TMEP Audio Training Ground

W2-01 / W2-02

AV as a System: Inputs → Processing → Outputs

Every audio decision maps back to this framework. Click each box to see what lives inside it. Then explore the connectors and microphone types you'll encounter on show site.

AV as a System

"If you remember nothing else from this week — remember this model. Every audio problem you'll ever face on show site is a failure somewhere in this chain." — W2-01

Inputs

CLICK TO EXPAND ↓

Podium mic, lavaliers, handhelds
Laptop / computer audio
Video playback devices
Remote presenter feeds (Zoom/WebEx)
Walk-on music / stingers
Instruments
Each source = one input. Count everything — then count again.

→

Processing

CLICK TO EXPAND ↓

Gain — sensitivity of the input (the "volume at the door")
EQ — shaping tone, cutting problem frequencies
Sends — routing to monitors, record, stream feeds
Pan — left/right placement in the stereo field
Faders — individual volume per channel, real-time
Master — total output level; your emergency brake

→

Outputs

CLICK TO EXPAND ↓

Main house speakers — what the audience hears
Stage monitors — so presenters can hear themselves
Record feed — post-event content and backup
Livestream — your hybrid audience
Green room — backstage VIP and staff follow
Translation booths — isolated audio for interpretation
Count outputs like you count mics. Wrong-size mixer starts here.

Audio Connectors — Click to Learn

🔌

XLR Cable

The backbone of pro audio. Used for mics and balanced audio runs.

3-pin, balanced, shielded against RF interference. If you see it on a quote — good. If a presenter shows up with a consumer cable instead — not good.

🎸

¼" (Quarter Inch)

Instruments, DI boxes, some audio gear. Mono or stereo (TRS).

Common for guitars and keyboards. Your AV team will typically convert to XLR for long runs. Wired vs. wireless on instruments still matters.

🎧

1/8" (Mini/Headphone)

Laptop headphone output. TRS — stereo + sometimes mic.

Susceptible to buzz. "My laptop sounds fine in my headphones" is not the same as "my laptop audio is show-ready." Use a quality cable or a DI box.

🔴

RCA Cables

Red and white. Old-school AV gear, CD players. Still shows up.

Reality throws curveballs. When it does, your A1 will convert RCA to XLR. Just know it exists and what it looks like so you're not surprised.

💡

Optical / Fiber

Light-based signal. Fast, clean, immune to RF interference.

When you see fiber on a quote, it's doing heavy lifting — long distances, high-quality digital signal. It's the infrastructure, not the endpoint.

📦

Patch / DI Box

Converts consumer signals to XLR. Eliminates ground buzz.

"You won't know you need one… until it's 10 minutes before doors." — Always pack a few. A DI box has saved more shows than any single piece of gear.

Microphone Types — Click to Learn

🎤

Podium (Gooseneck)

For speakers who stay in place. Slimline or flexible arm. Often condenser — needs 48V.

Great for welcome addresses or scripted openings. Not ideal for someone who wanders. If they leave the podium, this mic becomes dead air.

🎙️

Handheld

The OG. Rock-solid. Dynamic — no phantom needed. Wired or wireless.

Even the gods prefer it — it's why the "Voice of God" mic is usually a handheld. Best for Q&A, audience participation, and any situation where you need a reliable backup.

📎

Lavalier (Lav)

Clip-on lapel mic with wireless belt pack. Great for panel movement.

Ask what they're wearing before the show. Silky fabrics, scarves, necklaces, and dresses without pockets all complicate mic placement. Loose fabric = mic rub = noise.

👂

Headset / Countryman

Over-ear, nearly invisible. Excellent gain before feedback. Often talent-specified.

Many keynote speakers travel with their own Countryman for hygiene and color match. Send presenter photos to your AV team so they can match model and skin tone.

🎭

Boom / Madonna

Headset-style with boom arm. For outdoor or high-movement environments.

