High School Sound guide

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standup

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Hi CBers,

I’m going to be a senior in high school this fall. Ourschool auditorium is getting a new sound system. Since I run most of the sound at school and I’ll be graduating next year, I’ve been asked to write a guide onhow to set-up various pieces (mics, monitors, the board, etc) and how to runsound. I was hoping that you guys would have some advice for things to add/edits that would make the guide better.

So far I have:
Mics and accessories
Cables and accessories
Setting up the snake
Setting up mics
Running cables
Basics of EQ
Glossary of technical terms
General Advice

I’m not entirely sure what all is being done so I’m waitingto include:
Layout of the board
Setting up monitors
Using the Clear-com
Setting up wireless mics
Running a show

I was wondering if you guys had any edits/ additions to theguide that would make it better.
Sound Guide

*I’m aware that the formatting is weird. I can promise youthat it looks better in Word then what Googledocs is showing you.

Thanks,
Zach
 
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Good guide, easy to understand.

Feedback:

Dynamic microphones are NOT all omnidirectional; they have pickup patterns just like condensors.
They are also not suitable for all applications (i.e., hanging pickups).

"¼ Inch cable ends are used primarily for instruments and speakers. Most ¼ inch cables are ¼ inch male to ¼ inch"

Be specific as to whether you mean 1/4 in. TRS or 1/4 in. TS. You don't want the other members placing a TRS cable between an amplifier and a speaker (Cable is too small for that kind of power).

"¼ inch Speakon Cable

male, but there are lots of variations that you will use. There are 2 different kinds of ¼ inch cables, TRS and Speakon (sometimes spelled SpeakON). While they are aesthetically similar, TRS cables are not designed to handle the current that is necessary to power a PA speaker. While it is unlikely that any damage will be caused by using the wrong kind of cable, it is best to be safe. Speakon cables have a wider sleeve then standard TRS cables (see picture)."

I'm guessing that what you really mean is SpeakON Speaker Cable, because SpeakON and 1/4 in. are both connectors, 1/4 in. is not cable.
TRS cables generally use the same cable as microphone cable. SpeakON cables use speaker cable (heavier gauge, and only two conductors). TS cables can use either one. The TS speaker cables are for amp to speaker, the TS "microphone" cables (not truly XLR3 microphone because they only have two conductors) are for instruments and other unbalanced patching.

TRS = for line-level sources
TS (smaller cable)= for line level sources
TS (bigger, speaker cable) = for speakers
SpeakON = for speakers



That should help you out a bit.
 
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I would advise you to make sure that you have accurate drawings that show how the system is hooked up, your installer should be able to provide these after the install is done. Beyond that, its all about training. Instead of writing a manual, make yourself "not the only sound guy at the school". The best thing you can do at the school is train 3 or 4 people how to do everything you are currently doing. In reality, hooking up the gear is the easy part. Running the show and creating a good mix is where the training will really kick in. Take the first semester and do your thing, get the new gear up and running, and have people shadow you. By the second semester, dial yourself back and become an adviser. Be there if there is questions, but let others do it. I know its hard to do, but really that is the best thing that can happen. A manual is useless, they get lost and ignored, however, training is golden. Teach a man to fish....
 
do you use anything like sfx or any software? include a basic guide on how to program/set levels/load cues etc for that as well. As a side note, I spent most of this week in Ballard as I have family living there, really one of my favorite places.
 
Ok, actually had a chance to read the GoogleDocs. (That is weird the way it handled the formatting)

I am assuming the microphones you have listed, are the microphones you have in inventory. I would at least talk about a few other mics that may be available to use. (SM58/57 comes to mind) A complete list of everything you do have (or will be getting with the upgrade) would be useful. Be sure to be consistent throughout the guide as well as with the equipment you receive (at least as much as you can). And, also include synonyms in the "Glossary".

If you are waiting to learn more about the install, I would work on the "Running a Show" section, as that can be more general in the first revisions, and once you know what you are working with, adding in model numbers, or tweaking based on terminology used on the equipment itself.

It looks good, and I am impressed that you decided to write something like this. Be sure to keep this thread updated with next revisions.
 
I like the "advice" section at the end.

