The Sound Tech Handbook

The Sound Tech Handbook

MAKING SENSE OF YOUR ROLE AS YOUR CHURCH’S SOUND TECH COMPILED BY RICH BARNETT & GREG BRASWELL, FOR USE BY:

TABLE OF CONTENTS WHAT IS THE FUNCTION OF A SOUND TECH IN WORSHIP? ..........................................................................................4 Primary Function of a Sound Tech .............................................................................................................................4 Secondary Function of a Sound Tech ........................................................................................................................5 Qualifications and Characteristics of a Godly Sound Tech ........................................................................................5 THE BASICS A SOUND TECH SHOULD HAVE ...................................................................................................................9 Microphones ..............................................................................................................................................................9 Mixers ......................................................................................................................................................................10 Amplifiers.................................................................................................................................................................10 Cables ......................................................................................................................................................................11 Monitors ..................................................................................................................................................................11 Instrument Connections ..........................................................................................................................................11 Other Peripherals (iPods, Phones, CD Players, etc…) ..............................................................................................12 WORKING WITH OTHERS .............................................................................................................................................13 Making Them Sound Good ......................................................................................................................................13 What to Listen For ...................................................................................................................................................14 MIX SOUND LIKE A PRO: PART ONE - GAIN .................................................................................................................16 Setting Audio Input Gain! ........................................................................................................................................16 How Do I Know When Gains Are Set Right? ............................................................................................................16 Practical Application! ...............................................................................................................................................17 Don't Touch That Dial! .............................................................................................................................................17 MIX SOUND LIKE A PRO: PART TWO – CHANNEL LAYOUT ..........................................................................................18 Listen With Your Ears and Eyes! ..............................................................................................................................18 Know Right Where To Find It!..................................................................................................................................18 Create a Standard Channel Layout ..........................................................................................................................19 Everything In Its Place! ............................................................................................................................................20 MIX SOUND LIKE A PRO: PART THREE – UNDERSTANDING EQ ...................................................................................21 EQ Concepts.............................................................................................................................................................21 Types of EQs ............................................................................................................................................................22 Peaking Vs. Shelving ................................................................................................................................................23 Adjust More Parameters with Parametric EQ .........................................................................................................23 What is Q .................................................................................................................................................................24 High Pass and Low Pass Filters ................................................................................................................................24 MIX SOUND LIKE A PRO: PART FOUR – MAKING EQ WORK FOR YOU .........................................................................26 Focusing in on Frequency Ranges ............................................................................................................................26 Critical Sound — The Voice......................................................................................................................................27 What To Do With Q .................................................................................................................................................27 Feedback ..................................................................................................................................................................27 Frequency Killing......................................................................................................................................................28 Frequency Table ......................................................................................................................................................29 MIX SOUND LIKE A PRO: PART FIVE – EQ TIPS .............................................................................................................30 1) Before You Touch the EQ, Consider The Source ..................................................................................................30 2) Before You Touch the EQ, Consider Your Mic .....................................................................................................30 3) Cut Before Boosting .............................................................................................................................................30 4) Apply The High Pass Filter ...................................................................................................................................31 5) Don't EQ Based on Soloing Inputs In Headphones ..............................................................................................31 6) EQ On Purpose.....................................................................................................................................................31 i

7) Don't Be Afraid To Make Adjustments ................................................................................................................31 MIX SOUND LIKE A PRO: PART SIX – THE REST OF THE CHANNEL STRIP .....................................................................32 Line (PAD) ................................................................................................................................................................32 Phantom Power (48V) .............................................................................................................................................32 AUX (or mix).............................................................................................................................................................32 PAN ..........................................................................................................................................................................33 MUTE .......................................................................................................................................................................33 PFL / AFL / Solo ........................................................................................................................................................33 Assign / Subgroups ..................................................................................................................................................33 MIX SOUND LIKE A PRO: PART SEVEN – THE MIX PYRAMID .......................................................................................35 How Do I Build a Mix? ..............................................................................................................................................35 Mix Pyramid! ...........................................................................................................................................................35 Keeping The Main Thing The Main Thing! ...............................................................................................................36 Building the Mix .......................................................................................................................................................36 Building Blocks for a Solid Mix Worksheet ..............................................................................................................37 MIX SOUND LIKE A PRO: PART EIGHT – MIX PYRAMID – THE ARCHITECT ...................................................................38 Principal Architect! ..................................................................................................................................................38 Project Architect! .....................................................................................................................................................38 The Project Manager ...............................................................................................................................................39 Project Architects (Worship Leaders) ......................................................................................................................39 Project Managers (FOH Operators) .........................................................................................................................39 Putting the Final Stones in Place .............................................................................................................................40 MIX SOUND LIKE A PRO: PART NINE - LISTENING ........................................................................................................41 Being A Fan ..............................................................................................................................................................41 More Than Listening ................................................................................................................................................41 Wrapping Up: The Main Idea ...................................................................................................................................42 MIX SOUND LIKE A PRO: PART TEN – WRAP UP ..........................................................................................................43 Only as Good as the Music! .....................................................................................................................................43 The Cooks in the Kitchen! ........................................................................................................................................43 Taste as Good as it Looks! .......................................................................................................................................43 Worship Team Carries the Weight! .........................................................................................................................44 The Flavor! ...............................................................................................................................................................44 Communication! ......................................................................................................................................................44 ELIMINATE GROUND LOOP HUM ................................................................................................................................45 GUITAR AMPS IN YOUR WORSHIP ...............................................................................................................................46 The Worship Environment: ......................................................................................................................................46 Guitar Amplifier Microphone Techniques: ..............................................................................................................47 PROPER SPEAKER PLACEMENT ....................................................................................................................................48 AUDIO SNAKE BASICS ..................................................................................................................................................49 The Basics of Selecting and Using Audio Snakes .....................................................................................................49 FEEDBACK CONTROL....................................................................................................................................................50 Ring Out a Tune - Feedback Control and Room Tuning ...........................................................................................50 ARE YOUR DRUMS TOO LOUD? CONTROLLING DRUMS IN CHURCH ..........................................................................52 HOW MUCH POWER DO I NEED? ................................................................................................................................55 How Big an Amplifier Do I Need for a Loudspeaker?...............................................................................................55 How Many Watts?: ..................................................................................................................................................55 ii

Real World Audio Signals: ........................................................................................................................................56 Caveat About Distortion ..........................................................................................................................................56 KEEPING THE MAIN THING THE MAIN THING .............................................................................................................57 GOING THE DISTANCE FOR YOUR MIX ........................................................................................................................58 More Audio Mixing Tips You Can Use! ....................................................................................................................58 THE RIGHT STUFF .........................................................................................................................................................60 Avoiding the Wrong Tools for the Job! ....................................................................................................................60 The Real Cost of Choosing the Wrong Tools ............................................................................................................60 Information Resources ............................................................................................................................................60 Worship Tools - How-to articles, product reviews, tech tips and videos ................................................................60 AVOID WIRELESS MIC PROBLEMS ...............................................................................................................................61 Pick the right wireless mic for each application ......................................................................................................61 Make sure volumes are set perfectly ......................................................................................................................61 Load up on fresh batteries .......................................................................................................................................61 EQ your mics carefully .............................................................................................................................................62 Teach the proper use of wireless microphones ......................................................................................................62 (Bonus) Inspect all your wireless components early ...............................................................................................62 10 THINGS WORSHIP LEADERS AND AUDIO TECHS CAN DO TO SUPPORT ONE ANOTHER.........................................63 10 Ten things you can do as an Audio Tech to support and show respect to your Worship Leader: .....................63 10 things you can do as a Worship Leader to support and show respect to your Audio Tech: ..............................64 GLOSSARY OF TECHNICAL SOUND TERMS ...................................................................................................................65

Illinois Baptist State Association 3085 Stevenson Dr. Springfield, IL 62703 (217) 391-3132 www.IBSA.org iii

WHAT IS THE FUNCTION OF A SOUND TECH IN WORSHIP? JULY 9, 2015

By Rich Barnett PRIMARY FUNCTION OF A SOUND TECH What is the primary function of a sound tech? If you thought that the primary function of a sound tech was to run a sound system, then you would be wrong. You are a worship leader!

What? Yes you are a worship leader, whether you realize it or not and because of this, you need to understand that everything you do behind the mixer is extremely important.

One person said that the primary purpose is to create the best audio mix possible for worship, however, I think the following definition is more appropriate: As a Sound Tech your Primary Function is to produce the best possible atmosphere for worship through sound reinforcement. This includes, but is not limited to, creating the best music mix possible, creating an audio mix that meets the mood that the pastor or worship leader wants to convey, and supporting the audio needs of the people involved with the church service. Ultimately, your purpose is to glorify God through providing excellent audio services.

