – Total Recall Setups And Floppy Disk Storage
12:16 – Recording Mix Automation
15:29 – How To Edit And Update A Mix
17:27 – ‘Auto Takeover’ Automation Mode
18:47 – Setting Up Different Automation Modes
20:04 – ‘Play Cuts Only’ Mode
21:00 – ‘Immediate Pickup’ Mode
21:23 – ‘Preview’ and ‘Trim’ Modes
25:07 – ‘Revise’ Mix Mode
27:41 – Ability To Combine And Edit Mixes Offline
29:05 – Software Groups Used To Group Controls
30:44 – Outro
Tomi Engdahl says:
Better Sounding Subwoofer Arrays Part 1 – Coverage and Quality
https://www.youtube.com/watch?v=qvp-CKHVLrA
00:00 Introduction
00:44 Sub Arrays vs Frequency
04:30 One Sub
07:07 One sub per side or flown line array
08:42 Cancellation nodes
13:37 4 wide subs per side
16:07 Side coverage issues
16:53 8 subs across the front
18:33 upcoming Sub Vids
Tomi Engdahl says:
Get More Subwoofer Bass
https://www.youtube.com/watch?v=rYep4f3wO_o
GET MORE BASS with our simple subwoofer trick. Here we explain step by step how to do it!
The Ultimate Subwoofer Bass Trick
https://www.youtube.com/watch?v=tV_fNZIE5LE
Devin Sheets explains his subwoofer trick for getting lots of bass gain from taiko drums using nothing but area condenser microphones.
Tomi Engdahl says:
How Subwoofers Really Work [slow motion]
https://www.youtube.com/watch?v=ROgSc3mI_GA
We demonstrate what it looks like in slow motion for a vented subwoofer to resonate in phase.
Tomi Engdahl says:
We demonstrate what it looks like in slow motion for a vented subwoofer to resonate in phase.
https://www.youtube.com/watch?v=qvp-CKHVLrA
Better Sounding Subwoofer Arrays Part 2 – Sub Arcs, Delay & End-Fire
https://www.youtube.com/watch?v=184UVCC-NSE
Tomi Engdahl says:
Different Types of Panning Demo – Increase Stereo Image
https://www.youtube.com/watch?v=OS6CKnkEUlA&t=1s
00:00 Introduction
00:18 Sammy Studies
02:33 Sammy Tour and Audio
03:44 Panning
06:53 Level Panning
08:17 Haas (delay) Panning
13:41 Using EQ to Shift the Image
15:47 Compassion to Pan
17:48 Outro
Alternatives to Live Stereo Panning #2
https://www.youtube.com/watch?v=gP-ntaw0nnY
00:00 Introduction
00:52 Applying panning and to live sound
02:04 Speech pathology and live sound
06:36 Mono, delay and compression with drums
07:22 Polarity reverse one side
09:39 Combining delay, EQ and compression
11:45 Regular panning
13:56 More on panning!!
15:54 Perception chat
18:30 Outro
Tomi Engdahl says:
Making Of Santana
https://www.youtube.com/watch?v=akLZgRp8G5A
Tomi Engdahl says:
FOH Gig Start to Finish | Country Band, Party Band, & Non-Profit Gala
https://www.youtube.com/watch?v=U2KFuc5auWU
all the in-depth detail about the gig you could want.
I share my console file, system design, tuning workflow, and band patch sheet.
How we used two smaller desks combined to fit our long input list
What PA changes I would make for next year
Hear my board mix of the event!
00:00 – Intro
01:37 – Background & Logistics, Engineering Docs, System Design
06:13 – Band Riders
07:55 – Console File Overview
09:25 – On-Site Setup Plan, System Tuning
16:03 – Run of Show, QLab Setup, What Show Felt like
18:44 – Next Time Notes
Tomi Engdahl says:
Managing Cables for Live Events
https://www.youtube.com/watch?v=-IshB5FFOUs
Justin Frick, owner of AV Chicago, explains the basic maintenance and handling requirements of commonly used cables in live event setups. The recommended methods of taping, wrapping, tying and storing cables are demonstrated in detail.
