Live Sound 101 - Event Sound System Design and Setup - B&H EXplora

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Live Sound 101: Event Sound System Design

and Setup
By Andrew Eisele | Updated Thu, 08/29/2019
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If you have been tasked with setting up a sound system for a 300- to 500-person
event, 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 let’s 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 floor.
You want to get the best speakers your budget will allow. Start by figuring out
what you can afford 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, you’ll want to consult the specification
sheet, which should be readily available from most reputable manufacturers. The Chat
most important specs to know are the frequency response, SPL output, and
https://www.bhphotovideo.com/explora/pro-audio/buying-guide/live-sound-101-event-sound-system-design-and-setup 1/26
dispersion. If you are using passive speakers, then you’ll need to know the wattage
and impedance (ohms resistance).
A full-range speaker with a frequency response of 60 Hz to 18 kHz may be fine for

many genres of music, such as country, folk, or folk-rock, where the kick drum and
bass don’t 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 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 offer coverage to the entire audience, while directing the sound
off 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
configure a system, in terms of height and whether ground-stacking, speaker
stands, scaffolding, or trussing should be implemented as a way to get the
speaker high enough to offer 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 floor. If you are utilizing subwoofers, you might try ground-stacking
the tops on top of the subs. Many speakers offer pole mounts for use with
speaker stands. This is the simplest way to get proper height, especially if you
don’t have multiple subs to create a ground stack. At the very least, you want your
high-frequency driver above the heads of the people in the audience.
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 amplifiers that are matched to the
speaker components (woofers, mid-range, and tweeters—typically 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 won’t have to use
separate amplifiers to power them.
Passive speakers require amplification, 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 benefit, as this allows greater control over the speaker components, but also
requires a separate amplifier for each component of the speaker. If you decide to
go with a passive speaker design, you’ll need to look at the specification sheet
provided by the manufacturer to determine the correct amplifier(s).
Active Speaker Passive Speaker
The input range of a speaker is typically given in continuous, program, and peak
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, let’s say we have a 4-ohm speaker that requires 600 watts of continuous
output, a program output of 1,200 watts, and a peak output of 2,400 watts.
The question that many people ask, is how much power do I need? Do I really
need a 2,400-watt amplifier to power this speaker? The answer depends on your
total required SPL output. Looking at the speaker’s specifications. We see it offers
a continuous SPL output value of 128 dB and a peak SPL output of 134 dB. Let’s
say you want an SPL output of 105 dB at 50' from the speaker. Remember every
doubling of the distance, lowers the SPL by 6 dB. The speaker’s program output
requirement is 131 dB at 1m. 16 meters or 52.8 feet would offer an SPL of 107 dB,
therefore you can safely use a 1,200W power amplifier to achieve your target. If
we doubled the program output of 1,200 watts to 2,400 watts, you would gain an
additional 3 dB. My opinion would be to purchase more power than needed to
maintain headroom. This, of course, comes down to budget, because some
speakers may require up to 11,000 watts peak output, which would push you into
another class of amplification with a much higher price tag.
Another consideration is the impedance or ohms resistance for the speaker. You
will need to consult the amplifier specifications to determine how much power an
amplifier 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
amplifier to your speaker, it’s important to consider the ohms rating and wattage.
For instance, an amplifier that is rated at 4,000 watts (2,000 watts per channel) at
2 ohms will realistically deliver 1,400 watts at 4 ohms and 850 watts at 8 ohms.
Our example speaker has a 4 ohm impedance, which can easily be powered by
our 4,000-watt amplifier.
Some amplifier manufacturers will indicate power draws as 1/8 power, 1/3 power,
and full power. 1/8 power delivers the amplified signal below the built-in clip
limiters, while 1/3 power will have the clip limiters occasionally flashing. Full
power will have the limiters in constant activity. When engaging the clip limiters,
you are actually rounding off the audio signal to prevent distortion, but the signal
of the audio will be compromised. I prefer to run the amplifiers at 1/8 power,
which will give plenty of headroom without squaring off the waveforms. You may
also use a higher-rated amplifier 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 different designs that can offer outstanding results. The best
bang-for-the-buck I recommend is a Yorkville ES18P. It is a self-powered, single
18" rear-horn loaded design with a tremendous output, rivaling or surpassing
most double 18" designs.
Yorkville ES18P 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
configuration 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 configuration 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
amplifier, 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 find 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 offer gain, a 4-band parametric EQ, a
delay for time-aligning 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 find digital crossovers featuring Bessel, Butterworth, and Linkwitz-
Riley band-pass filters. Each crossover offers a high-frequency and low-frequency
setting with selectable filter types. For tops, I typically set the HPF to 96 Hz on a 24
dB per octave Linkwitz-Riley filter and the LPF to off. For subs, I set the LPF to 96
Hz on a 24 dB per octave Link-Riley filter and the HPF to 30 Hz on a 48 dB
Butterworth filter. 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 filter keeps the frequency
response flat where both the subwoofer and top are crossing over.
Note: A speaker processor delay is not a digital delay effect, as it is intended to

