musical gift bag:
Ningbo AST Industry Co.,Ltd has 17 Years Experiences to produce the
Sound module for gifts bag,Musical Paper bag,Recordable bag and so on
.we can assure you of competive price,high quality,prompt delivery and
technology supporting.
The Music bags are usually used for Celebration,Promotion,Birthday,Holiday,Award Ceremony and so on.
2. musical gift bag Classification:
There are Recordable Bag and Musical Bag
USA, UK,Canada,Germany, Turkey,Russia,Poland,Switzerland,Netherland
,Frence Hungary ,Australia,New Zealand, Brazil,
Columbia,Argentina,Thainland,Singapore , Malaysia and so on. Musical Paper Bag, Musical Gift Bag, Musical Bags AST Industry Co.,LTD , https://www.astsoundchip.com
1. musical gift bag Application:
Recordable bag--we can record our own message and playback it.
Music Bag--The audios will be customized.
3.Sound Quality:Clearly and Loudly
4.Play activated:Open the bag to play the message.
5.The Artworks of Bag and Audios:Customized
6.Certification:CE ,Rohs
7.Export to:
The pop music concert typically begins with an audio recording followed by a live performance. Pop music is created through recording, much like cooking where the ingredients are mixed and "burned" in the studio. As a result, pop concerts require a well-balanced sound system that caters to both the large and small details of the music. The aim of the live performance is to replicate the sound and effect of the pre-recorded tracks on the spot.
Venue Selection
One of the most crucial factors influencing the sound quality of a pop concert is the venue itself. Thus, selecting the appropriate venue is a key part of the concert planning process. The ideal venue for a pop music concert should meet the following criteria:
1. Low Reverberation, Echo, and Resonance
Venues with high reverberation, such as gymnasiums, are not ideal for hosting pop music concerts. Echoes and resonances can make the sound muddled, making it difficult to distinguish layers and positions of the music. The clarity of the vocals and the distinctness of the instruments may suffer, leading to a noisy experience for the audience. Similarly, acoustically treated concert halls are not suitable as they are designed for traditional orchestral performances and natural sound bands, whereas pop music relies heavily on electroacoustics without the need for acoustic enhancement.
Suitable indoor venues include theaters and opera houses, which are designed for natural sound and thus offer low reverberation, low echo, and high-definition conditions. However, these venues often have limited seating capacity, leading to lower returns on ticket sales. Outdoor stadiums, capable of accommodating thousands of people, are therefore commonly chosen for pop music concerts.
2. Low Noise Levels
The primary source of noise in pop concerts comes from the audience's enthusiastic cheering or excessive live sound. It is essential to keep the sound level within 55dB (A) to avoid unnecessary noise interference. When choosing a venue, external noise (such as traffic) and internal noise (like air conditioning) should also be considered.
Additionally, the structural integrity of the stage can impact the sound quality. In venues with weak countertop structures, the "thudding" sound during performances can disrupt the rhythm and clarity of the music.
Electrical noise can significantly affect the sound quality as well. Hence, pop concerts require clean power supply and an independent, clean grounding system to minimize electrical noise interference.
Sound System Layout
Pop concerts typically employ a dual-box sound layout, one for the stage and another for the audience. The stage serves as the focal point for singers and bands, housing the set design and visual elements that capture the audience's attention.
Pop concerts utilize two main audio systems: the auditorium audio system and the audio return system for the band and singer.
The audio return system primarily combines the vocal and instrumental sounds based on individual actor needs and sends them back to the performers for mutual monitoring, synchronization, and atmosphere control.
For over half a century, the stage's acoustic return system has been managed by a specialized system. The equipment includes a dedicated return mixer and return speakers. The principle is that performers can clearly hear their own and others' performances. Additionally, the return system's sound should not interfere with the audience. Ideally, each musician should have a way to listen back, either through headphones or small speakers close to their ears.
The singer's return system is more complex, with many audio designers placing multiple return speakers within the singer's range of motion. The return sound engineer will adjust the signal to the nearest speaker based on the singer's position. Top-mounted return speakers and microphones should be muted to reduce interference and noise. Recently, the use of wireless headphone return systems has alleviated conflicts between the return and auditorium systems.
The auditorium's audio system primarily processes the actors' voices and transmits them to the audience's ears. The system layout depends on whether the stage layout is single-sided, three-sided, or an intermediate platform.
