8 Common Problems in Professional Audio Engineering: Do You Know Them?
When undertaking professional audio system installations for clients, we always encounter various difficulties. To address this, the editor has summarized some common problems for everyone. Here are the specific details:
1. Signal Distribution Issues
When multiple speaker groups are set up within a project, it's common to use one equalizer to distribute the signal to multiple amplifiers and speakers. However, this often leads to mixing different brands and models of amplifiers and speakers, potentially causing problems like impedance mismatch, uneven level distribution, and insufficient power allocation to each speaker group. Moreover, using a single equalizer makes it difficult to properly adjust both the sound field and the frequency characteristics of the speakers.
2. Graphic Equalizer Adjustment Issues
Common graphic equalizer spectrum shapes include the "swallowtail" type, "mountain peak" type, and "wave" type. These shapes are often imagined by the audio engineer and are not the actual spectral curves required for the specific venue. As we know, the ideal spectral curve should be relatively stable and smooth. Artificially imagining and adjusting the curve often backfires.
3. Compressor/Limiter Adjustment Issues
Common problems with compressors/limiters in professional audio projects are either that they don't function at all or they over-compress, causing adverse effects. The former problem allows the system to still function, albeit compromised. The latter severely impacts the system's operation, typically manifesting as the accompaniment getting louder while the vocals become weaker, leaving performers confused.
4. System Level Adjustment Issues
First, the amplifier's sensitivity control knob might not be set correctly. Second, the system level might not be calibrated to zero. Sometimes, pushing a channel fader on the mixer just slightly up causes a large increase in output. This affects the system's normal operation and fidelity.
5. Low-Frequency Signal Processing
The first type of problem is feeding a full-range signal directly to the amplifier driving the speaker without electronic crossover. The second type is not knowing where in the system to obtain the low-frequency signal for processing. Feeding a full-range signal directly to the speaker without crossover means the woofer is trying to reproduce the entire frequency range. Similarly, obtaining the low-frequency signal from an inappropriate point in the system adds unnecessary complexity to the engineer's live operation.
6. Effects Loop Processing
The signal should be taken post-fader to avoid effects runaway causing microphone feedback. If possible, use a dedicated channel for the effects return, making adjustments easier.
7. Cable Connection Issues
A common source of significant AC hum in professional audio systems is improper cable connection handling. This also includes balanced-to-unbalanced and unbalanced-to-balanced conversions; these must adhere strictly to standards. Furthermore, the use of inferior connectors is strictly prohibited in professional audio engineering.
8. Mixer Control Issues
The mixer is the control center of the audio system. If the mixer's EQ requires large boosts or cuts across the midrange (some in the upper mids, some in the lower mids), it indicates the system wasn't set up correctly initially. The system should be re-tuned, and excessive EQ adjustments on the mixer should be avoided.
1. Signal Distribution Issues
When multiple speaker groups are set up within a project, it's common to use one equalizer to distribute the signal to multiple amplifiers and speakers. However, this often leads to mixing different brands and models of amplifiers and speakers, potentially causing problems like impedance mismatch, uneven level distribution, and insufficient power allocation to each speaker group. Moreover, using a single equalizer makes it difficult to properly adjust both the sound field and the frequency characteristics of the speakers.
2. Graphic Equalizer Adjustment Issues
Common graphic equalizer spectrum shapes include the "swallowtail" type, "mountain peak" type, and "wave" type. These shapes are often imagined by the audio engineer and are not the actual spectral curves required for the specific venue. As we know, the ideal spectral curve should be relatively stable and smooth. Artificially imagining and adjusting the curve often backfires.
3. Compressor/Limiter Adjustment Issues
Common problems with compressors/limiters in professional audio projects are either that they don't function at all or they over-compress, causing adverse effects. The former problem allows the system to still function, albeit compromised. The latter severely impacts the system's operation, typically manifesting as the accompaniment getting louder while the vocals become weaker, leaving performers confused.
4. System Level Adjustment Issues
First, the amplifier's sensitivity control knob might not be set correctly. Second, the system level might not be calibrated to zero. Sometimes, pushing a channel fader on the mixer just slightly up causes a large increase in output. This affects the system's normal operation and fidelity.
5. Low-Frequency Signal Processing
The first type of problem is feeding a full-range signal directly to the amplifier driving the speaker without electronic crossover. The second type is not knowing where in the system to obtain the low-frequency signal for processing. Feeding a full-range signal directly to the speaker without crossover means the woofer is trying to reproduce the entire frequency range. Similarly, obtaining the low-frequency signal from an inappropriate point in the system adds unnecessary complexity to the engineer's live operation.
6. Effects Loop Processing
The signal should be taken post-fader to avoid effects runaway causing microphone feedback. If possible, use a dedicated channel for the effects return, making adjustments easier.
7. Cable Connection Issues
A common source of significant AC hum in professional audio systems is improper cable connection handling. This also includes balanced-to-unbalanced and unbalanced-to-balanced conversions; these must adhere strictly to standards. Furthermore, the use of inferior connectors is strictly prohibited in professional audio engineering.
8. Mixer Control Issues
The mixer is the control center of the audio system. If the mixer's EQ requires large boosts or cuts across the midrange (some in the upper mids, some in the lower mids), it indicates the system wasn't set up correctly initially. The system should be re-tuned, and excessive EQ adjustments on the mixer should be avoided.