Ringing out
Ringing out is a systematic audio engineering technique used in live sound reinforcement to maximize gain before feedback and prevent acoustic audio feedback between microphones and loudspeakers.[1] Depending on physical dimensions, acoustic reflections, and room resonance modes within a performance space, specific sound frequencies loop back through a sound system more readily than others.[2]
Methodology
[edit]To ring out an acoustic space or monitor mix, an audio engineer systematically increases the channel gain or main fader level of an active microphone until the electroacoustic feedback loop begins to resonate.[3] As a ringing tone or howl develops, the technician identifies the specific frequency through visual diagnostic instruments, such as a real-time analyzer (RTA) or spectrum analyzer, or by critical listening.[4]
Once identified, an engineer uses an equalizer (typically a narrow-bandwidth parametric equalizer or a 31-band graphic equalizer) to attenuate the target frequency by a moderate amount, generally between 3 and 6 dB.[3][2] This procedure is repeated sequentially for subsequent resonant frequencies until the system achieves adequate operational volume without entering self-oscillation.[5]
Practical application and trade-offs
[edit]Ringing out is particularly critical for stage monitor systems because foldback wedge speakers operate in close proximity to performers and open directional microphones.[4] While effective for expanding headroom, the process carries operational limitations:[3]
- Excessive attenuation across multiple frequencies can degrade the natural tonal character of vocal or instrumental sources.
- Over-equalization in midrange frequencies (between 250 Hz and 2 kHz) can significantly impair speech intelligibility.
- Setting up complex productions with numerous open microphone lines remains time-intensive.
Modern live sound management frequently supplements or replaces manual ringing out with in-ear monitor (IEM) configurations, directional microphone selection, optimized speaker placement, and adaptive feedback suppressors.[3][4]
See also
[edit]References
[edit]- ↑ Davis, Gary; Jones, Ralph (1989). The Sound Reinforcement Handbook (2nd ed.). Yamaha / Hal Leonard. pp. 234–236. ISBN 978-0881889000.
- 1 2 "How to Control Feedback in a Sound System". Shure. Retrieved 28 July 2026.
- 1 2 3 4 Murphy, Teddy (19 January 2026). "Ringing Out a Room: Creating Gain Before Feedback the Right Way". Higher Ed AV. Retrieved 28 July 2026.
- 1 2 3 Brashler, Drew (22 December 2023). "Mastering Feedback Control in Live Sound Mixing". Retrieved 28 July 2026.
- ↑ Ahnert, Wolfgang; Noy, Dirk (2024). Sound Reinforcement for Audio Engineers. Routledge. ISBN 978-1032344072.