But I second what another comment said above: where's the section on how to program QLab or whatever you use to design and run shows?
 
Zach, I couldn’t agree more with Kyle’s recommendation to duplicate yourself through offering hands-on sound tech training. It might also be good for your school to establish a relationship with a trusted local tech, pro audio company or sound contractor to train the school crew in future years if needed.

One note, if you continue to pursue putting together a reference guide that will be used by students with little to no training: Keep terminology as simple and practical as possible. For instance, it may make more sense to a tech wanna-be if you categorized the different cables types by use rather than by connector type where possible/practical. You can still retain the freedom of establishing your own terminology as to what different cables will be commonly called by techs working in your auditorium.

Possible examples (among many options):

Mic Cables – Cables used to connect on-stage microphones and direct boxes to the audio snake head and onstage jacks. (you could then further describe the lengths of mic cable you have available as well as further details concerning connector types, etc)

Instrument Cables – Cables used to connect onstage electronic instruments (eg: keyboards, drum machines, electric guitars, etc. (again, offering further detail concerning available lengths, connector type, cable construction can be added - its up to you)

Patch Cables – Cables used to connect varied pieces of audio equipment and or for use with a house patch bay if applicable (further detail (balanced/unbalanced concerns, connector types, etc. - up to you)

Insert Cables – Cables used to insert a signal processor on an individual mixer channel, auxiliary bus or output.

Speaker Cables - Cables used to connect amplifier outputs to the main loudspeakers, floor or effects monitors...

...And so on… Put the most basic, simplistic, easy to understand description first and then add as much detail as you feel is needed afterward.

Good luck with your project.

Regards,
Mark
 
It might be worth discussing other ways to use a snake, such as organizing a band's cable runs... We use 4, 8, 12 and 24 channel snakes all the time to make a lot of band mics into a single cable run. Possibly also discuss monitors, how to hook them up to your system, how your system handles having a separate monitor mix?
 
First,thanks to everyone for all of the advice! There is a local sound guy who hashad a couple of kids who do/did drama and music who helps when he can. With our new sound system, our drama directorhas asked for a few of us who run lights/sound/ whatever to form an officialtheater tech in residence group. One of our goals is to find underclassmen tobecome apprentices so that sound and lights don't die when my class graduates(the other guy who runs lights is also going to be a senior). I would like thisguide to be an intro that covers everything so they at least have a basicunderstanding of the different things they will be doing before we actuallystart training them, and there will be something for them to reference if theyneed it.

Chausman,showing them CB was definitely going to be the first thing they learn! I’velearned a ton from this site.

The bitabout the mics I’ve decided to rewrite because it could be done a lot better. Ifound a link to the Westlake High School Sound Book (http://www.krutonproductions.com/Sou..._REV3_GOLD.pdf) (Page 10) and like how Kevin Krautle(Kruton) did it. I’m thinking a super condensed kind of thing would be how I’lldo it.

As far as I know there isn’tany software or SFX to use but if there is there will definitely be a sectionon it in the manual. I’m hoping to go to Ballard tomorrow and taking inventoryof everything so I can continue working on this guide.

I was hoping to include howto run a show but I realized that so much of that involves knowing what board/equipment I have that I’m not sure how useful it is including much more. Wehave a Mackie SR32.4 VLZ-Pro but I heard that we might be getting a largerand/or digital board so I didn’t want to have to rewrite everything if thathappened.

We have a portable snake butit’s only ever used for events outside of our auditorium. The installed one in our auditorium works fairly well for most of our purposes.The jazz bands host aswing dance in our cafeteria most years but other than that that snake juststays in the giant box in our sound closet. I’ve never thought about using itfor any other purposes but it is worth mentioning.

I’m going to Tennessee onSunday so I should be able to work on the guide quite a bit during travel ordown time. When I make any noteworthy changes I'll post the link to them. A friend claims that loading a PDF file to Googledocs doesn't mess up the formating so I'll give that a shot next time.

If I get to school beforethen I’ll make sure to post pics of what all they did.

Thanks All!!

Zach
 
Since some of you asked, I've updated it a little bit. My only real changes have been to the microphone section. I think it is better this way. I know that the list of mics are incomplete. I haven't done inventory in a couple of years and I don't know what all we have off the top of my head.

