The Foldback or stage monitor system is the use of a speaker cabinet facing the viewer known as speaker monitor or stage monitor onstage during live music performances in which the PA system or sound reinforcement system is used to strengthen the singing, music, speech, and sound of other players for the audience. In the UK the term foldback or foldback speakers are often used. Speaker speakers are useful when reinforced instruments are used with acoustic and sound instruments. Speaker speakers often include one full-range loudspeaker and horns in the cabinet. Speaker speakers have many features that facilitate their transportation and protection, including grip, metal corner shield, sturdy cover or paint and metal grilles to protect the speakers. There are two types of monitors: a passive monitor consists of a loudspeaker and a horn in the cabinet (they must be plugged into an external power amplifier); Active monitors have loudspeakers, horns and power boosters in one cabinet, meaning signals from mixing boards can be mounted directly to the monitor speakers.
Voices in popular music and rock concerts are reinforced with power amplifiers through PA systems or sound reinforcement systems. With the exception of the smallest places, such as coffee shops, most medium to large sized places use two sound systems. The main system or front of house (FOH) is a PA/sound reinforcement system that amplifies sound on stage for the main audience. The monitor system consists of monitor speakers intended for players on stage rather than audience and power amplifiers. They are driven by a separate mixture of the main front of the home system. This mixture usually highlights vocals and acoustic instruments so it can be heard through electronic instruments and drums. The sound signals for the monitor speakers can be generated on the same mixing console as the main mix for the viewer (called mixed "front of house"), which often occurs in small places, such as pubs where the singer/guitarist performs. Monitor systems have different sizes and complexities. A small pub or nightclub may have one 100-watt speaker monitor onstage so that the main vocalist can hear his singing, with the "aux send" signal from a small powered mixer directly connected to the monitor cabinet, and the singer adjusts his own level with the mixer on stage. On the other hand, rock concert stadiums can use a large number of monitor wedges, large rack power amplifiers with thousands of watts of power, and separate mixing boards and sound engineers for monitors.
In most medium to large sized places, there is a separate sound technician and a mixing console on or next to a stage that creates a mixture for the monitor system. Mixtures of monitors are often different from mixed "front of house", because players can ask to hear more instruments of accompaniment or rhythm of certain parts. In the most advanced and expensive set-up of monitors, any player on stage can request a sound engineer for a separate monitor mix for a separate monitor. For example, a vocalist may ask to hear most of his voice on the monitor in front of him and the guitarist may ask to hear most of the bassist and drummer on his/her monitor.
Video Stage monitor system
Roles
Without the foldback system, the sound the player will hear onstage from the front of the house will be a rumble bounce that bounces off the back wall of the venue. The reflected sound is naturally delayed and distorted, which can, for example, cause the singer to sing outside of time with the band. A separate mixed signal is often directed to the foldback speakers, as players may also need to hear mixtures without electronic effects such as echo and reverb (these are called "dry mixtures") to stay in time and aligned with each other.. In a situation with a mixture of poor or absent creases, the vocalist may end up singing off-tune or out of time with the band.
For live sound reproduction during popular music concerts in medium to large venues, there are usually two complete loudspeaker systems and PA systems (also called voice reinforcement systems): the "main" or "front system" and "monitor" system " the system consists of mixing boards, sound processing equipment, power amplifiers, and speakers.The two systems usually share a microphone and direct input using a snake splitter microphone.There is disagreement when calling this audio system Sound Reinforcement (SR) or Public Address (PA) system. this is important in some areas or markets, whereas in other regions or markets, these terms can be exchanged.
The "main" system (also known as "Front of House", usually abbreviated as FOH), which provides a reinforced sound for the audience, will typically use a number of powerful amplifiers that drive a large range of heavy, heavy duty loudspeaker cabinets including low-frequency speaker speakers called subwoofers, complete speaker cabinets, and high-reach horns. A coffee shop or small bar where singers perform while accompanying themselves with an acoustic guitar may have a relatively small, low power PA system for "mains", such as a pair of two 200 watt powered speakers. A large club can use multiple power amplifiers to provide 1000 to 2000 watts of power to the "main" speakers. Outdoor rock concerts can use a large rack of power amplifiers to provide 10,000 watts or more.
