Sound Desk Operation. A Users Guide to the sound system in The Ormond Anglican Church

Transcription

1 Sound Desk Operation A Users Guide to the sound system in The Ormond Anglican Church Page 1 FIFTH EDITION October 2013

2 1. Overview Desk Amplifiers Inputs Microphones DI Box Speakers Foldback Children s Room speaker Sanctuary speaker Things you Need to Know Opening the Desk cabinet Turning the Desk on Channels used at 9am & 3pm Channels used at 10:45am & 7:00pm Connecting microphones Connecting instruments Phantom Power Connecting foldback speakers Input controls Master Volume Children s Room and Sanctuary Volume Foldback Volume Busses & how to use them Managing Foldback Monitoring through the headphones Things that Might Be Useful Sound sent to the PC for recording Output for recording at the desk PC playback volume Playing from a laptop out the front Playing from an ipod or Mobile Phone Playing from a CD Talking from the desk through Foldback Setting up a channel from scratch Equipment Manuals Things that might get you out of TROUBLE No volume for one input channel No signal to the PC for recording Hum from a Guitar No sound in the Foldback Speakers No sound in one or both Front Speakers Radio Interference What to do with the Sound System after each service Signal Flow Diagram Page 2 FIFTH EDITION October 2013

3 1. Overview This document is a users guide for the sound system in The Anglican Parish of Ormond. It aims to give an overview of all the major components, as well as provide practical guidance in using the system for voice and music Desk The mixer desk is an Allen & Heath ZED-436 mixer with 32 mono inputs and 4 stereo inputs. The console is mounted in a cabinet with lockable top, back and front doors. A full Allen & Heath User Guide is located inside the right hand door of the cabinet. Most of the top of the desk is occupied with controls (dials, buttons and faders) for the input channels or output signals Amplifiers The amplifiers, CD player and other equipment are located in the cupboards under the desk. Please do not touch this equipment, other than the CD player. The left hand cupboard contains: Rear speakers controller Front speakers controller Subwoofer amplifier Rear speakers amplifier Front speakers power amplifier Page 3 FIFTH EDITION October 2013

4 The right hand cupboard contains: Wireless microphone receiver Front of House signal processor CD player Foldback speakers amplifier Hearing aid loop amplifier 1.3. Inputs Sound signals are fed into the desk from a number of sources. Microphone inputs for the desk are located near and in the platform at the front part of the church and in the old sanctuary, at the organ end of the church. These are XLR balanced connectors. Magnetic labels located above each channel s fader indicate the normal use for each channel. Microphone cables have a different connector on each end. There is a Stage Box of 12 XLR connectors located under the floor either side of the platform. Magnetic labels on the top of the box may help you match the connectors with channels on the desk. Page 4 FIFTH EDITION October 2013

5 There are also two small boxes in the floor of the centre platform. They each contain two power points, an XLR connector and a video connector. Other inputs to the mixer include: Wireless four handheld wireless microphones are connected to channels 13, 14, 15 and 16. The microphones and channels are identified with blue, green, red or yellow tape. The radio receivers for these microphones are in the centre and right hand cupboard of the cabinet. The red microphone is normally used for the service leader at 9:00am, 10:45am and 3:00pm. The yellow microphone is used at the reader s lectern at 9:00am. Front Of House channels 17 and 18 (labelled F.O.H 1 and F.O.H 2) are connected to the two small floor boxes located in the main platform. Stereo the desk has four stereo inputs (ST1 to ST4) controlled by two faders (Channels and Channels 35-36). ST1 is connected to the CD player. ST2 is connected to a 3.5mm stereo plug for connecting an ipod, iphone or other source. Stereo channels are labelled CD/iPod. ST4 is connected to the PC for sound from DVDs etc. It is controlled through the Channels fader. Page 5 FIFTH EDITION October 2013