Managing Cables Time Stamps
Types of Cables – 0:26
Cable Safety Tips – 2:10
Cable Labeling – 3:53
Cable Tying – 5:09
Tips for Bundling Cables – 6:37
Cable Taping – 7:35
Cable Ramps – 9:19
Cable Wrapping – 10:05
Cable Storage – 12:52
Tomi Engdahl says:
4. Introduction to Acoustics: Stereo Imaging
https://www.youtube.com/watch?v=08ZNrdypSHk
Tomi Engdahl says:
What Are My 5 Most Used Audio Adapters for Live Sound Reinforcement?
https://www.youtube.com/watch?v=SFzPh3UYAoE
Five handy and essential audio adapters that I use frequently for live sound gigs. These adapters help to find solutions and fix problems and just make mixing bands and doing other audio work more efficient. Having options leads to solutions.
Whether it’s splitting a mono signal to feed to sources, or switching a TRS balanced connection to an XLR balanced connection to mate with an XLR input. Or switch that TRS 1/4″ balanced output to XLR so that standard mic cables can be used for interconnects. An unbalanced cable shouldn’t be ran for much more than 20′. And most people don’t carry TRS to TRS 1/4″ cables, but do carry plenty of XLR microphone cables.
It’s also important to understand, an unbalanced 1/4″ instrument can unbalance an entire cable run. If you connect a 20′ unbalanced instrument cable into a 100′ TRS return on an audio snake cable, as explained in the video, you’ve just unbalanced that entire cable run. It’s not just the 20′ of the unbalanced cable. It’s now that 20′ feet plus the 100′ of the existing snake cable. The cable itself is not what makes it balanced, but instead the proper cable in conjunction with the balanced I/O circuitry.
Tomi Engdahl says:
What I Learned Mixing My First Live TV Truck Gig
https://www.youtube.com/watch?v=tGHBN5Vf08I
00:00 – Intro
01:51 – Video Overview
02:27 – Show Scope, Crewing, Gear List
07:26 – Role Specifics as Broadcast A1 and Audio Team Lead
10:44 – Truck Setup, Console File, RF Coordination, Audio Playback Management
23:06 – Task & Crew Management
30:16 – Show Challenges & Mixing Strategies
34:22 – Key Takeaways
Tomi Engdahl says:
FOH vs. Broadcast Mixing — Audio Fundamentals — The Production Academy
https://www.youtube.com/watch?v=6XeA3iTOp8s
Even as in person events resume, the increase of livestreaming we saw in 2020 is here to stay. For a concert to sound great both live and remotely, it’s important to recognize that there are two mixes at play serving different needs – one for the venue and one for the livestream. (If we sent the FOH mix straight into the livestream encoder, it likely wouldn’t translate well.)
In this video, veteran engineer and corporate audio specialist Brian Maddox discusses a couple ways in which general approaches to FOH and broadcast mixes differ.
One crucial consideration is the difference in dynamics. When we attend a concert, our ears expect a wide dynamic range. The output will be loud when the band is playing a heavy song and much quieter in between songs or as the artist is talking to the audience.
Tomi Engdahl says:
How To Mix Your Live Streaming Audio In A Daw
https://www.youtube.com/watch?v=uHd9Y5oQVuk
Live stream broadcast mix through a DAW. In this video I’ll show you how I’m mixing 128 channels live through Reaper for our live stream mix. Also, I’ll show you how I’m using a physical mixer as a control surface.