The "monitor" system reproduces sound from performance and directs it to the players on stage (usually using a wedge-shaped monitor cabinet), to help them hear instruments and vocals. A monitor system in a coffee shop or singer-songwriter for a small bar may be a 100 watt wedge monitor monitor. In the smallest PA system, players can adjust their own "main" and "monitor" sound levels with a simple mixing board. The simplest monitor system consists of a single monitor speaker for the main vocalist that amplifies the sound of their song, so they can hear it clearly.
In a large club where rock or metal bands play, the monitor system can use a power amplifier rack and four to six monitor speakers to provide 500 to 1000 watts of power to the "monitor" speakers. In big places, there are often separate monitors for vocalists and instrumentalists. In most clubs and larger venues, sound technicians and technicians control the mixer boards for "main" and "monitor" systems, adjusting the tone, sound level, and overall volume of performance.
Larger clubs and concert venues typically use more complex types of monitor systems that have two or three different monitor mixtures for different players. Each monitor mix contains a mixture of various vocals and instruments, and a reinforced speaker is placed in front of the player. In this way the main vocalist can have a mixture that puts their vocals in front, the backup singer can have a mix that emphasizes their backup vocals, and rhythm members can have a mixture that emphasizes bass and drums. At outdoor rock concerts, there may be several thousand watts of power going into complex monitoring systems that include wedge shaped cabinets for vocalists and larger cabinets called "sidefill" cabinets to help musicians listen to their games and singing. In the 2000s, major professional bands and singers often used small headphone monitors "on the ear" rather than on-stage monitor monitors.
Maps Stage monitor system
History
In the early 1960s, many pop and rock concerts were performed without monitor speakers. In the early 1960s, PA systems were usually low power units that could only be used for vocals. PA systems during this era were not used to strengthen electrical instruments on the stage; each player is expected to carry powerful amplifiers and speaker systems to create electric guitars, electric basses, Hammond or electric pianos that are loud enough to hear on stage and fill the venue with sound. Since many early 1960s PA systems did not have monitors, singers could only hear their vocals by listening to the reflected sound from "front of house" speakers facing the audience after bouncing back from the back wall of the venue. This is not an effective way to hear a person's vocals, because the sound you hear bounces back from the back wall where it is too late. Because the singers can not hear their vocals, it makes it hard to sing in a rhythm with the band and in tune.
At this time, many professional sound engineers are grappling with the problem of how to give the singers sufficient volume to stay in sync and in time during the show. The use of loudspeakers facing the player for foldback or monitoring may have been developed independently by sound engineers in different cities trying to resolve this issue. The first time note that the loudspeaker used for foldback was for Judy Garland at the San Francisco Civic Auditorium on 13 September 1961; provided by the McCune Sound Service.
Early stage monitors are just speakers on each side of the stage that point to players that are driven by the same mix as FOH because the PA mixer rarely has an additional send mix. Today this will be called a "charging side" monitor. Bill Hanley who worked with Neil Young at Buffalo Springfield was the first to incorporate speakers on the floor that tilt players with directional microphones to allow for louder volume with less feedback.
Bob Cavin, a former engineer at McCune Sound, designed the first monitor mixer specifically designed for phase monitoring. He also designed the first stage monitor loudspeaker that has two different viewing angles.
With the introduction of monitor speakers, it makes it easier for players to hear their singing and play on stage, which helps improve the quality of live performances. Singers who can hear their singing clearly through the monitor speakers can sing more in tune and more with the backup band. In addition, a singer who has a good monitor system does not have to "go beyond limits" or force his voice to try to be heard. The monitor system also helps the instrumentalist part of the rhythm to improve their game. With a good on-stage monitoring system, even if there is a big stage (for example, at rock concert stadiums), and the musicians are far apart, the keyboardist can have a monitor speaker that reproduces bass, guitar and drum rhythm, which helps him play more in rhythm with other band members.
