Live Sound 101: Choosing Speakers and Setting Up a Sound System

Live Sound 101: Sound System Design and Setup for a Live Band | explora
4/1/16, 4:40 AM
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Audio / Buying Guide
Live Sound 101: Sound System Design and Setup for a Live Band
By Andrew Eisele | 6 months ago
f you have been tasked with setting up a sound system for a small band that
wishes to reach an audience of 300 to 500 people, there are various
elements, both strategic and technological, to consider. Audio tech people
have never had such a broad range of sound reinforcement equipment and
techniques at their disposal. The choices of technology and products
available can be overwhelming, so lets talk about some of the options.
Speaker Selection
Your choice of speakers should be based on coverage requirements and the size of
the venue. There are some things to consider regarding the shape of the room and
how the speakers will interact with boundaries, such as the walls, the ceiling, and
the oor.
You want to get the best speakers your budget will allow. Start by guring out what
you can aord and then determine what sounds best to you within that price
range. Always listen to the speakers before buying, as not all of them are made
equal. When choosing a speaker, youll want to consult the specication sheet,
which should be readily available from most reputable manufacturers. The most
important specs to know are the frequency response, SPL output, and dispersion. If
you are using passive speakers, then youll need to know the wattage and
impedance (ohms resistance).
http://www.bhphotovideo.com/explora/audio/buying-guide/basics-live-sound
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A full-range speaker with a frequency response of 60 Hz to 18 kHz may be ne for

many genres of music, such as country, folk, or folk-rock, where the kick drum and
bass dont need additional punch. For rock, metal, pop, hip hop, EDM, etc., you will
want a subwoofer. A subwoofer extends the frequency response down to 45 Hz or
lower and will allow the full-range speakers additional headroom and increased
output.
Frequency Spectrum for Full Range Tops and Subwoofer
The sound pressure level of a speaker will determine how loud a speaker is at a
given distance (typically 1 meter). Most spec sheets will show Peak and Continuous
outputs. The peak is how loud the speaker is on loud transients, while continuous
output is the average loudness. This is a good indication of how the speaker
performs, dynamically. Sound pressure levels (SPL) will attenuate by 6 dB with the
doubling of the distance. If a speaker were capable of 135 dB at 1m, then 2m
would have an SPL of 129 dB. By doubling the distance to 4m, the speaker would
output 123 dB and so on. Another consideration is that doubling up on the
speakers will result in a +3 dB increase. If a speaker has a peak output of 135, by
adding another speaker the output would increase to 138 dB.
Sound Pressure Level to Decibels Distance
Dispersion is the way the sound is projected horizontally and vertically from the
speaker. This is incredibly useful for determining the placement of speakers, as you
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can direct the sound away from boundaries, such as walls and ceilings. For
instance, a speaker with a 60-degree horizontal dispersion might work well for a
narrow room, while adding an additional speaker could increase the dispersion to
120. The goal is to oer coverage to the entire audience, while directing the sound
o the walls. Many speakers are designed to couple by utilizing a trapezoidal
enclosure, versus a square or rectangular enclosure. The trapezoidal design allows
for easy placement of the speakers, as they can be placed together in tight-knit
group or array, which allows for coupling with reduced interference between
speakers.
The vertical dispersion will determine how high the full-range tops will need to be
to provide proper sound coverage for the audience. There are many ways to
congure a system, in terms of height and whether ground-stacking, speaker
stands, scaolding, or trussing should be implemented as a way to get the speaker
high enough to oer extended coverage. The higher the speaker, the farther the
sound will travel. If it is too high, there will be a loss of impact in the front. Not
high enough may result in the sound being uncomfortably loud for the front row.
Horizontal Dispersion
Vertical Dispersion
For our purposes, I suggest setting the tops at shoulder to head level, about 5 to 6
feet from the oor. If you are utilizing subwoofers, you might try ground-stacking
the tops on top of the subs. Many speakers oer pole mounts for use with speaker
stands. This is the simplest way to get proper height, especially if you dont have
multiple subs to create a ground stack. At the very least, you want your highfrequency driver above the heads of the people in the audience.
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4/1/16, 4:40 AM
(http://static.bhphotovideo.com/explora/explora/sites/default/les/stacked-copy.jpg)
Ground Stack
Active versus Passive
There are pros and cons to both active and passive