Your role as a sound technician is a crucial element of the worship ministry, praise team, and the worship experience of the congregation, members and visitors alike. In fact, your duties of running the sound system actually constitute worship in light of Romans 12:1 which says,

I appeal to you therefore, brothers, by the mercies of God, to present your bodies as a living sacrifice, holy and acceptable to God, which is your spiritual worship. (Romans 12:1 ESV) What you do as a sound technician has a direct effect on how the worship service is perceived. In understanding this, I want you to know some simple truths about taking on the role of a sound technician.

1. YOUR JOB IS PART OF WORSHIP First of all, your assistance as a sound technician enables a worship service to run smoothly and, in turn, facilitates an atmosphere of worship that is conducive to spiritual growth. Your goal as a sound technician is to serve as a seemingly invisible factor of worship that, at the least, does not hinder the worship process and, at the most, helps to enhance the service.

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2. YOUR JOB IS DIFFICULT You will carry a heavy load from week to week, being responsible for making everything and everyone sound good.

When things go wrong or the music is too loud, you will get funny looks from everyone turning around to see what the problem is. A poor sound experience can be a huge obstacle in leading the congregation to the throne of God in worship – if the praise singers and musicians aren't heard well, it is difficult to communicate the message of worship and life that we present each week.

3. YOU ARE IMPORTANT The point to explaining all this is to stress that your job as a sound technician is of paramount importance in the worship experience! Operating the sound system provides you with a tremendous opportunity for service. It will also exercise your faith and humility as a servant. As part of the Worship Ministry and the Praise Team, you serve those who are ministering on the platform.

SECONDARY FUNCTION O F A SOUND TECH So now that we have talked a little about the primary purpose and function of a sound tech, let’s look at the secondary purpose and function and that is to successfully operate and maintain the equipment.

It takes a special person to be a sound tech. Not only do they have to be technologically sound and savvy, but they also must be a person of good character. As we look at the Qualifications and Characteristics of a Godly Sound Technician, I will try to explain what I mean.

QUALIFICATIONS AND CHARACTERISTICS OF A GODLY SOUND TECH In any area of life that we use our God-given gifts and abilities, there can be defined a number of characteristics that will help us excel under that particular role in the Body of Christ. The following characteristics could be considered qualifications, if you will, in taking on the role of a sound technician. You may possess them in varying degrees, but you should closely examine yourself to see if the role of sound technician is the appropriate area in which to use your gifts.

In doing this, consider Romans 12:4-5 which says,

For as in one body we have many members, and the members do not all have the same function, so we, though many, are one body in Christ, and individually members one of another. (Romans 12:4-5 ESV) 1 Corinthians 12:18 says,

But as it is, God arranged the members in the body, each one of them, as he chose. (1 Corinthians 12:18 ESV)

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So the first qualification or characteristic that a sound tech should have is: A) EXCELLENCE FOR CHRIST A sound technician will pursue God's best through technical excellence in everything he does. Strive to honor Him through a “whatever it takes” work ethic. 1 Corinthians 9:24-27 says,

Do you not know that in a race all the runners run, but only one receives the prize? So run that you may obtain it. Every athlete exercises self-control in all things. They do it to receive a perishable wreath, but we an imperishable. So I do not run aimlessly; I do not box as one beating the air. But I discipline my body and keep it under control, lest after preaching to others I myself should be disqualified. (1 Corinthians 9:24-27 ESV) Colossians 3:23-24 says,

Whatever you do, work heartily, as for the Lord and not for men, knowing that from the Lord you will receive the inheritance as your reward. You are serving the Lord Christ.

(Colossians 3:23-24 ESV) You need to realize that you can serve God and minister to others through a mutual desire to seek God's best.

The next qualification or characteristic that a sound tech should have is: B) COOPERATION & RECOGNITION OF AUTHORITY A sound technician must have a cooperative spirit. Remember Colossians 2:12-13 says,

Put on then, as God's chosen ones, holy and beloved, compassionate hearts, kindness, humility, meekness, and patience, bearing with one another and, if one has a complaint against another, forgiving each other; as the Lord has forgiven you, so you also must forgive. (Colossians 3:12-13 ESV) 2 Timothy 1:7 says,

for God gave us a spirit not of fear but of power and love and self-control. (2 Timothy 1:7 ESV) In other words, you should encourage and support other members of the team and those who are served through your technical gifts. You should build up one another, and you also have the responsibility of eliminating any word or action that is not constructive to the team. Therefore, think twice before speaking. Don't overemphasize skill, but rather total dependence on the Lord.

Remember that as a sound technician, you are not the final say on the way the sound system is run. You need to be able to submit to each other and to the leadership, out of respect for each other as fellow brothers and sisters in Christ.

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Hebrews 13:17 says,

Obey your leaders and submit to them, for they are keeping watch over your souls, as those who will have to give an account. Let them do this with joy and not with groaning, for that would be of no advantage to you. (Hebrews 13:17 ESV) In the end, the Worship Leader and the Pastor are the authority on how worship should sound and how to run the sound system.

The next qualification or characteristic that a sound tech should have is: C) EXPERIENCE & TEACHABILITY A sound technician should have some quality experience at running a sound system. If you have not worked on a professional level then you should pursue foundational training, which is why some of you took this class. You should be prepared to humbly share with and learn from others in regards to new information and techniques.

The next qualification or characteristic that a sound tech should have is: D) KNOWLEDGE OF THE SOUND SYSTEM Think of your job as similar to that of a musician - having a relationship with the sound equipment that is similar to the one a musician has to their instrument. The thing that often separates good musicians and poor ones is practice, practice and more practice, until the instrument nearly becomes an extension of the individual. You need to do the same.

Psalm 33:3 says,

Sing to him a new song; play skillfully on the strings, with loud shouts. (Psalm 33:3 ESV) First, get to know four aspects of the sound system exceeding well: the soundboard, the rack equipment, the monitor system, and the microphones. We will cover these aspects with some depth later in this class.

The next qualification or characteristic that a sound tech should have is: E) SENSE OF MUSIC & ABILITY TO LISTEN A sound technician not only needs to know the mechanics of running the sound equipment, but must also have a sense of music in order to get the proper blends of music and vocals. Your ears are the most powerful tool you have as a sound technician. That's what the whole job is about - hearing. Your ears are the reference point for the entire congregation.

Spend time listening to professional musicians, singers, and speakers. Fix that sound in your mind and work hard to match that sound when you reinforce the Praise Team musicians and singers, Pastor, or any other users of the sound system. On musical selections, for instance, there should be an appropriate blend between background music and vocals with the vocals being the most important (clear and audible), but the music loud enough for the worship to not feel “dead.” This means that you need to keep your ears “turned on” and “tuned in” at all times.

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The last qualification or characteristic that a sound tech should have is: F) PATIENCE AND PERSEVERANCE First, learn how to handle complaints from the congregation – usually "it's too loud" or "I couldn't hear the ___.”

Second, learn how to handle complaints from the worship leaders and others on stage – usually pertaining to bad monitor mix or miscues. Next, learn how to talk frankly (yet gently) with worship teams to correct or prevent problems. Finally, recognize that a service is a time perfect for spiritual warfare.

The sound tech is usually the most underappreciated and un-noticed position of the worship team, that is, until something goes wrong, but our goal is to bring attention and glory to God and not to ourselves.

Wrap-Up The person behind the mixing board is the invisible member of the worship team, every bit as integral as singers or drummers or even leaders. He or she yields tremendous influence over how we experience worship.

However, just as music is art, worship is spirit. In a worship setting, the sound tech must have great spiritual sensitivity. The mixing of many voices and sounds can either create a joyful noise or a clanging cymbal. It can either assist people in hearing God’s voice or be an incomprehensible babble. So the person in control of the sound needs to be aware of who is in their midst, what is going on at each given moment, where the Spirit of God seems to be moving, and how to react accordingly. This takes great skill and discernment.

I cannot stress more strongly that being in the sound booth is NOT a way to escape paying attention to the message, If anything it carries an even greater reason to pay even closer attention. Above all else, sound and mixing are, but you are a worshiper first. I know out of my own experience that when problems arise you can easily be swayed to focus on the problem and forget to worship, but if you get nothing else out of this class this week, please learn this. God is pleased with you obedience more than your performance. We are to give God our best, but he does not require perfection, so don’t struggle to be perfect behind the mixer, strive to be a worshipper behind the mixer which will lead you to give you best effort in all that you do.

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THE BASICS A SOUND TECH SHOULD HAVE JULY 9, 2015

By Rich Barnett MICROPHONES A) UNIDIRECTIONAL MICS A unidirectional mic is designed to pick up sound directly in front of, and rather close to the mic. Unidirectional mics are best used for solo vocal and instrument applications.

Unidirectional mics are also known as dynamic microphones. Dynamic microphones like the Shure SM57 and Shure SM58 are legendary for not only their good sound quality, but the amount of abuse they can withstand. Any good rock club probably has at least 5 of each of these microphones in various states of aesthetic ruin; however, they still turn on and more than likely sound just as they did the day they came out of the package.