literally delay a signal by a set amount and does not offer a “wet/dry” setting. If a
manufacturer offers time delay settings for your speakers, you can use those to
time align the tops and subs. For example, if a subwoofer has a 3 ms delay, then
adjusting the tops to match the inherent delay of the subs will provide a coherent
and phase-accurate wave front. If you don’t have the specs, you can invest in a
measurement system like SMAART. For those on a budget (and in possession of
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 offer a built-in four band parametric EQ, which helps balance the tonal sound
and carves out space for each instrument in the mix. It is rare to find 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.
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 floor and angled up toward the performers,
offering 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-effects, 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 offer the best solution for any event with a
large channel count because each channel is packed with a four-band EQ,
compression, and gating. Additionally, each output features graphic EQ for ringing
out monitors. Many mixers feature internal effects 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 benefit of the
digital mixer is the wireless control options. Many mixers offer 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 audience’s 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 beneficial for reducing clutter on the
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 don’t have a dedicated monitor engineer, so the FOH engineer will
perform both main mixing and monitor duties. With an analog setup, you’d be
working with a 16- to 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.
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 offer 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.
Digital Snake
Microphones
For musicians to be heard, microphones are used to capture vocals, guitar
amplifiers, 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 for vocals and SM57 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 highly recommend the Shure GLXD24R+ or QLXD series
digital microphones. The GLXD is an affordable option with a clean, clear sound
without any artifacts, a simple setup, and a built-in charger in the receiver.
Shure GLXD24R+
In-Ear Monitors
Many bands prefer to forgo the use of stage monitors and opt for in-ear-monitors
(IEM). I’ve used the entry-level PSM300 Shure Personal Monitoring System 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 mix—and without excessive stage volume.
Shure PSM 300 Stereo Personal Monitor System
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 different brands. I can’t recommend enough the
importance of having a dedicated speaker processor for any system, regardless of
size or budget.
110 Comments
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Michael R. 4 months ago

I have been tasked with building a new sound and light system for a small church, I am looking at
80-100 venue size in a space roughly 2500 square foot. I have limited experience and would much
appreciate some advice. We will have 1-3 singers, 2 -3 guitars, drums. I was leaning towards digital
mixer but not stuck on it, Powered speakers, wireless headset mic for speaker, and am open for
suggestion on the rest as well. Do you have any builds for something like this you would
recommend?
0 Reply
Mark S. 4 months ago

Hi Michael -
We will be happy to address your needs. There are dozens, if not hundreds, of possible
recommendations that we could provide. Please send us an email so we can better qualify
your specific application and preferred budget range. Askbh@bandh.com
0 Reply
Amgel A. 7 months ago

New to this whole speaker setup so figured just to ask instead of causing myself a headache. What
speakers and subwoofers do I need for an outdoor event of 500 people? I was thinking of going
active speakers and I'm on a budget of $1000 maybe $2000 now I'm ok with 2 speakers and 2
subwoofers but I was thinking of 4 speakers and 2 subwoofers is that do able on that budget? If not
what do you recommend. Thanks in advance
0 Reply

Hi Amgel -
Consider this set-up:
JBL Dual EON715 Powered Speaker Kit with Stands, Covers, Bag, and Cables B&H
# JBEON715PK
15" Powered Speakers
Bluetooth and Advanced DSP
Two Speaker Stands
Two Speaker Covers
Speaker Stand Bag
Two Premium Microphone Cables
8-Band Parametric EQ, 3-Channel Mixer
Automatic Feedback Suppression + Ducking
90 x 60° Coverage Pattern
55 Hz to 20 kHz Frequency Response
2 x Alto Professional TS312S 12" 2000W Powered Subwoofer B&H # ALTS312SXUS
For Live Stage, Theater, and Club Setups
12" High-Excursion Woofer
38 to 110 Hz Frequency Range (-10 dB)
Class-D Power Amplifier
Clip, Thermal, and Overdrive Protection
Combo XLR-1/4" Inputs, XLR Outputs
Integrated DSP with 6 Output Modes
Internally Braced Ported MDF Cabinet
Integrated Carry Handles
Includes Power Cable
Please contact us via e-mail if you have additional

questions: AskBH@BandH.com
0 Reply
neilmusician N. 1 year ago

I am looking for outdoor live sound system which can produce big sound. I do have EV 30m array
speaker, but it sounds not much outdoor situation. Please recommend. Thanks
0 Reply

Hi Neil -
You might wan to consider using a second Electro-Voice EVOLVE 30M Portable 1000W
Column Sound System with Mixer & Bluetooth (Black) B&H # ELE30MUSB operating with
double the power as a stereo pair.
0 Reply
Dan G. 1 year ago

Hi there really interesting article. I have been reading about live sound reinforcement for a while
and experimenting through trial and error. We have a little family band and do top 40 and Latin
tunes as well. My system consists of 4 ekx15sp subs, 2 ekx 12sp tops, 12sp elx monitors and 1 etx
18sp sub also. ( overkill?) Well question is, do I need a speaker processor? Currently using presonus
sl 24.4.2 ai mixer w software to ring out and analyzer. Question 2- 1 or 2 subs under mains ? I was
thinking 1 and have other 2 15s , 1 on each side of 18" sub in center of band. Or all subs on the
center? All your suggestions are appreciated!
0 Reply
Mark S. 1 year ago