From the late 1960s to the 1980s, most of the monitor speakers used an external power amplifier. In the 1990s and 2000s, more and more clubs used powered monitors, which contained integrated power amplifiers. Most monitor speakers include a pad, a potentiometer (button) to control the volume of the horn. Another trend of the 2000s was the blurring of the line between the monitor speaker cabinet and the ordinary speaker cabinet; many companies began to sell full-range wedge-shaped speakers intended to be used either for monitors or for public purposes. Generic stage speaker recognition gives voice engineers with more flexibility to make changes to sound system settings, because if the venue has 10 "home front" speakers/generic monitors, if sound proofing reveals that the three monitor speakers are not providing enough monitoring volume (even at the maximum level), then the sound engineer can take one of the speakers "front of house" and put it on stage as an additional monitor.
Stage monitoring system
The monitor system consists of a monitor mix, equalization or other signal processing, amplifier, and monitor speaker at a stage that points to the players. Microphones and direct inputs are shared with home front systems or "FOH".
Front of House auxiliary speaker
The simplest monitor system is a speaker pointing to a player supported by a mixture of FOH. It may be used by one or two players in a coffee shop, small club, or small house of worship. In this setting, a two-channel powered mixer can be used with one channel that turns on the main speakers and one channel that turns the monitor speakers. Mixer will be on stage with the players set their own level.
Monitor mixed from Front of House
The more common monitor system is a system that uses one or more separate or mixed auxiliary mixtures on the FOH mixer board. This mixture of pre-fader and pre-input is evenly distributed so changes at FOH level and equalization do not affect what the players hear on stage. This mixture then pushes the special monitor equalizer and signal processor which in turn pushes the special monitor amplifier that gives the monitor speakers power. The FOH mixer is operated by a sound engineer located in the audience that also adjusts the monitor mix for the players.
Separate monitor plate
Larger clubs, concerts, and synagogues will use an entirely separate system for monitors with their own mixers and monitor sound engineers. In this case the splitter is used to divide the signal from the microphone and the direct input between the monitor mixer and the FOH mixer. This divider may be part of a microphone snake or may be built into the monitor mixer. With a separate monitor system there may be 8, 12, or more separate monitor mixtures, usually one per player. Each monitor mix contains a mixture of various vocals and instruments, and the floor monitor or "wedge" monitor is placed in front of the player. In this way the main vocalist can have a mixture that puts their vocals in front, the backup singer can have a mix that emphasizes their backup vocals, and rhythm members can have a mixture that emphasizes bass and drums. In addition, there may be a "side-fill" monitor to vote for an area on stage not covered by floor wedges.
Distributed monitoring
The first innovation used in the recording studio was to use a small mixer placed next to the player so they could customize their own mix. The simplest is a four-channel mini-mixer like the Furman HR-6 Personal Mixing Station. The mixer is driven by four sub-mixes on the FOH console with each sub-mix having an input subset on stage. For example, mix 1 vocals, mix 2 guitars, mix 3 keyboards, and mix 4 drums and bass. The players can then adjust these four groups to their liking. If the balance between multiple vowels or the balance between the bass and drum needs to be changed, the sound engineer must change it on the main mixing board.
The latest variation on this is adding additional input to each mixer which is a player instrument or a vocal microphone so each player can add more of their performance to other sub-mixes. This approach has been called "more me" on the monitor. A simple example is Rolls PM50s Personal Monitor Amplifier, which combines a mixture of monitors with local input to drive headphone amplifiers. A more sophisticated example is Hear Technologies's "hearsay" system.