6 1.4. Microphones Shure vocal there are four Shure SM58 microphones which are a good quality vocal microphone, well suited to a male voice. Shure instrumental there are two Shure SM57 microphones which are well suited to non-vocal use. Wireless there are four wireless Shure SM58 microphones. There are two radio receivers located in the centre cupboard and a twin channel receiver in the right hand cupboard of the console. These microphones use two AA rechargeable batteries. There are two chargers that take four batteries each. These microphones use a larger-than-standard clip on the microphone stand. Page 6 FIFTH EDITION October 2013

7 AKG we have four AKG microphones with a slightly triangular cross section. These are general purpose microphones for vocal and instrument use. Two of these microphones are permanently mounted on the piano. Radio there is one radio headset/lapel microphone. This is powered by a 9v battery. The transmitter must be turned off after use or the battery will be flat next time it is needed. It can be used with a clip-on lapel microphone for speech, or with a Hi-5 miniature headset microphone for vocals. The microphone transmitter and receiver are marked with white tape and the receiver is connected to channel 19. There is a charger dedicated to 9V batteries. Violin we have two small microphones for violins. The microphone is held under the strings between the bridge and tailpiece by a rubber Y piece. The microphone cable connects via an adaptor to a standard XLR cable. This adaptor can be clipped to a music stand or the violinist s belt. Page 7 FIFTH EDITION October 2013

8 1.5. DI Box The desk input connectors at the front of the church are XLR balanced microphone connectors. These are great for microphones, but don t work with guitars, keyboards etc. which have a ¼ plug. A Direct Input (DI) box is used to convert the signal from these instruments into XLR balanced signals. We have two 2 channel DI boxes that can be connected to one of the stage boxes. Note that these DI boxes require phantom power from the mixing desk. See section 2.7 for details on enabling phantom power. Make sure that the instruments are connected to the INPUT sockets and that the LEVEL button is out. Musicians may also have their own single channel DI devices. Page 8 FIFTH EDITION October 2013

9 1.6. Speakers Two main speakers provide sound to the body of the church. They are located to the left and right of the platform. Two secondary speakers provide sound in the extension at the rear of the church, behind the mixing desk. A single subwoofer provides deep bass sounds and is located inside the pulpit Foldback Foldback speakers are used to allow musicians up the front to hear what they and the other musicians are playing. There are four foldback speakers connected into two foldback channels. Foldback speakers should face the back of the playing area. Note that pointing the front of a microphone towards these speakers may cause feedback (and subsequent aggravation amongst the musicians and congregation) and should never be done. Page 9 FIFTH EDITION October 2013

10 1.8. Children s Room speaker There is a speaker mounted above a doorway in the children s room. The blue volume fader on the desk marked M controls this speakers Sanctuary speaker There is a speaker near the organ in the old sanctuary. It is also controlled with the M fader and there is also a volume knob on the speaker itself. Page 10 FIFTH EDITION October 2013

11 2. Things you Need to Know 2.1. Opening the Desk cabinet The cabinet has locks on the top, back and cupboard doors. Open the left and right cupboard doors when the desk is in use to allow air to circulate to cool the amplifiers Turning the Desk on There is one main power switch for the whole cabinet located behind the middle door. Turn the power on and off with the large red switch. Page 11 FIFTH EDITION October 2013

