Live Sound Engineering…Part 1

The basics of live sound mixing with an emphasis on non-technical details, and oriented towards acoustic music settings.

  • It is based upon my experiences with sound at different places, Installations and a few other venues over the past 13 year.
  1. The definitive Goals of Live Sound Mixing
  • Do what the artist wants. Not what YOU want.
  • Get the best sound in the hall you can with the equipment available. Don’t Dream for what U cant Get….in the Hall.
  • As a subsidiary to these, you are typically a consultant to the venue (or the artist if you are traveling with them) regarding the appropriate equipment necessary for providing a quality aural experience for the audience.
  • This means, if you are engineer for a venue, carefully reading the sound riders for a visiting artist, being certain that you will have the equipment requested available or, if not, being certain that the artist has approved whatever modifications you suggest.
  • If you are traveling sound engineer for an artist, this means making certain that a complete, detailed sound rider is made available to all venues well before the performance, and making yourself available to discuss these with a representative of the venue.
  • At the Venue…..
  • Start Up Technically, Following the Signal
  • Proceeding with following the audio signal from the artist through the various wires and equipment until it reaches the speakers.
  • This is the usual procedure to apply whenever there is some problem with the system that you don’t know the cause for – follow the signal, carefully checking each lead, plug and piece of equipment until you isolate the problem. A bit of background definitions and equations will be given in the first section, but these really gloss over a lot of the details, so see the references for more on this.

Next Post Ill be covering How to measure Signals, Microphones &other Inputs, Mixer & Mixing….So on and On and on….

Noel Flemming available for clarifications at



  • Diffusors are used to reduce or eliminate repetitive echoes that occur in rooms/halls having parallel walls and a flat ceiling. Although there are different philosophies about how much natural reverberation recording studios and listening rooms should have, all professional studio designers agree that periodic reflections caused by parallel walls are best avoided.
  • Therefore, diffusion is often used in addition to absorption to tame these reflections. Such treatment is universally accepted as better than making the room completely dead by covering all of the walls with absorbent material.
  • For me, the ideal listening room has a mix of reflective and absorptive surfaces, with no one large area all live or all dead sounding. Understand that “live” and “dead” as described here concern only the mid and upper frequencies. Low frequency treatment is another matter entirely, and will be described separately. #Acoustics, #Audio, #Sound, #Noise, #Roomacoustics, #Diffusers, #absorbers.

Fundamentals of Room Acoustics

Most #sound #reinforcement #systems are located indoors, and the acoustical properties of the enclosed space have a profound effect on the system’s requirements and its performance.

Our study begins with a #discussion of #sound #absorption and #reflection, the growth and decay of #sound fields in a room, #reverberation, direct and reverberant sound fields, critical distance, and room constant.

If analyzed in detail, any enclosed space is quite complex acoustically.

For further Simplifications & Perfections in acoustics, we are avaliable@Apocalypse Acoustics.


Apocalypse Acoustics
Acoustics & Noise Control

The study of the physical properties of sound and its coefficients.

Apocalypse provide complete acoustic design, noise & vibration control for facilities of all types whether it is to support unaided speech or live music or to effectively optimize the acoustical design for speech intelligibility & Musical Acoustics.