ASPECTS OF SOUND ENGINEERING OF SYSTEM MONITORING IN CONCERT ACTIVITIES IN UKRAINIAN FOLK CHOIRS

Abstract

The article explores key issues relevant to contemporary folk choral art, focusing on the pursuit of an organic balance between the use of sound amplification equipment, the acoustic conditions of performance venues, and the preservation of the authentic traditional sound. The aim of the study is to analyze the interplay between technical equipment, the acoustic parameters of different spaces, and the subjective perception of acoustic comfort by folk choir performers, conductors, and audiences. It also seeks to determine effective strategies for achieving an optimal artistic result.The research methodology is based on the analysis of acoustic characteristics in various venues (ranging from churches and philharmonic halls to Soviet-era Houses of Culture and open-air stages), a comparative assessment of sound monitoring systems, the study of the impact of acoustic anomalies (such as “dead acoustic zones”), and the practical verification of artistic solutions. The scientific novelty lies in substantiating the concept of achieving ideal choral sound through the semi-circular dual arrangement of the choir and monitors; identifying the significant influence of “dead acoustic zones” in typical Soviet architectural spaces on performance quality; revealing the role of the sound engineer as a “second conductor” responsible for timbral expressiveness; and proving the necessity of rapid adjustments toacoustic settings during on-stage movements of the choir. Conclusions. Analysis of the results demonstrates that whilesound amplification is essential for adapting to modern concert venues and ensuring sound clarity, excessive technicalprocessing may compromise authenticity – for example, by eliminating the characteristic overtone richness of femalevoices. The quality of sound monitoring directly affects intonational accuracy, dynamic balance, and the emotional stateof the ensemble.A key factor in successful performance is the synergy between the conductor and sound engineer at all stages – from acoustic planning and equalization adjustments to real-time responses during live performance, particularly in theatrical productions involving movement. The importance of preserving the live energy of the performance is emphasized even during the post-production stage of concert recordings.