With the exception of the
compressors, the additions incorporated into this system are simply a
doubling of the system components covered in previous examples. At this
point, you should have a pretty good grasp of how to hook it all
together, so rather than listing a lengthy step by step, I have listed a
brief description of each addition included in this example.
Two Monitor Mixes
Running more than one monitor mix can be very useful in that you can provide different monitor mixes for different parts of the stage. I have found that the drummer often wants to hear different things in the mix than the rest of the band. With two different monitor mixes, this is easily accomplished. Simply assign one monitor mix (channel A) to the drummer and another (channel B) to everyone else. This way you can adjust what the drummer hears independently of what everyone else on stage hears. In order to do this, your soundboard needs to be equipped with more than one monitor channel. These channels, usually designated as "Monitor A" and "Monitor B", will be controlled by separate knobs and will have separate outputs which must in turn be hooked into separate equalizers, amplifiers, and speakers.
Running more than one monitor mix can be very useful in that you can provide different monitor mixes for different parts of the stage. I have found that the drummer often wants to hear different things in the mix than the rest of the band. With two different monitor mixes, this is easily accomplished. Simply assign one monitor mix (channel A) to the drummer and another (channel B) to everyone else. This way you can adjust what the drummer hears independently of what everyone else on stage hears. In order to do this, your soundboard needs to be equipped with more than one monitor channel. These channels, usually designated as "Monitor A" and "Monitor B", will be controlled by separate knobs and will have separate outputs which must in turn be hooked into separate equalizers, amplifiers, and speakers.
Multiple Effects Loops
The same concept applies to the effects loops. To hook up two effects loops in a mixer that is equipped for it, all you have to do is run one loop through "Effects A" and another separate loop through "Effects B". Some boards come equipped with several different available effects loops that may be labeled "Effects 1", "Effects 2",etc. Sometimes the effects will be labeled as "auxiliary". You can run as many separate effects loops as your mixer is equipped to handle provided that you have enough separate effects units to pull it off. One possible use for this set up is that you could assign nothing but a long delay (echo) to Aux 2 and your general effects to Aux 1. Then when a song required a long echo on a certain part, all you would have to do is turn up the slider or knob for Aux 2 to get your desired echo without changing to rest of the effects at the same time. Then when the echo wasn't needed anymore, you could simply turn the Aux 2 all the way down effectively removing that effect from the mix.
The same concept applies to the effects loops. To hook up two effects loops in a mixer that is equipped for it, all you have to do is run one loop through "Effects A" and another separate loop through "Effects B". Some boards come equipped with several different available effects loops that may be labeled "Effects 1", "Effects 2",etc. Sometimes the effects will be labeled as "auxiliary". You can run as many separate effects loops as your mixer is equipped to handle provided that you have enough separate effects units to pull it off. One possible use for this set up is that you could assign nothing but a long delay (echo) to Aux 2 and your general effects to Aux 1. Then when a song required a long echo on a certain part, all you would have to do is turn up the slider or knob for Aux 2 to get your desired echo without changing to rest of the effects at the same time. Then when the echo wasn't needed anymore, you could simply turn the Aux 2 all the way down effectively removing that effect from the mix.
Note:
The effects send, monitor out, and auxiliary out channels are essentially nothing more than specifically labeled line out channels. This means that as long as you pay close attention to where you plugged things in and you properly re-label your knobs, you can use them interchangeably. Usually, the only reason to do this would be to acquire another monitor mix in a board that is equipped with only one monitor channel but has an extra unused auxiliary channel. To avoid confusion, I would recommend doing this only as a last resort. Also, don't forget that in order for your effects to work, they must return to the soundboard to complete the effects loop. |
Mains in Stereo
Running two separate channels for the mains is what is known as running a stereo PA system. To do this, you need a stereo mixing board. This board will consist of two output channels for the mains. These will be labeled either "left" and "right" or "A" and "B". The sliders for each input channel on the board will control both channels simultaneously, but there will be a "pan" knob above each that will allow you to pan the volume from left to right just like the "balance" knob on your car stereo. The output sliders on the board will operate the outputs for channel "A" and "B" independently of one another. Hooking this system up is essentially the same as what you did when hooking up two monitor mixes. Simply run the left channel "A" out to it's own equalizer, crossover, amplifiers, and speakers, and then do the same for the right channel "B". This is where those stereo (two channel) components come in handy. For instance, you can hook the "left out" from the board into the channel "A" input of the equalizer and hook the "right out" from the board into the channel "B" input of the same stereo equalizer. This principal can be followed all the way through the crossover, and the amplifiers.
