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A sound reinforcement system for a rock concert in a stadium may be very complex, including hundreds of microphones, complex live sound mixing and signal processing systems, tens of thousands of watts of amplifier power, and multiple loudspeaker arrays, all overseen by a team of audio engineers and technicians.
The concert hall sound means the listener hears all the instruments from the front, whereas the rear channels are mainly used to give the listener the acoustic effect of sitting in a concert hall. (Ambiophony or ambiophonic sound should not be confused with Ambiophonics or Ambisonics.) [3] [4] [5]
In the end, the performance venue was designed with a large fixed seating area, a Great Lawn, a trellis network to support the sound system and a signature Gehry stainless steel headdress. It features a sound system with an acoustic design that replicates an indoor concert hall sound experience.
The system allows for the reproduction of sound signals that are (wholly or in part) independent of one another. Four channel quadraphonic surround sound can be used to recreate the highly realistic effect of a three-dimensional live concert hall experience in the home.
The Wall of Sound was an enormous sound reinforcement system designed in 1973 specifically for the Grateful Dead's live performances. The largest concert sound system built at that time, [1] [2] the Wall of Sound fulfilled lead designer Owsley "Bear" Stanley's desire for a distortion-free sound system that could also serve as its own monitoring ...
Sound operators, excluding the monitor engineers, are normally positioned in a small sectioned-off area front-of-house, surrounded by the audience or at the edge of the audience area. From this position they have unobstructed listening and a clear view of the performance, enabling the operation of the main speaker system, show control consoles ...
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