15/03/2026
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๐๐...
.. ๐๐๐ ๐๐๐๐๐
๐๐๐๐.
The soundtechs ears, and the space between them, is the most essential part of any live sound.
A great system won't sound great if the soundie isn't hearing it.
And even a sub-par system can sound acceptable if the soundie knows how to run it.
Since we musicians in Whakatฤne lost access to the ๐ช๐ต๐ฎ๐ธ๐ฎ๐ฤ๐ป๐ฒ ๐ฆ๐ผ๐๐ป๐ฑ ๐ฃ๐ฟ๐ผ๐ท๐ฒ๐ฐ๐ run by Sound Project NZ the short comings of live sound have really come to the fore.
So here's my 'sound tech primer' for any budding soundies that want to fill the gap.
๐ช๐ต๐ฎ๐ ๐ถ๐ ๐ฎ ๐ฃ๐ ๐๐๐๐๐ฒ๐บ?
Every PA does one thing, basically: reinforces live sound. It could be as simple as one microphone and one powered PA speaker for making toasts at a party. Or as complex as a multi-channel, multi-speaker sound system for bands that play in arenas to audiences numbering in the thousands.
๐๐ผ๐ ๐ฑ๐ผ๐ฒ๐ ๐ฎ ๐ฃ๐ ๐๐๐๐๐ฒ๐บ ๐๐ผ๐ฟ๐ธ?
Sounds picked up by microphones or electric instruments travel through mic cables to a mixer. Whoever controls the mixer can adjust volume, tone, effects like reverb, and other audio parameters for every input.
The mixed sound goes out to amplified speakers or an amplifier which sends it on to the speakers. And the audience โ and the musicians themselves โ hear what's coming out of the speakers.
Let's break down the different parts of a PA system.
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There are two basic roles that PA speakers play in a live sound system: audience-facing "mains" and performer-facing "monitors."
And there are two basic types of PA speakers โ powered models, which have built-in amplification, and passive models, which need an external amplifier.
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You can use a lot of passive or powered speaker models as either mains or monitors.
With powered speakers, you donโt have to worry about which amp to choose โ or carry separate amps around.
Passive models are great for permanent installations, especially if youโll be hanging them from a ceiling, since they never need to be powered on or off.
๐ฃ๐ ๐บ๐ฎ๐ถ๐ป ๐๐ฝ๐ฒ๐ฎ๐ธ๐ฒ๐ฟ๐
Your main speakers are the ones that face the audience. Most systems have two โ or multiples of two โ on either side of the stage.
Speaker pairs are just that - pairs. Never used a mismatched set of speakers if you care about a balanced sound.
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Monitors are speakers you point at the performers, so they can hear themselves play, sing, or speak. Some performers use in-ear monitors, which can help keep onstage volume down.
If you care about the performer, you must use monitors. This way they can tell the soundie what they like or don't like about what they're hearing.
Never use a system without monitors.
Ever.
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Subwoofers are large speakers that reinforce the deep low-frequency sounds of kick drums, bass guitars, and synthesizers.
Most models are powered. They usually sit under the mains.
For a simple setup, in a good room, you might get away without subs. But in a tough room and with a full band, subs are essential.
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๐ฒ๐ฟ๐ ๐ฎ๐ป๐ฑ ๐ฎ๐บ๐ฝ๐
You plug each audio source (microphones, instruments, etc.) into a mixer. Each source gets its own channel, with independent volume, tone, and other audio controls. Mixing is the art of using k***s and faders to balance the channels for the best possible sound.
With some mixers, you can also create a separate โmonitor mixโ for your performers since they often need to hear channels at different volume levels than what's coming out of the mains.
Most mixers provide unamplified output signals that go to amps or powered speakers
Powered mixers have built-in amps and connect directly to passive speakers. These can be great for band practice, small shows, or even as one or more separate onstage systems for monitoring in a bigger PA.
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๐ฒ๐ฟ?
One big decision is whether to get an old-school analog mixer or a digital mixer. Analog mixers are easy to use, with all of the k***s and faders right in front of you on the console.
Digital mixers typically give you a lot more capabilities. All the k***s and faders are virtual in a remote control app on your tablet or smartphone. Plus, you can mix from pretty much anywhere in the room, so you can make sure the mix is balanced throughout the space.
A lot of mixers feature acoustic effects like reverb and compression which you can use to color the sound. With digital mixers, the effects are built into the software, so you have more options.
If your mixer's onboard effects aren't enough for your needs, you can add outboard signal processors like an equalizer that lets you boost or lower specific frequency bands to get the best sound.
Analog or digital, make sure you get enough mixer channels to accommodate all of your mics and instruments.
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Pro audio amps are built to withstand the rigors of the road. They're also versatile. They can safely adapt to a variety of speaker system configurations. Models with digital signal processing (DSP) let you tailor the ampโs output to suit your speakers and the space theyโre in.
Each amp should have at least as much output power as the total wattage ratings of the speakers itโs driving. Having extra wattage available is often called "headroom." With good headroom, you have all the power the speakers can handle, not just the bare minimum they need to get by. That ensures clean, distortion-free sound, especially during sudden musical peaks.
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Road-worthy dynamic microphones are the most popular option for live sound. Shureโs industry-standard SM58 is famously great for vocals. Other dynamic mics are designed especially for capturing specific instruments, like drum and guitar amp sounds.
Wireless mics are great for performers who move around on stage.
Clip-on lavalier models are perfect for public speakers who don't want to hold a mic.
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Live sound equipment requires connections. Mics and instruments require cables. And sometimes you just need some gaffer's tape. Here are some essential accessories you'll need to get your live audio gear up and running.
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When it comes to live audio equipment, there are standard connections. But there are enough variations that you'll want to make sure you get the right type of cables for connecting your gear. Cable length is important as well โ too short is too short; too long and things start to get tangled up.
Stationary analog mixers usually work best centered in front of the stage. Instead of running several mic cables from the stage to the mixer, get a cable snake. A snake is a single thick cable with a bunch of female XLR mic inputs on the stage end and corresponding male outputs on the mixer end.
Essentially it comes down to one thing - put the performer first and make sure you gear is up to scratch and that you know how to operate it.
If you don't - get some help and be prepared to listen.
Here's a video I watch again and again. It's a beginners video but it's also great revision on a craft that can make or break a gig or a performance, and that is your responsibility.