Hi Dan -
Your set-up seems ripe for a loudspeaker management processor like the:
dbx DriveRack PA2 Loudspeaker Management Kit with RTA-M Microphone B&H # DBPA2K
Key Features
Loudspeaker Management
Mac, PC, iOS, & Android Mobile Control
Crossover for 2- or 3-Way Systems
AutoEQ Automatic Room EQ Function
Automatic Feedback Suppression
dbx Compression & Limiting
8-Band Parametric EQ & Graphic EQ
Driver-Alignment Delay
RTA Mic with Flat Frequency Response
Omnidirectional Pattern
Looking for a complete loudspeaker management system to fine tune your PA setup? Check
out the dbx DriveRack PA2, a loudspeaker management system that can be controlled via
your Mac, PC, or mobile iOS or Android device. Using an optional microphone connected to
its RTA input, its AutoEQ function can be employed to listen to your room and automatically
EQ it for optimized speaker performance. The AFS (Advanced Feedback Suppression) feature
is designed to eliminate feedback while preserving the sound of your system.
In addition to automated functions, the DriveRack has integrated dbx compression and
limiting as well as both a graphic and 8-band parametric EQ section. It also features driver-
alignment delays and a crossover section that supports full-range, 2-way, and 3-way systems.
You can control the DriveRack PA2 directly by connecting from your Mac or PC via the rear-
panel USB port, or connect the PA2 to a wireless router via its Ethernet port for compatibility
with iOS or Android devices.
0 Reply
Dan G. 1 year ago

Well idk if it would be worth it for me to spend 500+ if the presonus sl mixer has the UC
software with smaart , the powered speakers have the x over settings on them so the
question is, would it be worth it to buy if it does basically the same thing? Your answers
and suggestions are appreciated. Thanks!
0 Reply
Mark S. 1 year ago

Hi Dan -
The hardware solution I suggested is vastly superior to the software that
PreSonus provides. it is more comprehensive and able to tackle tough scenarios
that software cannot handle. Try the software first before making an investment
in another piece of hardware.
0 Reply
Dan G. 1 year ago

Thanks for the response. I have used the software and as I don't consider
myself a sound engineer, I do read alot and try to do the best I can with
what I have. I value your input, if this unit is " superior" to the software that
presonus includes with its mixers, I will most likely go with the unit. I think I
can use the software to maybe " fine tune" if needed.
0 Reply
Abdul N. 1 year ago

Can.i.get.whatsapp.number.for.more.information
0 Reply
Abdul N. 1 year ago

Nice.speakers
0 Reply
Chris K. 1 year ago

I am giving myself a crash course in basic studio sound engineering before the process of
purchasing each component for our 5 person band: keys, horn, drums, guitar, bass (and possibly
need for a 2nd keys and 2nd guitar for future recording). I've done alright thus far on a modest
budget of piecing together harmonious components. Our genre is rock-oriented sound, but we
keep the decibel level of this minimally insulated home studio/live rehearsal space at a reasonable
level to accommodate my wife and kids two floors up! It's all good. I'm open to in-ear sound, but
maybe down the road. I already have many cables, 2 excellent TC Helicon voice a/o horn multi-
effect processors. I also have Mesa Flux Drive and Pedal Cracker to distort my vocals for another
sound to call and response with the horn player. The set includes supplemental electric drums
great during basic solo recording. There is a drum/PA Behringer Ultratone with cheap microphone
set up in kick to give depth to live drums with electric drum set. We have an Alesis drum monitor for
electric drums. I have a bulky vintage TOA PA for tiered keys and lead vocals with Stageright
condenser/Shure 58 and 58/48 for horn and 48 or an el cheapo mic for live kick effect. I plan to use
the recent purchase of a Tascam Portacapture 8 to serve potential mobile use and toms, snare
symbols during studio recording for now. Guitarist and Bassist bring their amps. We have a
powered Europort MPA40BT-Pro to monitor horn. We have a Tascam DR-40x for ambient capture
with mics set in open position. We have JBL Series 3 desktop monitors. We want to soon live stream
everything to both give folks an understanding of the process of forming original music while
learning a rare cover as well as to up our game and keep us on our toes with a virtual audience. I
just purchased and have not dove into OBS Studio and Restream. I have only used the basics of
Garageband on iPhone. I also have a versatile Microsoft Surface Pro 8 PC/tablet that is powerful
and could apply. Lastly I have a Focusrite Scarlett 8i8 that I use with Garageband for solo
applications. I have not figured out it's full potential to provide the I/O necessary to hear and I/ for
recording full band and live stream. I've used it primarily on my own doing very basic overdub solo
recordings. Within the past month I've bought and returned a compact Tascam analogue mixer
(don't recall the model); a Behringer Xenyx X1832 USB and an Behringer XAir XR18 and learned they
don't seem to be right fit. The X Air may be close, but wifi setup was so cumbersome that after
hours of attempts and many tutorials to connect, I put it back in the box and dropped it off at UPS.
To me this was a red flag. I suppose I could have drilled another hole and run the ethernet cable
from the Netgear router over head to the X Air directly in the basement. I was too headstrong for
that. The question this soliloquy may boil down to is what mixer and other integrated
features/components would be best to this application? Thanks for bearing with me. Just want to
give the full picture.
0 Reply
Mark S. 1 year ago

