Videos about big audio systems

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.

Larsen effect

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


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. Tomi Engdahl says:

    Aux and Groups Explained in less than 11 Minutes

    Mixer Aux and Groups Explained

  2. Tomi Engdahl says:

    Timelapse setup lighting and sound systems

    Ultra Music Festival 2012 Miami

  3. Tomi Engdahl says:

    Main Stage Setup – 8 hours in 2 minutes [Nerdapalooza 2013]

    Main Stage Setup
    8 hours of stage setup work timelapsed into 2 minutes.

  4. Tomi Engdahl says:

    Trans-Siberian Orchestra: Inside views on lighting, sound and monitoring

    Event Elevator talked to Bryan Hartley, Dave Wittman, Tanikawa Michihiro and Scott Fraser about the equipment and setup of the Trans-Siberian Orchestra’s tour in Europe 2014.

  5. Tomi Engdahl says:

    Tech Tour of Sound and Lighting Booths

    Hart House Theatre’s Technical Director, Brian Campbell, discusses some finer points concerning the sound a lighting booths in the theatre

  6. Tomi Engdahl says:

    Power Distribution
    An absolutely vital but often overlooked aspect of system form and function.

    Whether it’s a large festival line array rig or a single loudspeaker on a stick, all audio systems have one thing in common and that’s a need for power. Before starting to design, build, or use any power distribution equipment, the local laws and electric code should be consulted.

    it’s important to check with a local government’s electrical inspectors and ascertain their specific code requirements. Once you’re up on the local codes it’s time to get the juice flowing to the gear.

    Checking Things Over
    The most basic way of getting power to equipment is plugging into a wall outlet at the venue. But this can have consequences if you don’t take the time to check out the outlets and breakers before the gig. The most common problem with wall outlets is that multiple outlets are allowed to be wired into a single breaker, and somebody else can plug into the same circuit as your gear and overload the circuit.

    Before using any outlets in a venue, ask the venue staff if they’re relying on any of them during the event. Even plugging in a coffee pot to one of the circuits has the potential to wreak havoc with a system. Also check with the event planner to see if any other vendors, such as a photographer or videographer, will need power.

    Next, find out what outlets in the venue share a breaker. This is easily accomplished by using a circuit breaker locator.

    Using a circuit breaker locator is much more convenient than flipping breakers trying to locate an outlet because you won’t inadvertently turn off something important.

    Once you’ve identified which outlets are on what circuits, label the outlets and the breaker box so it can be easily reset if a breaker is tripped later. After identifying the outlets that share a circuit, put a piece of gaff tape over any extra outlets to keep others from plugging into them. I find that a piece of white or yellow gaff with the words “Do Not Use” placed over the outlet keeps most from pulling off the tape and plugging in.

    While locating breakers, also test to find out if the outlets are wired correctly. Most folks are familiar with the basic three light “cube” testers that plug into an outlet and can indicate different wiring problems via the three onboard lights. These testers can tell if an outlet is working and if it has a ground, but they cannot tell if an outlet is wired incorrectly with a “Reverse Polarity Bootleg Ground” (RPBG), which can be dangerous.

    Plug Configurations
    Speaking of extension cords, there are a variety of portable power cables used in show business, normally described by their connector type.

    By the way, use only 12 AWG extension cords at gigs. Voltage drop occurs when running longer power cords, and this effect is more pronounced the longer the cable, and the smaller the wire gauge.

    Feeder cables are single conductor runs that consist of a Ground wire, at least one Neutral wire, and one, or more commonly two or three, Hot wires. Feeder cables tie into a generator or Company Panel Disconnect and provide power to a Portable Power Distribution System (a.k.a., PD). These systems are commonly single phase (two Hot wires) or three phase (three Hot wires).

    The NEC says that single conductor supply cables cannot be smaller than 2 AWG and any ground conductor cannot be smaller than 6 AWG.

    The connector for Feeder cables is called a Cam Lock. They can handle 400 amps at 600 volts.

    Concerning Feeder cable, the NEC states: “Only Qualified Personnel may route, connect, energize or de-energize supply services.”

    Electrical accidents are estimated to rank sixth among all causes of work-related deaths in the U.S. and are disproportionately fatal compared to other work-related accident types.

    The branch circuits may include Edison outlets, Twist Lock outlets (popular for equipment that needs more than one Hot conductor) or even multi conductor 6-circuit 19-pin connectors (a.k.a., SOCAPEX, SOCA, or VEAM) that can be used with a multi cable and provide multiple circuits to one location.

