The goal of this method is to have the sound system reproduce as closely as possible the same tonal balance and perspective - ie.
An important side benefit of this method is that any recordings, video feeds, and live broadcast mixes fed directly from the mixing console are far more accurate and more closely reflect the actual live sound of the show. Some of these variables are personal listening tastes and tuning methods, system brand and design, differing venue styles and each venue’s acoustic properties.īy removing as many variables as possible in the signal chain after the mixing console all the creative focus is now placed where it belongs - at the actual mixing console. My method here removes many of the variables that have made previous system tuning approaches extremely unreliable and caused them to deliver inconsistent results from venue to venue and system to system. According to at least one badly translated Swedish review, the sound on the Sting tour was ‘powerful and stable, strong without doing evil in the ears.’ If you like, you can follow my method and stop doing ‘evil in the ears’. Herein lies the method I’ve developed for reliably and consistently tuning and optimising any large scale concert sound system. Many times the participants suggested I put the documents in print, naturally I thought of AudioTechnology. During this last Summer European tour with Sting I conducted a number of impromptu masterclasses at FOH with the local sound company’s crew. But even though the tuning of some operators would have you believing differently, there is more to a sound system than just sub bass. Over the years, I’ve prescribed some low-end diets for AudioTechnology readers struggling to unveil the clarity in their PAs.
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