I've uploaded it as a PDF file so the formating will actually be there (and the cool little Clipart in the corner :grin: )

https://docs.google.com/viewer?a=v&...ZjIzZi00OTI1LThkOGQtN2Y3OGEwMzVkMTE4&hl=en_US

Also, I went into the auditorium on Friday. They weren't done so I didn't spend a lot of time digging. But this has been bugging me since I went there. What speaker brand has a blue elliptical logo with what looks like a D on it? I tried to upload a pic but my computer won't let me.
 
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I'm actually in the same exact situation. I'm the resident sound technician in my school, and I'm graduating this year, as well as our lights person. I'm planning on making one of these for my senior project based off of stage management and sound, but hopefully getting all of our resident specialists (sound, lights, costume, props, and construction) to create something like this for their own process and combining them. Your guide is very thorough and well done, and has even taught me things that I didn't even know. Some things I would suggest:

-The location of some of these items in the theatre. Of course, times will change and things will get moved, but a general idea of where things are will help immensly.

-If you have any kind of organizational system, list them, as well as their definitions. For example, all of our XLR's and 1/4"s are spiked with different lengths. If you don't have multiple colors, try multiple lengths.

-Storage ideas. How to coil cables (you'd be surprised), where they go when they're done, where to put any adapters or two-fers, etc.

-Tips to creating a mic flow chart and mic'ing people. The general amount of time needed (in pages) needed for a pass, when to give people mics, where lapel mics should be placed, etc.

-Troubleshooting tips. What to do if sound does not come out of the speakers, if the mics seem to go out, etc. You'd be surprised how many times I've been teaching someone to do sound, and they forget to do something as simple as turn up the gain. The things you take for granted about knowing are most commonly the things that you will forget to teach and lead to a bigger problem.

But other than that, great job with it!
 
First, I applaud your initiative. I have read through the proposed document and am going to have a bit different response from others.

I think the first thing you, or anyone creating such a document, needs to do is to define the purpose of and audience for the document. There can be significant differences between a "how to operate our system for a typical event or performance" guideline and attempting to cover the much more general topic how to run sound. What are your goals for this document? How will it be applied? Who will be using it? A simple example might be whether you need to cover the types of microphones available, their application in general and so on or if you are more trying to say that you would typically use a specific microphone you have for this purpose, here's how to operate the bodypacks you have, here's how to mount a hairline mic, etc. Or where you would normally set levels on your console versus signal levels and gain structure in general.

A second consideration is your knowledge and experience. On the first page of your proposed document I see the comments "Dynamic mics are omnidirectional microphones (they pick up any sound that is produced at a fairly even level, regardless of directionality. They are also capable of being turned up to fairly high volumes without feedback." and "Condenser mics have specific pick-up patterns. The pickup pattern determines what each particular microphone is best used for. Condenser mics require a power source. This can be provided with a battery in the microphone or with phantom power." I'm not trying to be critical but there are several errors in these comments as well as aspects that may be incomplete. Both dynamic and condenser mics may be either omnidirectional or directional, the pattern is a separate issue and not inherent in being a dynamic or condenser. And is your audience such that they are going to understand what a "pick-up pattern" is or what phantom power is and what that entails? Typically, someone who does not know the difference between a condenser and dynamic microphone might also not be familiar with microphone patterns and phantom power and would benefit from having those explained in much greater detail.

More detailed, but still important, is how you address cables. It is a very common issue but many people overlook the differences between cable, signal and connector. For example, XLR, 1/4" TRS, 1/4" TS, RCA, etc. are simply connectors while balanced versus unbalanced and mic level versus line level relates to the signal being transmitted. Conductors and shielding relate to the physical cable itself. So there is no such thing as a "TRS cable" since TRS defined only the connector on each end while a "microphone cable" may typically refer to a shielded, twisted pair cable with a male XLR on one end and a female XLR on the other, but that same cable could also be used for other purposes.

If your goal is to create a simple "how to" reference document then you might be best leaving out some of the topics and focusing more on how to apply, operate and maintain what you have for common applications. If your goal is to provide an educational reference document then you probably want it to be complete and accurate. For the latter, unless you have the related knowledge and experience as well as a great deal of time to write a book, then it may be better to reference existing documents and resources.
 