Dynamic microphones don't require their own power supply like condenser microphones. However, their sound quality is generally not as accurate. Most dynamic microphones have a limited frequency response, which makes them well-suited, along with their ability to withstand high sound pressure levels, for loud guitar amps, live vocals, and drums.

Most microphones that you would have had experience with in church would have been SM58 style microphones.

B) OMNIDIRECTIONAL MICS An omnidirectional mic is designed to pick up sound in a circular area around the mic. Omnidirectional is best used for multiple vocal and instrument applications such as choirs and groupings of instruments.

Condenser microphones are the most common types of microphones you'll find in studios. They have a much greater frequency response and transient response - which is the ability to reproduce the "speed" of an instrument or voice. They also generally have a louder output, but are much more sensitive to loud sounds.

Condenser microphones are generally much more expensive than dynamic microphones. Condenser mics also require the use of a power supply, generally 48 volt "phantom power.” That's supplied very easily by most mixing boards or external power supplies. To know if you have the ability on your mixer to supply phantom power you need to look for a switch that says "P 48" or "48V" on the channel strip or on the back of the mixer.

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Condenser microphones are generally used only in studios because of their sensitivity to loud sounds and the fact that they're quite a bit more fragile than their dynamic counterparts. That being said, you'll find them onstage at live music venues for use as drum overheads or for use in orchestral or choral sound reinforcement. In church, typically the pulpit mic is also a condenser mic.

With condenser microphones, you'll find two different types: small diaphragm, and large diaphragm. Large diaphragm microphones (LDMs) are generally the choice for studio vocals, and any instrument recording where a more "deep" sound is desired. Small diaphragm microphones (SDMs) are generally the best choice where you want a solid, wide frequency response and the best transient response, which is the ability for your microphone to reproduce fast sounds, such as stringed instruments.

MIXERS Mixers come in all shapes and sizes, but for the most part, the two types of mixers that you will find in use today are digital and analog. However, there are also powered mixers and unpowered mixers as well. A powered mixer has its own amplifier and has no need for and external microphone.

A digital mixer uses a basic computer interface to control the sound and it has the capabilities of setting up mixes ahead of time and saving them for recall at a later time. The learning curve on a digital board is greater because there are so many more functions to learn, but in the end they can inevitably save time and make life easier.

An analog board is the board that you probably will see most often. It is the board with all of the knobs on it. Each of the knobs controls a different function and it is only as smart as the person behind the mixer AMPLIFIERS In most instances an amplifier is needed to power speakers, unless you happen have a powered mixer and even then, if you run a separate monitor system then you may still need an amplifier or even two unless you use powered speakers.

Amplifiers come in different wattages and are designed to power a max wattage. This then must match you speaker wattages. Of course the easiest way to avoid this today is to go with the new industry standard which is to use a powered speaker. This way you can connect directly to the mixer and don’t need to worry about mixing wattages of speakers.

Without getting too technical, let me just say there are many good websites that will help you to calculate speaker wattages and their corresponding amplifiers, but again, as powered speakers and unpowered mixers become the norm, the other is becoming difficult to even find for purchase.

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CABLES There are a number of cables that you should familiarize yourself with: A) XLR CABLES These are the standard mic cable. They have the 3 male pins in the ends of the cables. These are used to connect the mics to either the mixer or the snake B) SNAKE CABLES A snake cable is a cable that combines anywhere from 8-96 cables into one big bundle with plgs on one end and usually a box on the other. These will be ran, typically, in the walls or under the floors or in the ceiling and provides a way to connect the stage to the sound booth C) 1/4 INCH OR INSTRUMENT CABLES 1/4 Inch cables are so named because they have a ¼ inch cylindrical plug on the end. This end will also either have one or two stripes around the end. A cable with one stripe is considered a mono cable and is used as instrument cords, speaker connections, and even some microphones use these types of cabling. One with two stripes is a stereo cable.

D) SPEAKON CABLES Speakon cables are a newer standard of speaker cable and are often found with powered speakers or newer speaker connections on mixer boards.

E) SPEAKER WIRE Straight speaker wire is not used very often except in home theatres, but in some older churches you may find it still being used. This is a flat 2-wire stranded cable.

F) RCA CABLES RCA cables are the cables used for sound on your old playstation. They are the Red/White plugs that you often connect to a TV that doesn’t use HDMI. MONITORS Monitors or wedge speakers are speakers that are on stage for the use of the on stage performers. These can either be powered or unpowered with an amplifier and are fed with a different output from the mixer. There are also in-ear monitors that could be used instead of on stage monitors.

INSTRUMENT CONNECTIO NS Most instruments should not be connected directly to the sound system due to the possibility of grounding issues and therefore you should have a direct box available for each of your instruments. This not only modulates the frequencies properly, but will also cut the ground problems

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OTHER PERIPHERALS (IPODS, PHONES, CD PLAYERS, ETC…) iPods, Phones, MP3 players and other peripherals such as a desktop PC or laptop are often connected with a 3.5mm cable. This is your standard earbud style cable. To connect it to the mixer, often you need a 3.5mm to 1/4 Inch adapter or a 3.5 mm to RCA cable.

Tape decks, CD players, DVD players, and other peripherals are mostly connected via RCA cables and depending on the available ports on your mixer, you can either hook them up directly or use adapters to go from RCA to 1/4 inch

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WORKING WITH OTHERS JULY 9, 2015

By Rich Barnett MAKING THEM SOUND GOOD SELECT THE RIGHT MICROPHONE Properly EQ’ing vocals begins before you ever touch the EQ knob. It begins before you turn on your first microphone. It starts on the stage. Microphones differ in many ways, from type (dynamic / condenser) to sensitivity to polar pattern to microphone frequency response.

START YOUR SOUND CHECK WITH THE WORSHIP LEADER IN MIND. The standard sound check involves setting your gains and then EQ’ing your band going from low-end up to high with your singers on top. For example, you set the gain for the drums, then bass, electric guitar, etc. until you end with your vocals. You then do the same with the EQ process until you reach the point where you start EQ’ing across channels. EQ’ing across channels would be like setting the EQ for the bass so it sound different than, yet fits with, the kick drum.

After you finish with your gain setting and are ready to turn to your drum EQ (low endders), keep in mind the sound of the lead vocalist. Let’s say the band is starting the sound check by playing their first song. While you can work on the EQ of the different instruments, keep in mind the sound of the lead vocalist. The thought is that while you are EQ’ing the instruments, you are consciously carving out a bit of room for the lead vocalist to sit in the mix.

By the time you are up to the lead vocalist, you already have a spot for them to sit in the mix. All you need to do is tweak their vocal EQ settings.

THE MOST IMPORTANT THING Once your vocal mix is dialed in, go sit where the congregation sits. Each sanctuary is different and I know quite a few where the sound booth is not in the best of locations. Therefore, make sure the congregation is hearing what you are hearing, If they aren’t, tweak your vocal EQ accordingly. I know one sanctuary where the vocals sound bland in the sound booth but as soon as you step out, the vocal sound pops out in the mix.

Vocal EQ work, if you haven’t guessed by now, isn’t about what you can do to the singer’s voice. It’s about what you do with your microphones, your instrument mixing, and finally the vocal mixing. Pick the right microphone, mix all of your instruments with the lead vocal in mind, then turn your attention to the lead vocal and your EQ. Vocals can be a challenge to mix but you can master them.

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WHAT TO LISTEN FOR Feedback!

TYPES AND CAUSES Feedback describes any system where the output of that system is returned to its input. It can be either acoustic or electronic in nature, but it is the acoustic type that is most common when working with sound systems. And acoustic feedback is almost always caused with mics.

Mic feedback occurs when the sound, even a small one like the quiet buzz of an electronic device, is picked up by the mic and is amplified being sent to the sound system speakers. From the sound system speakers, the sound is sent back into the room where it is again picked up by the mic, further amplified, and so on. This quickly leads to an infinite amplification loop and a loud squealing sound which will eventually damage the speakers.

AVOIDING FEEDBACK Care should be taken to avoid feedback. It is loud, annoying, and potentially dangerous to our ears and sound system speakers. Instruct mic users to keep mics pointed away from sound system speakers and to NEVER point them directly at the monitor or house speakers.

ELIMINATING FEEDBACK Identifying mic feedback can be difficult because it does not always sound the same, depending on the frequencies that are being looped. This has a lot to do with how the EQ dials are set for the mic that is causing feedback.

Initially, it is best to lower the fader setting until a proper EQ adjustment can be made. Then try to identify the sound type of the feedback and adjust that EQ dial.

If what you are hearing is a low rumbling sound, this is often caused by a low frequency feedback caused by a looping of primarily low frequencies. In order to eliminate this type of feedback, first locate the channel and then lower the fader volume. Next, reduce the low EQ dial and then slowly raise the fader volume to determine if the feedback still exists. Continue to make small adjustments until eliminated.

