2014!

PRE-WORKSHOP

2 0 1 4!

FREE

T HE HOW TO S OUND WORKSHOP

NTEGE ERIC IS A BELIEVER AND FOLLOWER OF JESUS CHRIST WHO NOW IS TEACHING CINEMATOGRAPHY & SOUND PRODUCTION FROM THE BIBLE

Becoming a King in your Territory

!One day Peter and John were going up to the temple at the time of prayerat three in the afternoon. 2!Now a man who was lame from birth was being carried to the temple gate called Beautiful, where he was put every day to beg from those going into the temple courts. 3!When he saw Peter and John about to enter, he asked them for money. 4!Peter looked straight at him, as did John. Then Peter said, Look at us! 5!So the man gave them his attention, expecting to get something from them. 6!Then Peter said, Silver or gold I do not have, but what I do have I give you. In the name of Jesus Christ of Nazareth, walk. 7!Taking him by the right hand, he helped him up, and instantly the mans feet and ankles became strong. 8!He jumped to his feet and began to walk. Then he went with them into the temple courts, walking and jumping, and praising God. 9!When all the people saw him walking and praising God, 10!they recognized him as the same man who used to sit begging at the temple gate called Beautiful, and they were lled with wonder and amazement at what had happened to him.

2014!

PRE-WORKSHOP

2 0 1 4!

FREE

Becoming a King in your Territory

Every human being who struggles in life needs to nd meaning to his his life, there are questions that we need ask one self when considering becoming a King in any given Territory, it could be in the business world or any where but today I want to tag on sound. WHAT DO YOU THINK OF YOURSELF? actually refers to him self as the apostle Jesus loved. Vs1b -at the time of prayer The Law of Routine the most successful people in the world are those that do things a daily basis. Perfection comes from doing things again and again. Example of birds & sh out on your blessing, a double minded man is unstable in all his ways that is James1 vs8 Vs5 -the man gave them his attention The Law of Expectation works in a way that you will always get more than what you expect, what are you expectations in life and to be more specic in this ministry? Vs6 -but what i have i give you The Law of content you can not give what you do not have, you are what you are what you are full of. You can not become what your criticize. Vs7 -Taking him by the right hand The Law of empowerment God will always put people in your life who have accesse to those areas you do not have accesse to, people with the right information you need to start that business, with the right tools to you need to work with to become a king in your territory. Vs7b -the mans feet and ankles become strong you are about to do the things you never thought you could do before. I believe that by the end of this day will have seen the possibilities you have in you to be a king in your territory.

Vs2 -a man crippled from birth Every one of us is born crippled in a certain way, there are things WHAT DO YOU SEE OF that we are not good at in life, so YOURSELF? we struggle with those things, my WHAT IS IT THAT YOU SAY OF wife is mostly likely to be a YOURSELF? lawyer so she would be crippled in the world of sound - but God All these questions are based on has given us people so gracious what I call self talk, what are that they have brought us o the you murmuring about in your gate beautiful, Example of me closest when no one is watching? and my brother Henry Mugisha So we have got to see our self in in 2006; the gate Beautiful of a particular way. The way we cinematography. respond to life is determined by the things we are exposed to, this Vs2b -gate called beautiful will represent for this presentation an means that we have to learn things in one of these ways - we opportunity to seize; we will get a revelation about something always see the gate beautiful and it is up to us to decided to nd by: School, Life, Searching & out what lays beyond the gate. through a revelation within a This should motivate us to be so revelation. thankful to God for the Let us work the scripture now; opportunity we get from other Vs1a -Peter and John The Law people to help us get to where we of Agreement [Petra or Peter] are. denotes a rm foundation and as Vs4 -Look at us! The Law of such it serves as a metaphor for faith in Jesus Christ. we seen this Focus you have to get focused to get things done because if you do from Matthew 16:13 -20. John we take as the apostle of love he not focus you are going to miss

T HE HOW TO S OUND WORKSHOP

All cables irrespective of their use should be xed in a way that will not cause short circuits or blow up equipment, extra care should be taken when making or xing any kind of cable. Always remember it will cost you a lot of money buying new equipment over one stupid mistake you make.