With the advancement of digital technology, it is now possible to send multiple audio channels over an Ethernet cable. This allows the distribution of most or all input sources into any player mixer, giving them complete control over their mix. An example of this is the Aviom A-16II personal mixer.
Distributed monitor mixers are most successful with headphones or in-ear monitors. If monitor speakers are used, common feedback issues occur when players rotate their microphones too loudly.
Monitor equipment
Speaker speaker
Speaker speakers consist of two types: floor monitor and side charging monitor. Speaker speakers are usually heavy-duty speakers that can receive high input power to create high volume and withstand extreme electrical and physical abuse.
Floor monitor
The floor monitor is a compact speaker with a sloping back on the floor. This oblique shape provides a floor monitor with another name of wedge . The angle is usually 30 degrees which directs the speaker backwards and toward the player. These speakers can be small single speakers such as "hot spot" monitors by Galaxy Audio that are sometimes mounted on microphone stands to make them closer to the players' ears. More often they are a heavy-duty two-way system with woofers and high-frequency horns. Small floor monitors may use a 12 "woofer with an integrated high-frequency horn/driver combination such as a JBL 4602A floor monitor.Large floor monitors may use one or two 15" woofers and high-frequency drivers attached to high-frequency horns. such as EAW SM159zi stage monitor Speakers may use passive or bi-amped crossovers with active crossovers and separate amplifiers for woofers and high-frequency drivers.
Active monitor
The latest trend is to build amplifiers and related sound processing equipment to the monitor itself. This monitor is called an "active" or "powered" monitor. This design allows amplifiers with the right amount of power to be made specifically for speakers. The active monitor is usually bi-amped and has an active crossover with custom alignment to adjust the monitor to have a flat frequency response. One of the first examples of this type of monitor is the Meyer Sound Laboratories UM-1P.
side-fill monitor
Side-fill monitors are monitors that sit upright on the sides of the stage and are used to provide sound to the stage area not covered by the floor monitor. Charger side chargers are usually standard FOH speakers. A special case of sidefill monitor is "drum filling". Drum fills are usually large 2- or 3-way speakers with one or more large woofers that can afford very high volume.
The monitor amplifier
The monitor amplifier is a heavy duty amplifier, typically 200 watts per channel or more. If the monitor speakers use a passive crossover, then each channel is connected to one or more monitor speakers. In a simple monitor configuration, a mixed monitor may push both channels of the amplifier so that one mix can be heard by most bands using multiple speakers. In a more complex monitor configuration in which each player has a separate mix, each mix will move a separate channel on the amplifier. If the monitor is bi-amped, then two or more booster channels are required for each speaker. It may be a single channel of two different amplifiers, high power amps for woofers and medium power amplifiers for high frequency drivers, or possibly two channels from high power amplifiers. The main criteria of monitor amp is reliability. They must be able to withstand the misuse of their shorted outputs or the conspicuous and unpolluted speakers when the amp is turned on. They must continue to function while being overloaded for a long time.
Equalization and signal processing
Speaker speakers require their own equalization especially to reduce or eliminate acoustic feedback. One of the main problems affecting the monitor is the acoustic feedback or "ringing". Acoustic feedback occurs when the delay time between the microphone acoustic input and the output of the monitor speakers is a multiple of the frequency period. When this happens the acoustic output of the speakers is taken by the microphone and reinforced by the monitor speakers. This is a positive feedback loop that amplifies a certain frequency, causing the speaker to howl or scream. Equivalence is used to reduce the specific frequency of the feed back.
Eliminate feedback
The process of deleting feedback on the monitor is called by calling the monitor. To eliminate the feedback, the monitor level is raised until it begins to give feedback. The frequency of feedback is identified either by the ear or by a frequency analyzer. The equation is used to reduce the frequency. The monitor level was again upgraded until the next frequency started giving feedback and the frequency was omitted. Usually, eliminating the first four or five frequency feedback is all that is needed. If multiple monitor combinations are in use, the process must be repeated for each mix of separate monitors.