If what you are hearing is a mid or high-pitched squeal, this is being caused by a mid to high frequency feedback caused by a looping of primarily mid or high frequencies. Again, locate the channel and then lower the fader volume. Next, reduce the mid or high EQ dial (depending on the sound) and then slowly raise the fader volume to determine if the feedback still exists. Again, continue to make small adjustments until eliminated.

If what you are hearing is an “Echoey” sound with the lowering of the mic volumes this is probably due to mic “cancellation” caused by two or more mics in close proximity to one another. Move away or turn off the mics that are close to the “problem” mic.

Sometimes the best way to eliminate feedback is to lovingly teach the performers how to use the microphones.

You need to explain that anyone using a vocal microphone needs to hold the microphone right up to their mouth. I typically teach the three finger rule meaning that the mic is no further than three fingers vertically resting on the chin.

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Unfortunately, people start with the microphone up close to their mouth, they then slowly lower it as the song goes on. What happens next? You will have to turn up the volume because everyone is now looking at you funny.

So you do the unthinkable… you increase the gain until…SCREEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEECH! This is why once your room is configured, do not change the gains! But this is also why you need to train your vocalists on the proper use of the mic.

People using vocal microphones need to know that audio equipment has its limitations. Therefore, explain to the singers that if they lower their microphones their voices will drop out of the mix. Regarding people using vocal microphones for speaking roles, it’s a bit easier. The problem I’ve observed is, like the singers, they slowly lower the microphone. As they are using the microphone for a speaking role and will likely be holding a bible, book, or piece of paper, set up a vocal microphone on a stand for them.

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MIX SOUND LIKE A PRO: PART ONE - GAIN © MAY 19TH, 2012

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong shares the first of many articles dedicated to helping you learn how to mix for live worship! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions.

Over the course of this material, we'll tackle some of the most common questions and clear up misconceptions about mixing live sound for worship. If you have any specific questions or things you want cleared up, please don't hesitate to contact Steve Hamrick at IBSA. SETTING AUDIO INPUT GAIN! For this issue we're going to look at audio input gain. One of the more common audio mistakes we see in churches is improper setting of input gain levels on the house mixer. Getting input gain right is one of the most critical steps in creating good audio mixes. Setting the input gain affects absolutely everything we do on the console and it can make or break your house mix, monitor mix, recording mix, etc. Before we start mixing the house on the channel faders or do anything else, every channel's input gain should be dialed in.

A Simple Analogy!

Think of your audio channel as a garden hose and the gain knob (a.k.a. - Trim or HA/Head Amp knob) as the water spigot.

If we were going to fill up a bucket, there is an ideal amount to open the spigot. Opening it up too little means we get very little water and while it works, it takes a while to fill the bucket and is not terribly effective. Opening it up too much often means it's going to get messy with water going everywhere.

This concept holds true with audio. Too little gain will give us weak, inefficient sound. It's not that there isn't sound, but it doesn't sound big and full as we'd typically like things to sound. Overcompensating on the input gain to get your weak level back up to where it should be also introduces unpleasant noise into the system. We also make a mess when we turn our gain up too much. Pushing too much signal through causes clipping - not a pretty sound!

HOW DO I KNOW WHEN GAINS ARE SET RIGHT? Unfortunately, it's a little different on every console, but there is a pretty easy indicator that you can use to find the sweet spot. On most consoles, analog or digital, you usually find an input meter - or at the least a little level indicator light. On the meter, you usually see three different colored sections: green, yellow and red. Even if you have a single light, typically it'll show green if you have signal, yellow if you're getting a lot of signal and red if you're getting too much.

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On most consoles, a great target for your gain is right where the green and the yellow lights meet. On many consoles that's the number 0 on the meter, or 0 dB. For others it's a different number (for example, on Yamaha digital consoles this happens around -18 dB). Regardless of the number, setting your gain to where the green light meets the yellow light should give you a big, full sound with plenty of head room to avoid clipping.

PRACTICAL APPLICATION! Remember, the first thing you need to do is set input gains before anything else. In fact, my ideal way to do begin sound check is to have the band run through 1-2 minutes of the biggest song on their list for that week. You could do each instrument individually, but in order to save time and verify that the band and singers are giving me their full effort, I have found that having them run through something big for two minutes is enough time for me to quickly move through each channel and set gains accordingly. I don't touch anything else in this period of time, in that 120 seconds I'm only looking at gain, making sure every channel is giving me enough and not too much. Once completed, all house volume changes are made at the fader and monitor mix changes are done at the auxiliary (AUX) knobs.

DON'T TOUCH THAT DIA L! Once I feel good about my gain, I do my very best to not touch it again. Sometimes someone jumps all over his/her mic or instrument and you have to decrease your gain a bit, but if at all possible I leave the gain alone at this point and just adjust their fader to change the house sound. Why? If I adjust the gain at this point, I change the house mix, monitor mixes, recording mixes and everything else on the console. At that point I've also taken away the musician's reference point. What she thinks was ground zero for her volume is no longer true. As she tries to play dynamically, she no longer knows whether he can trust what he is hearing.

Let's Recap!

We want big, full sound from our instruments and vocals in order to produce a good mix. Our musicians need consistency in their monitor mixes in order to be comfortable and know what they are playing is translating well in the mix. We want our live recordings and web/broadcast feeds to have good consistent sound. All of these things are affected by how we set the input gains on our house mixer. We need to get our input gains set right at the beginning of the sound check by setting levels close to 0 dB, or between the green and yellow signal lights on our mixer. Once we get the gains set, we leave them alone to keep mains, monitor, recordings, etc. consistent.

Take the time to get you're gain right, it'll change your mix for the better!

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MIX SOUND LIKE A PRO: PART TWO – CHANNEL LAYOUT © MAY 23, 2012

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong shares the first of many articles dedicated to helping you learn how to mix for live worship! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions.

In our last section, we kicked off the "Mix Like A Pro" chapters with practical tips to get a great mix at your church.

We started at the beginning with input gain, the first thing that we should always be looking at when we're setting up our mix. For this chapter, we're actually going to take a step backward to before you ever turn the console on and talk about organizing our input channel layout.

LISTEN WITH YOUR EAR S AND EYES! Experienced audio guys have the ability to mix while keeping their eyes on the stage and the crowd. They know that they need to continually watch their musicians for visual cues in order to catch any trouble early and to verify that the people on stage are able to connect with each other. Just as important, you should be regularly watching the audience to make sure they are engaging with the music and message.

The surest way to verify that the mix is full and engaging is to watch your audience and see if they are into it. I regularly teach new audio people that if they don't see at least a few heads bobbing or toes tapping in the audience, they need to listen critically to their mix for changes that need to be made.

KNOW RIGHT WHERE TO FIND IT! So if you're going to mix like a pro and keep your eyes scanning the stage and the audience, having your eyes locked on your mixer is not an option. You need to be comfortable enough on your mixer that you know where everything is so you can move quickly to any given input without searching for it. I can't tell you how often I see churches make the mistake of having a poor input channel layout, which frankly contributes to audio guys struggling with their mix. Inputs should be arranged in a way that makes sense to anyone who walks up to the console, and should be clearly labeled so there's no guessing or hunting for inputs. It seems like such a simple concept, yet so many churches don't practice it.

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CREATE A STANDARD CHANNEL LAYOUT There are two common ways to layout the inputs of your console. The first one is what is very typical on concert tour riders and is the old school way of laying out your console. It's the method that I tend to prefer, and it's the layout I'm very comfortable mixing with - meaning that regardless of what console I'm on, I can find channels pretty fast without having to search for them. Starting with channel 1 and working your way across, this method looks like:         

Drums Bass Rhythm (Electric and Acoustic Guitars, pianos and keyboards) Other instruments Lead Vocal Background vocals Speaker/Preacher/Announcement Effects Playbacks (like CD, DVD, computer, etc)

Drum Mic Channel Layout If you are micing your drums, chances are that you are taking up several channels on your mixer to control the sound of the kit. Having an order for the drum mic channels is also necessary for you to make quick, accurate adjustments without having to think too much about which fader controls which mic. Here is a common order for average drum set ups based roughly on mic priority: Kick | Snare | Tom1 | Tom2 | Tom3 | Overhead L | Overhead R Alternate Channel Layout Another accepted method for stages that stay set up the same week after week is to lay the console out in the order that you see things on stage. The idea behind this layout is that the inputs are left to right as your stage appears from left to right, so as the physical matches the visual. I think this method can make a lot of sense for churches that leave their setup the same all of the time, though for most of us that just isn't reality. As an example of this setup, if your stage from left to right included a singing bass guitarist, lead singer/acoustic, drums, singer and an electric, your inputs would look like:       

Bass Bass Vocal Acoustic Lead Vocal Drums Background vocal Electric

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EVERYTHING IN ITS PLACE! Regardless of what method you choose, the key is to choose some kind of organization that will group your channels in a way that you can find them quickly and easily, without searching. A console that has mic assignments spread out all over the place is tough to operate without focusing on the console. With your channel layout consistent and logical, you will be able to mix quickly while keeping your ears and eyes up and active.