12 2.3. Channels used at 9am & 3pm These services usually only use the red and yellow handheld wireless microphones. The key controls required are the volume for channels 15 and 16, the master volume and the MONO volume. The foldback speakers are not generally used for these services Channels used at 10:45am & 7:00pm Magnetic labels above each channel s fader indicate standard usage. The channels for vocals, piano and keyboard are usually fixed with the channels in between being configured as appropriate for each band s needs. When setting up for a particular band it is usually easiest to first label the channels on the desk and then make the connections from the stage box. There are additional labels in a plastic bag in the centre console cupboard Connecting microphones For the 9:00am and 3:00pm services no microphone connections are required as the handheld wireless microphone is used. For the 10:45am and 7:00pm services microphones are usually connected to the stage box on the left side of the platform. Vocal microphones connect to the channels marked Vocal 1 to Vocal 5. The piano is miked with two AKG microphones to give a stereo sound. These microphones do not need to be packed away. Channels 1 and 2 control the volume. Other microphones may be connected for instruments such as flute, clarinet, violin, cello, acoustic guitar, ukulele, tin whistle etc. The red wireless microphone is used for the service leader. The blue, green and yellow microphones may be used for a vocalist, roaming (eg baptisms), or just as additional instrument microphones. The batteries will need to be installed and checked to ensure they are charged. The chargers live in the music room to the left of the musicians area. Note that plugging in the microphones before turning on the desk removes any risk that transient connection noise might damage the desk input channels Connecting instruments Instruments such as electric guitars, acoustic guitars with a pickup, keyboards etc normally use a cable with a ¼ plug. Connect these to the INPUT socket of the DI box and then into an appropriately labelled connector on the XLR box. Page 12 FIFTH EDITION October 2013

13 If a player has their own DI box or effects box with an XLR output, it can be connected directly into the XLR box. If the box requires phantom power ensure that it enabled for that channel on the mixer. Sometimes a guitarist may want to use a small amplifier pointing to themselves. In this case a microphone can be placed directly in front of the amplifier s speaker and connected into the XLR box. One of the black AKG microphones is usually used. There is a small boom microphone stand that works well in this situation Phantom Power Phantom Power is 48V DC that is provided from the mixing desk to the microphone channels. Phantom Power is required by condenser microphones and certain DI and effects boxes. Phantom power is enabled per channel by the 48V switch at the rear of the mixer below each XLR connector (3 in the diagram). Page 13 FIFTH EDITION October 2013

14 2.8. Connecting foldback speakers By convention channel 1 is used for foldback to singers and channel 2 is used for foldback to players. This is indicated on the mixing desk with magnetic labels. The sockets for the foldback channels are located in the left hand stage box. Normally all four speakers are connected to the two channels 1. Run a speaker cable (not instrument cable 2 ) from the socket to the INPUT socket on one foldback speaker. Run another speaker cable from the OUTPUT socket to the INPUT socket of the second speaker. Repeat for the other channel. Note that foldback speakers should be directed towards the back of a microphone, not the front. For this reason they are normally pointed directly away from the entrance end of the church. They should also be about ½ to 1 meter from the microphone. 1 You can run the foldback with just one speaker per channel, but the default volume might need adjusting. 2 Speaker cable is normally thicker than instrument cable. Speaker cable is made to carry a powerful current from the amplifier, instrument cable is made to carry a quiet signal without extra noise. Page 14 FIFTH EDITION October 2013

15 2.9. Input controls Each channel has controls which allow you to manage the quality of the sound and direct it through the mixer. The controls for each of the 32 channels are identical, so when you understand one you understand them all. Many of the channel controls do not need to be changed on a day-today basis. The Fader (19 in the diagram) is the main volume control for the channel. The normal position is 0db. You may need to use the fader to maintain a steady volume, for example as the service leader s microphone is used by different people of different heights and voice volumes. The GAIN control (4 in the diagram) is used to adjust for different strength signals from microphones and instruments. The idea is to adjust the GAIN so that normal volume occurs when the Fader is at 0. For 9:00am and 3:00pm you should rarely need to adjust the trim. For 10:45am and 7:00pm the default positions should be OK, except when a different model microphone is used or a different sort of instrument. If an instrument s signal is too large the mixer will distort (shown by the PK! LED at 17 in the diagram) and you will need to turn the trim down. Note that when you adjust the gain you also adjust that channel s volume in the foldback, so it is easier to leave it alone if you can. The Equaliser controls (6, 7, 8 & 9 in the diagram) allow you to adjust the treble, midrange and bass of the channel. Leave these alone unless you know what you are doing or have a big ego! The EQ IN (10 in the diagram) button enables the equaliser when pushed in. The EQ is bypassed when the switch is in its up position. The AUX1 and AUX2 controls (11 in the diagram) allow you to set the volume of this channel in the two foldback channels. AUX1 feeds foldback channel 1 (To singers) and AUX2 feeds foldback channel 2 (To players). The PAN control (14 in the diagram) allows you to adjust the signal from this channel somewhere between the left speaker and the right speaker. Straight up is centred. The MUTE switch (15 in the diagram) on each channel allows you to quickly silence that channel in the main and foldback speakers. It can be useful to quickly fix feedback if you can tell which channel is the cause of the problem. Page 15 FIFTH EDITION October 2013

