Audio Equipment and Set-Up
26 Aug 2016###Stands & Safety
The hall has two basic types of stands: boom stands and straight stands.
Straight stands: Given that they are less versatile than boom stands, straight stands are generally used to hold microphones for vocal performance or speaking. We usually use straight stands for wireless mics because they are easier to move around the stage, but they can take any standard mic clip. Our straight stands have a heavy round base and an adjustable neck. The connector at the neck twists right to tighten and left to loosen;; adjust the stand to the appropriate height and tighten the neck.
Boom stands: Given that they can be contorted into good positions for picking up sounds from many different instruments (including drums, strings, brass, woodwinds, etc), boom stands are more adept for miking instruments. When using a wired mic on a boom stand, the cable should be wrapped a couple of times across the length of the boom, over the pin, and down the length of the stand. Do not wrap the cord too many times;; just enough to keep it from flailing everywhere.
Safety: Each time you want to make a change to a stand, loosen one joint, adjust the length/direction, tighten and move on to the next joint until the stand acts how you want it to and will hold the weight of the mic you’re about to put on it. Pay attention to how the legs are aligned when you position the stand. If the stand seems unstable, position it so that one of it’s legs is directly under the boom arm. Make sure every joint is tight before walking away from it.
When disassembling, also remember to work with one joint at a time. It is very easy to get your fingers pinched between the moving parts, so be very careful when adjusting and always tighten! The goal when disassembling, is to minimize the space it takes up, so shorten all lengths and align all arms and legs.
###Cables
The Performance Hall uses XLR, TRS, Mini TRS, SpeakOn, Cross-wired SpeakOn, Ethernet and Longframe patchbay cables.
XLR:
The most frequently used cord in the hall for passing audio signal. Three-pin XLR cords are able to pass a balanced signal that travels farther than unbalanced signal. Generally XLR cords run from a wired microphone and into Floorboxes, AV panels off-stage (AVPs), or to a snake. The hall has 10’, 25’, and 50’ XLR, stored on the bottom shelf of the backstage cabinet. When running cable from a mic to a floorbox input, you should look at the length from the stand to the input and choose a cable length that will give you a few feet of slack, as performers may move the stands during soundcheck and occasionally midshow. Leave the slack at the base of the mic stand and not near the input location or somewhere in between. If the stands will be in the same place during the whole show, you should tape down all the cables in order to create a safer walking space for the performers and a cleaner look for the audience. When taping on stage use the brown gaff tape;; it will blend into the wood and make the stage look cleaner. Any backstage cable taping should be in black gaff as it is less expensive.
1⁄4” TRS Instrument Cable:
Also known as 1⁄4” cable, “tip, ring, sleeve” or instrument cable. We don’t stock a variety of lengths in the hall because musicians typically bring their own. We do own a few shorter patch length 1⁄4” cables that could run from an amp, keyboard or an instrument with a pick-up to a DI box. These are kept in the storage closet.
Mini TRS:
Also known as 1⁄8”, 3.5mm or aux cable, are commonly used audio cables for connecting phones, ipods and computers to an audio system. While these devices normally have an 1⁄8” input, you often need to convert it to an XLR or 1⁄4” output when connecting to a mixer. In the hall we have a TRS 1⁄8” to stereo XLR cable connected to the mixer at FOH for device connection, but we keep a spare in the storage closet.
SpeakOn:
Used for running sound to floor wedges/monitors, usually from Floorboxes or AVPs. SpeakOn cables vary in length, so choose the appropriate length for each monitor. Floor Monitors that use a SpeakOn input usually will not require any external power;; all the monitors we have are “passive” and therefore do not require any external AC power adaptor. SpeakOn is stored on the audio shelf next to the backstage cabinet. Crosswired SpeakOn: ONLY used in the patchbay for connecting Venue outputs to the appropriate floorbox or AVP connections. These cords are about 2.5’ and stay in the amp room at all times;; they are marked CROSS on the neck of the cable. Long-frame/Military cords [Patchbay cords]: Green, red, and black cable used in the patchbay to connect mic inputs to the Venue or Recording Booth. Also used to split signal when necessary.
###Coiling Cables
There are two methods for coiling an XLR cable and there is much debate as to which is better. In the hall, we use the “over/under” method. This same method can be used to coil almost all other audio cables.  First, hold the female end of the cable in your left hand with the connector pointed toward you. Pull your right hand out along the cable until you reach about 18” and bring that length up into your left hand while guiding it into becoming your first loop. Pay attention to the direction your right hand rotates as you guide the cable into making this first loop. You are about move your right hand in the exact opposite direction when making the second loop. After grabbing this first loop in your left hand, pull another 18” with your right hand. This time you’ll loop it up under itself, by twisting in the opposite direction, and again place it in your left hand. The cable should still be moving in the same direction, away from you, it’ll just be coming in from underneath the current coil. Continue repeating these two steps “over and under) until you hit the end of your cable. Inspect the cable for a proper coil and then use the velcro tie attached to secure. It should look like a series of same sized loops, no figure 8’s. If yours has a figure 8, you must start over. If you have both large and small loops within one coil, start over. If one of your tails is way longer than the other, fix it by adjusting the position of the velcro. If you have a hard time getting good coils, use this video to help while practicing: http://www.lifehacker.com.au/2012/04/use-these-alternating-coil-methods-for-knot-free-cables/
###Speakers
Main speakers: Also known as the “mains”. In the Performance Hall our mains are in a L-C-R (left, center, right) configuration. They are Electro-Voice, or “EV” brand speakers, model: Xi2123A/106, and are flown to heights controllable from the automated rigging system “Scene Control”. The projection system has its own surround sound system with a L-C-R EAW KF740 Line Array.
Monitors: Also known as “wedges” or “floor wedges”. We have 3 different monitor speakers;; 3 of the smaller 12” EV’s (TX 1122 FM), 2 of the 15” EV’s (TX 1152 FM), and 2 of the 12” Community (M12’s). Monitors should be placed in front of a musician who needs to hear himself, or his fellow musicians, more clearly. While the EV’s need to be set further away from the artist because of how the speakers are pointed within the wedge, the Communities have a wider range and can be placed much closer.
Subs: We own 2 EV X-SUB’s that live in the work lofts to the left and right of downstage. The subs supply the low end frequencies to both the main and projection systems.
Sidefills: The 2 side fills we have, EV Zx1’s, are built into the downstage left and right walls, just where the plank design ends. The side fills are also tied to both the main speakers and the projection audio system.