Price: $200 for a group of up to 4

Pretty much all audio tech revolves around the idea that a sound wave can be converted to an electrical signal and converted back to sound we hear. In just two hours, see and understand how this is done and be a smarter audio tech consumer for life.

You will be presented demonstrations of the following during the class:

• sound waves
• microphones
• electric analog audio signals
• digital audio signals
• speakers
• headphones

Besides learning the underlying concepts, you will learn the standard terminology and how it applies to everyday consumer products:

https://nathanruffing.com/audio-terminology/

Sign up today by calling or sending an email.

For a quick guide to all audio terminology you have heard and halfway understand, click here.

The #1 most important aspect of online communication is the internet connection. #2 is the sound and once you have a quiet location, the best audio situation you can set up is with music equipment. Here’s how. I will progress in the following order:

• Capturing your local sound with microphones
• Using headsets and splitting microphones from speakers
• Expanding and mixing multiple local participants, nearly unlimited, including musical instruments, who hear each other locally in real time
• Connecting all local sound into the computer
• Hearing the remote sound from the computer
• Mixing the remote sound from the computer into what all participants hear
• Mixer recommendations

Microphones Capturing Sound, XLR Inputs!

XLR XLR XLR! Microphone = XLR input.

The most important rule when using microphones with music equipment is the microphones should be plugged into XLR inputs. If you are new to music equipment, XLR inputs will appear obscure, complicated, expensive, and you will subconsciously try to avoid using them. Use XLR! XLR inputs are designed for microphones and once you accept that you must plug microphones into XLR you will buy the appropriate microphones and headsets for future purchases and you will happily buy the converters for any equipment you already have.

Committing to XLR is most difficult when selecting headsets. Fortunately, the difficulty can be summed up and solved by answering one question at the time of purchase:

“Can this headset be connected to XLR for the microphone and TRS for the speakers (headphone)?”

Headsets: Split Microphones from the Speakers

Many headsets are designed to be “plug-and-play” with one plug, often a 3.5mm TRRS (TRRS is a standard headphone jack with one extra ring). This is great for one person with no instrument. Sure, video chat with grandma at the click of a button. Not set up, go. However, as soon as you add any second device or a second participant, you are going to wish the microphone signal were split from the speaker signal. Also, of course, you want the microphone to terminate in XLR.

I recommend the Audio-Technica BPHS1. The headset audio is split exactly how you want it, XLR plus TRS. Some of the reviews I read were written by podcasters, indicating that the headset is often used with professional audio setups.

Expanding to Multiple Local Participants

If you have committed to XLR for your microphones, expanding is pretty much already finished. Plug in and go.

The only thing mixers may lack is enough headphone jacks for everybody. Fortunately that problem is solved for under $50 with a simple headphone splitter, for example the Behringer HA400

Locally, Better than In-Person

Music equipment mixing is so smooth and high-quality that you can have a normal conversation even talking over each other and the sound of multiple voices in a conversation will be arguably better than without the equipment. Elderly people or anybody who uses hearing aids may prefer headsets on a mixer to just talking! Mixing multiple sound sources is exactly what music equipment is designed for. Podcasters use mixers and routinely have natural conversations over headsets with four or more people. Delay? There is no delay. There is no processing and electrical signals travel faster than sound.

Connecting to the Computer, Local Sound Into Computer

The critical point of success when interfacing with a computer (in my opinion) is to keep the ‘in’ and ‘out’ signals analog and physically separate from each other all the way to the computer. This means your locally-generated mixed sound signal should enter the computer through a sound input TRS receptacle. Maybe it will be labeled ‘mic in’ on the computer, maybe ‘audio in.’ At a minimum, you should be able to separately identify the sound signal in the computer’s settings independent of what software you are using.

Connecting to the Computer, Remote Sound Out From Computer

The sound coming from the remote person (or people) from the computer must be fed into the mixer to be heard by all the local participants. The tricky thing here is, the remote sound should be heard by the local participants, but NOT mixed into the sound fed to the input on the computer. If the remote sound is fed into the computer, the remote person will hear himself on the internet delay, or “echo,” which most of us have experienced and we know it is nearly intolerable depending on the volume of the echo.

Note: some conference software may automatically cancel the echo but it’s better not to rely on the software.

Fortunately, many music mixers are designed to allow musicians to listen to a recorded music track that they don’t want recorded – because it’s already recorded and that’s how they are listening to it. This is perfect for conferencing because the remote sound can be fed into this input and deselected on the mixed output that is connected to the computer. The mixer then only sends sound produced locally, but the local participants hear the remote sound as though they are “recording over it.”

Mixer Recommendations

Almost all mixers will have XLR, phantom power, TRS inputs, at least one output, separate volumes for each input, etc. Being able to deselect one input from mixing to one output to eliminate the echo feedback into the computer is a bit unique. Below are two recommendations that have the capability.

On the Behringer XENYX 1202, you can plug the computer remote audio into the “2-TRACK” RCA input, deselect “2-TR TO CTRL ROOM” and use the “CTRL ROOM OUT” to send to the computer as it will include all audio except the remote audio. Local participants then hear everything over the headphone out. Perfect.

The Behringer XENYX 502 has a similar setup, but notice only one XLR input.

Cables and Adapters

The variety and number of cables and adapters is as many as there are combinations of plug types. See the cable requirements in an example setup below:

[setup diagram]

Expanding Notes

Internet conferencing lives and dies by the sound. Minimum quality sound is absolutely necessary to make online conferencing viable and really good sound can often make video nearly unnecessary in many situations.

Most people shy away from using music equipment for computer sound because it appears complicated and it is “not made for conferencing.” I think that’s why anyway? Maybe people feel like using professional equipment makes the online situation permanent? Maybe they assume it’s expensive? Really though, why not?

Regardless of the reason, musical sound equipment is the highest quality and most versatile, especially for the price. As an electrical engineer and amateur musician, I believe music equipment is the overall best solution to online conferencing sound. I would caveat that with the following statements:

• You should commit to using music equipment and analog electric signals entirely up to the point where the sound enters the computer. The sound should be completely mixed before it gets digitized.
• Attempting to take short-cuts mixing in the computer will complicate to the point you regret the attempt.
• The primary complication is interfacing the music equipment with the computer, but if you commit to separating the signals, you simplify this.
• A secondary complication is interfacing microphones of headsets that are often designed to connect to computers and conferencing and not music equipment. See the XLR / microphone discussion above.
• Music equipment produces near perfect sound and being the analog electrical equivalent of real sound, your set-up does not “go obsolete” like digital equipment and software does. Computers must interface with analog audio at some point and electrical audio signals cannot become obsolete. (Watch me eat these words somehow? Never say never?)
• Regardless of purpose-made conference system marketing, online conferencing set-up is always complicated.