16 The PFL switch (16 in the diagram) allows you to listen to the channel through the headphones, which is useful to listen to individual singers and instruments and to check that a particular instrument signal is coming through. PFL stands for Pre Fader Listen and performs the same function as a SOLO switch. The Buss switches (18 in the diagram) are used to direct the signal for this channel and are explained in the section on Busses. Note that for channels used at 9:00am and 3:00pm the L-R and M buss switches must be selected. Page 16 FIFTH EDITION October 2013

17 2.10. Master Volume The master volume faders control the loudness of the main speakers. The faders are labelled L and R. The normal position of the faders is 0. Use these faders to manage the overall volume of sound Children s Room and Sanctuary Volume The volume of the small speaker in the children s room and the speaker in the old sanctuary near the organ is controlled by the blue fader labelled M. The sanctuary speaker also has a volume control mounted on it. Page 17 FIFTH EDITION October 2013

18 2.12. Foldback Volume The two foldback channel controls AUX1 and AUX2 are labelled Foldback to vocalists and Foldback to instrumentalists for channels 1 and 2 respectively. Foldback volume should be sufficient for the musicians to hear each other, but not so loud as to overwhelm the main speakers for people in the main body of the room. Too high a level can also cause feedback 3. A level somewhere around 12 o clock should be sufficient. As there is no MUTE switch on each channel you may need to turn down each channel between songs to minimise extra noise in the room. Don t forget to turn the channels up for the next song! The AFL switch allows you to listen to the foldback channel through the headphones, which may be useful. Note that foldback is not usually used at 9:00am and 3:00pm. 3 That screaming sound discovered by rock guitarists in the 60s which can be quite painful and distracting in our setting. Page 18 FIFTH EDITION October 2013

19 2.13. Busses & how to use them The mixer provides four busses giving flexibility in the management of sound. For 9:00am and 3:00pm the L/R and M buss switches should be selected for any microphone channel used and the volume controlled with the L R faders. If you only mix at these services, skip the rest of this section. The Busses allow similar channels to be grouped and controlled together. On our mixer the busses have been grouped as Singers (GRP 1 & 2) and Instruments (GRP 3 & 4). By grouping signals together it is easier to manage the volume of singers relative to instruments. For example all instruments can be lowered in volume together with the GRP 3 & 4 faders. Channels are allocated to groups using the buss switches noted in the Input Controls section. Normally only one switch would be selected, but there may be occasions when L- R would be selected as well. Note that if no buss switches are selected for a channel then that channel will be mute in the main speaker mix (but not the foldback). Check that the buss switches are set reasonably (in case the last person driving the mixer was a fiddler). Don t change things just for the sake of changing them. Page 19 FIFTH EDITION October 2013

20 2.14. Managing Foldback The goal of foldback is to allow the singers and players to hear enough of themselves and each other to sing and play well. The two foldback channels (1 To vocalists, 2 To instrumentalists) allow each group to hear a different mix. The mix is controlled with the AUX1 and AUX2 controls on each channel. You should not usually need to change these much from the default settings. You should aim to have only just enough foldback volume. If you have too much volume you increase the risk that: The sound from the foldback speakers bounces off the wall behind the musicians towards everyone else in the church and overwhelms the main mix. You then lose control of the mix heard by everyone else in the room. Feedback occurs causing distraction and discomfort. Page 20 FIFTH EDITION October 2013

