Rule #1: Don't piss off the sound guy!
If You're Gonna Get All "Techie" On Us, Then Do It Here
Latest Activity: May 31
Started by Michael Haddock. Last reply by John Shotwell Apr 2.
Started by Aama Ralte. Last reply by Greg Boucher Oct 8, 2013.
Started by Mike Skinner Mar 18, 2013.
Just make sure if you're using local power from different sources along the course for your powered boxes or amps for stationary speakers that have have plenty of balanced line level isolation transformers to avoid ground loop noise. If you use a wireless distribution system instead of hardwired, it's a non-issue of course...
I am looking for information on providing sound systems for 5k type foot races thru city streets. Most of the reinforcement is needed near the start area and possibly the finish line.
Hey everybody, I've been pondering M/S theory and thought I'ld throw this thought out and see what people think: Drastic changes in mixing the M/S channels definitely change the effective pattern of the mic, but would you agree that minor balances change the projection of the mics onto the stereo field of the mix more-so than the actual pickup width? I've only used M/S a handful of times but this idea seems to fit my experiences.
Aall great comments, Don has the best one. Your problem sounds like a bad cable making a shoeted connection on your front nine in a wall unit or breakout box. As a professional audio engineer I have come to the point where I will NOT purchase any premade cables at all. I prefer to build all of my XLR and 1/4" balanced cables with Canare quad star and real Neutrix connectors. This way I can eliminate 99% of all noise issues. My speaker cables are also overkill by using the next size than the book calls for. Once the cables meet my standards the ony thing in my systems that can cause problems is the outboard gear itself. (easy to diagnose) As Don said any premade cables from a big store are (for the most part) very poorly made, conductors touching, too much insulation stripped off,etc. They are meant for beginners, not for professionals.
Nice explanation David, One more small thing, dont assume ANY cable thats bought from a Guitar center etc is right, you can have a connector thats got a marginal connection explaining why when you ramp things up its starts getting worse, your going to have to LOOK at each one, and be sure you dont have a Pices of Older Outboard gear thats using 1/4 connections in the middle of the rack thats using XLR connections....Variables all have to be varified....
Ooops - one addendum, XLR inputs and monitor outputs can interfere if run in parallel in the same conduit or near a cheap Di or 1/4". But that is a noise floor issue and not a serious electrical problem.
FOH and stage should always share the same ground but that doesn't explain his problems. If they were on different grounds he would probably get a humming as current flowed through the shields of the XLRs between the console and the amps. The monitor outputs and XLR inputs of a system should NEVER be able to interfere with each other. My best guess is that someone didn't terminate the connections at a panel properly. The connections on both XLRs and monitor drives should be completely physically isolated from everything all the way from the output of the console/amp to the input of the microphone/microphone. With amp outputs there is no such thing as "ground," the output voltage is the difference between the - and the + terminals. For example you can't wire + to the speakers and just ground the black wires - bad stuff could happen. With XLRs, the "ground" pin is really a drain for the shield, or a ground reference for phantom power. The shield/pin 1 should never touch the chassis of any panels or the shell of any connectors between the console and whatever it's plugged in to. It should be wired exactly like pin 2 and 3 all the way from the console to the microphone/Di/whatever.
An electrician can verify that the grounding of the stage & FOH is done correctly, but in this case it really seems like bad wiring on the XLRs & monitor outputs. The two most important things in the power design of a sound system is having a common isolated ground for all things audio related on stage and in FOH, and having all audio related plugs fed from their own subpanel(s). Having there own subpanel is usually enough to keep those stupid wall dimmers or cheap motion sensors from causing noise or pops. Good grounding can be tricky and requires planning and careful/firm communication with the electric contractor, it requires special types of subpanels that have an isolated ground bus. The outlet plugs are grounded separately from the conduits and j-boxes to prevent any accidental grounding to metal studs or stuff like that. As the system gets larger you'll need things like surge suppressors and isolation transformers, but those are usually secondary concerns in smaller installs.
Don is right, be methodical and check everything. Start at the console and trace every wire from end to end to ensure proper termination. If the problem is affecting multiple inputs then it's probably a systematic error and you'll find a batch of bad terminations.
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