Sound Engineering

1. Sound Engineering • All Singers Wanteduse a microphone to project their voice from the stage, as the instruments on stage are amplified. The amplification boosts the volume of the sound made so that it can be heard over small and big spaces. As sound travels it loses quality, so many effects and enhancers are layered on top to further magnify the projected sound. • Be it a vocal or guitar or single drum piece – each is as important as the other when creating amplified sound. If there is lack of care by the sound engineer, it will cause havoc and make the Transit band an unpleasant audible experience. Crystal clear sound from the monitors as well as the projected sound from the speakers to the audience is essential. When musicians cannot hear themselves, above the stage noise and audience, it is causes the vocalists to strain their voice from over-projecting and band members major frustration when trying to sync-in and jam with each other. • During sound-check, it is crucial that each musician is set-up individually – with his or her own channel(s) clearly marked out on the sound desk. It is right in thinking that this should be the procedure for both monitor and speakers – for each musician. Once each musician is happy with his or her own sound, the engineer then needs to blend these together, inward and outward. A sound engineer will also know exactly how to stage instruments and in what position in order to not cause reflective sound in the wrong direction – which also causes feedback. Each musician’s amplification is very personal as it is to do with sound and hearing – when set-up correctly – the band can gel much better – the last thing any musician needs is to be worrying about not hearing whilst trying to perform at a maximum. This is a long process but with thorough sound preparation makes it very worthwhile. • The sound engineer needs to be able to hear a voice for the first time and know exactly what to do with it. The volume of the vocals should always sit above all the instruments and clear (even if a heavy metal screamer). The vocals are most important because a microphone’s gain causes most of the feedback on stage, and is very sensitive if accidentally pointed, dropped or in close vicinity to monitors and speakers. Plus the voice only has only so much volume that it can project. Whereas an instrument’s sound level can be raised much easier and without strain to that instrument. Adding effects and warmth to a vocal is a sensitive matter, technically. The right touch of reverb, delay, compression, treble, mid and bass needs delicate patient hands and ears of a perfectionist. The vocalist should always walk into the auditorium to hear what the overall sound is like. • The micing of a drum-kit requires a specialist – each drummer will play a certain way with the parts positioned at various heights and drum skins tightened differently to capture the sound that is right for them. For a sound engineer to work on this, he needs to be particular and listen to what the drummer requires. • Depending on the type of genre the band plays will guide what sound to go for – a rock band will have distortion and an orchestra will be able to hear a pin drop. A sound engineer will be employed for the experience of genre they are renown to be best at as well as for expertise. A sound engineer needs to know every kind of sound desk, how to wire the stage, what each effects does, how to use compression and how to set-up speakers. They should also carry a feedback frequency to measure and control these levels. Recording knowledge is essential too. Most sound engineers study and obtain degrees – it is a real specialist skill for an exceptional listener. The band should always make best friends with the sound engineer to ensure they are heard properly, s well as that backstage does make it happen, so much respect is deserved here.