Unplugged Sound
Unplugged Sound - The Concept
Anton Niedersteiner - Acoustic Sound Reinforcement & Audio Engineering
The bottom line with unplugged sound is to present the illusion that there is no sound system. The idea is to have listeners perceive the sound of each instrument and voice coming directly from it's source and not the PA.
The popular mind-set of system engineers/operators is one of "have system, add group". They approach the job with the underlying idea of performers playing "through" the system. Usually what you end up with is an audio experience similar in listening to a home stereo system, but louder and in a public venue. Fidelity can be good on occasion, but often it is not (practice gear with vocal mics on instruments). Much is lost at the expense of being loud. What is needed is a shift of the concept.
Begin by visualizing the performance with no PA. The musicians have all that they normally use, but just not the PA. In this state there would be some large audio anomalies (hence the need of a sound system). Firstly certain instruments, like drums and horns would be too loud and others like acoustic guitars, flutes, harmonicas etc, would be scarcely heard. Things are out of balance. Secondly, instruments (and voices) have varying dynamic ranges. So even if drums are played softly to match the level of a flute for example, in crescendos the flute is lost. Thirdly, it is a matter of acoustic power, or projection, or reach, whatever you want to call it. Depending on the venue, some sound will carry and some will not, so you may need to help it along. Fourthly, acoustic instruments just can't produce significant bass (short of some very large bass drums). It is a matter of tone, or body. A little extra bass fattens things up but doesn't show on the dBA meter. The concept is to identify the "audio holes" in the sound and use the system to fill them. It should take on a supplementary role, to "fill in" where the acoustic is lacking. The stage sound becomes the house sound with a little help from you.
Of course there are going to be limitations. You will be able to add about 12 dB before the system is heard. The stage sound (folk, jazz) is normally less than 90 dB SPL. So that gives you up to 102 dB. Another factor is what the musicians expect. This concept may be new to them. They may not be able to abandon the two sound field (stage/house) idea and feel uncomfortable without a certain monitor sound (I've been asked to turn down the "effects"), though usually with a little gentle persuasion they soon catch on, and like it.
I use as little gear as possible. Almost always someone comments: "the sound was just excellent".
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