There were twenty boxes set on a table in front of the snakehead. Twenty receivers for twenty wireless mics. Twenty cables neatly velcroed together into a bundle, contracting from the receivers and arcing catenary toward the dull grey plug-box. The cables were reduced to a four-by-five grid, arching up above the snakehead before plunging into it, XLR heads buried in XLR nests.
All of the boxes on the table were dull. Mute LEDs simple bumps on their surface. Dark. All but one, that was. The first one. The one with a piece of masking tape on its face, scrawled with a '1'. That box had a single red light on the front, indicating that it was powered on, and a single green light, indicating that the corresponding mic was transmitting.
If it had been a wired mic, the search would have been over as soon as it began: the cable would've been plugged into the snakehead, and by following it until ey reached its end, there would be the mic.
There would be the mic, and ey would still be stuck in a nightmare. In some parody of a nightmare. All dressed up for the high school pops festival and here, see? The auditorium is completely empty.
The fox barked a laugh at how many cliches littered the situation. Turning away from the receivers, ey rested eir weight against the edge of the table that bore them. Ey leaned a moment, then hiked eir backside up onto the familiar surface, relishing the squeak of stressed metal from eir sudden burden.
AwDae swung eir legs back and forth, hearing the table creak and groan in time with the slow movements. The sound was quiet, but in the dread silence, more than enough to fill the hall.
The auditorium was pleasantly wet: not damp or anything, but in terms of echo, it had just the right amount. Or, at least, as much as a high school auditorium was able to muster. Had it been dry, the sound would've died away completely. The drier a room, the closer it got to approaching an anechoic chamber. Zero echo. The painful lack thereof.
AwDae knew this hall, even years later, even in dreams. Ey knew the pockets of good and bad sound scattered throughout the seating. Ey knew the dead spots on stage where one's voice would fall flat if it weren't amplified. Ey knew how the stage was built rather like a horn, performers at the small end, so that their performances were projected out toward the audience. Ey knew how the stage was built like a drum, the pit a chamber of its own.
The squeal of feedback in an audio system is an emergent behavior, and even those who have not heard it before know immediately that something is wrong as soon as that hum starts. That quiet hum in the background, building exponentially.
It doesn't take long before it can be understood as something originating in the system, rather than coming from the speaker or performer. From there, it builds on itself, feeding back into the mic and growing louder until it quickly overwhelms all other sound. Rises, crescendos. Hearing and speaker damage equally likely if left unchecked.
Similar, in an upside-down sort of way, to the echo that AwDae had caused making the table squeak beneath eir weight. Sound was picked up by the microphone, transmitted through the sound board, then out into the room. Amplified, though, through the speakers.
If the microphone started to pick up sound from the speakers --- and sound was sound, the mic cared not where it came from --- that sound would loop through the board once more.
It would continue to build through further and further iterations, until the auditorium was filled with a roar of the one pitch the microphone had first locked onto.
Obviously, microphones were still in use. They hadn't been abandoned because of the loop. They just got smarter about finding ways around feedback.
One could angle speakers toward the audience, rather than the stage. Bodies were notoriously bad reflectors of sound. Part of what made the stage so acoustically dead, that.
The adjustment was provided by a knob at the very top of the sound board governing the sensitivity of the mic. At the top, befitting its importance in the setup. The very beginning of the signal path.
Turn the gain all the way down, and the mic was a dumb lump of metal and plastic. Turn it all the way up, and the mic picked up everything from the movement of the air to the slight hiss of the live sound system. Almost instant feedback.
AwDae cranked the gain almost to the point of feedback. If ey could make noise in various points throughout the auditorium, maybe it'd get picked up. The more feedback ey generated, the more sound the mic was picking up. The more sound it was picking up, the closer ey was to it.
Eir possible locations for the mic hadn't been reduced. It was still half the school, but eir chances of finding it sooner rather than later would go up. If the mic was not in the auditorium, ey could turn the main system up and start venturing further afield. Leave a door open, let the mic hear. Let em hear the theater ring like a bell in turn.