speaker designs. Active speakers are the easiest to
deploy with built-in ampliers that are matched to
the speaker components (woofers, mid-range, and
tweeterstypically compression drivers). They also
feature crossovers, which isolate and route frequency
ranges to each component, and built-in limiters for
protecting the drivers. A three-way active speaker will
have two or more built-in crossovers, which isolate
the high, mid, and low frequencies. The advantage of
active speakers is the ease of setup and operation.
They only require a line level input and you wont
have to use separate ampliers to power them.
Passive speakers require amplication, speaker
cables, and may require an outboard crossover and
other signal processing. Some passive speakers will
utilize an internal crossover network, which functions
much like the active speakers. Other speakers are
designed to be bi-amped or tri-amped, which can be
a benet, as this allows greater control over the
speaker components, but also requires a separate
amplier for each component of the speaker. If you
decide to go with a passive speaker design, youll need to look at the specication
sheet provided by the manufacturer to determine the correct amplier(s).
Active Speaker
Passive Speaker
The input range of a speaker is typically given in continuous, program, and peak
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wattage measurements. You will most likely see the continuous output and either
program or peak. The general rule is a doubling of the continuous results in
program, while doubling the program will give the peak performance. For instance,
a speaker with a continuous input of 1400 watts will oer a program of 2800 watts
and a peak of 5600 watts. The larger the amplier, the more headroom will be
available. Do you really need to match 5600 watts to this speaker? Most
professionals will say no. A good formula is to aim for 1.5 x the continuous input. A
1400 watt input x 1.5 is 2100 watts and should be the bare minimum for this
speaker. A safer bet is to match the speaker to the program output of 2800 watts.
Another consideration is the impedance or ohms resistance for the speaker. You
will need to consult the amplier specications to determine how much power an
amplier is able to produce at a given impedance. Most manufacturers will boast
the highest output of both channels at the lowest resistance. When matching your
amplier to your speaker, its important to consider the ohms rating and wattage.
For instance, an amplier that is rated at 4000 watts (2000 watts per channel) at 2
ohms will realistically deliver 1400 watts at 4 ohms and 850 watts at 8 ohms. We
could certainly use this amp with our 1400-watt speaker, but at its continuous
output rate, it doesnt leave much headroom. Without headroom, it is entirely
possible we could drive the amplier into clipping and potentially damage the
speakers.
Some amplier manufacturers will indicate power draws as 1/8 power, 1/3 power,
and full power. 1/8 power delivers the amplied signal below the built-in clip
limiters, while 1/3 power will have the clip limiters occasionally ashing. Full power
will have the limiters in constant activity. When engaging the clip limiters, you are
actually rounding o the audio signal to prevent distortion, but the signal of the
audio will be compromised. I prefer to run the ampliers at 1/8 power, which will
give plenty of headroom without squaring o the waveforms. You may also use a
higher-rated amplier at 1/8 power without fear of damaging your speakers.
Remember, the quickest way to blow a speaker is to underpower it.
Subwoofers also come in active and passive options with the same pros and cons.
There are many dierent designs that can oer pretty outstanding results. The best
bang-for-the-buck I recommend is a Yorkville LS801P
(http://www.bhphotovideo.com/c/product/1088764-REG/yorkville_sound_ls801p_2_x_10.html) . It is a
self-powered, single 18" tapped-horn design with a tremendous output, rivaling or
surpassing most double 18" designs.
Page 5 of 14
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(http://www.bhphotovideo.com/c/product/1088764-REG/yorkville_sound_ls801p_2_x_10.html)
Yorkville LS801P Subwoofer
Depending on your setup and how many subs you have, you will have more
consistent results by placing all the subs together. Placing two subs together will
yield a 3 dB gain in SPL and they will couple without interference. A stereo sub
conguration may create null points in the room where certain frequencies cancel
each other out. Other tricks to maximize bass are to place the subs near a wall or
corner, as each of the boundaries will reinforce the sound and help load the room.
My favorite conguration is to center-cluster four subs together (2 wide x 2 tall).
Speaker Processors
Regardless of whether you are using active speakers or passive speakers with an
amplier, you should invest in a speaker processor. In my opinion, it is the most
important piece of gear and will save you time, money, and headaches. A speaker
processor combines a number of processors into a rackmount signal processor.
You will nd gain, EQ, delay, crossovers, and limiting for both input and output. A
typical processor might have a stereo input and six outputs. The inputs will feature
a 6- to 8-band parametric EQ and/or a graphic EQ, as well as a system delay. Each
output on your processor will oer gain, a 4-band parametric EQ, a delay for timealigning speaker components in a bi-amp or tri-amp application, or a full-range
speaker and a subwoofer.
Signal Path for a Passive Sound System
You will also nd digital crossovers featuring Bessel, Butterworth, and Linkwitz-Riley
band-pass lters. Each crossover oers a high-frequency and low-frequency setting
with selectable lter types. For tops, I typically set the HPF to 96 Hz on a 24 dB per
octave Linkwitz-Riley lter and the LPF to o. For subs, I set the LPF to 96 Hz on a
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24 dB per octave Link-Riley lter and the HPF to 30 Hz on a 48 dB Butterworth

