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

LIVE SOUND SUBS SUBWOOFER PLACEMENT & CONFIGURATION: LR, Center, Cardioid, End Fire (Pt1)

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.

973 Comments

  1. Tomi Engdahl says:

    Stereo Speaker Placement
    https://www.youtube.com/watch?v=mcB1jKs_ifU

    “Stereo playback is over a hundred years old, but the principles behind the technology haven’t really changed. Two audio signals are played through two separate speakers that are positioned so that the combination of the two signals creates a coherent sound space.

    It’s a simple illusion that makes the reproduced sound that much more vivid by letting the listener localize individual elements. As basic as this technology is, it only works if the speakers are positioned properly.

    If you’ve researched room setup before you’re probably already aware of the equilateral triangle setup. Setting your speakers up so that the distance between your listening position and each speaker is the same as the distance between the speakers forms a symmetrical layout that ensures the sound from each speaker reaches the listening position in sync. Push one speaker closer than the other and the sound stage will be distorted as one channel arrives at your ears slightly sooner than the other.

    Symmetry isn’t just important for the measurements between the speakers and the listening position, but their placement within the room should also be symmetrical so that the reflected sound from the surrounding surfaces also reaches the listener in sync.

    So where you place your speakers is going to be based on your room size and listening position. Ideally your listening position should be placed on one of the room’s thirds and avoid the null in the center of the room.

    It’s almost always a better idea to have your listening position face the shorter wall. With the speakers aimed down the length of the room, bass frequencies have moretime to develop and have less energy by the time they strike the rear wall which will make treating your bass issues a lot easier.

    Based on these principles, the starting layout is always the same: An equilateral triangle formed between the listening position and the speakers centered along the length of the room.

    Reply
  2. Tomi Engdahl says:

    Ed Sheeran +-=÷x „Mathematics“-Tour • Behind the Scenes: Lighting Design, PA Sound and FOH Crew Life
    https://www.youtube.com/watch?v=HvLCHaR4RbY

    EventElevator had the chance to meet technical crew members from Ed Sheeran’s impressive +-=÷x „Mathematics“ Tour. Production Manager and FOH Audio Engineer Chris Marsh explains the challenges of the new 360 degree design. Lighting Director Matt Jones provides exciting insights into Marc Cunniffe’s spectacular lighting design concept, which takes place on the six masts and around a center stage. Audio Systems Engineer Charlie Albin and Looper/RF Tech David Bright will also reveal further technical details about the impressive 360-degree show concept.

    Reply
  3. Tomi Engdahl says:

    MAking of – Ed Sheeran Mathematics Tour | Interview with Mark Cunniffe and Matt Jones
    https://www.youtube.com/watch?v=hEMQ9fZnbTU

    Reply
  4. Tomi Engdahl says:

    The best XLR Adapter Pro Audio Technicians can carry!?
    https://www.youtube.com/watch?v=RZBKNpz6tUo

    I asked you what you call this type of adapter & got a ton of interesting answers from all around the world. No matter what you call these though, you should have them in your kit, especially if you’re traveling light. Splitting, combining, turning around and patching, this one cable can do it all. So what is it?

    Reply
  5. Tomi Engdahl says:

    Mr Tape scratching reel to reel Tape Decks in 1991
    https://m.youtube.com/watch?v=2b6HeJIKl1Q

    Reply
  6. Tomi Engdahl says:

    The best XLR Adapter Pro Audio Technicians can carry!?
    https://www.youtube.com/watch?v=RZBKNpz6tUo

    Reply
  7. Tomi Engdahl says:

    Mixing Queen’s “Don’t Stop Me Now” on an Analog SSL Console – GoPro POV
    https://www.youtube.com/watch?v=Em9EwVQy-6s

    This is not an official mix, this is just for fun.

    Reply
  8. Tomi Engdahl says:

    Inside The Abbey Road Reverb Chamber
    https://www.youtube.com/watch?v=h3F-8kBAac8

    Located deep in the heart of Abbey Road Studios, the original Studio Two echo chamber has lent its rich ambience to everyone from Cliff Richard to the Beatles. Resurrected in the 1990s, it’s a part of recording history and a unique resource for today’s artists and producers. In our exclusive video, Mirek Stiles explains how EMI’s studio boffins developed their secret weapon, and puts it through its paces on drums, guitars, vocals and more.