Hi Chris -
Mackie ProFX12v3 12-Channel Sound Reinforcement Mixer with Built-In FX
B&H # MAPROFX12V3
he Mackie ProFX12v3 is a 12-channel mixing console featuring seven Onyx microphone
preamps with 60 dB of headroom and a built-in effects engine with 24 built-in FX, making it
well suited for live sound, home recording, and content creators. The integrated 2x4 USB
audio interface offers high-quality 24-bit / 192 kHz recording and playback with zero-latency
monitoring.
Channels 1-2 offer combo XLR-1/4" mic/line connections and a Hi-Z switch (for guitar and
bass), while channels 3-4 offer XLR or 1/4" inputs. Channels 1-4 include inserts, and single-
knob compression. Channels 5/6, 7/8, 9/10 offer two 1/4" inputs, while channel 11/12 uses a
3.5mm stereo input. Channels 1-10 feature gain controls, a 3-band EQ, an aux (monitor) send,
a dedicated FX send, pan, mute, and level faders. Engaging channel 11/12's USB 3-4 switch
will override the 3.5mm input and enable the USB return from a computer.
Each channel strip includes button selectors for Main L/R, Sub 1/2, and Solo (PFL). The master
section offers dedicated faders for Main, Sub, and FX. Main output connectors include both
XLR and 1/4", while sub and control room outputs use 1/4" connector. A dedicated 1/4" TRS
headphone output includes its own independent level control. Other features include an
input / USB 1-2 blend control, a dedicated FX output, an FX level fader, and an FX mute, which
can also be controlled via the 1/4" footswitch input.
Features
Professional Sound Quality
Equipped with 7 Onyx Mic Pres offering up to 60 dB of gain and ultralow noise
performance
GigFX Effects Engine with 24 different FX options, from reverbs to delays and
more
Essential Mixing Tools
3-band EQ on all channels
Channels 5 to 10 feature mic inputs and stereo line inputs for maximum
versatility
Hi-Z switches allows direct connection of guitars, basses, and other instruments
100 Hz low-cut filter and 48V phantom power on all mic channels
Stereo 3.5mm input on channel 11/12
Aux/Monitor output with dedicated per-channel send control
Stereo Subgroup output bus with per-channel assignment
Headphone output with separate level and blend control
Insert jack on channels 1–4
Pre-Fader solo on all channels
Footswitch input for FX Mute
Single-knob compression helps keep your input levels in check
24-Bit / 192 kHz 2x4 USB Recording Interface
2x4 USB I/O allows you to create two custom mixes on your computer to send
back in to the mixer
Perfect for live performance recording, music playback, live streaming, and more
Latency-Free Monitoring
Easily blend between monitoring your computer’s output and a direct feed from
the mixer
Professional Production Content
Pro Tools | First and Waveform OEM professional software and plugin packages
included
The DAW Essentials Bundle for Waveform OEM includes 16 powerful plugins like
Equalizer, Compressor, Reverber8, and Limiter
Signature Rugged Design
Mackie built-like-a-tank design
Solid steel chassis protects your investment
Tough ABS side protection
0 Reply
William M. 2 years ago

Right now, I'm looking for 4 powered speakers to use with our sound system at a small theatre. I'm
one of the board members and I in charge of finding the best speakers for our little theatre. We
perform in an open floor setting. It's a large room and we put up pipe and drape to create a
backdrop for the audience. I want to put one speaker in each corner so I could have stereo or
Quad sound and make the sound move around the room when needed. I thought it would be best
to have hard wired (XLR cables) powered speakers so they can be moved around and plugged in
anywhere. Any suggestions on the best speakers for this setting? I can spend $500 - $800 for all
four. I already have a mixer. I would also like to place them on stands in each corner. So, I'm
thinking of buying two sets of two speakers with stands.
0 Reply
Mark S. 2 years ago

Hi William -
Alto Professional TX308 350W 2-Way Powered Loudspeaker B&H # ALTX308
Key Features:
For Mains or Monitor Wedge
For Small Spaces / Up to 200 People
Clean, Clear, Loud & Portable, 12.3 lbs
90x60° Coverage, 75 Hz to 20 kHz
Combo XLR-1/4" Input + XLR Link Output
Integrated Handles for Easy Transport
Precision High-Frequency Horn
Full-Sized Steel Grille
1.4" Pole Cup
Auray SS-47A-PB Deluxe Lightweight Height-Adjustable Aluminum Speaker Stands with

Tripod Base and Carrying Case B&H # AUSS47APB
Key Features:
2 Speaker Stands and Carrying Bag
Lightweight Aluminum Construction
Supports PA Speakers up to 120 lb Each
Height Adjustable from 3.8 to 7.5'
Metal Locking Collars
Wide Tripod Base for Stability
Nonslip Rubber Feet
Lightweight at 6.1 lb
Transportable at 44" Collapsed
1.375" Mount with 1.5" Adapter
0 Reply
Wally K. 2 years ago

I'm in a two person Band, Keyboards & Bass. The rest of the music comes thru a Speaker system
and we have a PA system to boot. I agree that the PA system should be slightly forward of the mic's.
The sound system for the accompaniment should be even or slightly behind the musicians so we
can hear the rest of the band correct?
0 Reply
harpz m. 4 years ago