lter. The major focus is the crossover between the LPF of the sub and the HPF of
the top. A 24-dB-per-octave Link-Riley lter keeps the frequency response at
where both the subwoofer and top are crossing over.
Note: A speaker processor delay is not a digital delay eect, as it is intended to
literally delay a signal by a set amount and does not oer a wet/dry setting. If a
manufacturer oers time delay settings for your speakers, you can use those to
time align the tops and subs. The LS-801P has a 3 ms delay, so adjusting the tops
to match the inherent delay of the subs will provide a coherent and phase-accurate
wave front. If you dont have the specs, you can invest in a measurement system
like SMAART. If you have an iPhone or iPad, you can purchase the AudioTools app
by Studio Six Digital, which can help you measure and calibrate your sound system.
Analog Mixers versus Digital Mixers
Analog mixers are the mainstay of any audio system, and range in price and
features. There are some diehard analog enthusiasts who will not move to a digital
mixing board, as they believe the analog components sound superior to digital. If
you are mixing a live band, you will want some additional signal processors to
shape the sound of each instrument. Most analog mixing consoles will oer a builtin four band parametric EQ, which helps balance the tonal sound and carves out
space for each instrument in the mix. It is rare to nd analog consoles with built-in
dynamics available on every channel. Therefore, an all-analog setup will require
several racks of gear to accommodate the additional signal processing, such as
compression and gates for each channel.
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(http://static.bhphotovideo.com/explora/explora/sites/default/les/analog.jpg)
(http://static.bhphotovideo.com/explora/explora/sites/default/les/X32_P0ASF_Top_XL.png)
Analog Mixer
Digital Mixer
Another aspect to consider is the use of wedge monitors or stage monitors. These
are speakers that are typically on the oor and angled up toward the performers,
oering a dedicated mix, which allows the musicians to hear themselves on stage.
Feedback can become a problem, so the use of graphic EQs will be needed to
remove the frequencies that are feeding back. Add in additional signal processors
like multi-eects, delays, and reverbs and you can see the analog setup may sound
better, but will cost more money with the additional signal processing, plus there
are additional racks, cabling, troubleshooting, and maintenance involved.
Digital mixers have made some considerable advances in recent years regarding
the quality of the sound, and pricing that is comparable to many moderately priced
analog consoles. Digital mixers oer the best solution for any touring band, with a
large channel count and each channel packing four-band EQ, compression, and
gating. Additionally, each output features graphic EQ for ringing out monitors.
Many mixers feature internal eects with up to eight insert slots for use with
internal sends. You can still use your favorite outboard gear, but the digital
platform reduces the amount of gear substantially. Another benet of the digital
mixer is the wireless control options. Many mixers oer iOS and Android control
apps.
BEHRINGER X32 Digital Mixing Console
IOS APP
If the FOH position is in a less than

