Complete Beginner's Guide to Band Sound and PA | From Microphone Setup to Monitor Adjustment: Creating the Perfect Sound for Live Performances

1. Introduction: Why understanding PA systems can change your band

Most bands playing in a live music venue for the first time feel this way the moment rehearsal ends: "I can't hear my own sound," "My vocals are buried," "The whole sound is muffled." These are all "misunderstandings" that arise from not knowing how PA systems work. PA engineers aren't magicians; they simply take the sound the band produces, adjust it on the mixing console, and send it to the speakers. If the input sound is bad, the output will also be bad . This is a fundamental rule in the world of sound engineering known as "Garbage In, Garbage Out."

For example, if a vocalist sings with the microphone 10 centimeters away from their mouth, their voice will be thin and won't reach the audience. However, if they hold the microphone right in front of their lips, their voice will be carried clearly without worrying about feedback. This has nothing to do with the engineer's skill; it depends on the musicians' understanding of PA. I've attended dozens of rehearsals, and the amount of time required for sound checks was completely different between bands that understood PA and those that didn't.

Three Benefits of Understanding PA

• Finishing the sound check quickly means you understand the engineer's instructions, reducing unnecessary communication. Finishing quickly also gives you more time to mentally prepare yourself before the actual performance.
• The sound that reaches the audience changes —simply by being mindful of the distance to the microphone, the direction of the amplifier, and how the drummer plays, the sound sent to the mixing console becomes noticeably clearer.
• Building a strong relationship of trust with engineers means that if they think, "That band understands us," they'll be more attentive to your bookings in the future. This is an invaluable asset for a long and successful career.

PA (Public Address) skills, alongside instrumental playing, are "another skill" that every band member should acquire. Reading this article to the end will definitely change your studio practice, rehearsals, and performances tomorrow. In this day and age, you can find bandmates to train together in PA, or members who already have PA experience, through nationwide member recruitment platforms like Membo .

2. Basic PA System Structure (Microphone → Mixer → Speakers → Monitors)

The signal flow for PA (Public Address, which refers to public sound reinforcement) can be understood in four simple steps.

① Input (microphone/line input)

This is the stage where vocals and instrument sounds are converted into electrical signals. Microphones are devices that convert air vibrations into electrical signals, and there are various types such as dynamic microphones, condenser microphones, and ribbon microphones. Line input is a method of sending instruments that already output electrical signals, such as synthesizers and electric pianos, directly to the mixing console via cables. Bass guitars are generally sent to the mixing console via a "DI (Direct Injection Box)" on a separate system from the amplifier.

② Mixer (tabletop)

This is where the volume, tone quality, and spatial arrangement (left/right, front/back) of each input sound source are balanced. There are analog and digital mixing consoles, and in recent years, live music venues have almost entirely switched to digital consoles. Digital consoles have the significant advantage of being able to save and recall settings as "scenes," allowing for quick switching without overwriting previous scenes when bands change in a booking plan.

③ Main speakers (front/main house)

These are speakers that project sound towards the audience. They are called by different names depending on the venue, such as "main," "PA," "front," and "house," but they all refer to the same thing. Large speakers (full-range + subwoofer) are placed on the left and right sides, with the purpose of delivering sound evenly to the entire audience.

④ Monitor speakers (for stage monitoring)

These are speakers used by musicians to hear their own sound and that of their bandmates. They are also called "return speakers," "wedges," or "foot monitors." The principle is to create a separate mix (monitor mix) for monitor speakers , independent of the audience mix, and adjust the balance for each musician based on the sound they want to hear. In recent years, more and more bands are adopting wireless in-ear monitors (IEMs).

Summary of signal flow

To summarize, it comes down to this:
Microphone/instrument → Stage box → Mixer → Amplifier → Main/monitor speakers

Multi-channel sound is transmitted from the stage to the mixing console via multi-cables (or, more recently, Ethernet over a network). The signal is then split into two outputs—main and monitor—and delivered to the respective speakers. Understanding this basic structure will make it much easier to grasp the engineer's instructions.

3. How to choose and set up a microphone (vocals / drums / guitar amp / bass / acoustic guitar)

Microphones can be broadly divided into two types. Dynamic microphones are durable and can handle high volumes, making them suitable for vocals, drums, and guitar amplifiers. Condenser microphones are highly sensitive and capture delicate sounds, so they are used for acoustic guitars, drum overheads (entire cymbals), and chorus microphones. Representative manufacturers such as Shure , Sennheiser, and AKG are known as world standards. The Shure SM58 (for vocals) and SM57 (for guitar amplifiers and snare drums) are overwhelmingly the most common microphones permanently installed in live music venues.