Tomi Engdahl says:
Norges største bassvegg
https://www.youtube.com/watch?v=QNTQYP-Ft58
Jan-Einar Johansen har 32 attentommere i sin bassvegg. De kan spille over 140 db og forsterkes av 47 000 watt. Det er så ekstremt at vi ikke trodde det før vi sto midt i det store lydrommet. Resten av historien leser du i Stereo+, nr. 4/2021
Tomi Engdahl says:
Are Your Speakers Loud Enough? Use These Formulas To Find Out…
https://www.youtube.com/watch?v=Ee9bmALhhtg
Learn how to convert watts to decibels so you can calculate how loud your speakers will get!
Tomi Engdahl says:
Behind The Scenes On My A1 Gig | Live Audio Walkthrough at Non-Profit Gala
https://www.youtube.com/watch?v=wfH1seGvn9g
00:00 – Intro & Tuning Gear
01:59 – FOH Setup
03:25 – Venue Overview & A2 Station
05:43 – RF, Video World, Back of House
Tomi Engdahl says:
What’s In My Pelican (2022)? | Essential Live Audio Tools For Any Show
https://www.youtube.com/watch?v=0wZDMMTm7rU
Tomi Engdahl says:
WHY I STOPPED USING COLUMN ARRAYS
https://www.youtube.com/watch?v=yqOpZW87uWI
Tomi Engdahl says:
How we play live with backing tracks
https://www.youtube.com/watch?v=KUs82hPmQzA
In this video I’ll be talking about my live guitar/backing tracks rig and how it allows me to automate a number of elements to my live performance.
Tomi Engdahl says:
HOW TO build a Cheap SELF MIXED In Ear Monitor rig for your band.
https://www.youtube.com/watch?v=VgtVb3pUu8c
Everything you need to know to build a self mixed wireless In Ear Monitoring setup for your band.
Tomi Engdahl says:
Why I Hate the Allen&Heath SQ Mixer Console
https://www.youtube.com/watch?v=J5ECHX8BFaM
Here are just a few reasons as to why I dislike the Allen&Heath SQ-series of mixers.
This should apply to the SQ-5 SQ-6, and SQ-7.
Tomi Engdahl says:
In ear monitoring
https://www.youtube.com/watch?v=mHoljbkyAEs
thought this group would appreciate the video
Tomi Engdahl says:
How to use Backing and Click Tracks for a Live Performance
https://www.youtube.com/watch?v=1bQPqN0sQuA
If you have a band or performance that requires the use of backing tracks or click tracks or both, then this video is for you.
Tomi Engdahl says:
Super Bowl halftime: Engineer shares secrets about performances by Prince, Jewel, Rolling Stones
https://www.pasadenastarnews.com/2018/02/01/the-audio-expert-behind-the-super-bowl-halftime-show-reveals-secrets-about-the-years-most-watched-musical-performance/
Tomi Engdahl says:
https://theproaudiofiles.com/5-essential-ways-to-listen-to-your-mixes/
Tomi Engdahl says:
https://theproaudiofiles.com/compression-and-timbre/
Tomi Engdahl says:
Speakers Don’t Sound Real, Lets Build One That Does
https://www.youtube.com/watch?v=VLkQSSydXwk
Speaker point sound inward toward the listener Instruments radiate sound outward away from the instrument.
Lets build a speaker that radiates sound like an instrument does and see what it sounds like.
Tomi Engdahl says:
YouTubeen ilmestyi melkoinen helmi: lyhytelokuva ”Hurriganes – Roudarit” näyttää, millaista oli elo tien päällä Suomen kuumimman rockbändin kanssa
https://kaaoszine.fi/youtubeen-ilmestyi-melkoinen-helmi-lyhytelokuva-hurriganes-roudarit-nayttaa-millaista-oli-elo-tien-paalla-suomen-kuumimman-rockbandin-kanssa/#Echobox=1674469770
https://youtu.be/qi-nsQy6GTs
Tomi Engdahl says:
The Dark Future of Music
https://www.youtube.com/watch?v=8tTqWDa6lxU
00:00 Introduction
00:28 AI
03:02 Touring
05:25 Big Numbers
06:41 Diversified Skill Set
07:59 The Future of Instruments
08:48 Nerina Pallot Interview
10:25 How to support the channel
Tomi Engdahl says:
Aux Fed Subs Are Better – Because of How Mics Work
https://www.youtube.com/watch?v=hpFK1XOZuUg
I explain and demo the issues with subwoofers connected to the left right outputs and show why controlling what inputs are sent to the subs is preferable, due to microphone limitations.