Removing Noise at the Destination

It is possible that along the length of the cable, noise is encountered from external sources such as other electronic devices or RF interference. This noise will be identical on both hot and cold lines. When the balanced XLR cable is plugged into the input of other balanced equipment, the cold (R) line is inverted again. Now the two audio signals in both hot (L) and cold (R) lines are identical in every way. However, the noise that was introduced along the way is now inverted on the R line. When the L and R signals are combined at the destination, the inverted noise on the R line is combined with the original noise on the L line, they cancel each other out. All that is left is the original audio signal.

B ALANCED XLR
A balanced cable has three wires, one for ground (earth), one for the positive (hot), and one for the negative (cold). The most common balanced connectors are XLR and TRS; In the case of an XLR cable, the three wires are called, X (ground), L (left, hot) and R (right, cold). There are both male and female XLR connectors.

B ALANCED TR S
TRS is the abbreviation for Tip (Left), Ring (Right), Sleeve (Shield, Ground). Although it may look like a standard 1/4" (6.35 mm) or 1/8" (3.5 mm) phono plug, it does have an extra ring on its shaft. TRS cables have two conductors plus a ground (shield). A TRS cable can carry either a balanced mono audio signal or an unbalanced stereo AUDIO SIGNAL.

Unbalance Cables
The two most common unbalanced connectors are RCA and TS phono jack. Even XLR cables be used for transmitting unbalanced audio. Unbalanced speaker connectors are speakon, and banana plugs. There are 1/4" (6.35 mm) or 1/8" (3.5 mm) TS jacks. TS is the abbreviation for Tip and Sleeve. The tip is considered to be the positive (hot) and the sleeve is the ground or shield is connected. The most common applications of TS cables are in guitar or line-level instrument connections.

UNB AL ANCED C ABLE

An unbalanced cable has two wires, one for the positive and one that acts as both the negative and the ground. Because the negative wire has to do more work than the positive wire, such a conguration is called Unbalanced.

Advantages and Disadvantages

A balanced XLR cable has three major advantages over an unbalanced RCA cable and that is why pro users prefer them. 1. XLR connectors are more robust. They do not come loose as easily as RCA cables. 2. Because they are balanced and are grounded better, XLR cables are relatively noise free. RCA cables, on the other hand, can drive you crazy with noise and hum. 3. There is a limit on how long you can make an RCA cable (normally below 10 meters) before it signicantly attenuates the signal. XLR cables can be as long as a few hundred feet. Unbalanced RCA cables, on the other hand, have a few advantages: Unbalanced RCA cables are less complicated. 2. They are less expensive. 3. They are readily available in almost all retail stores. 4. Many manufacturers include them with their products. The biggest disadvantage of unbalanced cables is that they are susceptible to noise problems. In general, hey should be kept as short as possible. There is a limit on how long you can make an RCA cable (normally below 10 meters) before it signicantly attenuates the signal. XLR cables can be as long as a few hundred feet. 1.

C ABLES

RC A C ABLES

RC A CONNECTORS

BNC C ABLE

SPEAKON C ABLES

Microphones
Don't make the mistake that many amateurs make and use whatever microphone is at hand (e.g. using a vocal mic for a bass drum). Also, don't make the mistake of assuming that using a microphone is easy. Microphone technique is a learned skill - plugging it in and pointing it isn't always enough. MICROPHONE TECHNIQUE IS A LEARNED SKILL... DONT MAKE A MISTAKE OF ASSUMING THAT USING A MICROPHONE IS EASY
Be aware of what type of

OMNIDIRECTIONAL
Captures sound equally from all directions. Uses: Capturing ambient noise; Situations where sound is coming from many directions; Situations where the mic position must remain xed while the sound source is moving.

C ARDIOD
Cardioid means "heartshaped",Sound is picked up mostly from the front, but to a lesser extent the sides as well. Uses: Emphasizing sound from the direction the mic is pointed whilst leaving some latitude for mic movement and ambient noise.

mic

you're using. Make sure you do a sound check yourself, well before the interview. If the mic has an on/off switch, keep an eye on it. If the mic is battery-powered, make sure you turn it off when you've nished. Hold the mic at a constant distance and angle from your mouth. If you want to see some good examples of microphone technique, watch television talkshow hosts moving around their audiences. These people know how to use their microphones not just as technical instruments, but as a means of maintaining control. Every microphone has a property known as directionality. This describes the microphone's sensitivity to sound from various directions.