    Chapters
    00:00 – What Is An Echo Chamber?
    01:30 – Abbey Road Reverb Development & Use
    04:31 – Listening To The Studio 2 Echo Chamber
    06:03 – Abbey Road Echo Chambers
    08:24 – Snare Sound
    09:10 – Has The Space And Usage Changed?
    11:06 – What Are The Pipes For?
    12:08 – Synths With The Echo Chamber
    13:10 – Microphone & Speaker Setup
    14:43 – Guitar Sound
    16:31 – Waves Abbey Road Reverb Plug-in
    17:15 – Full Mix With Reverb

    Reply
  9. Tomi Engdahl says:

    EUROVISION SONG CONTEST 2021 • Behind the Scenes • Lighting Design, Audio, Signal Distribution
    https://www.youtube.com/watch?v=XrqKsaq_WXQ

    This year’s EUROVISION SONG CONTEST (ESC) in Rotterdam was one of the first major European music events after many, many months of stagnation in the event industry. The creation of the popular event was a shining sign of hope for the whole industry. EventElevator spoke to the professionals behind the event via chat and live. We learned exciting production details first hand from Head of Production Erwin Rintjema, Lighting Designer Henk Jan van Beek, Set Designer Florian Wieder and Head of Live Sound Jeroen ten Brinke. As further interview partners, CEOs Thomas Riedel (Riedel Communications) and Marcus Graser (Claypaky) will speak about the importance of this signature event and how to deal with the time of the corona crisis.

    After a long tendering phase, the Dutch company Ampco Flashlight was selected as the technical service provider, who perfectly equipped the 65th ESC in the areas of audio, light and rigging. Faber Audiovisuals was responsible for the technical support in the area of video this year.

    Reply
  10. Tomi Engdahl says:

    Things you didn’t realize about bass… until now.
    https://www.youtube.com/watch?v=23q3zoKiuGs

    Devin and Austin explore bass reflex designs with slow-motion footage, as well as acoustic nozzles, advanced cardioid configurations, V-shaped phase-shifting slotted ports and just have a whole lot of fun. Grab your headphones and strap in!

    Reply
  11. Tomi Engdahl says:

    The Console That Changed Mixing Forever
    https://www.youtube.com/watch?v=KmwGACcltdQ

    ound On Sound met up with former Solid State Logic System and Support Team Leader Karen Down at Echotown Studio for a deep dive into the automation and recall technology that brought about a revolution in mixing.

    Integrating a computer and VCA automation into an inline mixing console, Solid State Logic’s 4000 E-series was the first to combine total parameter recall, level automation, tape transport control and comprehensive channel EQ and dynamics. The 4000 E launched in 1979 and allowed engineers to record, edit and overdub their fader moves to floppy disk, defining many of the automation modes we now take for granted. This console and its descendants dominated the music recording industry for the next 20 years, creating new working practices and changing the sound of popular music.

    In this exclusive Sound On Sound feature video, Karen demonstrates some of the key features that set the SSL console apart from its contemporaries and gives a tutorial on how to use the integrated computer.

    Chapters

    00:00 – Introduction
    00:40 – What Makes The SSL SL 4000 Mixing Console Special?
    02:39 – Loading A 24 Track Tape Onto A Reel-to-Reel
    03:49 – How Does The Automation System Work?
    05:56 – Setting Up A New Session With The SSL Console Computer
    07:10 – Finding The Start Of The Song
    07:52 – Adding Names For Tracks And Cue List
    09:39 – Total Recall Setups And Floppy Disk Storage
    12:16 – Recording Mix Automation
    15:29 – How To Edit And Update A Mix
    17:27 – ‘Auto Takeover’ Automation Mode
    18:47 – Setting Up Different Automation Modes
    20:04 – ‘Play Cuts Only’ Mode
    21:00 – ‘Immediate Pickup’ Mode
    21:23 – ‘Preview’ and ‘Trim’ Modes
    25:07 – ‘Revise’ Mix Mode
    27:41 – Ability To Combine And Edit Mixes Offline
    29:05 – Software Groups Used To Group Controls
    30:44 – Outro

    Reply
  12. Tomi Engdahl says:

    Better Sounding Subwoofer Arrays Part 1 – Coverage and Quality
    https://www.youtube.com/watch?v=qvp-CKHVLrA

    00:00 Introduction
    00:44 Sub Arrays vs Frequency
    04:30 One Sub
    07:07 One sub per side or flown line array
    08:42 Cancellation nodes
    13:37 4 wide subs per side
    16:07 Side coverage issues
    16:53 8 subs across the front
    18:33 upcoming Sub Vids

    Reply
  13. Tomi Engdahl says:

    Get More Subwoofer Bass
    https://www.youtube.com/watch?v=rYep4f3wO_o

    GET MORE BASS with our simple subwoofer trick. Here we explain step by step how to do it!