Hi,
What software was used to create this wiring and stage diagram?
Regards,
Harpz
0 Reply
Vignesh R. 4 years ago

Hi,
I am having an amplifier, analog mixer and speakers connected out from the amplifier. I am kind of
confused on this concept of LMS,
Shall I use the LMS along with my analog mixer and amplifier ? What is gonna be the difference if
that is feasible ? If that is feasible how to go about my connections? Can you explain or point me to
any URL that could give me a good idea ?
Thanks
Vignesh
0 Reply
Mark S. 4 years ago

Hi Vignesh -
A speaker processing component would connect to the mixer outputs and the processor will
output its signal to the amplifiers which are in turn coupled to the speakers.
Please contact us via e-mail if you have additional questions: AskBH@BandH.com
0 Reply
Lincoln P. 4 years ago

For live performances.... Do I need a mixer that has an output for the Sub-Woofer or do the main
outputs go into the Sub-Woofer and it acts as the Crossover with outputs to the other speakers?
0 Reply
Mark S. 4 years ago

Hi Lincoln -
The subwoofer's crossover will handle the incoming signal properly.
0 Reply
Alano H. 5 years ago

I have just recently formed a Metal Band, been playing concerts with provided speaker systems
from the venues mainly. But I need to have my own wireless microfone for vocals and speakes.
Basically at this stage for 100 -500 people, is it possible to have it upgradable for larger audiences
should that miracle happen? So what sort of ranges would it need and what would you
recommend?
0 Reply
Mark S. 5 years ago

Hi Alano -
The Shure PGX Digital Series Wireless Microphone System (B&H # SHPGXD24SM58) combines
the convenience of single-touch remote channel setup with the reliability of 24-bit digital
operation. Clean RF (Radio Frequency) performance, stable channel operation and low noise
are all attributed to the PGX Digital's 24-bit / 48 kHz digital operation. The user-friendly yet
rugged design of the Shure PGX system measures up to provide years of reliable use in halls,
houses of worship, clubs, theaters, restaurants, bars, etc.
This B&H Kit (B&H # JBEON61518K (B&H Kit)) combines the JBL EON615 Powered
Speaker and the JBL EON618S Powered Subwoofer with two speaker covers, a speaker
pole, and two XLR cables to form the primary components of a sound system for public
address, bars, karaoke, schools, church gatherings and more. The EON615 is a 15" two-way
powered speaker system with 1000W of Class D amplification and two input channels.
Designed for high-quality audio reproduction, portability and flexibility, the EON615 can be
used in a variety of configurations and scenarios. The speaker features on-board factory EQ
presets that allow you to set the system as a main house speaker, as a monitor speaker, or as
a top speaker for use with the EON subwoofer. The EON618S is a powered portable PA
subwoofer, designed to deliver high-quality sound reproduction in a variety of applications
supporting EON600 and other full range systems. A lightweight, durable enclosure allows the
speaker to be easily transported and set up wherever low frequency reinforcement is
needed.
In the Box:
EON615 - 1000W 15" 2-Way Powered Speaker System With Bluetooth Control
Power Cable
Limited 1-Year Warranty
EON618S 18" Powered Subwoofer
JBL BAGS - EON615-CVR 5 mm Padding/Water Resistant/ Cover for EON615 (Black)
JBL BAGS - Deluxe Padded Cover for EON618S
Speaker Pole With Manual Adjustment Between 36 and 55" for JBL Tops
Kopul - Premium Performance 3000 Series XLR M to XLR F Microphone Cable - 25'
(7.6 m), Black
Kopul - Premium Performance 3000 Series XLR M to XLR F Microphone Cable - 10'
(3.0 m), Black
0 Reply
Allen P. 5 years ago

Hay im a drummer been playing many years in many bands. Thing is ive never need any mics to my
drums or a pa system so i really never had to work or figure out a PA till now that i have started my
own band. Im looking for the best sound i can get working with what i can afford and what i can buy
when i have the chance to buy it ive had no help and knowledge about any of this other from what
the music store tells me. So i have for my mains the dual 15inch jbl. And 2 18inch peavey black
widow. Im pushing it with a beringer inuke 3000 i have a analog 16ch EV mixing board. A peavey
2ch EQ and a lexicon digital effects.
I dont have a clue how to really hook any of it up rigjt now i have just the lexicon effects going to the
mixing board and its workimg cause it changes the sound of my vocals but i dont have a clue now
how to hook up the EQ or if even really need it right now and if i dont what should i get right now
for better sound. Some people said i need a crossover is this true? I read where you said that a
signal prossor and a gate conditioner is the first thing that you should have when running thru a
analog mixer if that is true what should i get and is their any way you can walk me threw hooking it
up i really need help.. Thanks so much
0 Reply
Mark S. 5 years ago