BIDIRECTIONAL
Uses a gure-of-eight pattern and picks up sound equally from two opposite directions. Uses: One possibility would be an interview with two people facing each other (with the mic between them).

E QUA L I ZAT I O N ( E Q )
Everybody knows youre supposed to EQ but the question to ask do i understand how the knobs work better ask what is equalization any how? Simply, this is what an equalizer does it takes our carefully designed ruler-at frequency response and mucks it up, boosting a frequency range here, lowering one there, all in the interest of making what comes out sound more musical than what went in, if not technically more accurate. Equalization is the art of adjusting the volumes of certain frequencies of a track in a way which leads to more pleasing tonal qualities.

EQ Building Blocks
The basic building block of an equalizer is a lter. A high-pass lter (also called a low-cut lter) passes frequencies above its design (or corner) frequency and

attenuates frequencies below that frequency. Similarly, a low-pass (high-cut) lter allows frequencies below its design frequency to pass through, while cutting the amplitude of frequencies above its design

frequency. A resonant lter puts a bellshaped hump in the frequency response, attening out on either side of its resonant frequency

EQ TIPS
1. ROLL OFF THE LOW END 2. CURVE OUT SPACE FOR INSTRUMENTS IN THE SAME FREQUENCY RANGE 3. CUT MORE THAN BOOST 4. BOOST AND SWEEP 5. DONT ADJUST BLINDLY THINK ABOUT WHICH PART OF THE INSTRUMENTS FREQUENCY YOU ARE ADJUSTING

Corrective Equalization

The proper starting point for a A frequent piece of advice mix is with no EQ. Dont when EQ-ing is to rst begin mixing by reaching for the EQ knobs, at least not until try cutting rather youve developed a lot of than boosting. listening and mixing skills. Dont try to x something until Successful equalization is all you know its broken.
about understanding what youre hearing. A skill that will make How do you know its broken? you a better engineer is the When you cant get a good ability to recognize weakness mix just by balancing levels or overemphasis in certain frequency ranges so youll know and panning. Then, and only which knobs to reach for, or if then, is the time to start EQ is required at all. twiddling the EQ knobs.

Crossover Terminology
Crossover Frequency: This adjustment is often called the crossover point. It is the frequency where the sound crosses over from one speaker to another.For example, if your low-to-mid crossover frequency is 125 Hz, then frequencies below 125 Hz are reproduced by the low speaker and frequencies above 125 Hz are reproduced by the mid speaker. Rolloff Rate: A crossovers rolloff rate determines how sharp the transition between one set of speakers and another will be. Higher rolloff rates result in faster transitions.Higher rolloff rates are generally considered good because they help protect speaker components from damage at frequencies that are too low for them to handle. A crossover uses filter circuits to divide a range of frequencies into two or more smaller ranges. Filters roll off unwanted frequencies. Imagine that you have a high pass filter with a cutoff frequency of 1000 Hz. That means the filter is supposed to keep frequencies above 1000 Hz while discarding frequencies below 1000 Hz. Signals that are above or near the cutoff frequency of a high-pass filter are reproduced at normal levels. As the frequency gets lower, the level gradually decreases. The rate of decrease is called the filters rolloff rate.