    The Ultimate Subwoofer Bass Trick
    https://www.youtube.com/watch?v=tV_fNZIE5LE

    Devin Sheets explains his subwoofer trick for getting lots of bass gain from taiko drums using nothing but area condenser microphones.

    Reply
  14. Tomi Engdahl says:

    How Subwoofers Really Work [slow motion]
    https://www.youtube.com/watch?v=ROgSc3mI_GA

    We demonstrate what it looks like in slow motion for a vented subwoofer to resonate in phase.

    Reply
  15. Tomi Engdahl says:

    We demonstrate what it looks like in slow motion for a vented subwoofer to resonate in phase.
    https://www.youtube.com/watch?v=qvp-CKHVLrA

    Better Sounding Subwoofer Arrays Part 2 – Sub Arcs, Delay & End-Fire
    https://www.youtube.com/watch?v=184UVCC-NSE

    Reply
  16. Tomi Engdahl says:

    Different Types of Panning Demo – Increase Stereo Image
    https://www.youtube.com/watch?v=OS6CKnkEUlA&t=1s

    00:00 Introduction
    00:18 Sammy Studies
    02:33 Sammy Tour and Audio
    03:44 Panning
    06:53 Level Panning
    08:17 Haas (delay) Panning
    13:41 Using EQ to Shift the Image
    15:47 Compassion to Pan
    17:48 Outro

    Alternatives to Live Stereo Panning #2
    https://www.youtube.com/watch?v=gP-ntaw0nnY

    00:00 Introduction
    00:52 Applying panning and to live sound
    02:04 Speech pathology and live sound
    06:36 Mono, delay and compression with drums
    07:22 Polarity reverse one side
    09:39 Combining delay, EQ and compression
    11:45 Regular panning
    13:56 More on panning!!
    15:54 Perception chat
    18:30 Outro

    Reply
  17. Tomi Engdahl says:

    FOH Gig Start to Finish | Country Band, Party Band, & Non-Profit Gala
    https://www.youtube.com/watch?v=U2KFuc5auWU

    all the in-depth detail about the gig you could want.
    I share my console file, system design, tuning workflow, and band patch sheet.

    How we used two smaller desks combined to fit our long input list
    What PA changes I would make for next year
    Hear my board mix of the event!

    00:00 – Intro
    01:37 – Background & Logistics, Engineering Docs, System Design
    06:13 – Band Riders
    07:55 – Console File Overview
    09:25 – On-Site Setup Plan, System Tuning
    16:03 – Run of Show, QLab Setup, What Show Felt like
    18:44 – Next Time Notes

    Reply
  18. Tomi Engdahl says:

    Managing Cables for Live Events
    https://www.youtube.com/watch?v=-IshB5FFOUs

    Justin Frick, owner of AV Chicago, explains the basic maintenance and handling requirements of commonly used cables in live event setups. The recommended methods of taping, wrapping, tying and storing cables are demonstrated in detail.

    Managing Cables Time Stamps

    Types of Cables – 0:26
    Cable Safety Tips – 2:10
    Cable Labeling – 3:53
    Cable Tying – 5:09
    Tips for Bundling Cables – 6:37
    Cable Taping – 7:35
    Cable Ramps – 9:19
    Cable Wrapping – 10:05
    Cable Storage – 12:52

    Reply
  19. Tomi Engdahl says:

    What Are My 5 Most Used Audio Adapters for Live Sound Reinforcement?
    https://www.youtube.com/watch?v=SFzPh3UYAoE

    Five handy and essential audio adapters that I use frequently for live sound gigs. These adapters help to find solutions and fix problems and just make mixing bands and doing other audio work more efficient. Having options leads to solutions.

    Whether it’s splitting a mono signal to feed to sources, or switching a TRS balanced connection to an XLR balanced connection to mate with an XLR input. Or switch that TRS 1/4″ balanced output to XLR so that standard mic cables can be used for interconnects. An unbalanced cable shouldn’t be ran for much more than 20′. And most people don’t carry TRS to TRS 1/4″ cables, but do carry plenty of XLR microphone cables.
    It’s also important to understand, an unbalanced 1/4″ instrument can unbalance an entire cable run. If you connect a 20′ unbalanced instrument cable into a 100′ TRS return on an audio snake cable, as explained in the video, you’ve just unbalanced that entire cable run. It’s not just the 20′ of the unbalanced cable. It’s now that 20′ feet plus the 100′ of the existing snake cable. The cable itself is not what makes it balanced, but instead the proper cable in conjunction with the balanced I/O circuitry.