    SOCA cables are commonly used to provide six circuits of AC to self-powered line arrays. A fan-out converts the multi-pin into individual circuits or power.

    Wrapping It Up
    Speaking of generators, never use general construction types for production equipment. We require generators that run at a constant voltage and stable frequency while producing as little noise as possible. These type of units are known as “production,” “show,” “entertainment,” “quiet,” or “whisper” generators, and have excellent voltage regulation, usually within 1.5-percent tolerances or better.

    Standard construction type generators are usually not as reliable as show types, and are often quite unstable. (By as much as 25 percent.) This may be O.K. for running power tools on construction sites, but not very good for sensitive electronics like audio equipment.

    Finally, check all power distribution system components before use, and perform preventive maintenance on cables, connectors and components a few times a year.

    If an item is damaged at a show, pull it from service until it can be correctly repaired. Treat electricity with the respect it deserves and the gig will go much more smoothly – and no one gets hurt.

  7. Tomi Engdahl says:

    Power & Electrical Safety On Stage

    Staying safe on stage is more than a matter of simply making sure that willing hands are available before taking a dive. Knowing how to properly handle the mains power we all need is also crucial to performance health…

    Whatever the size, complexity or cost of your live sound rig, one of the first — if not the first — question on your mind when you get to a venue will usually be “where do I plug it in?” Depending on the venue, the answer can vary from a wall-socket behind a plant pot to a dedicated and professionally-installed supply that is reserved for your exclusive use, fully tested and certificated, and for which (with any luck) you’ll have brought an appropriate connector. Whatever you encounter, you’ll need to know some basic rules. When it comes to portable live-sound systems, this means firstly, using a suitable electrical supply; secondly, using suitable equipment; and, thirdly, connecting and using that equipment safely.

  8. Tomi Engdahl says:

    EEVblog #840 – Yamaha M3000 Mixing Console Teardown

    Dave tears down a monster of a mixing console!
    A Professional 40 channel Yamaha M3000 mixer designed for sound reinforcement and concerts.


  9. Tomi Engdahl says:

    Live Sound Troubleshooting tips with Case Study 01 – How toTroubleshoot

    Part of doing live sound and AV gigs at live events is troubleshooting system problems on the fly. If a problem cannot be solved on-the-fly, then there must be a back-up plan in place.

    In this case, there were two problems at one time, and we were asked to drop by and figure out the problems, which were being reported, but with differing information about what was actually going on.

    How to Set Up a Delayed speaker in a Nightclub – Live Sound System Fill Speakers

  10. Tomi Engdahl says:

    Yamaha NS10′s

    The Yamaha NS10 Story
    How A Hi-fi Speaker Conquered The Studio World

    Love or hate the Yamaha NS10, this unassuming little speaker has found a place in the studios of many of the world’s top producers. We trace its history, and investigate why a monitor whose sound has been described as “horrible” became an industry standard.

    What is it about the Yamaha NS10? If any piece of pro audio hardware deserves that over-used term “industry standard” it has to be the NS10.

  11. Tomi Engdahl says:

    Alan Walker • Different World Tour • Stage, Lighting & Sound Setup

    Get to know more about the unique stage design and live technologies from Alan Walker’s energetic DJ performances. Lighting Designer Andreas Ohldieck and production manager Håkan Aulie (both from Bary) reveal exciting details about the creative and flexible stage setup from the Different World Tour.

  12. Tomi Engdahl says:

    Generator Powered 20,000 Watt Sound Reinforcement System

    20,000 Watt stereo sound reinforcement system for an outdoor event held in Oakbrook Terrace, IL on Friday, August 3, 2012. System includes: (4x) Crown i-Tech 5000HD power amps, (8x) JBL SRX718S subwoofers, (4x) JBL SRX722 high power speakers. Entire system is powered by two (2) Honda EU2000i “super quiet” generators.

  13. Tomi Engdahl says:

    Behind the Scenes on Bassnectar Tour: Sounds and Sights

    Named amongst the most influential acts in electronic dance music, Bassnectar’s DJ sets have drawn sprawling crowds at Coachella and Bonnaroo.

    UKF On The Road with Bassnectar

    We get on board Bassnectar’s Immersive Music Tour to witness some of the most incredible production and dedicated fans in the scene.