Hi Allen -
The Galaxy Audio DSPOT DS-SP24 2 x 4 Speaker Processor is designed for setting crossover
frequencies and distributing an audio signal across the parts of a speaker system for installed
and portable live sound reinforcement applications. The 1RU rackmountable digital signal
processor features two balanced XLR analog inputs, a stereo digital SPDIF input, and four
balanced XLR analog outputs.
Each input can be processed with five assignable parametric or shelving filters. Each output
has five assignable parametric or shelving filters. The unit also offers high pass and low pass
filtering with a slope of up to 24 dB per octave for crossovers as well as an RMS limiter on
each output and polarity reversal. Each input and output offers an adjustable delay of up to
850 ms with steps of 22 microseconds which makes it possible to time align and configure a
loudspeaker system within a space. Additionally, each input and output can have a custom
name assigned to it.
The unit can be controlled via the front panel LCD display control interface, via RS-485 serial
control, or via USB connection to an external PC. Control software is available via an included
CD or via download from the manufacturer's website.
The Shure DMK57-52 Drum Microphone Kit is a cost effective microphone kit that includes
everything needed for capturing drums and percussion in live sound and recording
applications. The kit includes three Shure SM57 dynamic cardioid microphones, a Beta 52A
kick drum microphone and three A56D universal drum mounts. The SM57A cardioid dynamic
microphones are popular with recording and live sound engineers. The microphones are well
suited for capturing snare, toms, conga, bongos, timbales, cymbals, overheads and more.
The Beta 52A features a tailored frequency and sensitivity response for accurate
reproduction of kick drums, floor toms, timpani and other low-frequency producing
percussion instruments. The A56D universal mounts are rugged and effectively mount the
SM57's to drum and percussion rims, hardware, etc. The entire kit is designed to withstand
the rigors of life on the road, in the studio or at home.
Please contact us via e-mail if you have additional questions: askbh@bandh.com
0 Reply
Rick M. 5 years ago

I sing in a Classic Rock / R&B band with horns. We use a variety of systems depending on who's
closest to the gig. For my particular setup we use a Behringer Xynex 1222USB with older Mackie
SRM 450's. Depending on the show we use a variety of TC Helicon personal monitors along with a
couple of Kustom (Don't Judge) powered floor monitors. Here's the question - I recently acquired a
TC Helicon Voicelive Play. What's the best way to run that through my system for live sound?
Previously I ran my mic direct to my personal monitor & controlled vocal effects from there during
performances.
0 Reply
Mark S. 5 years ago

Hi Rick -
This product is very easy to use, but is very flexible and offers tons of options for live use.
Please review the user's manual and spend time experimenting with different settings before
your next gig.
https://bit.ly/2zAMKdc
0 Reply
Anna .. 5 years ago

Am a fresher on sound/stage setting...pls any tip for beginners?
0 Reply
Vonne J. 5 years ago

Hi Andrew!
This was very helpful. Would you mind if you could recommend a mid-range sound system
components for church purposes with 50-80 people hall.
Many thanks,
Vonne
0 Reply
Mark S. 5 years ago

Hi Vonne -
Are you looking for a portable system? https://bhpho.to/2J5TQsQ
The Bose L1 Compact Wireless is a portable line array system designed to provide wide
coverage, wired and wireless connectivity, and simple setup for musicians, DJs, and hosts at
restaurants, parties, conferences, and other special events. It features proprietary technology
and multiple drivers to deliver nearly 180° of coverage for audiences of up to 100 people. Wi-
Fi and Bluetooth capabilities are provided by the included SoundTouch Wireless Link adapter,
which connects via a supplied audio cable to the L1. The system uses interlocking
components that require no cables or stands.
It sits at 16.5” high and has two 32.5” extensions for an extended height of 78.5”. XLR, RCA,
3.5mm, and 1/4” inputs allow you to connect a variety of sources such as a microphone,
guitar, smartphone, and CD player. The built-in mixer offers controls for volume, treble, and
bass, plus ToneMatch presets further enhance your tone. 1/4” and RCA outputs can easily be
connected to a recorder or another L1 system.
The L1 Compact Wireless can be carried in a single trip due to its built-in handle and supplied
carry bag for the extensions.
Use with this: https://bhpho.to/2KZj4hi
The integrated ToneMatch processing and zEQ help you get a great sounding mix quickly and
effectively. The Bose ToneMatch processor is natural sounding on vocals and instruments,
while the zEQ focuses your tone for effective adjustments on-the-fly. The illuminated, tactile
controls, and indicators offer quick, spontaneous sound adjustment, even on dark stages.
Additionally, the ToneMatch system offers advanced features such as tap tempo delay, a
built-in chromatic tuner, and recallable scenes to create a professional on-stage companion
for any performing artists.
Each channel offers a trim knob, a channel edit button, an FX mute button, a volume knob,
and a dedicated channel mute. The main output features a master volume control, an
independent headphone volume control, and phantom power for working with condenser
microphones. The Bose T4S ToneMatch Mixer ships with a magnetic cover and a ToneMatch
cable.
0 Reply
Fred R. 6 years ago

I'm using the Mackie ProFX22 mixer for a 5-piece classic rock band. That mixer has 2 aux sends.
We send one to the drummer's in-ear monitor and the other is sent to a pair of stage monitors.
The singer would like to use a wireless in-ear system. The other musicians don't have in-ears so
unless/until they do, I guess we would keep the stage monitors as well. And...that's the problem.
Only 2 aux sends but 3 monitor setups. Can a Send be split 2 ways - one to the stage monitors and
one to the singer? How about chaining the wireless IEM base station with the stage monitors? One
wouldn't have control over those two monitor mixes, but otherwise is that a workable solution?
OR...is that where a speaker processor comes in?
Any thoughts on how to accomplish this would be appreciated. Thanks!
0 Reply
jusper 6 years ago