    Reply
  20. Tomi Engdahl says:

    What I Learned Mixing My First Live TV Truck Gig
    https://www.youtube.com/watch?v=tGHBN5Vf08I

    00:00 – Intro
    01:51 – Video Overview
    02:27 – Show Scope, Crewing, Gear List
    07:26 – Role Specifics as Broadcast A1 and Audio Team Lead
    10:44 – Truck Setup, Console File, RF Coordination, Audio Playback Management
    23:06 – Task & Crew Management
    30:16 – Show Challenges & Mixing Strategies
    34:22 – Key Takeaways

    Reply
  21. Tomi Engdahl says:

    FOH vs. Broadcast Mixing — Audio Fundamentals — The Production Academy
    https://www.youtube.com/watch?v=6XeA3iTOp8s

    Even as in person events resume, the increase of livestreaming we saw in 2020 is here to stay. For a concert to sound great both live and remotely, it’s important to recognize that there are two mixes at play serving different needs – one for the venue and one for the livestream. (If we sent the FOH mix straight into the livestream encoder, it likely wouldn’t translate well.)

    In this video, veteran engineer and corporate audio specialist Brian Maddox discusses a couple ways in which general approaches to FOH and broadcast mixes differ.

    One crucial consideration is the difference in dynamics. When we attend a concert, our ears expect a wide dynamic range. The output will be loud when the band is playing a heavy song and much quieter in between songs or as the artist is talking to the audience.

    Reply
  22. Tomi Engdahl says:

    How To Mix Your Live Streaming Audio In A Daw
    https://www.youtube.com/watch?v=uHd9Y5oQVuk

    Live stream broadcast mix through a DAW. In this video I’ll show you how I’m mixing 128 channels live through Reaper for our live stream mix. Also, I’ll show you how I’m using a physical mixer as a control surface.

    Reply
  23. Tomi Engdahl says:

    Norges største bassvegg
    https://www.youtube.com/watch?v=QNTQYP-Ft58

    Jan-Einar Johansen har 32 attentommere i sin bassvegg. De kan spille over 140 db og forsterkes av 47 000 watt. Det er så ekstremt at vi ikke trodde det før vi sto midt i det store lydrommet. Resten av historien leser du i Stereo+, nr. 4/2021

    Reply
  24. Tomi Engdahl says:

    Are Your Speakers Loud Enough? Use These Formulas To Find Out…
    https://www.youtube.com/watch?v=Ee9bmALhhtg

    Learn how to convert watts to decibels so you can calculate how loud your speakers will get!

    Reply
  25. Tomi Engdahl says:

    Behind The Scenes On My A1 Gig | Live Audio Walkthrough at Non-Profit Gala
    https://www.youtube.com/watch?v=wfH1seGvn9g

    00:00 – Intro & Tuning Gear
    01:59 – FOH Setup
    03:25 – Venue Overview & A2 Station
    05:43 – RF, Video World, Back of House

    Reply
  26. Tomi Engdahl says:

    What’s In My Pelican (2022)? | Essential Live Audio Tools For Any Show
    https://www.youtube.com/watch?v=0wZDMMTm7rU

    Reply
  27. Tomi Engdahl says:

    How we play live with backing tracks
    https://www.youtube.com/watch?v=KUs82hPmQzA

    In this video I’ll be talking about my live guitar/backing tracks rig and how it allows me to automate a number of elements to my live performance.

    Reply
  28. Tomi Engdahl says:

    HOW TO build a Cheap SELF MIXED In Ear Monitor rig for your band.
    https://www.youtube.com/watch?v=VgtVb3pUu8c

    Everything you need to know to build a self mixed wireless In Ear Monitoring setup for your band.

    Reply
  29. Tomi Engdahl says:

    Why I Hate the Allen&Heath SQ Mixer Console
    https://www.youtube.com/watch?v=J5ECHX8BFaM

    Here are just a few reasons as to why I dislike the Allen&Heath SQ-series of mixers.

    This should apply to the SQ-5 SQ-6, and SQ-7.