21 2.15. Monitoring through the headphones You can listen to the mix through the headphones. This removes the sound reaching you ears directly from sources through the air. A much more practical use of the headphones is to monitor individual channels or a group of channels using the PFL and AFL switches. For instance you can check whether the sound of an instrument is really coming through much more easily than by listening to the whole mix. You can listen to singers individually to find who is holding the melody and adjust the volume of the vocal microphones accordingly. Or you can have your own private performance by selecting all the singers and enjoy their harmonies lifted above the instruments. Headphone volume is adjusted by the PHONES LEVEL control. Page 21 FIFTH EDITION October 2013

22 3. Things that Might Be Useful 3.1. Sound sent to the PC for recording The PC records the main LR mix Output for recording at the desk A 3.5mm stereo plug connects into the Studio Out channel, labelled MATRIX OUT The Matrix can be used to provide a straight LR mix or a different mix using the Groups. This can be used to record in stereo to a laptop or other device placed on the mixing desk. Use the two Level controls to adjust the signal level. A power cord for a laptop is available in the bottom of the centre cupboard PC playback volume The stereo channel ST4, controlled by the channel fader is the signal from the PC into the mixer. It is used when a DVD or presentation is played on the PC. The fader should always be turned all the way down to - when not in use as it has been known to cause feedback Playing from a laptop out the front Channels 17 and 18, labelled F.O.H 1 and F.O.H 2 (Front of House) connect to the two small floor boxes in the platform. A Laptop can be connected to a floor box XLR socket using a DI Playing from an ipod or Mobile Phone A 3.5mm stereo plug connects into the stereo ST2 channel, labelled ipod In. A 3.5mm to 2.5mm adaptor cable allows a mobile phone to be connected. An ipod or other portable music player can be connected to this through its headphone socket. Use the Channel fader to control the volume of sound for this device. Note that the ipod and CD share this stereo fader. Page 22 FIFTH EDITION October 2013

23 3.6. Playing from a CD The CD player located in the right hand cupboard of the console is connected to ST1 and labelled CD. Use the Channel fader to control the volume of sound for this device in the same way as for an ipod. The CD player has buttons numbered 1 to 10 to allow quick track selection, though these are difficult to see as the light on the CD player is poor Talking from the desk through Foldback The microphone connected to the TALK BACK socket can be used to communicate through the foldback speakers to the musicians. Press the Talk to AUX 1-4 switch (2 in the diagram) to enable the microphone. Use the TB LEVEL control to adjust the volume. Note that if you select the Talk to LRM button your voice will come out of the main speakers! Page 23 FIFTH EDITION October 2013

24 3.8. Setting up a channel from scratch You may need to setup a channel that has not previously been used, or that is going to be used for something quite different. The mixer Operating Manual provides the following instructions: FOLLOW THIS SENSITIVITY ADJUSTMENT PROCEDURE FOR EACH CHANNEL IN USE 1. Set channel strip controls as follows: GAIN pot all the way counter-clockwise AUX SEND controls all the way counter-clockwise HPF switch either on or off (on is recommended for mic inputs) Channel fader at UNITY PAN pot hard left or right (for sending to a mono Group buss) PFL switch on (for monitoring) 2. Turn on the sound source, or get the singer/player to make some noise. 3. The channel s SIG LED should light. The L/R main meters will show the actual internal operating level. 4. Adjust the GAIN control clockwise to get peaks that regularly hit 0dB on the L/R meters. (If you use EQ, adjust the GAIN control after the EQ controls are set up.) 5. Repeat Steps 1-5 on the next channel that is being used, switching PFL off for the channel you have just set up and switching PFL on for the next channel Equipment Manuals A copy of this manual and the mixer manual are kept in a holder inside the right hand cupboard door. Copies of manufacturer s user manuals for most of the sound equipment are kept in a magazine box in the music store room. These may be helpful if you are trying to work out what a particular light means, or if something does not work, but don t fiddle with knobs and buttons just for fun. Page 24 FIFTH EDITION October 2013