00:00 Introduction
01:12 Mics are flawed
03:20 Diaphragm mass
06:25 Mics add unrealistic low end
07:56 Demo of subs aux vs subs to L/R
11:31 Dont send inputs to subs that dont need subs
13:18 Outro
Tomi Engdahl says:
Super Bowl LVII Halftime Show: Lighting Gear & Credits
https://www.livedesignonline.com/content/super-bowl-lvii-halftime-show-lighting-gear-and-credits
Tomi Engdahl says:
How the Super Bowl halftime show gets set up in just six minutes
Patrick Baltzell has designed the audio for the past 19 Super Bowls — here’s how he does it
https://www.theverge.com/2018/2/2/16961244/super-bowl-halftime-show-audio-patrick-baltzell-2018
Tomi Engdahl says:
https://www.livedesignonline.com/concerts/apple-music-super-bowl-lvii-halftime-show-qa-tommy-rose-all-access-halftime-staging
Tomi Engdahl says:
PixMob Lights Tait’s Floating Platforms At The Apple Music Super Bowl LVII Halftime Show
https://www.livedesignonline.com/lighting/pixmob-lights-taits-floating-platforms-apple-music-super-bowl-lvii-halftime-show
For its fifth appearance at the Super Bowl Halftime Show (2014, 2020, 2021, 2022, 2023, PixMob scored big. Once again, this Montreal-based wearable technology, wireless lighting, and crowd activation specialist provided a unique game-day experience at North America’s biggest annual sporting event, which aired this year on Sunday, February 13, 2023 from State Farm Stadium in Glendale, AZ.
The star of the show, Rihanna appeared on a platform engineered and automated by TAIT, floating over the red set designed by Bruce Rodgers of Tribe Inc. and built by All Access, with PixMob technology used to light up all seven of the platforms used in the show. To do so, they placed 600 rugged LED Novas inside each platform, for a total of 4,200 units with 12 PixMob IR transmitters and seven PixMob Kore receivers. The Novas are not self-illuminating. They are controlled by the main light board, an MA Lighting grandMA3, while PixMob’s InfraRed wash emitter outputs PixMob Protocol to operate the Nova device wirelessly. The PixMob Infrared Wash fixtures were on the carts in the ground shooting up to light up the Novas inside the platforms
“Each Nova pixel has a long battery life and can last up to 25 hours at full capacity,” explains Jean-Olivier Dalphond, a partner at PixMob. “That was crucial in this case as we only had to change the battery once in the two weeks of rehearsals leading up to the show. In addition, for this show, PixMob made a new device to control LED tape wirelessly. It uses the existing infrared wash transmitters to control the top-facing LED tape.”
The desired effect was to have colors under the platforms in movement. The team also wanted to orchestrate different lighting patterns during the show, which meant PixMob needed to do product groupings to control different groups of products with different light requests.
Tomi Engdahl says:
Mixing Tips: How to Know When to Solo
https://online.berklee.edu/takenote/mixing-tips-how-to-know-when-to-solo/
Q. What do Solo, PFL and AFL do?
https://www.soundonsound.com/sound-advice/q-what-do-solo-pfl-and-afl-do#amp_tf=L%C3%A4hde%3A%20%251%24s&aoh=16772303277909&referrer=https%3A%2F%2Fwww.google.com&share=https%3A%2F%2Fwww.soundonsound.com%2Fsound-advice%2Fq-what-do-solo-pfl-and-afl-do
https://hub.yamaha.com/proaudio/livesound/using-solo/