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Hey all,
I've made some changes and additions to the guide. I still haven't seen much of the system so I'm running out of things to include. If there is anything else that you can think of that doesn't involve how to actually use the system, I would love to hear it.

Guide

Any further adivice would be much appreciated.
Also, when I was poking around, I got a picture of the speakers that were installed. Does any one recognize the logo?
Thanks,
Zach
 
FMEng said:
Brad, isn't Danley in your backyard? I've been intrigued by the concepts of their products. I haven't had a chance to hear any, but they are certainly ground breaking. What do you think of them?
Click to expand...
They are nearby and I've known some of the people there for probably close to 20 years (they share ownership and space with a Contractor), I was even once mistaken for Tom Danley when I was in their booth at a show while they were setting up. One case of mistaken identity I did not mind! I also had a chance to stand inside the Matterhorn (40 drivers in a tapped horn configuration and each driver with a 1,000W amplifier all built inside a 20'x8'x8' shipping container) while they played a 10-15Hz tone, imagine standing inside a bass horn mouth while it is generating something you can feel but not really hear.

I have been impressed with most of their products. They are different from your typical horn over woofer box and you need to understand or get a chance to hear the affect of factors such as phase coherence and wideband pattern control to understand the cost of some of their products. Many of their full range products do not have the "in your face" sound that some people want although they do have a couple of boxes intended for concert type applications that give a bit more of that at the expense of the very neutral and natural sound that the other boxes exhibit. Virtually all of their subs are impressive. And their specifications tend to be more technically valid than many, which also means you need to be cognizant of things like the sensitivities being at 2.83V, which is 1 Watt into 8 Ohms but 2 Watts into 4 Ohms and thus makes the numbers for 4 Ohm boxes 3dB higher than a 1W rating.

The Danley Jericho horns and the Renkus-Heinz IC**2 (IC Squared) array were the two audio products that most impressed me at InfoComm this year.
 
Hi

I'm going to be a high school senior and am in a similar position to you with having to make sure that future auditorium techies know how to work my school's audio equipment. I think a lot of what your guide has is great, though some of the points mentioned in above posts are certainly valid. I would also stress more in your guide about how to prep for a show and how to break a show down. I can't tell you how much easier my life has become since I started doing some basic paperwork to prep for shows, not to mention how much more professional you appear when you can reference a hookup sheet or effects list if someone has a question for you as opposed to just guessing from memory. I would include an example of a mic hookup, an effects sheet, and a properly cued up script (I assume you also do techo for theatrical productions in your school).

Another good thinig to include would be some proper break down procedures, such as what order to shut down and disconnect equipment, always break down mics first after a show (I've had a few mics stolen from my school by bands who grab them at the end of a show when no one is looking), keep clips on mics when you put them away, and also properly coiling and tying up cables so they don't get damaged or tangled.

I don't know your schools exact situation but the last piece of advice I'd give is that along with teaching younger students personally how to use the equipment so they can pass on the knowledge it's also good to have a teacher that knows how to work it so, if for whatever reason, no student who is competent with the equipment can be there, someone who knows what they are doing will.

All in all this is a great guide for high school students and I think I might even do something similar for my own school.
 
People tend to have short attention spans so the priority information often needs to be quickly available in a concise form, thus it may be more effective to focus on the system operation aspects in the Guide while using or referencing existing resources such as The Yamaha Sound Reinforcement Handbook, the resources Shure offers, the Rane notes and so on for the educational aspects. For example, http://www.shure.com/idc/groups/public/documents/webcontent/us_pro_AL1532_Theater_Guide_ea.pdf and http://www.shure.com/idc/groups/public/documents/webcontent/us_pro_mics_for_music_sound_ea.pdf might cover the microphone aspects quite well for those who want to learn more while allowing the Guide document created to focus on the use and operation of your system, which you may know better than anyone and thus is probably why you are creating the Guide.

If you want to include a Glossary then you might want to reference and/or coordinate with the ControlBooth Wiki (Wiki) and Pro Audio Reference.
 
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