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MIX SOUND LIKE A PRO: PART THREE – UNDERSTANDING EQ © JUNE 8, 2012

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong shares the first of many articles dedicated to helping you learn how to mix for live worship! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions.

As we continue our quest of Mixing Like a Pro, we're going to tackle one of the more complicated aspects of sound… EQ. Since this is a more complex topic, I'll break it into three sub-topics. We'll start with Understanding EQ, then How To Make EQ Work For You and finally EQ Helpful Hints.

Back at the beginning of my years running audio, I remember the basic consoles I used. In addition to just a handful of faders (or knobs), there were just two knobs to control EQ - HIGH and LOW. When you needed more or less low end, you turned the low knob up or down. If you needed more high frequency you turned up the high knob. It was simple and it made sense. Unfortunately, it didn't sound all that good. Mixers have come a long way since those days. In addition to offering more control and flexibility in shaping sound, they have also become more complicated. Properly setting EQ is not the self-apparent task it was in the past. It takes some training to understand what the new EQ controls do and how to set them to get the results you want.

In addition to the EQ that appears on mixing consoles, there are outboard EQ units as well as software EQ plug-ins available to us. Of course, EQ can be applied to specific input channels, to groups and AUX mixes and to the main signal that feeds your main speakers. No matter where we apply EQ, the basic principles are the same and that's what we will be looking at.

EQ CONCEPTS In order for us to really understand EQ, we need to start at the beginning and describe what EQ (Equalization) is, what the various types of EQs in use today are and describe the controls you are likely to find on your console. EQs are circuits that can select various groups of frequencies in an audio signal and allow us to increase or decrease the gain of these frequency groups to affect the tone characteristics of our sound. Here are a couple of vital concepts to grasp:

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Frequencies The frequencies we hear in sound systems are measured in Hz (Hertz) and kHz (kiloHertz). EQ frequency controls use these numbers to describe the tonal range of the audio spectrum and allow us to find specific frequencies and make adjustments to them. Low frequencies like 40 Hz and 100 Hz describe lower tones. High frequencies like 5 kHz and 10 kHs describe higher tones. You might be thinking "that's great, but how do I know which frequencies to select to make adjustments for what I am hearing from the stage?" We'll cover that in the next chapter.

Gain It's important to know that when you increase or decrease EQ gain, you're increasing and decreasing the actual gain (loudness level) of those specific frequencies. Now if we've already set our gain aggressively according to what we learned in part one of our Mixing Like a Pro series, then we should know that by increasing the gain of a frequency range we could potentially cause clipping because of those boosts. More importantly, if you set your gain to have 0 dB of signal and you increase your high-mid frequencies by 6 dB, you've added 6 dB of artificial sound to the 0 dB of signal. It's for these reasons that audio pros universally recommend subtractive EQ'ing whenever possible. All that means is that we should focus on the areas where there is too much of a certain frequency range and bring that down instead of looking for frequencies that need to be boosted.

TYPES OF EQS There are various types of EQs of which we should be aware of. Most of the gear we use today provides us with a mix of different kinds of EQs to apply to different applications. Let's look at some of these types and where we would typically use them.

Graphic EQ A graphic EQ is a type of multiband EQ that consists of faders/sliders at fixed frequencies that you can use to increase or decrease gain for specific frequencies. Before the digital age, most sound systems had a graphic EQ unit.

Common types are 31 band graphic EQ with 31 sliders (sometimes referred to as a 1/3 octave EQ), a 15 band EQ or some smaller versions that were built into mixers with 5 or 7 bands. The more bands, the more selective control you have over specific sets of frequencies. Each band or slider focuses on a unique frequency. With the sliders set in the center, or flat position, there is no gain being added or subtracted. Push a slider up and you increase the gain at the frequency that is selected. Push it down and reduce the gain for those frequencies.

Graphic EQs are peaking type (we'll talk more about this in a minute) so even though you have a lot of bands that you can adjust, you are really adjusting a group of frequencies, not just a single frequency with each fader knob.

The sliders on a graphic EQ are laid out in order from lowest to highest frequencies, from left to right. As you look at the curve that the slider knobs create along the front panel, you see a graphical representation of how the different frequencies are affected, which is why we call them Graphic EQ's. (see image above) Graphic EQs are usually used on the main output of your system or on AUX outs to help adjust for tonal imbalances that exist in a room or to reduce hot or feedback–prone frequencies. There are a host of digital versions of Graphic EQs available as computer plug-ins or built in to most digital mixers.

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Fixed Multi-Band EQ A Fixed Multi-Band EQ is a common type of EQ you will find on many basic audio mixers. Usually these come in two band (like my old mixer example above) and 3-band (High, Mid and Low) varieties. These EQ bands are each focused on a fixed frequency. When you make an EQ level or gain adjustment the frequencies surrounding the focus frequency are also affected. How they are affected is based on the type of EQ characteristics or curve used. Two common curve characteristics are peaking and shelving.

PEAKING VS. SHELVING A peaking curve is just what its name implies, that there is a maximum peak at the selected frequency when you increase the gain (or dip if you decrease the gain). The surrounding frequencies are affected less and less by the adjustment the further you get away from the center focus frequency. If you look at this on a graph you will see a bell curve of how the surrounding frequencies are affected (see the yellow curve in the image above). A shelving EQ is different in that It affects all the frequencies on one side of the center frequency the same. So instead of a bell curve on one side you see a flat line or shelf. On the other side of the curve you get the fall-off in effect described above. For example, if your low frequency EQ is a shelf set at 100 Hz and you increase the gain, everything under 100 Hz will increase the same amount. The frequencies above 100 Hz will act like they do in the peaking curve and lessen in affect the further away they are from the focus frequency (See the red and blue curves above). It is common for 3-band EQs to have the High and Low controls use the shelving method and the Mid control use the peaking method.

ADJUST MORE PARAMETE RS WITH PARAMETRIC E Q Up 'till now we have been discussing fixed frequency EQs. It really gets fun when we start talking about what you can do with more control - the control you get with parametric EQs. Making gain adjustments at fixed frequencies is helpful, but what if the frequencies you need to adjust aren't the ones included in your EQ? That's where a semi-parametric EQ comes in.

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Semi-Parametric EQ A Semi-Parametric EQ allows you to adjust the frequency center right where you need it. The frequency knob lets you select a frequency for the center of your curve (see image to the right). Many of today's common mixers use a classic set up with fixed shelving EQs for Highs and Lows and a semi-parametric EQ for MIDs. A term you might see on console spec sheets is sweepable MIDs or swept MIDs. This means there is a semi-parametric control that allows you to variably select (or sweep through) a range of frequencies in the mid band to find the one you want to adjust. There is a gain control that lets you add or subtract the level of the frequency you selected.

Parametric EQ A Parametric EQ gives you control over even more parameters of the EQ adjustment including the gain, the center or primary frequency of adjustment and the Q. If you have a digital console you have the ability to change your EQ between a peaking or shelving EQ. The basic idea here is that you dial in the primary frequency you want to deal with, set the Q to include more or less of the surrounding frequencies, and adjust the gain for these frequencies to shape the sound. Most smaller analog consoles have fixed or semi-parametric EQs, but many of the medium to large analog and nearly all digital consoles have parametric EQ's or a combination of parametric and semi-parametric. Many times it is set up so your high and low frequencies are semi-parametric and the low and high mids are parametric (see image on the left - click to see a larger version).

WHAT IS Q No, it's not a character in a James Bond movie. This is where you can set very specific control over how many frequencies your adjustment will effect. You can make the Q narrow or wide depending on the frequency range you want to effect.

For example, if you're having a feedback issue at just 250 Hz, but 225 Hz and 275 Hz are really fine, you can increase the value of your Q, making the bell curve narrower in order to notch the problem frequency (see the difference between the filters marked narrow and wide in the image to the right).

HIGH PASS AND LOW PASS FILTERS Another common EQ feature is the high pass filter (also known as the low cut filter) and the low pass filter (also know as the high cut filter). I know, the names seem really confusing. Here's a great way to remember what each filter does: The high pass filter lets the high frequencies pass through the filter unaffected. The other name for this filter is the low cut filter because it cuts out the low frequencies while letting the high frequencies pass through - get it? Use the same logic when you think about the low pass filter.

The grey curve in the picture above represents a high pass filter (low cut filter). Essentially, with a high pass filter engaged, you are going to cut (or drastically reduce) the low frequencies below your selected frequency. If your high pass is set at 100 Hz, every frequency under 100 Hz gets attenuated (reduced in gain) with more drastic reduction in the frequencies further below the set frequency. Instead of a gradual curve of gain reduction below the set frequency, you get a steep slope (typically at 18 dB per octave), which eventually amounts to negative infinity (or completely off).