  14. Tomi Engdahl says:

    How To use a guitar amp as a PA system

    How To use a guitar amp as a PA system

  15. Tomi Engdahl says:

    Oceanstar Disco Mobile,Fluminense Audio Classic and Ren Joseph Lights and Sounds Bottle Knockdown

  16. Tomi Engdahl says:

    Armin van Buuren – This Is A Test (Arkham Knights Remix) [Live at The Best Of Armin Only]

    a gimmick track called ‘This Is A Test’.

  17. Tomi Engdahl says:

    Stage Left Audio – Event Video 26

    The setup for this PA (public address) application is not technical.

    Town of Cary Jaycees Christmas Parade (2019). A basic 2 x powered-speaker setup provides audio for a traffic intersection where Emcee “Preston” is “calling out” the parade participants!

  18. Tomi Engdahl says:

    Stage Left Audio – “mixing the band” – Video 6

  19. Tomi Engdahl says:

    Stage Left Audio – Snake Splitter

    Getting a signal from a microphone or instrument to FOH and monitors (at the same time) requires some type of signal splitter.

    There are a few ways to accomplish splitting a signal to more than one destination. This video looks at the snake splitter as one of the options.

    Snake splitter feeds should be long enough to allow for the monitor console to be located near the splitter snake head.

  20. Tomi Engdahl says:

    Adam Savage Explores the Sound Mixing of Hamilton!

    Adam Savage visits the sound mixing booth for the San Francisco touring production of Hamilton to learn how audio engineer Kevin McCoy mixes the dozens of microphone and instrument tracks in real-time during every performance. It’s a mind-blowing look at important role of sound engineering and mixing for stage shows and musical theater.

  21. John Lang says:

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  22. Tomi Engdahl says:


    Andrew Van Vlear experiments with the Alpha Sound bass technique for avoiding feedback on Nexo and Yamaha audio equipment.

  23. Tomi Engdahl says:

    Behringer Wing & PreSonus StudioLive 64s – YOUR Questions on User Experience

  24. Tomi Engdahl says:

    Busking setup equipment tutorial by Allie Sherlock

  25. Tomi Engdahl says:

    Restoration Power Amplifier 40 Transistor | Restore Power 2000W

    That was a lot of work, and while I might question some of your techniques, you have a well working amplifier for the price of a couple of FETs and a lot of elbow grease. Very nice.

  26. Tomi Engdahl says:

    Line Array vs Point Source vs Human Hearing

    Point source systems and line array systems each have their advantages and issues. While it is important to utilize the optimal system for the application, line arrays have one significant advantage that is easy to understand and difficult to measure.

    Oh, the white noise can be a bit loud and make my voice hard to hear, try using subtitles.

  27. Tomi Engdahl says:

    The same sound from multiple sources is an unnatural event

    Demonstration of how to reduce comb filtering and audio interference issues from sound reinforcement systems.

  28. Tomi Engdahl says:

    From Line Source to Point Source – How the KS AUDIO VC LINE works

    KS has established a reputation as a producer of excellent line array systems for professional users. With the C LINE, KS sets the benchmark in compact Line Array systems, a system that meets the highest requirements for both high sound quality and simple handling.

    With the VALTEC™ technique, KS ensures that even large and far-field arrays can be realized without the dreaded interference in the overlapping high range frequencies. In the nearfield with strong curving, there are more even levels without high-frequency drops.

  29. Tomi Engdahl says:

    ArrayProcessing. What is ArrayProcessing?

    The optional ArrayProcessing function within the ArrayCalc simulation software V8 incorporates powerful filter algorithms that calculate and optimize the sonic performance of a d&b line array over an entire listening area. ArrayProcessing ensures that every member of the audience benefits from the same remarkable quality of sound by enhancing the spectral consistency, with a defined level distribution, to achieve a consistent tonal balance for each listener. The optimization intensifies the clarity and tonal balance of the J-Series, SL-Series, T-Series, V-Series or Y-Series line array solutions; taking existing d&b systems to dizzying heights.

  30. Tomi Engdahl says:

    Point Source vs Line Array| KV2 Audio

    George Krampera, one of the founders of KV2 Audio, explains the difference between point source and line array.