E SS E NT I AL E QUA L I Z ATI O N T IP S
When !it comes to the bottom end of a track, youre looking for clarity rather than just lots of woong. Be sure to apply a high-pass lter to instruments that have no real low-end content. Below 50Hz, guitars will just add cabinet rumble to the mix. Below 80Hz, rumble from the mic stand (or a tapping foot) is all youre likely to get from a vocal. Its always better to remove frequencies you dont want to hear rather than boost the good ones. Raising the volume of something can make it difcult to distinguish whether the end result is better or just louder. If a certain frequency is bothering you and you want to get rid of it, set your EQ to a narrow Q setting and slowly sweep through the frequency range with a 5-10dB boost until the errant sound jumps out at you. Once youve identied it, change the boost to a cut. Remember that even minor EQ adjustments can have quite an effect on how an instrument sits in the mix. Not only can it make it more or less audible, but it can also change the weight of the panning. So watch out! When it comes to adjusting upper frequencies, consideration should also be given to sibilance (unwanted s sounds) and noise, both of which can be dramatically increased if a high-frequency boost is coupled with compression. EQ modications made during the mastering process should be very subtle. Stick to 1-3dB adjustments as much as possible. If you feel heavier changes are necessary, you might need to revisit other parts of your mix, as they might be the real cause of the problem. When dealing with a crowded mix, its sometimes a good idea to just focus on the key part of an instruments sound. Cutting out everything apart from the main area in which an instrument is playing will leave room for other instruments elsewhere in the frequency range, while the one in question still cuts through. You may nd yourself automatically adjusting EQ just because you feel you should dont make changes unless your ears tell you theyre needed. Many parts wont need any EQ at all. Try and avoid massive cuts and boosts unless theyre absolutely necessary. Generally, an adjustment of just a few dB will be enough.

CROSSOVER FUNDAMENTALS
A crossover is used to divide a full-range sound signal into one or more frequency bands for reproduction. This is necessary because most speaker components are designed to reproduce only a portion of the audible frequency spectrum. The outputs of the crossover are connected to each of the different speaker components to create a complete system. Passive crossovers are simply inserted between the amp and the speaker components. Active crossovers must be plugged into an electrical outlet in order to work.

MACKIE DOES BUILD BOTH ACTIVE AND PASSIVE SPEAKERS

HOW TO ELIMINATE FEEDBACK

Audio feedback is the ringing noise (often described as squealing, screeching, etc) sometimes present in sound systems. It is caused by a "looped signal", that is, a signal which travels in a continuous loop. In technical terms, feedback occurs when the gain in the signal loop reaches "unity" (0dB gain). Here are a few suggestions for controlling feedback: Change the position of the microphone and/ or speaker so that the speaker output isn't feeding directly into the mic. Keep speakers further forward (i.e. closer to the audience) than microphones. Use a more directional microphone. Speak (or sing) close to the microphone. Turn the microphone off when not in use. Equalize the signal, lowering the frequencies which are causing the feedback. Use a noise gate (automatically shuts off a signal when it gets below a certain threshold) or lter.

Lower the speaker output, so the mic doesn't pick it up. Avoid aiming speakers directly at reective surfaces such as walls. Use direct injection feeds instead of microphones for musical instruments. Use headset or in-ear monitors instead of speaker monitors.

Feedback can occur at any frequency. The frequencies which cause most trouble will depend on the situation but factors include the room's resonant frequencies, frequency response of microphones, characteristics of musical instruments

Active Speaker Vs Passive speakers

An active speaker system has Usually have line inputs on ampliers and electronic the back for microphones crossover built in to the cabinet (XLR/Jack) and a music while a passive system has just source (RCA) the speakers and possibly a ! passive crossover (made up of Very versatile - you can take capacitors and inductors) inside any part of your active the cabinet and requires external system and use it amplier(s) to work. The power independently, and can easily rating of the amplier or add to it powered mixer is matched to the Nevertheless they too have the speakers so they can only ever be bad side: used as a complete system. Usually heavier than the Active speaker are good for these passive equivalent in the reasons: same range! Less equipment to carry around as you don't need a separate power amplier ! You have some built in resilience. If one of the active speakers fails, you can still run the other Not suited for going up on wall brackets as they need a mains power feed

SPEAKER SIZE
The main types of public address speakers are typically 8, 10, 12, or 15 inches. Generally the larger the speaker, the lower the frequencies they can handle. For Medium Bands (typically one or two guitars, bass and drums, vocalist and maybe a keyboard) we'd normally recommend 12" speakers, but if your style of music is on the heavy side and you are planning to mic up the bass through the PA, then you should consider 15" speakers. See recommendation of speaker sizes on the EQ chart. Everything in the world always has a question to it and we can not ran from question even when the girl next door badly wants to marry you she will always wait up until you ask her a question, will you marry me? And now is that time for that Thank you for joining me at this Pre-How to sound workshop 2014 and i hope you have had the best of time here with us for any other help or questions please feel free to get in touch with any of the facilitator at this workshop.