desirable place, the engineer can move
about the room to make informed
adjustments based on the audiences
perspective. This also allows the
engineer to tweak monitors from the
stage, while standing next to the
musicians. Many mixer platforms will
allow multiple device setups in which
band members may adjust their own
mix in real time, allowing the FOH
engineer to focus on the main mix.
Other features now incorporated in the
digital platform include spectral analysis and a real-time analyzer (RTA) for making
adjustments to monitors or to the entire mix. However, I still recommend a
dedicated speaker processor for tuning the sound system.
Stage Snakes and Stage Boxes
A stage box or multi-channel snake is highly benecial for reducing clutter on the
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stage. Some larger stage setups use a splitter that splits the signal from all the
sound sources on stage between FOH and monitors. Most mid-level bands typically
dont have a dedicated monitor engineer, so the FOH engineer will perform both
main mixing and monitor duties. With an analog setup, youd be working with a 16to 24-channel audio snake with a cable run of 100+ feet. A drum kit may have 8 to
12 microphones set up to capture the sound, so a dedicated sub-snake allows for
shorter mic-cable runs and a much cleaner stage setup.
(http://www.bhphotovideo.com/c/buy/microsft/Ntt/stage+snakes/0)
Stage Sub-Snakes
Utilizing stage sub-snakes before going to the main stage snake will keep the cable
clutter on stage to a minimum. Many digital mixers oer digital stage boxes that
function like an analog stage snake, only instead of a 16- to 24-pair multi-channel
cable, the digital snake will use a single CAT5 cable to connect to the mixer in the
FOH position. This cuts down considerably on the weight and setup time of the
entire system.
(http://www.bhphotovideo.com/c/product/1141601-REG/behringer_sd8_i_o_stage_box_with.html)
Digital Snake
Microphones
In order for musicians to be heard, microphones are used to capture vocals, guitar
ampliers, and drums. The mainstay of live music is the use of dynamic
microphones. There are many microphone manufacturers, but the favorite of most
clubs is still the Shure SM58 (http://www.bhphotovideo.com/c/buy/shure/Ntt/Shure+SM58/0)
for vocals and SM57 (http://www.bhphotovideo.com/c/buy/shure/Ntt/Shure+SM57/0) for
instruments. They have proven their value over time by sounding good and being
incredibly rugged. They can literally take a beating and still function. If there is the
budget and desire for wireless microphones, I personally recommend the Shure
QLX-D (http://www.bhphotovideo.com/c/buy/shure/Ntt/Shure+qlx-d/0) series digital
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microphones. They oer clean, clear sound without any artifacts, and with a simple
setup.
(http://www.bhphotovideo.com/c/product/1077174-
REG/shure_qlxd2_beta58a_j50_qlxd2_beta58a_handheld_wireless_microphone.html)
Shure QLX-D Series Digital Microphone
In-Ear Monitors
Many bands prefer to forgo the use of stage monitors and opt for in-ear-monitors
(IEM). Ive used the entry-level PSM300 Shure Personal Monitoring System
(http://www.bhphotovideo.com/c/buy/shure/Ntt/PSM300+Shure+Personal+Monitoring+System/0) for
years and have had excellent results. With a digital mixer, the setup and operation
is even simpler, resulting in very happy musicians who are able to set their own
monitor mixand without excessive stage volume.
In Conclusion
As you can see, there are many directions one can choose when setting up a sound
system for your band or event: analog mixers versus digital mixers; passive
speakers and subs versus active designs. Each has its pros and cons. The most
important thing is to use your ears when making decisions. Always listen to
speakers before purchasing and, if possible, demo speakers and subs together,
especially if you are using dierent brands. I cant recommend enough the
importance of having a dedicated speaker processor for any system, regardless of
size or budget.
Items discussed in article
Page 10 of 14
(http://www.bhphotovideo.com/c/prod
uct/1088764REG/yorkville_sound_ls801p_2_x_10.htm
l)
Yorkville Sound LS801P 18" Elite Series
Powered Subwoofer (1500W, Black
Ozite Carpet)
(http://www.bhphotovideo.com/c/prod
uct/1088764REG/yorkville_sound_ls801p_2_x_10.htm
l)
4/1/16, 4:40 AM
(http://www.bhphotovideo.com/c/buy/
shure/Ntt/Shure+SM58/0)
(http://www.bhphotovideo
shure/Ntt/Shure+qlx-d/0)
Shure SM58 Microphone