Graphic equalizer
The most commonly used equalizer in a monitor system is the graphic equalizer. They get their name from a sliding potentiometer or "slider" that is used to adjust the level of each frequency band. Graphic equalizers are fixed frequency equalizer. The center frequency of each band can not be adjusted. Bandwidth or Q of each band can be 1/3, 2/3 or an octave, providing 31-band, 15-band, or 10-band graphical equalizer. The narrower the band, the more precisely the frequency of feedback can be isolated. Normally a 31-band equalizer is used, such as the DN360 or DBX 1231 Technical Klark. The higher unit is preferred because the longer slider length gives more precise control over the level adjustment.
Variations on the graphical equalizer are the "cut only" graphical equalizer. Since most of the time, the equalization monitor involves frequency deletion, the equalizer can only give you a more precise level adjustment because the entire trip slider is used to reduce the rate rather than spending half the journey to improve. An example of this is UREI 539.
One of the advantages of graphic equalizer is its simplicity of use. When you turn on the monitor, one can increase and restore each frequency band until the ringing begins. It helps you identify the frequency of feedback. The lack of a graphical equalizer is a fixed frequency band. Feedback is rare in the exact center of the frequency band so that two adjacent frequency bands may have to be reduced in parallel to eliminate feedback.
1/3 octave of RTA
LED Peavey
Equalizer parametrik
The second type of equalizer used in the monitor system is the parametric equalizer. Parametric equalizer does not use fixed frequency bands. Instead each frequency band can be adjusted. The center frequency can be adjusted to a range of several octaves. The bandwidth of each band can be adjusted from a wide Q that affects several octaves to a narrow Q that affects 1/3, 1/6, or less than an octave, and the band rate can be adjusted. Each band may have a different frequency sweep range, with the lower left or lower octave sweep bands, the middle band sweeping the middle octave, and the right or higher bands sweep the octave higher. Usually there is a lot of overlap between bands. Parametric equalizer usually has 3 to 5 filter bands per channel. Examples of parametric equalizer are Rane PE 55 and Klark Teknik DN410.
The advantage of using a parametric equalizer in a monitor system is that the filter can be adjusted appropriately with a certain frequency of feedback, and the bandwidth of the filter can be very narrow so that the adjustment affects as few as possible the frequency band. This leads to the removal of more precise feedback with less sound staining. For this reason many professionals recommend using a parametric equalizer over graphic equalizers for monitors.
The process of using a parametric equalizer is different from when using a graphic equalizer. When using the parametric equalizer, the first step is to select the band to use. Usually the first feedback frequency is in the lower middle range so the second band would be a good choice. If the feedback frequency is in the upper middle range, then the 3rd or 4th band will be a good choice. Next, set the Q filter to be as narrow as possible and increase the frequency to 6 to 9 db. Increase the monitor level to start giving feedback, lower 3 db or more. Now, sweep the filter frequency until the monitor backs up. Swipe back and forth above the feedback frequency to find the center frequency by searching the lower and upper frequencies of the ring and setting it to center between these frequencies. You may need to drop the gain on frequency if the feedback is hard. You repeat the process for the next and next frequency of feedback. You may find that the frequency sequence does not increase from left to right. For example the sequence may be 250 Hz, 800 Hz, 500 Hz, 2.6 kHz, and 1.7 kHz. While this may seem confusing, it does not matter. You can reset them if you like the extra cost of work on your part.
Filter position
The notch filter is a semi-parametric equalizer in which the bandwidth is set very narrow, 1/6 an octave or less and is the only cut filter. Examples are UREI 562 Feedback Feeder and Parametric Notch Ashly SC-68 Filter.
Automatic digital notch filters
Speaker processor
Digital signal processing has enabled the integration of graphic equalizer, parametric equalizer, automatic notch filter and active crossover into one unit called digital signal processor or speaker processor.