How to use a vocal microphone (SM58 series)

The standard microphone for vocals is called the "SM58," which has a distinctive shape with a round, bulging grille. The golden rule is to hold it 1-2 centimeters in front of your lips . If you hold it too far away, the sound will thin out, forcing the engineer to increase the gain, which will result in feedback. When holding the microphone, always hold the shaft (the handle) . Covering the grille with your hand will change the directionality and cause feedback.

Understanding the "Directionality" of a Microphone

Most vocal microphones are designed to be "unidirectional (cardioid)," meaning they strongly pick up sound from the front and barely pick up sound from the rear. That's why feedback is less likely to occur even if you place a monitor speaker behind you. Conversely, if you turn the microphone sideways or backwards, it will directly pick up the monitor sound and cause feedback. It's simple, but there are surprisingly many bands that don't know this.

Drum setup (5-8 point microphone setup)

The number of drum sound amplifiers used in a live music venue varies depending on its size.

• Kick (bass drum) : Place a dynamic microphone with strong low-frequency response (such as a Shure Beta52 or AKG D112) inside the shell or near the hole in the front head.
• Snare drum : Place the stanchion at a 45-degree angle, 2-3 centimeters above the rim. The SM57 is a standard choice.
• Hi-hat : Place the condenser microphone 10-15 centimeters away from the edge of the cymbal.
• Tom : A clip-on microphone that doesn't interfere with the shell (such as the Sennheiser e604) is convenient for use above the drumhead.
• Overhead : Condenser microphones are placed high on either side to capture the entire cymbal.

One thing drummers should be mindful of is hitting the snare drum in roughly the same spot each time . The tone is significantly different when hitting the center of the snare compared to the rim, so if you hit in a different spot each time, it will be difficult for the PA engineer to adjust the EQ.

Guitar amp microphone stand

For guitar amplifiers, the standard practice is to position the SM57 microphone close to the center or edge of the speaker cabinet cone (the conical part). Positioning it closer to the center produces a clearer, more defined sound, while positioning it closer to the edge results in a smoother, more mellow sound. If the guitarist expresses a desire for more clarity or a rounder tone, the engineer will fine-tune the microphone position.

Bass pickup

In most cases, the bass is not micked directly on the amp, but rather the line signal is sent directly to the mixing console via a DI box . This is to prevent low frequencies from leaking out of the amp and interfering with the adjacent drum mic. The input gain to the mixing console will differ depending on whether you are using an active or passive bass, so be sure to tell the engineer which type you are using during the sound check.

Acoustic guitar sound collection

For acoustic guitars, it's ideal to use both the line output from the built-in pickup and the sound picked up by a condenser microphone. Using only the pickup results in a harsh, "crisp" sound, while using only the microphone results in insufficient volume and is prone to feedback. Blending both at a mixing console produces a natural, full sound.

4. Mixer (console) basics: Gain, EQ, Compressor, Send

Each input channel of a mixer has several basic parameters. Understanding what these mean will make engineer conversations less like "magic."

Gain (Gain / Trim)

This knob amplifies the signal coming from the microphone to a "line level" that can be handled inside the mixing console. If the gain is too low, noise will be introduced, and if it's too high, the sound will distort. When the engineer says "Vocalist, sing a little louder" during a sound check, it's because they're setting a reference value to properly set the gain. If you sing softly here, it will distort when you sing loudly during the actual performance—so please sing at your "performance volume" during the check.

EQ (Equalizer)

These are knobs that adjust the high, mid, and low frequencies of the sound. The specifications vary from console to console, including 3-band, 4-band, and parametric (allowing you to freely select the frequency range). For example, if the vocals are "not coming through," slightly boosting the 3-5kHz range will make them reach the audience better. Conversely, if the sound is "muddy," slightly lowering the 250-500Hz range will make it clearer. These are the engineer's jobs, but even if the performer simply says, "I want it to cut through a bit more," or "I want it to be a bit fuller," they will receive precise adjustments.

Compressor (Comp)

This process compresses loud sounds and boosts quiet sounds, narrowing the volume range. It creates a sense of stability—no distortion in shouted vocals, and no drowned-out whispers. Applying too much compression can flatten the sound and cause it to lose its rawness, so it's best to use it sparingly in live performances.