25 4. Things that might get you out of TROUBLE 4.1. No volume for one input channel There are a number of possible causes for this. Check for: Wireless microphone switched off 4 (or on standby 5 ) at the microphone Wireless microphone receiver switched off (receivers in middle and right hand cupboards, powered power boards in the cabinet Wrong buss switch selected for this channel No buss switch selected for this channel The appropriate Group faders are turned down or muted A loose microphone cable at either end Electric instrument turned down on the instrument A loose instrument cable, DI cable etc. The DI LEVEL switch (GTR/SPK) switch has been pushed in on the DI 4.2. No signal to the PC for recording Check for: The cable into the PC may have become disconnected Hum from a Guitar If a significant hum is heard from a guitar or other instrument that is connected via the DI box try pressing in the Ground Lift button on the DI box for that channel. This may remove the hum No sound in the Foldback Speakers If there is no sound coming out of the foldback speakers check: Are the foldback channels AUX1 and AUX2 turned down? They should normally be at about 10 o clock. Is the foldback amplifier turned on? Are the foldback speakers plugged into the sockets in the left hand floor box? 4.5. No sound in one or both Front Speakers The main speakers (Bose 802) each contain a 4A fuse. If the speaker is overloaded the fuse will blow and no sound will be produced. This could occur to one or both speakers. To inspect and replace the fuse you need to use a ladder or scaffolding, remove the cable at the rear of the speaker and then remove the fuse from its holder using a flat screwdriver. Spare fuses are kept in the middle cupboard of the sound desk. 4 Red light or no light if wireless receiver is off 5 Orange light Page 25 FIFTH EDITION October 2013

26 4.6. Radio Interference If there is audible radio interference, eg from taxis etc, look for microphone channels with the gain turned high. Try muting these channels to see if the interference goes away. If it does, turn the gain down a bit. Page 26 FIFTH EDITION October 2013

27 5. What to do with the Sound System after each service 9.00am 1. If there is a lectern or anything in the music area, move it elsewhere. 2. Go and have a cup of tea or coffee. 3. Note; if there is no service immediately following (eg a combined service, Good Friday, Christmas Day) follow the steps listed at 3.00pm below am 1. Put the AA and 9V batteries in their chargers. 2. Pack up the microphones, stands and cables. 3. Hang the XLR cables coiled up on the cable stand. 4. Leave the foldback speakers out and connected. 5. If there is a 3.00pm service that day tidy up a bit and ensure that there is room for communion along the side of the platform. 6. Turn off the sound system with the master switch. 7. Lock the mixer desk. 3.00pm 1. Put the AA batteries in their charger. 2. Turn off the sound system with the master switch. 3. Lock the mixer desk. 4. Go and have a cup of tea or coffee. 7.00pm 1. Put the AA and 9V batteries in their chargers. 2. Pack up the microphones, stands and XLR cables. 3. Hang the XLR cables coiled up on the cable stand. 4. Leave the piano microphones and cables. 5. Leave the foldback speakers and cables out (tidily). 6. Turn down the two foldback channels, AUX1 & AUX2. 7. Reset anything on the mixer that you have changed significantly back to the default setting (This includes channels 1 & 2 for the piano, channel 3 for bass and channels for vocals and wireless microphones. 8. Remember the goal is to help the 9:00 and 10:45am services to be able to setup quickly in the limited time next Sunday morning. 9. Turn off the sound system with the master switch. 10. Lock the mixer desk. Page 27 FIFTH EDITION October 2013

28 6. Signal Flow Diagram This diagram shows the flow of signals from inputs to outputs. DI Microphones Wireless Microphones CD IN ipod IN PC IN Mixer 2TRK OUT Main Mix AUX 1 & 2 Mono Digital Signal Processor MTX 1 & 2 OUT Hearing Aid Loop Amplifer Front Speaker Conditioner Rear Speaker Conditioner Hearing Aid Loop Sanctuary Children s Room Front Speaker Amplifer Rear Speaker Amplifier Subwoofer Amplifer Foldback Amplifer Page 28 FIFTH EDITION October 2013