Shure SM57 Microphone

Shure QLXD2 Handheld Wi

Microphone
(http://www.bhphotovideo
shure/Ntt/Shure+qlx-d/0)
DISCUSSION
Add comment
Phil
2 weeks ago
Got a question: I am researching the audio equipment needed for a new gymnasium. The volume/sq.ft. area of the
gym is just a bit over 156,000. There will be some sound dampening panels installed about half way up the walls to
dampen the sound from just bouncing all over the place. There will be bleachers on two sides with a seating capacity
of about 1100.
My questions are: 1. how many sub's should be aiming both directions towards the bleachers. 2.
How many loudspeakers should be aiming both directions towards the bleachers. 3. Minimum wattage needs for
number of speakers. 4. Number of amps needed for that wattage total (probably should be able to run at 2 or 4
ohms.) 5. Number of equalizers, mixer (probably about 6-8 ch.), sound processor (if needed). 6. CD / ipod dockable
player. Quality products are desired within reason and durability is a necessity.
If someone can give me some
ideas with names of products and details relating to the speakers and amps, I would be appreciative. I'm leaning
towards QSC or Crown, JBL, Yamaha qualility products but open to others too.
Thanks for any expertise that you
can provide.
Mark S
2 weeks ago
Hi Phil Great questions all, Phil. But your application and venue oer complexities of size, safety, service, installation,
scale, acoustics and budget among other factors, that should be addressed by a versed professional integrator on
site. We would be happy to advise an integrator in terms of product choices, but oering products at this early
stage might be counter-productive to your project without a qualied onsite survey.
Page 11 of 14
4/1/16, 4:40 AM
Unfortunately for such a large job, we would not be able to make accurate recommendations or product
suggestions o site. We would highly recommend bringing in a project professional who could inspect your
location and make the appropriate recommendations per your design criteria. While we cannot make a specic
recommendation, one of our manufacturers does oer this type of service.
TOA Electronics (http://www.toaelectronics.com/) is a premier manufacturer of audio and security products and does
oer onsite design and installation. B&H would be more than happy to bid out the products required for your
project.
Please contact Johnathan Allen at 845-729-3482 / jonathan_allen@toaelectronics.com. He is an install
professional that will be able to handle this type of project for you.
Please contact us via e-mail if you have additional questions: AskBH@BandH.com
Phil
2 weeks ago
Got a question: I am researching the audio equipment needed for a new gymnasium. The volume/sq.ft. area of the
gym is just a bit over 156,000. There will be some sound dampening panels installed about half way up the walls to
dampen the sound from just bouncing all over the place. There will be bleachers on two sides with a seating capacity
of about 1100.
My questions are: 1. how many sub's should be aiming both directions towards the bleachers. 2.
How many loudspeakers should be aiming both directions towards the bleachers. 3. Minimum wattage needs for
number of speakers. 4. Number of amps needed for that wattage total (probably should be able to run at 2 or 4
ohms.) 5. Number of equalizers, mixer (probably about 6-8 ch.), sound processor (if needed). 6. CD / ipod dockable
player. Quality products are desired within reason and durability is a necessity.
If someone can give me some
ideas with names of products and details relating to the speakers and amps, I would be appreciative. I'm leaning
towards QSC or Crown, JBL, Yamaha qualility products but open to others too.
Thanks for any expertise that you
can provide.
Mark S
2 weeks ago
Hi Phil Great questions all, Phil. But your application and venue oer complexities of size, safety, service, installation,
scale, acoustics and budget among other factors, that should be addressed by a versed professional integrator on
site. We would be happy to advise an integrator in terms of product choices, but oering products at this early
stage might be counter-productive to your project without a qualied onsite survey.
Unfortunately for such a large job, we would not be able to make accurate recommendations or product
suggestions o site. We would highly recommend bringing in a project professional who could inspect your
location and make the appropriate recommendations per your design criteria. While we cannot make a specic
recommendation, one of our manufacturers does oer this type of service.
TOA Electronics (http://www.toaelectronics.com/) is a premier manufacturer of audio and security products and does
oer onsite design and installation. B&H would be more than happy to bid out the products required for your
project.
Please contact Johnathan Allen at 845-729-3482 / jonathan_allen@toaelectronics.com. He is an install
professional that will be able to handle this type of project for you.
dennis
2 weeks ago
So if i have powered speakers for p.a. And monitors, is it ok if i directly connect it to the processors since powered
speakers has its own amplication?
Page 12 of 14
4/1/16, 4:40 AM
Thanks in advance.
Mark S
2 weeks ago
Hi Dennis Correct. No muss - no fuss!