I could not look for any more. You have just touched on every point that I wanted to know.
Thanks for the very insightful, educative, and insightful post that is useful for every sound
setup in a church.
0 Reply
Mark S. 6 years ago

Hi Fred -
Consider using something like this:
The dbx DriveRack PA2 Complete Loudspeaker Management
System (https://bhpho.to/2p8tzSt) is a loudspeaker management system that can be
controlled via your Mac, PC, or mobile iOS or Android device. Using an optional microphone
connected to its RTA input, its AutoEQ function can be employed to listen to your room and
automatically EQ it for optimized speaker performance. The AFS (advanced feedback
suppression) feature is designed to eliminate feedback while preserving the sound of your
system.
limiting as well as both a graphic and 8-band parametric EQ section. It also features driver
alignment delays and a crossover section that supports full range, 2-way, and 3-way systems.
You can control the DriveRack PA2 directly connect from your Mac or PC via rear-panel USB
port, or connect the PA2 to a wireless router via its Ethernet port for compatibility with iOS or
Android devices.
0 Reply
Luis M. 6 years ago

Have anyone have any recommendations for overhead monitors over a small stage? I have no
room for floor wedges, I will appreciate any suggestion from hands-on experience. Thanks.
0 Reply
Mark S. 6 years ago

Hi Luis -
The AIR12 from PreSonus (B&H # PRAIR12) is a versatile and customizable 2-way active
sound-reinforcement loudspeaker featuring 1200W of power and enhanced digital tuning
functions, well suited for live bands, DJs, clubs, event halls, bars, speaking engagements, and
more. The speaker utilizes two amplifiers for the high and low frequency drivers. A 500W
(continuous) Class-D amplifier powers the 12" woofer for efficient and clean low end
performance, while a 200W (continuous) Class-A/B amplifier powers the 1.35" compression
driver for a natural "airy" high end. Both drivers combine to provide 131 dB SPL with a
frequency response of 60 Hz to 20 kHz (-3 dB).
The integrated and easy-to-use digital signal processor (DSP) allows you to customize the
loudspeaker for a number of applications including DJ, FOH, Monitor, and Speech presets.
Additionally, ±10 dB of treble and bass control allows you to further tailor the sound and
compensate for room anomalies. Location presets let you optimize performance for stand
and bracket mounting as well as flown installations. The Air12 ships with a power cord.
0 Reply
g M. 6 years ago
HELP ANYONE... I have a pair of EAW AS-300is speakers, Horn loaded sound reinforcement sytem. I
don't know much about these except they are definitely for the big boys and they weigh alot. I was
wanting to sell them does anyone know what they would be worth and what site I could post them.
Not for sure on the age of them but they are in good shape but cabinets show a little wear but not
bad. Thanks
0 Reply
Frank 6 years ago

Hello All,
Great article. I am an industrial design student and currently working on researching further audio
and visual equipment for my thesis. I grew up working under my father's audio rental system .
From small parties to sold out concerts and still learning, Anyway I'm wondering what common
problems do you guys come across with audio equipment that could be addressed better with
design? Thanks
0 Reply
RJ 6 years ago
I have been tasked with refining sound equipment at a small-medium church. Currently all the
speakers are active speakers (mains, sub, wedge monitors). I've read that passive speaker setup is
better for permanent installations such as churches.
All the equipment is relatively new and in great working condition. Do you think it is worth it to
switch to passive setup? I would need to buy new mains, sub, monitors, as well as supporting
equipment such as amps, front of house mixer/EQ/processor, and a bunch of speaker cables.
Are there any big drawbacks to using an active speaker system in a permanent install (besides the
hassle of turning the switching on and off for every speaker)?
0 Reply
Mark S. 6 years ago

Hi RJ -
If you are relatively happy with your present gear and the way it sounds and performs, why
upgrade now?. I would advise waiting until there is a compelling need.
0 Reply
Bill 6 years ago

I do FoH for a smaller church and we went from passive to active about five years ago as it
just saves a lot of hassle.
By moving from passives to QSC K-series speakers we were able to rid ourselves of racks of
amplifiers, associated power snakes and the hassles they brought. Most active speakers even
have a signal sensing mode so you don’t need to run around and turn them on, they’ll fire up
when they sense a signal. It all sounds and works great.
In short, don’t listen to what “people say” - go with what works for you in your situation. I can
honestly say I don’t think we’d ever go back to passive.
0 Reply
RJ 6 years ago
Bill wrote:
Most active speakers even have a signal sensing mode so you don’t need to run around
and turn them on, they’ll fire up when they sense a signal.
Thanks for the great advice Mark and Bill.