Send (AUX Send)

This system splits the sound from each channel into separate circuits. The most typical uses are "monitor sending" and "effects sending (reverb, delay)." For example, if you send sound from the vocal channel to AUX1 (drummer's monitor), the drummer can play while listening to the vocals through their own monitor. When an engineer asks, "Drummer, how much of the vocals do you want?", it's to determine the amount of AUX Send.

Master Fader

The large fader controls the final output volume. During the actual performance, the engineer hardly moves this one. They move the faders for each channel, adjusting things like boosting guitar solos or highlighting keyboards during instrumental breaks for each song. If you tell them after rehearsal, "I'd like the solo in that song to come forward a little," they'll make sure to reflect that in the actual performance.

5. How to make a monitor mix

A monitor mix is a mix created independently to capture the sound that the performer wants to hear on stage. Please understand that it is separate from the sound heard by the audience. A lot of bands misunderstand this. Even if you tell the PA engineer to "make my guitar louder," that will only be the volume in the monitor, not the volume for the audience.

Basic rules for monitoring

• Only include the bare minimum of sound —returning all parts at high volume increases the sound pressure on stage, causing feedback and auditory fatigue.
• Focus on instruments other than your own —if your sound is coming directly from your amp, there's no need to put a lot of your own sound into the monitor. Prioritize the parts that are difficult to hear (vocals, your partner's backing vocals, keyboards).
• Many people want the kick drum and bass – they're the core of the rhythm, so adding a little kick and bass to the monitor stabilizes the groove. This is especially common among members who are far away from the drummer at the back of the stage.

Make "just a little more" more concrete

The most common mistake when adjusting monitors is simply saying "a little more." This doesn't tell the engineer what needs adjusting and by how much. Be more specific, like this:

• "We need a bit more vocals ." (Is it the lead vocals or backing vocals?)
• "I'd like you to add a little kick ."
• " The middle of the keyboard is difficult to see."

If you tell the engineer the part name, the direction (increase/decrease), and the degree (a little/half/a lot), they'll get to work in a second.

The World of IEMs (In-Ear Monitors)

Recently, "IEM (In-Ear Monitor)" systems, which send sound directly to each member's ears via earphones, have become popular in large-scale bands and events. There are three advantages: ① the volume on stage is dramatically reduced (eliminating feedback); ② each member can hear their own perfect mix; and ③ members can hear sounds they don't want the audience to hear, such as click tracks (rhythm guides) or temporary piano vocals.

However, IEMs have high initial costs and operational hurdles, so they are not something beginner bands should rush into. It's best to start with floor-standing monitor speakers to get a feel for monitor mixing before considering IEMs.

We welcome experienced monitors to our team.

Monitor adjustments become much easier when you have someone with experience. A former PA assistant, someone who attended sound engineering school, or someone who has worked as a support member creating monitors for other bands—just having one such person can change how you use your band's rehearsal time. At Membo , we are increasingly recruiting not only instrumentalists but also "sound engineers/PA experienced individuals welcome," expanding the opportunities to meet hidden talents living in regional areas.

6. Communication with the live house PA engineer (sound check)

PA engineers are the most important partners in creating a band's sound. If they are happy to work, the band's sound during the actual performance will be many times better. Conversely, if communication is strained, it's detrimental to both parties. As mentioned in the Complete Guide to Your Band's First Live Performance , sound check is not only a place to "create sound" but also a place to "build trust."

Greetings and self-introduction

When you enter the venue, be sure to say a few words to the engineer in the PA booth. Something like, "Hello, we're a band called [Band Name], I'm the drummer and vocalist," is sufficient. From the engineer's perspective, knowing who is responsible for what helps the sound check go smoothly.

I'll hand over the setlist and stage plot.

Give them a pre-printed setlist and stage plot (a diagram showing who will stand where). The stage plot should include each member's instrument, amp and monitor placement, and the number of synth lines. This will allow the engineer to quickly determine the number of microphones and wiring.

Sound check order

The standard order is as follows:

1. kick
2. Snare drum
3. Hi-hat
4. Toms
5. overhead
6. base
7. Guitar amplifiers (in order if there are multiple)
8. Keyboard/Synthesizer
9. Vocals (lead → chorus)
10. One song performed by everyone (mix check)

The order is to "check the sound of each instrument → check the overall balance." If the engineer says, "Just play the bass," then all other instruments are muted. If this is not followed, it becomes impossible to distinguish between instruments due to noise and bleed.