    KV2 Audio VHD5.0 Constant Power Point Source Array – Introduction

  31. Tomi Engdahl says:

    VHD5 Rigging Tutorial

    The VHD5 is a Constant Power Point Source System designed for large audiences, long throw and intended to be flown at a minimum height of 10 metres. Each left and right hang usually consists of two VHD8.10 Mid Bass enclosures above, one VHD5.0 Mid High module in the centre and then a further VHD8.10 Mid Bass enclosure underneath. The VHD5.1 downfill would then be added at the very bottom of the hang, if required. The system does not require complicated set up or pre show analysis via prediction software and the Pan and tilt aspects of the VHD5 Flybar system mean that any fine tuning or environmental adjustments can be made to the coverage area once the system is flown.

  32. Tomi Engdahl says:

    The Synergy Array Series By Yorkville Sound

    The Synergy Array Series is a truly revolutionary active point source system with unmatched flexibility, power, and directivity control. The System offers users unrivaled simplicity without sacrificing sonic performance. The Synergy Array Series consists of the SA153 full-range powered cabinet, along with the SA315S powered subwoofer. This dynamic duo makes the ultimate point source speaker system scale-able for club gigs of all sizes, outdoor festivals, inclined seating venues, and arenas. Never before has a large point source system with this much output and sound quality been this easy to set up and use.

  33. Tomi Engdahl says:
    In December 2005 Dave innovated a unique sound system design based on two side-by-side speaker systems that he called The Double Hung PA. The outer stereo speakers reproduced guitar, bass, toms and cymbals and the inner speakers reproduced vocals, kick and snare. Since no single instrument or vocal was sent to both systems, comb filtering and interference issues were avoided while system clarity was increased. The Red Hot Chili Peppers toured with the Double Hung System for the duration of their Stadium Arcadium tour. In July 2008, the Brazil-based sound company Gabisom implemented the side-by-side PA concept for the Rock in Rio festival in Portugal and in 2009 Pennsylvania based sound company, Clair Brothers, provided touring artists U2 with an in-the-round stadium sized sound system, based on the same double hung PA concept.

    Though double sound systems that have been done in theater for years, the goal there is to minimize phase issue caused by two mics in close proximity. Someone figured out that if you combine the mics electrically, there are comb filtering issues with sounds that enter both mics. But by giving each mic it’s own speaker, those issue were greatly reduced as the acoustic summation of time shifted signals from the same source is way less problematic than the electrical summation of those same signals. But that is not what I was addressing with the double hung system.

    Also, there have been many engineers, myself included, that have added on some extra speaker boxes to a system and pushed vocals through them as a way to increase vocal clarity, or reduce stress on the primary sound system. For that matter, we as sound engineers have been bringing in separate subwoofer on an aux systems for years to send a few instruments to in order to improve low end energy and control. I even went so far as tour with tweeters on an aux send as well, to reduce the complexity of the signal sent to them and improve clarity.

    The constant quest for more power and clarity is an endless battle. And with each hurdle jumped, the systems sound better and either get louder or smaller. So following that path, my goal was to present a level of clarity and control that was audibly superior to other systems touring on that level and then and present it to a majority of the audience Seek a different PA type? Buy some magical whiz bang gadget? Add more boxes?

  34. Tomi Engdahl says:

    What Are In-Ear Monitors And Why Do Singers Use Them?

    What Are In-Ear Monitors And Why Do Singers Use Them? And of course, a little bit of history behind JH Audio, Van Halen and Skid Row.

    00:00 – Intro
    00:35 – The History Of In-Ear Monitor
    4:05 – Why do singers use them?
    8:41 – Which In-Ears should I get?
    10:27 – Why do singers take them out?

  35. Tomi Engdahl says:

    From Line Source to Point Source – How the KS AUDIO VC LINE works

  36. Tomi Engdahl says:

    The world’s biggest subwoofer
    When it comes to subwoofers size still matters.

    July 22, 2008 9:32 a.m. PT

    Danley Sound Labs’ Matterhorn Subwoofer may be the world’s biggest–at least I hope it is. The mother of all subs has 40,000 watts of power, and the whole thing is built into a 20x8x8 foot shipping container. I guess that makes it easy to return when you blow it up!

  37. Tomi Engdahl says:

    The Pros and Cons of Big Subwoofer Drivers | SVS

    Low frequency extension and sound pressure level (SPL) are widely considered the two most important factors of a subwoofer’s performance. The laws of physics dictate that a massive subwoofer driver has the potential to produce greater SPL and deeper bass than a smaller subwoofer driver. The ability to shake our pantlegs, pound our chest, and make it feel like the room is breathing with greater intensity, these are the strengths of a properly engineered big subwoofer driver.