Bill, can you please expand on this signal sensing? I've never heard of this feature. I did
a Google search and couldn't find any information on it either.
0 Reply
chann sereyleak 6 years ago

hello dear
i want to set up sound system in one small church size 12m*12m* 4m.so what should use for
better sound ?and i also want to add drum into sound system. please kind list the Equipment for
me. thank you from our chuch.
0 Reply
Mark S. 6 years ago

Hi Chann -
Please send us this request with budget details and any existing equipment you will need to
integrate to: askbh@bandh.com
0 Reply
phil 6 years ago

hi , have a question ;
i have four monitors and would like to add feedback control , do i need to encororate two feedback
units seeing how each unit only has two channels ? Four seperate aux sends for powered stage
floor monitors . I do have each into a sepreate eq unit.
Thanks
0 Reply
erick 6 years ago

hi
i have big problem
why my subwoofer lose the throw low freqnce
My Wave form is 35hz-140hz low .........140hz - 2.5khz mid............... 2.5khz - 18khz highz
i use cerwin wega bin n selenium top
0 Reply
Mark S. 6 years ago

Hi Erick -
Check the wired connections at the sub and the receiver to ensure that the conections are "in
phase". That is, the speaker wires are connected observing the correct polarity from each
connection terminal: Negative to negative (-) and positive to positive (+).
0 Reply
Milan Gurung 6 years ago

Hi. I was using 2 12inch active Mackie srm 450 with alto small mixer in a pub. But the sound was not
loud as it could be the carpets and the curved wall structures? So what can I do to make it more
loud for 50-75 people in the same place? We were using 2 electro - acoustic guitars, bass guitar and
cajun with 2 vocals.
Should I have to add subs to it or more speakers or upgrade to new mixer?
Thanks
0 Reply
Milan Gurung 6 years ago

Hi. I was using 2 12inch active Mackie srm 450 with alto small mixer in a pub. But the sound was not
loud as it could be the carpets and the curved wall structures? So what can I do to make it more
loud for 50-75 people in the same place? We were using 2 electro - acoustic guitars, bass guitar and
cajun with 2 vocals.
Should I have to add subs to it or more speakers or upgrade to new mixer?
Thanks
0 Reply
Mark S. 6 years ago

Hi Milan -
Are the speakers up on stands? Have you tried an EQ?. A loudspeaker management system
can be invaluable to use with an existing system:
The dbx DriveRack PA2 Complete Loudspeaker Management System is a loudspeaker
management system that can be controlled via your Mac, PC, or mobile iOS or Android
device. Using an optional microphone connected to its RTA input, its AutoEQ function can be
employed to listen to your room and automatically EQ it for optimized speaker performance.
The AFS (advanced feedback suppression) feature is designed to eliminate feedback while
preserving the sound of your system.
limiting as well as both a graphic and 8-band parametric EQ section. It also features driver
alignment delays and a crossover section that supports full range, 2-way, and 3-way systems.
You can control the DriveRack PA2 directly connect from your Mac or PC via rear-panel USB
port, or connect the PA2 to a wireless router via its Ethernet port for compatibility with iOS or
Android devices.
0 Reply
Humans 6 years ago

You have 2 12 inchis ev sound speakers
0 Reply
Show older comments
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Explora › Pro Audio › Live Sound 101: Event Sound...

Live Sound 101: Event Sound System Design

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

Frequency Spectrum for Full Range Tops and Subwoofer

Sound Pressure Level to Decibels Distance

Horizontal Dispersion Vertical Dispersion

Active versus Passive

Passive speakers require amplification, speaker cables, and may require an

Active Speaker Passive Speaker

Yorkville ES18P Subwoofer

Signal Path for a Passive Sound System

Note: A speaker processor delay is not a digital delay effect, as it is intended to

Analog Mixers versus Digital Mixers

Analog Mixer Digital Mixer

BEHRINGER X32 Digital Mixing Console IOS APP

Stage Snakes and Stage Boxes

Shure PSM 300 Stereo Personal Monitor System

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Michael R. 4 months ago

Mark S. 4 months ago

Amgel A. 7 months ago

Mark S. 7 months ago

Please contact us via e-mail if you have additional

neilmusician N. 1 year ago

Mark S. 12 months ago

Dan G. 1 year ago

Mark S. 1 year ago

Dan G. 1 year ago

Mark S. 1 year ago

Dan G. 1 year ago

Abdul N. 1 year ago

Abdul N. 1 year ago

Chris K. 1 year ago

Mark S. 1 year ago

Mackie ProFX12v3 12-Channel Sound Reinforcement Mixer with Built-In FX

William M. 2 years ago

Mark S. 2 years ago

Auray SS-47A-PB Deluxe Lightweight Height-Adjustable Aluminum Speaker Stands with

Wally K. 2 years ago

harpz m. 4 years ago

Vignesh R. 4 years ago

Mark S. 4 years ago

Lincoln P. 4 years ago

Mark S. 4 years ago

Alano H. 5 years ago

Mark S. 5 years ago

Allen P. 5 years ago

Mark S. 5 years ago

Rick M. 5 years ago

Mark S. 5 years ago

Anna .. 5 years ago

Vonne J. 5 years ago

Mark S. 5 years ago

Fred R. 6 years ago

jusper 6 years ago

Mark S. 6 years ago

Luis M. 6 years ago

Mark S. 6 years ago

Frank 6 years ago

Mark S. 6 years ago

Bill 6 years ago