Patrick Le Monnier
6 months ago
What could I say? When I read this, it seems i return 20 years back. I'm sound engineer for 30 years, I worked with
almost all pro gears analog and digital mixers but I never crossed brands which are mentionned in this article, instead
of Shure, obviously.
In the pro market, we talk about Electro-Voice, L Acoustic, Meyer Sound, d&B, Soundcraft, Midas, Yamaha, BSS, AKG,
Neumann and so on...
Talk about advertising for YOUR brands but don't present it as learning.
The guide to studio gears (microphone) from Jaime Traba was more interesting.
Tim Kerbavaz
4 months ago
The technical details seemed accurate to me - the brand specic images were just stock photos to compliment the
text. I'm sure they are all brands B&H carries, but they're not unknowns int eh pro audio world - You've surely
worked with QSC amps, no? Their ampliers are in touring racks and installs all over the world. And their K series
stu is some of the most rented audio gear in the states - you'd be hard pressed to nd a rental house, at least in
California, that doesn't carry QSC.
Behringer and Yorkville are lower-end brands, but MusicGroup (Behringer) controls a huge swath of both the
install and live market - they own Midas, Turbosound, KlarkTecnik, Lake, T.C. Electronic, T.C. Helicon, Tannoy, among
others, so they're not some y by night company.
I suspect anyone who's shoppign for a Meyer rig knows all this already, and anyone who doesnt' know this stu is
unlikely to want or need a system of that caliber.
I'm also pretty sure B&H carries Yamaha and most if not all Harman brands (AKG, JBL, etc), so it's not like they
crammed all the stu they sell into one blog post.
Rocus
1 month ago
Mr, did you notice the intention of this article? Was it for experienced engineers? Get a grip with your ego. Go
outside, help out someone for free. Or write your own articles ment for professionals. Geez..
Page 13 of 14
4/1/16, 4:40 AM
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Live Sound 101: Sound System Design and Setup for a Live Band | explora

Audio / Buying Guide

A full-range speaker with a frequency response of 60 Hz to 18 kHz may be ne for

Frequency Spectrum for Full Range Tops and Subwoofer

Sound Pressure Level to Decibels Distance

Active versus Passive

There are pros and cons to both active and passive

Yorkville LS801P Subwoofer

24 dB per octave Link-Riley lter and the HPF to 30 Hz on a 48 dB Butterworth

If the FOH position is in a less than

Shure QLX-D Series Digital Microphone

Items discussed in article

Shure SM58 Microphone

Shure SM57 Microphone

Shure QLXD2 Handheld Wi

Hi Dennis Correct. No muss - no fuss!

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