Signals during the actual performance

If you encounter any problems during the performance, you send a specific signal to the PA booth at the back of the audience seating area:

• Pointing to his ear , he says, "I want you to change the [specific setting] on the monitor."
• Thumbs up — "OK, I can hear you, everything's fine."
• Moving your palm up and down— "I want you to adjust the volume up or down."

These are gestures that are a common language between engineers and students. Use them briefly by making eye contact between songs.

If you want to work with or are interested in working with foreign PA engineers, Membo 's 8-language automatic translation comes in handy. Your job posting written in Japanese will be translated directly into English, Chinese, Korean, Vietnamese, and other languages, reaching engineers from overseas.

7. 7 items to check during rehearsal sound check

We narrowed down the limited rehearsal time (usually 15-30 minutes) to seven key points to check.

In particular, checking for feedback points (④) is a crucial step that should be done together with the PA engineer. By having them raise the fader while slightly turning the microphone towards the feedback channel and sharing the points where feedback occurs, you can prevent accidents during the actual performance.

Scene preservation culture

In a live show with multiple bands playing, the entire mixing console setup is switched every time a new band takes over. Digital mixing consoles can save and recall entire "scenes," so engineers often say, "I'll save this for you" at the end of rehearsals. This allows you to recall the sound created during rehearsal with a single touch when restarting right before the actual performance.

Personal Story: How 15 Minutes of Rehearsal Changed My Life

Here's an example from a band making their debut. They had 15 minutes for rehearsal. In the first five minutes, the drummer gave specific instructions one after another, saying things like, "Add a little more kick," and "I want to adjust the snare position." Then the bassist told the engineer, "I'll send it via DI, it's active," and the vocalist sang the first chorus at full energy. With three minutes left, everyone ran through the song and saved the scene. I could tell from the audience that their sound during the actual performance was the clearest of all the bands playing. 15 minutes may seem short, but if used strategically, it's plenty of time. If you discuss beforehand "who will say what and in what order," the rehearsal time will be dramatically more effective.

8. Common PA failure patterns and solutions (feedback, insufficient monitoring, vague sound)

Failure Pattern 1: Howling

The most common problem is feedback . The sound picked up by the microphone comes out of the speaker, and then the microphone picks it up again—an endless loop that produces an unpleasant high-pitched or high-pitched noise.

The solution involves three steps:

1. Change the direction of the microphone —turn the back of the microphone towards the speaker (directional microphones do not pick up sound from the rear).
2. Bring the microphone closer to your mouth —the closer you are, the louder your singing voice will be relative to the feedback, thus reducing howling.
3. If you tell the engineer , "The vocals are feedbacking," they'll use EQ to precisely cut out the feedback frequency range.

Failure Pattern #2: Insufficient Monitors

When you feel like you can't hear your own sound, your instinct is to turn up the volume on your amp, but this is counterproductive. When the sound pressure on stage increases, the PA engineer loses control of the sound reaching the audience, resulting in the worst-case scenario of "deafening noise on stage and muffled sound in the audience."

The correct answer is to ask them to raise the monitor . If you ask them to "add a little more kick drum to the monitor" during rehearsal, you won't have any problems during the actual performance.

Failure Pattern ③: The audience feels uneasy.

When the audience sounds "muffled" or "hazy," it's often because the stage volume is too loud or the low-to-mid frequencies (200-500Hz) are saturated. This can often be improved simply by pointing the guitar amp towards your feet instead of the audience, or by lowering the bass amp volume.

Failure Pattern ④: The vocals get buried.

The guitar, bass, and drums are playing at such high volume that the vocals can't keep up. This indicates either the instrumentalists are playing too loudly, or the vocalist's microphone technique needs improvement. It's important to create an atmosphere where you can honestly ask, "Could you please turn the amp down?"

Failure Pattern 5: Stage Drift (The sound is different in rehearsal and the actual performance)

It's a common problem: everything sounds perfect during rehearsals, but the sound changes during the actual performance. There are mainly three reasons for this: ① The sound absorption changes when the audience is present, reducing the low and mid frequencies and making the high frequencies more prominent. ② The performers get excited by adrenaline and play louder than during rehearsals. ③ The engineer adjusts the mix during the performance to match the sound field at the back of the audience, and this is perceived as a "change." A simple "Even if I get excited during the performance, I'll trust the mixing console" before the show starts helps both parties prepare themselves mentally.

Failure Pattern 6: Cable Trouble

Faulty shielded cables, loose power cables, poor XLR connections—these problems happen more often than you'd expect on-site. The solution is simple: always bring spare cables . Having one set each of XLR, shielded, and power extension cords will prevent you from panicking right before the event. Just letting the engineer know you've brought spares will give them a lot of peace of mind.