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Some higher–end consoles will give you the ability to adjust the steepness of the slope. The high pass filter is particularly useful to cut out unnecessary low frequencies in vocal microphones to eliminate handling noise and other low rumble.

Wrapping Up This is a lot of technical data to digest but it's critical that you get the basic concepts of what EQs do before we can move on to how to use them for your worship team. In the next Worship Tools newsletter we'll tackle some ideas on how to correctly put your EQs to work for you!

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MIX SOUND LIKE A PRO: PART FOUR – MAKING EQ WORK FOR YOU © JUNE 14, 2012

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong shares the first of many articles dedicated to helping you learn how to mix for live worship! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions.

Our journey to Mixing Like A Pro continues with this chapter, Making EQ Work For You. In our last chapter we took a look at various EQ tools, identified their functions and what they can do for us. After all, we can't use our tools effectively if we don't know what they are or how to use them.

We've covered what EQ does to shape frequencies in our sound system audio, but to know how to make EQ work for us we have to look at the actual sonic makeup of the sounds that come from the stage.

Putting EQ Into Words Before we focus on what we're EQ'ing, we need to learn how to interpret common language into tangible EQ adjustments. You know what I'm talking about, comments like "it's too edgy" or "it sounds muddy". What does that actually mean? Our chart image below (linked to a large version located later in the document) gives us some hints using words like rumble, muddy and edge. With this helpful chart, we can take an educated guess that when someone says an input sounds "honky", they're referring to something in the 440-1,000 Hz range. It's not an exact science I know, but getting a good feel for what responses are elicited by certain frequencies can help us in making EQ adjustments quickly. So next time someone tells you the electric guitar sounds "edgy" or "crunchy", you can know you need to quickly look at the 2,000-4,000 Hz range to attack your problem.

FOCUSING IN ON FREQUENCY RANGES Everything we hear is made up of a range of frequencies. Each sound that hits our eardrums is made up of a collage of frequencies at a blend of sound pressure levels that our brain interprets as "the sound." Just as each person's voice has a unique makeup and signature, every instrument or vocals has a makeup of frequencies that is unique to it. In order to talk about how to EQ an input, we need to learn what frequencies are involved in the sound sources we're working with.

The chart is a great place to start to begin to understand what frequencies make up the sounds we experience on a Sunday morning. It shows us the range of any given source and it shows us the frequencies we need to focus on - and not focus on. For example, the range of a guitar will typically start around 80 Hz and will top off around 5,000 Hz. Knowing there is nothing being produced below 80 Hz, the first thing we can do is turn on the low cut/high pass filter to eliminate any low frequency junk that our guitar isn't actually producing. We also know that the guitar isn't producing frequencies over 5,000 Hz, so turning up the highs above that just adds unhelpful noise. Based on this chart we know our focus needs to be between 80 and 5000 Hz. 26

CRITICAL SOUND — THE VOICE Our most critical source in the church, the human voice also has clear-cut frequency ranges, regardless of whether your voices are singing or speaking. While everyone's voice has minor variations, the male voice produces frequencies between 100 and 16,000 Hz. While the female voice also shares the top end of 16,000 Hz, it doesn't typically produce any frequencies below 240 Hz. The first thing this should tell you is your low cut or high pass filter should almost always be engaged on these inputs. As you can see on our chart, the warmth or boominess of the voice is between 100-250 Hz, so most of the time there is nothing worth having below 100 Hz. The most important frequency range in the voice in my opinion, and the one I see most commonly mis-adjusted, is the intelligibility range in the high-mids (2kHz to 4kHz). When listening to vocals that are "honky" or "tinny", I often see sound guys reach for the high-mids and adjust those down to try and improve the sound. As we can see from our chart, we're actually attacking the intelligibility when lowering the high-mids, and missing the "honky/tinny" sound that's in the 400-2,000 Hz range. It seems like such a small miss on paper, but this mistake will often cost the vocals their clarity in the mix.

WHAT TO DO WITH Q If you're fortunate enough to have a full parametric EQ with a Q knob, you have a tool that allows us to get very specific with our EQ adjustments or make general, sweeping changes. Most of the time we want to make fairly general adjustments and a single octave change is great, which is a Q value of 1. If you're needing to subtract a bit of "honkiness" from your guitar though, a 2 dB cut centered at 700 Hz with a lower Q (maybe .7) will give you a broader, wider cut to effect everything in that 400-1,000 Hz range. Or if you're fighting a particular frequency for feedback, you can make your Q very high (maybe 5 or 6) so that you are narrowly notching out the frequency that's causing you issues, leaving the rest of the frequencies alone and keeping some semblance of natural sound. The Q, if you have it, really gives you a great deal more flexibility in the adjustments you make.

FEEDBACK Speaking of feedback, one last thing our chart can help us with is learning what individual frequencies sound like.

We all have dealt with feedback at some point. A frequency that's sensitive enough that when amplified the mic picks it up from a monitor or speaker again and again creating a feedback loop. When feedback occurs, one common way to attack it is adjusting the EQ to decrease the gain of that frequency. To be able to do that quickly and effectively, we need to know what individual frequencies sound like.

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FREQUENCY KILLING At the bottom of our chart is a standard 88-key piano that shows what frequency each note produces. When it comes to training your ears to be able to quickly respond to feedback, sitting at a piano or keyboard with this chart can help you learn exactly what frequencies sound like. Try it sometime: sit at a keyboard and focus on a typical problem range of 200-500 Hz and press one key over and over, training your brain to recognize the tone of each frequency. The middle C is a great place to start, with a frequency of 256 Hz. I find this to be a common problem for many churches. Then jump up to middle A, with a frequency of 440 Hz. Do this occasionally, spanning the entire frequency spectrum and you'll be a frequency killer in no time!

Wrap Up Hopefully, at this point you're feeling more confident in what EQ is and what it can do for you. The difficult part of EQ is that there is no clear cut formula for what will and won't work. I can't tell you that you should always cut certain frequencies to get a great sounding input. Our vocals and instruments are living, breathing, unique things and they all have their own flavor. On top of that, every sound system and facility have their own nuances that come into play. When it comes to EQ, you have to trust what you're hearing. Use the chart. Print one out and keep it at your sound console for reference. For our next Worship Tools newsletter, we'll wrap up the EQ portion of Mixing Like A Pro with EQ Helpful Hints.

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FREQUENCY TABLE

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MIX SOUND LIKE A PRO: PART FIVE – EQ TIPS © JULY 12, 2012

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong shares the first of many articles dedicated to helping you learn how to mix for live worship! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions.

In this chapter we're going to wrap up the EQ portion of our series – a topic that many church FOH (Front of House) folks struggle to understand. If you haven't had a chance to read parts 3 and 4, before you continue I recommend that you read Understanding EQ and Making EQ Work For You. Now that we're on the same page on what EQ is, how it works, and we have a tool to help us know what frequencies to focus on, we're going to finish our discussion on EQ with some helpful hints to help you successfully EQ your mix.

1) BEFORE YOU TOUCH THE EQ, CONSIDER THE SOURCE Our first tip about EQ'ing successfully actually starts before the EQ. If you have to make big EQ changes to an instrument to get it to sound good, or maybe you can't get it right at all, go listen to the instrument at its source. I can't tell you how many times I've fought an instrument's EQ only to go on stage and find out that the sound I didn't like is actually what the instrument sounds like. Instead of trying to fight the EQ, I should have been working with the musician at the source to get a better tone. As the old adage goes, garbage in equals garbage out.

2) BEFORE YOU TOUCH THE EQ, CONSIDER YOUR MIC Poor mic choices or placement will actually hurt or help your tone more than an EQ ever can. If you find yourself having to make big EQ adjustments to a particular vocal or instrument, EQ is likely not your primary problem. Be sure to use microphones that are appropriate to your source and if you're having trouble getting the tone you want, play with mic placement or a different mic before getting carried away with EQ. For example, if the sound I get from my electric guitar amp is thin and edgy, I'm better off adjusting the mic towards the outside of the woofer (the center of the driver is where the high end comes out) than making a big boost in the low frequency of the EQ. 3) CUT BEFORE BOOSTING As we discussed in previous chapters, boosting or cutting frequencies is actually adjusting the gain of those frequencies. Increasing gain significantly on a frequency range often will decrease clarity, increase muddiness and can even go as far as introducing extra noise if you boost too much. If you set your input gain appropriately in the first place Mix Like A Pro: Part 1, you don't want to add more gain through EQ. Instead, work on eliminating the things you don't need or have too much of instead of adding what you think is missing. If your vocal is missing a lot of clarity, instead of putting in a big boost at 3,000 Hz, try cutting some at 315 HZ or 1,000 Hz. You'll be surprised how much better that will sound than boosting one frequency.

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4) APPLY THE HIGH PASS FILTER If your vocal or instrument doesn't produce anything below 80-100 Hz, you certainly don't want whatever noise your mic is picking up down there to come through your sound system. A great way to clean up low end mud in your mix is to apply the High Pass/Low Cut filter to inputs that aren't producing any real low end.

