1.

Live Sound Engineering

1.1.
1.2.
1.3.
1.4.
1.5.
1.6.

Front of House (FOH) Engineer

Monitor Engineers
System Technicians
Stage (Mon.mix pozicija, sustav za monitoring) FOH
pozicija, pozicija glavnog razglasa
Elektroakustiki lanac i komponente live sound sustava
Prostorni raspored komponenti elektroakustikog lanca u
live soundu

2. Stage
2.1.

2.2.

2.3.

2.4.
2.5.

Organizacija stage-a
2.1.1. Backline
2.1.2. Mikrofoni, stalci
2.1.3. Kablovi, snake
2.1.4. Stage box (splitter)
Izvori zvuka
2.2.1. osnovni pojmovi o zvuku
2.2.2. Valovi zvuka
2.2.3. Vremenska i frekvencijska domena
2.2.4. decibel
2.2.5. ...
Mikrofoni (elektroakustika pretvorba)
2.3.1. Podjela mikrofona prema principu rada
2.3.1.1.
Dinamiki mikrofoni
2.3.1.2.
Kondenzatorski mikrofoni
2.3.2. Polarni dijagram i frekvencijska karakteristika
2.3.3. Ozvuavanje instrumenata
2.3.3.1.
ozvuavanje bubnjeva
2.3.3.1.1.
Kick
2.3.3.1.2.
Snare
2.3.3.1.3.
Toms
2.3.3.1.4.
HiHat, OH, inele, Perkusije
2.3.3.2.
ozvuavanje zvunika (Gtr. box)
2.3.3.3.
ozvuavanje akustinih instrumenata
2.3.3.4.
Ozvuavanje klavira
2.3.3.5.
ozvuavanje puhaa
2.3.3.6.
ozvuavanje vokala
2.3.4.
D.I. box
Kabliranje, koncentracijske i spojne toke kablova
Monitoring (postavljanje monitoring sustava na stage-u)

3. FOH
3.1.

Mikseta
3.1.1. Analogna vs digitalna
3.1.2. Channel Strip
3.1.2.1.
Preamp
3.1.2.2.
Eq
3.1.2.3.
Inserti

3.2.

3.3.

3.1.2.4.
Send/Return
3.1.2.5.
Aux
3.1.2.6.
Pan
3.1.2.7.
Routing/Bussing
3.1.2.8.
Monitoring (PFL/AFL)
3.1.2.9.
Feder
Outboard rack
3.2.1. Kompresor
3.2.2. Gate
3.2.3. Effect processor
3.2.4. Grafiki EQ
Mjerna oprema i oprema za pristup glavnim procesorima
razglasnog sustava

4. Razglas (P.A. Sistem) (instalacija i ugaanje)

4.1.

4.2.
4.3.

Glavni razglas
4.1.1. Dizajn i optimizacija sustava
4.1.2. Software za predikciju
4.1.3. Mjerni software
4.1.4. Sluanje
Monitorski sustav
4.2.1. IEM
Koncertni prostor
4.3.1. Osnove akustike prostora
4.3.2. Otvoreni prostor
4.3.3. Koncertna dvorana
4.3.3.1. Mali prostori
4.3.3.2. Vei prostori
4.3.3.3. Akustika pozornice i utjecaj

5. Organizacija festivala
5.1. Organizacija
5.1.1.
Tech rider-i
5.2. Stage manager
5.3. Roadie
5.4. Crew

6. The Art of Mixing the Show

6.1.

6.2.

6.3.

Instinctive Behaviour
6.1.1.
Nature
6.1.2.
Percussive Creatures
6.1.3.
The Circle of Emotion
Musical Dynamic
6.2.1.
Controlling Musical Dynamics
6.2.2.
Buildup, Tension, Transfer
6.2.3.
Consistency and Continuity
Building Blocks of a Mix
6.3.1.
What Makes a Good Mix?
6.3.1.1. EQ
6.3.1.2. solid and clear
6.3.1.3. comprehension

6.3.1.4. leave yourself somewhere to go

6.3.1.5. never mix with your eyes
6.3.1.6. take the rough with the smooth
6.3.2.
Understanding What the Artist Wants
6.3.3.
Frequencies and EQ
6.3.3.1. how to describe what you are hearing
6.3.3.2. abundance of frequencies
6.3.3.3. importance of low mids
6.3.3.4. solid EQ
6.3.3.5. vocal ranges
6.3.3.6. frequency and EQ training
6.3.4. Phase Relationships
6.3.5. Prerecorded Material
6.4. Fusing Mix
6.4.1. Creativity
6.4.2. Focal Point
6.4.3. Energy Transfer
6.4.4. Creating Space
6.4.5. Adding or Losing
6.5. Creative Dynamics
6.5.1. Ratio
6.5.2. Threshold
6.5.3. Attack
6.5.4. Release
6.5.5. The Process
6.5.6. Constructive and Destructive Dynamics
6.5.6.1. CONSTRUCTIVE
6.5.6.2. DESTRUCTIVE
6.6. Using Effects Effectively
6.6.1.1. DIFFUSION
6.6.2. Reverbs
6.6.3. Natural Room Verb
6.6.4. Thickening Verbs
6.6.5. Dry Vocals
6.6.6. Kit Verbs
6.6.7. Gated Verbs
6.6.8. Delays
6.7. Concluding The Mix
6.7.1. Tightening the Mix
6.7.2. Reading the Crowd
6.7.3. Volume
6.7.4. Mix Power
6.7.5. Ask!
SOFTWARE:
Emulacija sigitalne miksete
Software audio console
Dual-channel FFT
Rational Acoustics SMAART Live
Software za predikciju raspodjele zvuka
Electro Voice LAPS II
Mayer MAPP-Online Pro
EASE Focus