9. PA experience you can have during studio practice (DAW/home recording)

Do you think PA (public address system) is something you can only experience during a live performance? Actually, there are many ways to experience the basics of PA at home or in a studio. As mentioned in our complete guide to your first band practice , studio practice is not just about practicing your playing, but also a laboratory for sound creation.

I was allowed to try out the mixing console in the studio.

Many rehearsal studios have a simple mixer. Usually, the receptionist sets up the presets, but if you ask, "I'd like to learn about PA, could I try it out a bit?", you'll be surprised how many studios will teach you. By actually adjusting the gain and EQ and learning by ear how the vocal tone changes, you can apply that knowledge during the actual sound check.

Mixing experience with DAW

Mixing live recordings in your home DAW (Digital Audio Workstation: Logic, Cubase, Studio One, Reaper, etc.) is an excellent learning experience. Applying EQ and compression to each track, adding reverb, and balancing the overall sound with faders—this experience directly translates to the feel of a live mixing console. The home recording knowledge explained in detail in the Complete Guide to Your First Band Recording will also be directly applicable to understanding PA systems.

I record it on my smartphone and listen to it again.

The easiest method is to record yourself practicing in the studio with your smartphone and listen back to it later. Recording with a smartphone placed in the audience area will instantly show you "how it actually sounds outside the stage." The bass might be buried, the hi-hats might be too loud, or the vocals might be too quiet—listening to the recording will surprisingly highlight any problems with your sound.

Watch the PA tutorial on YouTube

We live in an age where PA engineers and professional mixing engineers are posting free PA tutorials on YouTube. If you search for "PA for beginners" or "Live Mixing Basics," you can learn how to operate the mixing console, mic placement demonstrations, how to deal with feedback, and more through videos. The advantage of videos is that you can hear and confirm the "differences in sound" that are difficult to convey through text alone.

10. How to Choose Portable PA Equipment (For Small-Scale Events and Street Performances)

In venues other than live music venues—such as cafes, weddings, company events, and street performances—we sometimes set up our own PA system. For outdoor events, as mentioned in the Complete Guide to Attracting Audiences to Bands' Live Performances , a complete set of portable PA equipment is necessary.

List of essential equipment

• Powered speakers (built-in amplifier): 1 pair. Covers 30-50 people with 10-12 inch speakers, and 100 people with 15 inch speakers.
• Small mixers : 4-8 channel consoles. Yamaha's MG series and Behringer's XENYX series are popular choices for professional audio products .
• Microphones and cables : SM58 microphones cost 5,000 to 8,000 yen each. XLR cables cost 2,000 to 3,000 yen each.
• Microphone stand : 3,000 to 5,000 yen each.
• Power extension cord : Choose an outdoor-grade cord if you're using it outdoors.

The estimated initial investment is around 100,000 to 200,000 yen. You can start even cheaper by utilizing the used market or rental options.

Points to note when performing street live shows

In Japan, street performances generally require a road use permit. Playing music through speakers without a permit can result in being stopped by the police or having to remove equipment due to complaints from neighbors. The correct procedure is to submit a "road use permit application" to the relevant police station beforehand and bring the permit with you. Some areas may have designated areas specifically for street performances, so check your local government's website for details.

Battery-powered options

Recently, the combination of portable power supplies and battery-powered speakers has made it possible to set up a PA system even in locations without a power source. There are now more options available for different purposes, such as the Bose S1 Pro, JBL EONONE series, and Roland CUBE Street.

11. PA Communication with Foreign Musicians (English Phrasebook)

As mentioned in the section on foreigners and Japanese people forming bands , the number of bands with foreign members has been rapidly increasing in recent years. As explained in the Complete Guide to Forming a Band in Japan (Practical Edition for Foreigners) , communication at live performances becomes incredibly smooth simply by sharing English PA terminology. We've compiled phrases that you can use directly during your first sound check after meeting foreign musicians through Membo .

English phrases for sound check

List of English translations of industry terms

We share PA terminology in English even during practice.

Getting into the habit of using PA-related vocabulary in English during studio practice will make communication among band members much smoother during actual performances. Simply saying "more bass please" instead of "we need a little more bass" will allow foreign band members to give instructions with confidence.