The sound layout for a single-sided stage mimics the home stereo setup, with a pair of speakers placed on either side of the stage. Home stereo and audio-video systems are designed for one listener sitting in the "king's seat" (the optimal position), so the sound in the hall benefits only those seated in this spot, leaving others with varying experiences. Despite this limitation, this less-than-ideal sound arrangement has become a characteristic of single-sided pop music concerts. Over the decades, audiences have watched performances and listened to audio as if in their homes.
For three-sided platforms and intermediate stations, speakers are typically placed in front of the audience and in the center. Three sets of speakers are positioned on the three sides. If the stage is in the north, speakers are set up in the east, south, west, and the central area. On the intermediate station, a set of speakers is suspended in the east, south, west, and north. Each set of speakers reproduces monaural sound. Some audio designers also implement stereo layouts, placing a set of speakers on the left and right sides of the stage to simulate the 2-channel stereo setup of home audio.
Audio Function and Performance Requirements
Every performance requiring audio has an acoustic design. The first task of pop concert sound design is to plan the performance functions of the sound. The songs and performances on stage are transformed into audio and technology to bring the music in the recordings to the audience's ears. These features come with their technical requirements and conditions that must be met.
Technical requirements for pop concert performances include:
1. Volume: 105dB to 110dB ±3dB.
2. Bandwidth: 50 Hz to 16 kHz.
3. Tone:
The sound of a pop concert needs to be:
a. Clear gradation and positioning: This refers to the volume and sense of position of the instruments, front to back, left to right.
b. Intimacy: The singer's voice should feel intimate to the audience, which is achieved through the early reflection of direct sound and the first reflected sound. The shorter the early delay, the better the intimacy. Pop music concerts rely on electroacoustics. If the venue lacks intimacy, the electroacoustic system can assist. The intimacy in electroacoustic music lies in the low frequencies. For instance, using a unidirectional microphone, the closer the source is to the microphone, the stronger the low-frequency effect. The proximity effect of a unidirectional microphone is a technique used in popular music singing to enhance vocal intimacy.
c. Spatial sense: Pop music concerts are electroacoustic music events, and the sense of space is not reflected in the venue but in the music itself. This spatial sense is artificially crafted and electronically enhanced, unlike the spatial sense in traditional classical music recordings. The spatial sense in traditional classical music recordings reflects the room's ambiance, such as the feeling of a small concert hall, a grand concert hall, or a cathedral. In contrast, the spatial sense of pop music lacks a specific indoor feeling and is purely an auditory effect.
d. Coverage: The range of audio coverage requires that every live audience enjoys the performance at the same volume, bandwidth, tone, and spatial effect.
Band Sound Layout
During a pop band performance, all band members perform on stage. The pop drum is placed in the middle of the stage, often on a platform due to the presence of other players in front of it. Guitarists and keyboard players are placed on the left and right sides of the platform, with the lead singer positioned in the center of the drum and near other singers.
In solo concerts, the main performer stands on the stage, and the accompanying band can be placed on or under the stage. Solo concerts include natural acoustic instruments and electronic instruments. To minimize mutual interference between instruments, sound designers strategically arrange the musicians' positions. Natural acoustic instruments are often separated from electronic instruments and electric guitars. Large-volume natural acoustic instruments like brass are separated from smaller-volume natural acoustic instruments, sometimes using transparent plastic soundproof screens.
Regardless of whether it's a band or solo performance, microphones are used in the sound distribution layout, while other instruments like keyboards and electric guitars are directly input into the mixing console after being processed. Some audio designers add microphones to electric guitar amplifiers to capture the electroacoustic effect from the speaker.
The direct output signal or microphone signal from all instruments on the stage is sent to the distribution box and split into two paths. One path connects to the return console, and the other connects to the audience system's mixing console. The signal sent back to the mixer is processed and mixed, then transmitted to each musician's monitor according to their needs. The signal from the audience system's mixer is processed, mixed, and sent to the auditorium's speakers, then transmitted to the audience's ears.
In recent years, the demand for higher sound quality in pop music concerts has increased. To meet this requirement, besides applying returning headphones to reduce interference from the return sound to the auditorium audio, the use of electronic musical instruments, including electronic drums and electronic orchestras, has grown in popularity. This helps eliminate mutual interference between microphones placed between instruments, thereby improving the overall clarity of the vocals and instrumental music.
Tuner's Request
Pop music concerts have clear requirements for the tuner. At the same time, the volume, tone, and balance of the singing and music need to be adjusted. For the instrument distribution of each song, the music layout, and the sound effects of each segment, you need to reach the level of application.
The ability to record songs and instrumental music on albums and have them reappear in the audience's ears through the auditorium's sound system is an ideal goal for pop music concert sound design.
June 20, 2025