5) DON'T EQ BASED ON SOLOING INPUTS IN HEADPHONES Sometimes you have a lot going on and you need to solo an instrument and make adjustments based on what you hear with the input isolated. Don't let what you hear in solo through headphones be your final say. It matters less what your instrument sounds like individually than what it sounds like in the entire mix. For example, an acoustic guitar may sound big, round and full on its own, but when added to the mix with a piano, electric guitar, drums and vocals the mix sounds muddy. Taking some of the low-mid range out of the acoustic, making it sound a little thin on its own may be the very thing that helps it sit better in the mix.

6) EQ ON PURPOSE An easy trap to get into, is to use the same "stock or regular" EQ settings for all male singers or all electric guitars.

While it's true that your "regular" vocal EQ might be a good place to start, every vocal has a unique sound and tonal signature, therefore each vocal is going to need its own variation of EQ. And when it comes to things like guitars and keyboards, not only will each guitar or keyboard have its own unique tone, but keyboard patches or electric guitar pedals will all have their own variations too. When it comes to EQ, one size does not fit all.

7) DON'T BE AFRAID TO MAKE ADJUSTMENTS Adjusting EQ should not be regarded as "set it and forget it". Each input is a living, breathing and often changing thing, and you need to be active in making adjustments. Especially in rehearsal, if something doesn't sound right, try making adjustments until it does. Even during a service, it's better to make small, gradual adjustments to get it right as opposed to leaving something sounding average. The best way to learn how to EQ is to try making adjustments and see what they sound like. Just be sure that, when in a service, you make gradual, non-distracting adjustments.

That's a wrap on the EQ portion of our Mix Like A Pro Series. If you have any questions, please don't hesitate to contact the author, Duke DeJong or Steve Hamrick at IBSA.

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MIX SOUND LIKE A PRO: PART SIX – THE REST OF THE CHANNEL STRIP © JULY 12, 2012

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong shares the first of many articles dedicated to helping you learn how to mix for live worship! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions.

So far in the last five chapters we've gotten into some of the more critical and complex features on the traditional analog console channel strip. We've spent considerable time on EQ and gain, but this week we're going to pick it up a little bit and cover a number of other buttons and knobs that typically exist on each channel. These all exist on a digital console too, but may not be in the same order as we'll tackle them here.

LINE (PAD) Most of the time you won't likely need this, but occasionally inputs send a much stronger signal than usual and you run out of room to turn the gain down. Engaging this button will give you a cushion, usually 20 dB, so that you can have room to go up or down with gain without having way too much input.

PHANTOM POWER (48V) Phantom power is required to operate certain types of microphones and is usually supplied by the mixing console.

While we're not looking to cover all types of microphones in this chapter, we'll make a distinction between dynamic and condenser mics for the sake of our discussion on phantom power. Dynamic microphones like the Shure SM57 and SM58 are relatively inexpensive, durable, moisture–resistant and less prone to feedback.

Condenser microphones tend to produce a higher quality sound (flatter and extended frequency response) and are more sensitive to picking up sound. Condenser microphones are good at picking up more of the detail and nuance of acoustic instruments and vocals. They also require power, and that's where our 48V button, otherwise known as phantom power, comes in. You might have the gain set correctly and the fader set to a normal level, but if the 48V phantom power switch is not turned on, you won't get sound out of your condenser mics.

AUX (OR MIX) Just as you use your faders to mix your house send, your AUX sends are simply another mix you put together. Working the exact same way your faders do to create a mix, you turn the AUX knobs to increase or decrease the level of input sources into each mix. For most people, your AUX sends will feed monitor wedges, in-ear monitors, or your effects. Regardless of where the final send goes, your AUX sends are simply a different way to mix inputs into an output.

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PAN If you are mixing a stereo house, one where you actually hear both the left and right speaker from most seats in the house, the pan knob can help you create a little bit of space in your mix and create a stereo image for those listening. When operating with a mono system, or a stereo system where each side of the house only hears one of the speakers, it's best to leave the pan knob at center so everyone gets to hear the entire mix you are creating.

MUTE Simple enough, this button will eliminate that channel's audio from its output destination. On some consoles (Yamaha especially), the mute button is replaced with an On button. In that case, turning the On button off will eliminate audio.

PFL / AFL / SOLO Known are Pre-Fader Listen and After Fader Listen, this button is also known as Solo. Pressing this button will give you the opportunity to monitor only that input in your headphones, allowing you to check for anomalies or other specific things you're hearing. Some mixers have a Solo with the ability to choose whether you hear the solo pre-fader (the input right as it comes into the mixer and after the gain knob) or post-fader (the input with channel strip processing and the channel fader volume applied).

ASSIGN / SUBGROUPS The assign buttons allow you to route the signal or sound of that channel directly to the master output or to a subgroup. The more technical term for a mixers subgroup is VCA (Voltage Controlled Amplifier) and the digital mixer version is DCA (Digital Control Amplifier).

When mixing 24-48 inputs, it can be tough to keep up with the dynamics of all the live musicians when dealing with each fader individually. Creating relevant groups by assigning multiple channels to a single subgoup allows you to adjust that group of channels with just one fader. For example, let's say we have 8 inputs for our drums, bass, acoustic, electric, two stereo keyboards, a variety of orchestra instruments, 6 vocalists and a choir. In order to make mixing all of those inputs more manageable, we'll assign them to the subgroups. One possible break down for grouping could be: 1.

2.

3.

4.

5.

6.

7.

8.

Drums Guitars Keyboards Orchestra Lead Vocals Background Vocals Choir Playback sources (CD, i-Device, DVD Player, etc.)

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While you may prefer a slightly different arrangement (which is fine), right off the bat mixing has been streamlined through the use of subgroups. Find that your background vocals are getting a bit lost, but your blending of them is solid? Just push up the entire group a bit. When you hit that big acapella section of the song with just the drums, you can push just the drums and vocals a bit with two faders instead of grabbing 12. If one song is guitar led and the next one is keyboard led, you can make that adjustment quickly too without changing the overall balance of what is in each group. If you're going to be an active sound person, and I hope you are, assigning inputs to subgroups will help you make group changes quickly.

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MIX SOUND LIKE A PRO: PART SEVEN – THE MIX PYRAMID © AUGUST 16, 2012

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong shares the first of many articles dedicated to helping you learn how to mix for live worship! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions.

We've spent the past 6 chapters looking at the various knobs and functions of the typical audio console, trying to de-mystify what often looks like a scary piece of equipment. I know when many new volunteers see an audio console, they get intimidated. Let's face it: we're all intimidated by the unknown. Now that we've covered the functionality and elements of the average console, it's time to transition our conversation into the actual mix itself.

HOW DO I BUILD A MIX ?

I'm often asked about how I build a mix. It seems like such a simple question, but it often has a more complicated answer, as the answer is "it depends". It depends on what the band is trying to sound like. It depends on what the lead instrument is. It depends on what final sound the Worship Leader is trying to get. It does not depend on what kind of musical style I like. The answers to these "it depends" questions will come from your leadership (more on that in a future Worship Tools newsletter). The basic principle I use to create a good mix is explained below. Once you know what kind of sound to shoot for, you can apply this principle to build the sound your team is after.

MIX PYRAMID! Think of your mix as a pyramid. When you come across a true wonder, especially something as big and tall as a pyramid, what's the first thing you do? Look up! At the top of the pyramid are the parts you always see. It is the lead part of the pyramid, typically the first thing you see as you approach it from a distance. It's also the narrowest part of the pyramid. As you go down the pyramid it gets bigger and bigger, but it also gets less and less defined. You start to lose the tight definition of the pyramid and see more of the entire shape as a whole. At the bottom of the pyramid you have critical components, essentially those things that hold the pyramid up and give it its base. You don't always see the absolute base of the pyramid though, as it may be under the sand.

Applying the Theory!

What does this have to do with sound? Well, in a worship mix I believe the top of the pyramid is always the lead vocal. It should always be the first thing you hear, just as the top of the pyramid is the first thing you see as you come near. Work your way down just a little bit and usually you'll "see" the lead instrument, kick and snare. These need to be well defined in the mix as they carry the tempo and melody of the song.

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Now we start getting into the mid-section of the pyramid, where we start adding more size and maybe start losing just a little individual definition. The bass guitar, background vocals and the secondary lead instrument usually fit in this range. You're still going to hear them individually, but when everything is grooving well you may not hear each as clearly defined as the stuff at the top.

As you approach the base of your mix pyramid, you get to a place where you can't really hear each item all the time individually, but they make up the critical base that holds up the rest of the mix pyramid. Often, these are things like a keyboard pad, orchestration, a choir and 3rd and/or 4th guitars. These items are all just as critical as the top of the pyramid, but their size and depth provide more of a base and a big picture sound rather than individually recognizable instruments.