    Reply
  30. Tomi Engdahl says:

    In ear monitoring
    https://www.youtube.com/watch?v=mHoljbkyAEs

    thought this group would appreciate the video

    Reply
  31. Tomi Engdahl says:

    How to use Backing and Click Tracks for a Live Performance
    https://www.youtube.com/watch?v=1bQPqN0sQuA

    If you have a band or performance that requires the use of backing tracks or click tracks or both, then this video is for you.

    Reply
  32. Tomi Engdahl says:

    Speakers Don’t Sound Real, Lets Build One That Does
    https://www.youtube.com/watch?v=VLkQSSydXwk

    Speaker point sound inward toward the listener Instruments radiate sound outward away from the instrument.

    Lets build a speaker that radiates sound like an instrument does and see what it sounds like.

    Reply
  33. Tomi Engdahl says:

    YouTubeen ilmestyi melkoinen helmi: lyhytelokuva ”Hurriganes – Roudarit” näyttää, millaista oli elo tien päällä Suomen kuumimman rockbändin kanssa
    https://kaaoszine.fi/youtubeen-ilmestyi-melkoinen-helmi-lyhytelokuva-hurriganes-roudarit-nayttaa-millaista-oli-elo-tien-paalla-suomen-kuumimman-rockbandin-kanssa/#Echobox=1674469770

    https://youtu.be/qi-nsQy6GTs

    Reply
  34. Tomi Engdahl says:

    The Dark Future of Music
    https://www.youtube.com/watch?v=8tTqWDa6lxU

    00:00 Introduction
    00:28 AI
    03:02 Touring
    05:25 Big Numbers
    06:41 Diversified Skill Set
    07:59 The Future of Instruments
    08:48 Nerina Pallot Interview
    10:25 How to support the channel

    Reply
  35. Tomi Engdahl says:

    Aux Fed Subs Are Better – Because of How Mics Work
    https://www.youtube.com/watch?v=hpFK1XOZuUg

    I explain and demo the issues with subwoofers connected to the left right outputs and show why controlling what inputs are sent to the subs is preferable, due to microphone limitations.

    00:00 Introduction
    01:12 Mics are flawed
    03:20 Diaphragm mass
    06:25 Mics add unrealistic low end
    07:56 Demo of subs aux vs subs to L/R
    11:31 Dont send inputs to subs that dont need subs
    13:18 Outro

    Reply
  36. Tomi Engdahl says:

    How the Super Bowl halftime show gets set up in just six minutes
    Patrick Baltzell has designed the audio for the past 19 Super Bowls — here’s how he does it
    https://www.theverge.com/2018/2/2/16961244/super-bowl-halftime-show-audio-patrick-baltzell-2018

    Reply
  37. Tomi Engdahl says:

    PixMob Lights Tait’s Floating Platforms At The Apple Music Super Bowl LVII Halftime Show
    https://www.livedesignonline.com/lighting/pixmob-lights-taits-floating-platforms-apple-music-super-bowl-lvii-halftime-show

    For its fifth appearance at the Super Bowl Halftime Show (2014, 2020, 2021, 2022, 2023, PixMob scored big. Once again, this Montreal-based wearable technology, wireless lighting, and crowd activation specialist provided a unique game-day experience at North America’s biggest annual sporting event, which aired this year on Sunday, February 13, 2023 from State Farm Stadium in Glendale, AZ.

    The star of the show, Rihanna appeared on a platform engineered and automated by TAIT, floating over the red set designed by Bruce Rodgers of Tribe Inc. and built by All Access, with PixMob technology used to light up all seven of the platforms used in the show. To do so, they placed 600 rugged LED Novas inside each platform, for a total of 4,200 units with 12 PixMob IR transmitters and seven PixMob Kore receivers. The Novas are not self-illuminating. They are controlled by the main light board, an MA Lighting grandMA3, while PixMob’s InfraRed wash emitter outputs PixMob Protocol to operate the Nova device wirelessly. The PixMob Infrared Wash fixtures were on the carts in the ground shooting up to light up the Novas inside the platforms

    “Each Nova pixel has a long battery life and can last up to 25 hours at full capacity,” explains Jean-Olivier Dalphond, a partner at PixMob. “That was crucial in this case as we only had to change the battery once in the two weeks of rehearsals leading up to the show. In addition, for this show, PixMob made a new device to control LED tape wirelessly. It uses the existing infrared wash transmitters to control the top-facing LED tape.”

    The desired effect was to have colors under the platforms in movement. The team also wanted to orchestrate different lighting patterns during the show, which meant PixMob needed to do product groupings to control different groups of products with different light requests.

    Reply

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