    SPL and low frequency extension aren’t the only important measures of performance, however, and not all big drivers perform with equal aplomb. Accuracy, speed in transients and the ability to blend seamlessly with full range speakers are also critical factors when judging the performance of any sized subwoofer, and a subwoofer driver is only as good as the motor and amplifier backing it up so a bigger driver doesn’t always mean better performance.

    Acoustically, subwoofers with 15-, 18- and 20-inch drivers are more susceptible to boominess and distortion compared to subwoofers with 10-, 12- or 13-inch drivers because the pistonic movement of such a large surface area is harder to control. Poorly designed big subwoofer drivers with inadequate motors don’t produce accurate bass and struggle to start and stop on a dime. This results in low frequency output that can sound smeared, boomy or bloated and detract from the convincingness of an audio experience.

    Put simply, a big driver is harder to control, and offers no guarantee of greater SPLs or deeper bass than a small subwoofer.

    Engineering Challenges of Big Subwoofer Drivers

    A subwoofer driver is only theoretical bass. The bigger the driver, the more amplifier current and magnetic energy required to power and control the pistonic motion, and this current only gets you so far.

    Finding the Right Big Subwoofer

    Driver size, SPL and low frequency extension are always critical factors, whether you’re choosing a big or a small subwoofer. Understanding the benefits and pitfalls of big subwoofer drivers, the technology behind them, and the things to look for when researching big subwoofers will always help you in your quest for the ultimate bass experience.

  38. Tomi Engdahl says:


  39. Tomi Engdahl says:

    Giant Subwoofer Video

    This was a demonstration built by graduate students at the University of Wisconsin -Madison in 2011. It’s purpose was to be physically large so elementary school kids could look inside while it was running and illustrate the how a speaker works on a grand scale (hence a transparent cone). Although powerful, it was not designed to be competitive with state of the art sub woofer systems or be high audio quality.

  40. Tomi Engdahl says:

    The strongest bass in the world

    Compilation strongest bass in the world. Scared people Brazil

    Bass car

  41. Tomi Engdahl says:

    Wendy Carlos demonstrates her Moog Synthesizer in 1970

    From the BBC archives. The music towards the end of the video is the 2nd movement of the 4th Brandenburg Concerto from her Well-Tempered Synthesizer album. You can visit her webpage at:

  42. Tomi Engdahl says:

    NRCC – Mobile PA System

    This is a video giving an introduction to North Ridge’s new mobile PA system which we will be using for small outdoor events, BBQ’s and church retreats.

    The system consists of a 12 mono channel 4 stereo channel analog mixer, two stereo power amplifiers for left, right, monitor 1 and monitor 2. Each output channel has a 31 band eq for system adjustment. Also included is one wireless microphone, a quad channel compressor, CD player/recorder and effects unit.

    Power comes into the rack via a Neutrik PowerCon connector. That is then fed into a Furman voltage regulator, this also goes into a rack mounted power conditioner on the front with lights.

  43. Tomi Engdahl says:

    $38 vs $2000 In-Ear Monitors – Part 1 of 3
    $38 vs $2000 In-Ear Monitors – Part 2 of 3
    $38 vs $2000 In-Ear Monitors – Part 3 of 3

  44. Tomi Engdahl says:

    DI Boxes, Impedance and Transformers Part #1

    Part 1 of Chatting about DI boxes, impedance and such

    DI Boxes, Impedance and Transformers Part #2

    Part 2 of chatting about the importance and usages of DI boxes and interconnecting differing impedances and output levels.

  45. Tomi Engdahl says:

    How to Correctly Fig 8 Wind a Cable and it is not a Straight Figure 8

    It can desirable to wind a cable in a figure 8 to reduce inductance related heat in power cables, to fit a large cable in a case, or to reduce inductance related signal degradation in audio cables to name a few.

    Turns out that winding a straight figure 8 is not optimal and does little to nothing in altering the inductance build up compared to a coiled cable. In this video you can hear the effects of inductance build up of coiled and Fig 8 cable as well as see it on an analyzer. I will also show you how to wind a cable figure 8 (perhaps better called a figure 80) such that there is little to no inductance build up.

  46. Tomi Engdahl says:

    Line Array vs Point Source vs Human Hearing

    Point source systems and line array systems each have their advantages and issues. While it is important to utilize the optimal system for the application, line arrays have one significant advantage that is easy to understand and difficult to measure.


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