Less common indoors but still appears for energetic formats, outdoor events, or when a speaker needs hands completely free and a lav won't survive the movement.

🔊

Floor / NAT Mic

Ambient sound at stage edge. Choir, dance, crowd reaction.

If you're recording or livestreaming a performance, your AV team may add these for coverage. Also useful for Q&A audiences if you need ambient room capture instead of runners.

💡

Brian's Tip

Click the three boxes above to explore what lives inside each stage of your audio system. Then click the connector and mic cards to get show-site context on each one. When you're ready — move to Tab 2 to get your hands on the console.

W2-04

Audio Processing: Mixers, EQ, Levels

The mixer is the brain of your audio system. Click the anatomy labels to highlight each section across all 16 channels. Drag faders and knobs to mix your show. Click any channel name for context on that input.

Anatomy →

Input Jacks

Gain

EQ & Effects

Sends

Pan

Channel Faders

Master Faders

Prestige MX-16 Training Console

16-CHANNEL LIVE EVENT SIMULATOR · MIDSIZE GENERAL SESSION · WEB AUDIO ENGINE

PWR

SIG

CLIP

← scroll to see all 16 channels →

SOURCE→

INPUT JACK→

GAIN→

EQ→

SENDS→

FADER→

MASTER BUS→

AMPLIFIER→

SPEAKERS

Outputs →

Main L/R

Ballroom Speakers

Stage Monitor

Presenter Wedge

Record Out

ISO Recording

Livestream

Hybrid Feed

Green Room

Backstage Monitor

Translation

Interpreter Booth

MASTER

💡

Brian's Tip

Raise a fader to add a source to your mix. Click any channel name for context on that input. Click an anatomy section in the legend above to highlight that zone across all 16 channels and learn what it does.

W2-05 / W2-06

Speaker Placement & Output Feeds

Build your room one speaker at a time — just like in the lesson. Click each button to add speakers and watch coverage expand. Then toggle the output feeds your mixer needs to support.

Output Feeds — Toggle to Learn

💡

Brian's Tip

Build your room from the front. Start with Mains — they handle most of your coverage. Add Delays for a deep room. Center Fills for a wide stage. Stage Monitor so your presenter doesn't feel lost. Each one is a separate output on the mixer. Count them like inputs.

W2-07

Audio Mistakes & Red Flags: What Planners Miss Most

Five scenarios. Real show-day decisions. Pick the right call — and find out what the best A1s already know by heart.

Correct Calls

0 of 5 scenarios answered

"Even with good gear and great intentions — audio is where a lot of events go sideways. But most audio fails are entirely preventable if you know what to watch for." — W2-07

Mistake #1 — House Sound

Your client is running a 400-person general session in a hotel ballroom. The venue offers complimentary house sound. Budget is tight. The event coordinator says "it works fine for our town halls." What do you recommend?

▼

What's your call?

Mistake #2 — Undercounting Mics

You have a 4-person panel plus a moderator. Your AV quote shows 5 wireless mics. The program also includes a 10-minute Q&A and a short video clip from each presenter's laptop. Is anything missing?

▼

What's your call?

Mistake #3 — Wrong Size Mixer

Your AV company quotes a 16-channel mixer for your general session. During load-in, a sponsor asks to add a live acoustic guitar performance. Your A2 also realizes you need a green room feed and a translation booth output. What happens?

▼

What's your call?

Mistake #4 — No Dedicated A1/A2

It's a 200-person awards dinner with 6 wireless mics (emcee, 4 award presenters, 1 handheld for performers), video playback, and walk-on music. The AV company quotes one technician to "handle audio and video." What do you do?

▼

What's your call?

Mistake #5 — Poor Audio Positioning

You're in a 600-person ballroom with a wide stage. The back third of the room keeps reporting they can barely hear. The front row says it's too loud. The AV team is running point source speakers on sticks, left and right of stage. What do you ask for?

▼

What's your call?

AV Console Simulator