DBX, BSS
Other signal processing
Compressor/limiter
Vocal effects
Monitor mixer
Monitor mixer allows musicians to be provided with mix stage. It can be controlled by the sound engineer or by the band, depending on the exact mix and the amount of control required. The stage mix will be a mixture of any vocals and instruments connected to the PA system.
Some musicians may prefer to sub-mix their own Ear Monitor when performing on stage. It provides a mixture that is more controllable by musicians and gives them what they want. This can be achieved, in some way, one of which is by using another, usually smaller, mixing table and using a separate PA snake cable, or mic 'Y' splitter cable. Both allow the required instrument or vocal input, to feed both the FOH mixer and the monitor mixer. This input can then be mixed on the monitor mixer, setting whatever level is required for each separate input eg. more guitars, fewer basses, more main vocals, fewer backing vocals, thus providing a bespoke mix for anyone connected to the sub-mixer. The number of inputs on the sub-mixer will determine the number of sub-mixed instruments and vowels and the number of outputs determines how many musicians can be provided with a bespoke monitor mix.
Sub-Mixed On FOH Mixer
Pra-fader, pra-EQ
The Aux level adjusts the overall volume
Mixer Monitor
May not have a fader
Mixed blend for engineers
The monitor mix may be mono or stereo
Built-in splitter
Placement of monitor mixer
Monitorland
Produk terkait
Headphone
Hardshell headphones are commonly used by voice board operators to listen to certain channels or to listen to the whole mix. While amplified monitor speakers can also be used for this purpose, high volume sound in many club settings makes hardshell headphones a better choice, as hard plastic shells and foam cushions help to block room noise. Some players can use headphones as monitors, like drummers in pop music bands.
Monitor in-ear
In the 2000s, several bands and singers, usually professional tours, began using small headphone monitors "in the ear". In-ear monitors allow musicians to hear their voices and other instruments with clearer and clearer sounds, as the in-ear headphones design is blocking sound on stage. While some in-ear monitors are a "universal fit" design, some companies also sell custom-made in-ear monitors, which require installation by an audiologist. Custom in-ear monitors provide the right fit for a player's ears. In-ear monitors greatly reduce on-stage volume by eliminating the need for monitor wedges on stage. This reduced volume on stage made it easier for Front of House audio engineers to get a good sound for the audience. In-ear monitors also make audio feedback "howls" are very unlikely, because there are no monitor speakers. Volume on a lower stage can cause less hearing damage for the player. One disadvantage of in-ear monitors is that singers and musicians can not hear comments on the stage that are spoken away from the microphone (eg, stubborn retreat from the mic vocals and see the band and call for a chorus impromptu repetition) or sound from the audience. This problem can be fixed by placing the microphone in front of the stage so the band can hear the audience. Bass shaker
Drummers usually use monitor speakers that are able to reproduce loud noises, so they can monitor their bass drum. However, having a 15 "or even 18" subwoofer that produces a high level of sound pressure can increase the overall stage volume to an uncomfortable level for the drummer, since the drum is very hard. Because many very low bassers are felt, some drummers use tactile transducers called "bass shakers", "butt shakers" and "throne shakers" to monitor their bass drum time. The tactile transducer is attached to the drummer's stool ("throne") and the transmitter's vibrations are transmitted to the body and then to the ear in a manner similar to bone conduction. They are connected to an amplifier like a normal subwoofer. They can be attached to large flat surfaces (eg floors or platforms) to create large low-frequency conduction areas, although low frequency transmissions through the foot are not as efficient as seats. It helps the concert drummer to monitor his kick drum performance without "polluting" the stage with powerful low-frequency waves from the subwoofer monitor.
Other meanings
The term "foldback" is sometimes applied to in-ear monitoring systems, also described as mixed artist cues , as they are generally made for each player. "Foldback" may rarely refer to current limiting protection in audio electronic amplifiers.
The term
See also
References
Source of the article : Wikipedia
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