Discovering the Sound System A simple nine-week course by Jason Salazar Companion DVD by Yamaha
This book also comes with a training DVD from Yamaha. Follow along with the DVD for each lesson. To order the complete book call Gospel Publishing House at 1-800-641-4310 or visit www.gospelpublishing.com item 73TW8140 price $29.95 (DVD included) Written and Produced by Jason Salazar and the National Music Department 2005 Music Department General Council of the Assemblies of God 1445 Boonville Avenue Springfield, MO 65802-1894 Exploring Sound Reinforcement Produced by KEYFAX New Media 2005 Yamaha Corporation of America www.yamaha.com All rights reserved. Publisher grants rights to the purchaser to photocopy and distribute only the following items: lessons and worksheet contained in the student section, charts and teaching aids. No other parts of the book or the DVD may be reproduced, photocopied or transmitted in any form without the express written permission from the publisher.
(use with Yamaha DVD: Exploring Sound Reinforcement) INTRODUCTION & PURPOSE is a binder that contains everything needed to teach a basic course on learning the sound system. The course is designed for the person who has no understanding of the workings of a sound system, but would like one. This course is especially written for the church volunteer who does not have a lot of time, but would still like to have a basic understanding of the typical sound system. COMPONENTS OF THE BINDER There are three sections in the binder: 1. Teacher Section The teacher section contains the nine lessons, answers to the worksheets other helpful notes. 2. Student Section The student section contains the nine lessons with blanks to be filled in (answers in teacher section). All of the materials in the student section are reproducible for any class size. 3.DVD The DVD, Exploring the Sound System is created by Yamaha. HOW TO USE THIS BOOK is an outline that follows the Yamaha DVD Exploring the Sound System. Feel free to pause the DVD at any time to discuss a topic. Following each session, it would be helpful to discuss the DVD and how you can utilize the tips in your current sound situation. Some recommendations for the course: There are nine lessons. You can accomplish these lessons by using any of the following formats: a. Meet once a week for nine weeks. Class time would vary depending on how much material would be covered. b. Meet twice over the course of two evenings. Class time would be lengthy, but could complete the material in shorter time. c. Meet once for an extended class. (Please note that the total running time for the DVD is just over two hours in length.) Contained in each lesson are worksheets that the student will fill in as the DVD is playing. If items are missed, the DVD can be rewound to the appropriate location. The worksheets follow the DVD in content. Attendance is crucial. Each lesson builds on the previous one. In each lesson, the student sheets have blanks in various places. Filling in the blanks will help the students reinforce the teaching. Answers are given in the teacher section. They appear as underlined passages. Introduction
LESSON 1 OVERVIEW AND EQUIPMENT MICROPHONES Teacher s Notes OBJECTIVES: 1. Learn about the various types of microphones and their purposes. 2. Learn about the various types of polar patterns. 3. Learn about how to choose the proper type of microphones for each application. 4. Learn about proper microphone placement and technique. OUTLINE: 1. Microphones Introduction 2. Microphone Types 3. Polar Patterns 4. Choosing and Using Microphones 5. Microphone Placement and Technique DISCUSSION QUESTIONS: 1. Are there ways that we can improve our use of microphones? 2. After watching this portion of the DVD, are there any ideas that we can incorporate into our sound ministry?
LESSON 1 OVERVIEW AND EQUIPMENT MICROPHONES MICROPHONES INTRODUCTION A microphone picks up sound and turns it into an electrical signal that can be amplified, mixed in with everything else and then sent out through the loudspeakers. There are hundreds of different kinds of mics, each serving a specific purpose depending on the application. MICROPHONE TYPES 1. Dynamic Mic Work on the principle of a diaphragm attached to a moving coil in a magnetic field. One of most popular types of dynamic mic is the Shure SM58. Dynamic mics are rugged and usually are not very expensive. Use the dynamic mic to mic vocals, snare drums and guitar amps. The sound source must be very close to the mic, as these mics are not overly sensitive. 2. Condenser Mic A condenser microphone is essentially a capacitor, with one plate of the capacitor moving in response to sound waves. The movement changes the capacitance of the capacitor, and these changes are amplified to create a measurable signal. Generally more sensitive than dynamic mics. Condenser mics must be treated carefully, as noise can be created by handling. Condenser microphones usually need an external power source to provide a voltage across the capacitor (some mixers can provide this power called phantom power). 3. Wireless Mic A wireless mic coverts sound into a radio signal that is transmitted to a receiver, which then converts the radio signal back to an audio signal that can be fed through the mixer as normal. To avoid interference, each mic needs to transmit on their own radio frequency. Compared to conventional wired mics, these mics are much more expensive. Wireless mics come in different shapes and sizes: handheld mics, mics that clip on shirt and mics attached to head worn device. Wireless mics use batteries for power. POLAR PATTERNS 1. Cardioid Picks up sound from the front and sides but almost nothing from the back. This is a good mic type for live use. 2. Omnidirectional Picks up sound from all around. This is a good mic type for drama.