12. Recruiting members and the role of PA/sound engineer

A band's members aren't just instrumentalists. Hiring a dedicated PA/sound engineer is a major option for seriously evolving your band's activities. While a resident engineer at a live music venue is responsible for "optimizing the sound for that venue on that particular day," a dedicated engineer is responsible for "optimizing the sound for your band."

Benefits of having a dedicated PA system operator

• Consistency in sound creation —no matter which venue they play in, they can reproduce their usual "own sound."
• When designing the mix for a new song , the perspective of "how it should sound live" is incorporated from the studio stage.
• Optimizing equipment investment —being able to accurately select what you truly need, such as amplifiers, effects pedals, and microphones.
• Tour support – acting as an "interpreter" who negotiates with local engineers during tours.

Looking for a PA (Public Address) Specialist

Many young people aspiring to become PA engineers are graduates of sound engineering schools or apprentices at live music venues. As mentioned in our article on how bands can use social media , posting notices on Twitter and Instagram such as "PA staff wanted" or "Sound engineer wanted" is one way to go. Membo accepts applications not only for instrumentalists but also for "sound staff" positions, and has received applications from foreign members and international students studying at sound engineering schools.

If you want to narrow down the applicants, you can use Membo 's prefecture filter to display only PA engineers living in your local area. Adding tags such as "PA 담당," "Sound Engineer," and "Audio" to your posts can also help attract organic traffic from search engines.

Common sense regarding compensation and fees

A dedicated PA (Public Address) is generally paid on a fee basis. The going rate is 10,000 to 30,000 yen per live performance, and including equipment transportation and the time spent on rehearsals the day before, a considerable budget is required. It's best to have a written agreement from the beginning outlining a "profit sharing" arrangement where the band shares the venue rental fee, performance quota, and PA fee, which will reduce future problems. It's easiest to organize this by thinking of it as an extension of the cost planning discussed in the complete guide to renting practice spaces and studios for bands .

The PA engineer is "another member" of the band.

The relationship with the PA engineer needs to be one of equal or even greater trust than that with the instrumentalists. They should attend rehearsals, share the intentions behind the songs and the band's direction, and even go out for after-parties together. Bands that treat their engineers as "partners" rather than "contractors" are the ones that can have a long and successful career.

If you're interested, try posting a job opening on Membo using the keywords "PA operator" and "sound engineer." The user guide outlines the steps for creating a new job posting. Installing the PWA allows you to quickly check your postings from your smartphone, and setting up push notifications ensures you won't miss any messages from applicants. The latest information is announced regularly in the announcements section .

13. Summary: PA is "the final translator for delivering music."

The music that musicians spend hundreds of hours creating in the studio ultimately reaches the audience via the PA system, which acts as a "translator." No matter how brilliant the performance, if something goes wrong at the PA stage, nothing will be conveyed to the audience. Conversely, if the PA engineer and musicians build a relationship of trust, fine-tune the sound on stage, suppress feedback, and create accurate monitors, the audience will feel, "This band sounds great."

You don't need to implement everything in this article right from the start. Just "holding the microphone closer to your mouth when you sing" during your next studio practice will change the sound during the actual performance. Just telling the PA engineer specifically, "please add a little more kick drum to the monitor" during your next gig with other bands will change your relationship with them. Let's take it one step at a time and create the sound of our band with our own hands.

PA is "the last mile of music"

In the world of logistics, there's a term called "the last mile." It refers to the final leg of the journey from the distribution center to the customer's doorstep, where the quality experience is determined. The same can be said for a band's music. From composing in the studio, to gathering members (including finding bandmates for Membo ), practicing, recording, streaming, and attracting audiences to live shows—no matter how much effort you put into the preliminary stages, if the last mile of the live performance—the PA system—goes wrong, your music won't reach the audience's hearts. That's why PA is often overlooked, yet it's the most influential band skill.

A band that understands PA can deliver a consistent sound in any venue. They earn the trust of live house engineers who say, "That band is good," leading to more repeat bookings, and other bands wanting to play with them again. Audience members leave comments on social media saying, "The sound was amazing." This is the chain reaction of understanding PA. Finally, one request from me—please be sure to say "Thank you for your hard work" to the PA engineer after the show. Just doing that will raise the sound level of your next live performance by another notch.

And if you ever feel the urge to "seriously learn PA with like-minded individuals" or "find a dedicated sound engineer," try posting a job opening on Membo . Like-minded individuals across Japan and the world who aspire to "create great sound" are waiting for you. Also, reading the complete guide to band music releases will help you understand the connection between live sound and recording/streaming sound production. Click here for more information about the author .