Note:
When using a stereo amplifier in this way, make sure the switch in the back is switched to "stereo" mode. |
Compressors
Compressors are an effect that is usually run in-line in the main signal path. They make a subtle change in the sound of the entire system that amounts to "taking the edge off". There are a lot of technical descriptions for what they do, but my best description is to say that they do just what the name implies. They squash (or compress) the sound together to create a more compact and clean sound. Be careful with these, they can be used for either good or evil. Set to a moderate level, they can add to the quality of your overall sound, but set too high, they can take the life right out of your performance. Honestly, I am not the biggest fan of compressors, but I think I am in the minority, so I felt I should incorporate them into at least one example.
Compressors are an effect that is usually run in-line in the main signal path. They make a subtle change in the sound of the entire system that amounts to "taking the edge off". There are a lot of technical descriptions for what they do, but my best description is to say that they do just what the name implies. They squash (or compress) the sound together to create a more compact and clean sound. Be careful with these, they can be used for either good or evil. Set to a moderate level, they can add to the quality of your overall sound, but set too high, they can take the life right out of your performance. Honestly, I am not the biggest fan of compressors, but I think I am in the minority, so I felt I should incorporate them into at least one example.
The Snake
At some point you may want to
use a soundman to run sound from somewhere other than the stage. In
order to get the board out in front of the stage and across the dance
floor, you will need a PA snake.
The PA snake is used like an extension cord that connects all of the things on and behind the stage to all the things the sound man will be using in the sound booth on the other side of the room. The snake should have at least as many low impedance (low Z) channels as your soundboard, and at least 2 to 4 high impedance (high Z) channels depending on whether you are running a stereo setup or not. When setting your system up this way, the soundboard should be placed at least 30 feet or farther out in front of the main speakers so that the sound engineer will be far enough away to get a clear idea of what is coming out of the system. Also, the equalizers, the compressors, and the effects should be located along side the soundboard while the amplifiers and the crossovers should be located on or behind the stage. The on stage end of the snake will be a big box with individually numbered High Z inputs and Low Z outputs. The end of the snake toward the sound booth will have high Z outputs and Low Z inputs with numbers corresponding the inputs and outputs on the stage end. The ends toward the sound booth will be loose and look like the ends of microphone or instrument cords.
To properly hook up the snake,
simply plug each of the loose low Z ends into the channel on the
soundboard that corresponds with the number printed on that end, then
plug all of your microphones on stage into their regularly assigned
channels at the box end of the snake. For instance, the loose end
marked "1" should be plugged into input channel number 1 of the
soundboard. Then, on the stage you can plug microphone number 1 into
the number 1 input on the box end of the snake thus assigning microphone
number 1 to channel number 1 of the soundboard.
The high Z inputs and outputs
are there to provide an extension between the compressors (if you're
using them. If not, insert the word EQ for the word "compressor") at
the sound booth and the crossovers on the stage. To do this, simply
plug one of the high Z loose ends of the snake into the output of the
compressor, and then plug a cable between the corresponding high Z
channel on the box end of the snake and the input of the crossover
located on the stage. This same principle applies to both the monitor
channels and the main channels.
- Source ( thefxcode.com)
- Source ( thefxcode.com)