3. Supercardioid Similar to the cardioid except it has a very narrow pickup at the rear (the cardioid has none). 4. Hypercardioid Similar to the supercardioid but with a slightly broader rear pickup region. CHOOSING AND USING MICROPHONES The Shure SM57 and SM58 have become industry standards. Use them to mic vocals, guitar amps and snare drums. Mics do not like moisture. Mics should always be transported in their appropriate cases. MICROPHONE PLACEMENT AND TECHNIQUE Mic placement and technique are crucially important factors in sound reinforcement. A rule of thumb says that the closer the mic is to the sound source, the louder the signal will be. When a mic is placed at an angle other than straight on, this is called off-axis. This will often soften the sound. Experiment with mic placement. Different positions will produce different sounds. Good mic technique results when the vocalist manually moves the mic in and out to create the desired sound level. The proximity effect is the increase in bass when a sound source is very close to a mic. When testing a mic, levels need to be set so that good sound occurs when speaking or singing is done at a low volume and the signal does not distort or overdrive the system at a loud volume.
LESSON 1 OVERVIEW AND EQUIPMENT MICROPHONES MICROPHONES INTRODUCTION A microphone picks up sound and turns it into an mixed in with everything else and then sent out through the loudspeakers. that can be amplified, There are hundreds of different kinds of mics, each serving a specific purpose. MICROPHONE TYPES 1. Dynamic Mic Work on the principle of a attached to a moving coil in a magnetic field. One of most popular types of dynamic mic is the. Dynamic mics are and usually are not very. Use the dynamic mic to mic and. The must be very, as these mics are not overly sensitive. 2. Condenser Mic A condenser microphone is essentially a, with one plate of the capacitor moving in response to. The movement changes the capacitance of the capacitor, and these changes are amplified to create a. Generally more than dynamic mics. Condenser mics must be treated, as noise can be created by handling. Condenser microphones usually need an to provide a across the capacitor (some mixers can provide this power called ). 3. Wireless Mic A wireless mic coverts into a signal that is transmitted to a, which then converts the radio signal back to an audio signal that can be fed through the as normal. To avoid, each mic needs to transmit on their own radio frequency. Compared to conventional wired mics, these mics are much more. Wireless mics come in different shapes and sizes:, mics that and mics. Wireless mics use for power. POLAR PATTERNS 1. Cardioid Picks up sound from the and but almost nothing from the. This is a good mic type for use. 2. Omnidirectional Picks up sound from. This is a good mic type for.
3. Supercardioid Similar to the cardioid except it has a very 4. Hypercardioid Similar to the supercardioid but with a slightly pickup at the rear (the cardioid has none). rear pickup region. CHOOSING AND USING MICROPHONES The and have become industry standards. Use them to mic. Mics do not like. Mics should always be MICROPHONE PLACEMENT AND TECHNIQUE in their appropriate cases. Mic and are crucially important factors in sound reinforcement. A rule of thumb says that the the mic is to the sound source, the the signal will be. When a mic is placed at an angle other than straight on, this is called often the sound. Experiment with mic Good mic technique results when the vocalist desired sound level. The. Different positions will produce different sounds.. This will the mic in and out to create the is the increase in bass when a sound source is very close to a mic. When testing a mic, levels need to be set so that occurs when speaking or singing is done at a and the signal does not the system at a.