KEEPING THE MAIN TH ING THE MAIN THING! Most every musician and singer wants to be heard. It makes sense and it's not wrong. In the overall mix of a band though, certain instruments and singers will need to take priority in clarity. Some pieces will always need to be clearly heard while others will make up the critical base that holds it all up. After all, a pyramid that only has a top won't be very big, and a pyramid with only a big bottom will have no point. It all needs to work together, each part filling it's role and place in the pyramid in order to create a wonder of beauty.

BUILDING THE MIX When sound check is done and it's time to build my mix, I look at my mix pyramid for each song (yes, it may change per song) and begin building from the top down. For my church, it often looks like this: Lead Vocal Kick, Snare, Acoustic Background Vocals, Electric, Bass Toms, Cymbals, Saxophone, Piano, Violin, Keyboards What did you notice about this list? Did you see how it even looks like a pyramid? And the more inputs you have, the bigger your pyramid gets. Ultimately though, if you want your pyramid to have shape and definition, and if your worship mix is to have a point, some items must be at the top. In the next Worship Tools newsletter, we'll discuss how to determine your mix pyramid and who really is the architect of your pyramid.

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BUILDING BLOCKS FOR A SOLID MIX WORKSHEE T Use this worksheet to build your mix period.

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MIX SOUND LIKE A PRO: PART EIGHT – MIX PYRAMID – THE ARCHITECT © SEPTEMBER 6, 2012

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong shares the first of many articles dedicated to helping you learn how to mix for live worship! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions.

Last chapter, we introduced the idea of the Mix Pyramid, a piece of imagery to help us think about how we build our mix; those things that need to stand out, that really define our mix (and pyramid), and need to be at the most prominent place in our mix. But even the most spectacular pyramid needs a great foundation to build it up high enough to see. Every instrument has a role, whether it's a lead part of your mix or part of the base that gives it body. How do we know which is which? It would be really easy as a Front Of House (FOH) operator to make an educated guess, but I submit to you that to truly mix like a pro you need to consult the pyramid's architect.

PRINCIPAL ARCHITECT! In nearly every church, the Senior Pastor truly is the Principal Architect of what happens in your church. When it comes to every ministry aspect of your church, the Principal Architect is responsible for the whole picture.

Regardless of whether they know music or mixing, the Principal Architect is still accountable to God for it. For this reason they have the final say, and as a FOH person we should be periodically checking in with our Pastor to make sure they feel good about the worship mix.

I mix at my church 2-3 times per month and I've made it a habit for years to check in with my Pastor between first and second service to make sure the sound felt good. If he has concerns, I listen. Generally that check-in tells me that I'm on the right track and can continue the course. But on the rare occasion that the sound does jump the track, it's much better to know that before another service than to wait until after a complaint is made during next week's staff meeting.

PROJECT ARCHITECT! For most churches, the Senior Pastor has entrusted the Worship Leader to handle the details of your worship architecture. While we need to check in periodically with the Principal, the person that understands both the vision and the details to the pyramid we should be mixing is your worship leader. Whether paid or volunteer, your Project Architect is the person entrusted to lead the body into worshiping God. His task is to define the structure of what the musicians and singers do in worship. That arranging and sculpting is also what defines our mix pyramid.

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THE PROJECT MANAGER I learned many years ago that I am not a musical architect. I'm great at taking the vision of the Principal Architect, combined with the details from the Project Architect to build a beautiful mix pyramid.

Sure, I absolutely have great ideas to include for the design of the pyramid. But I have to realize that as the FOH operator (or guitarist, drummer, singer, etc.) I am not the architect. My role is that of a Project Manager who plays a crucial role in building this masterpiece. My job is to take the materials that the musicians are bringing and create the pyramid masterpiece the architects designed.

Frankly, that is a freeing place to be when you're behind the console. Complaints on the mix used to ruin my week.

Having to mix to a volume cap used to drive me nuts. Complaints still bother me for a minute and I still prefer to mix with freedom, but I learned that there is freedom in mixing within the plans the architects created. When you're building according to the plans the architect drew, complaints and differences of opinion will no longer be personal to you. And when you get a comment, you can check in with the architect, fill them in and let the architect decide what should and shouldn't change. I have never mixed with greater freedom than I have since I had this revelation.

PROJECT ARCHITECTS ( WORSHIP LEADERS) If you've been entrusted to lead your congregation in worship, be sure to lead everyone. Most leaders understand they have to direct the band to play in a certain way and at certain times, but if you're not communicating what you've designed to the FOH operator, your Project Manager, don't be too surprised if the pyramid comes out a little differently than you intended. Great communication and collaboration between the designer and the builder is critical if the architect wants the building to come out right. Worship Leaders and FOH operators should be talking regularly about what the goals and desired outcomes are, and occasionally to course-correct as well.

PROJECT MANAGERS (FO H OPERATORS) Most Project Architects are wonderfully gifted at designing a worship environment, but not all are naturally inclined towards great communication. If your Worship Leader isn't communicating with you regularly about what they are trying to accomplish with the music arrangement, you're determining your mix pyramid on your own which means you've inserted yourself into the accountability chain. I don't know about you, but as the person behind the console, that's a responsibility I don't want.

Unless I'm directing the band and singers too, I have no business giving myself that responsibility. If you're determining your own mixing priorities without the worship leader's input, I highly recommend you share this article with them, along with your desire to submit to their direction, and enjoy the freedom that mixing under proper authority brings.

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PUTTING THE FINAL STONES IN PLACE Communication gets a bad rap for being difficult sometimes, but in this case it doesn't have to be complicated.

Most Worship Leaders will reuse songs regularly as the congregation knows them and can follow along easily, so it's not like you have to relearn 4 to 6 new songs every week. If you already know how 4 of the songs have been arranged, a quick conversation to get the vision for the 2 new songs is all it takes to be mixing to the Architect's plans. If my Worship Leader doesn't clearly tell the band on his own what is leading, what is leading second and who is filling or supporting, I'll often walk up to the stage and ask during a break. While I'm experienced enough to usually get a good idea of what he intends pretty quickly, I ensure that I'm mixing to his vision when I ask. In addition, I build trust.

I get to mix free from stress, happy to serve and carry out the vision that the Principal Architect has worked with his Worship Architect to create. Through vision, detail, communication and submission, God is glorified, which is our mutual goal!

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MIX SOUND LIKE A PRO: PART NINE - LISTENING © UPDATED NOVEMBER 20, 2013

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong shares the first of many articles dedicated to helping you learn how to mix for live worship! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions.

Great audio people listen more carefully and intently.

Over the past few chapters we've discussed much of the mechanics needed to become a great Front of House (FOH) operator and what your mix should sound like. Mechanics and process is necessary, but won't quite get the mix you're looking to achieve. One of the most outstanding traits that great pro sound guys have is a passion for listening.

We all use our ears every day to listen, whether to our surroundings, to speech, or to music. The difference between the average listener and pro audio folks though is the intentionality of their listening. Great audio people listen more carefully and intently. They listen to the nuances of natural acoustical sound, especially sounds that need to be reproduced in a sound system. To achieve a musical mix, it's simply not enough to make louder sounds.

BEING A FAN When it comes to music, I find the best FOH people are also some of the biggest fans of music, period. It's not about knowing one style of music or even one generation of music, but becoming such a fan of music that your musical base includes a wide variety of styles, artists and even decades of release.

Some of the most creative, expressive and artistic music can be found from decades ago. My friend Mike Sessler, a Technical Director in Southern California and the author of www.churchtecharts.org, hosts the podcast Church Tech Weekly, which I am generally a guest on, and we ended up devoting an entire episode a few weeks back with an all-star audio panel discussing how important it is to become a great fan of music in order to become better at mixing FOH. I highly recommend listening to the episode.

MORE THAN LISTENING While it's a great thing to crank up the tunes and listen to the artistry of another's musical creation, great audio people will often dig deeper into the music. Critical listening is a great skill to learn. I can't tell you how often I've had a new instrument to mix into a band setting with little clear instruction as to exactly how to mix them in. In order to be prepared for every occasion, I often listen to music that incorporates a wide range of instruments, carefully listening to the different ways they sound and can be used in a mix. I apply the same level of thinking when I know I'm going to be mixing a band I've never worked with before. If available, I will spend a decent amount of time listening to their own music (or something similar if they don't have anything recorded) so when I get behind the console I have a good idea of what I want the instruments to sound like and how I want them to interact with each other.

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My friend Dave Stagl, the Audio Director at North Point Church in Atlanta recently discussed some of the strategies he likes to use when listening to music critically. His list looks at many different angles of what you are hearing when you listen to produced music. The difference is instead of listening at the surface of the finished product, spend some time listening with a focus on each instrument. Critically listen to music that is similar to the style of music you mix and listen to the nuances of how the lead instruments blend with the rhythm of the bass and drums, and how the spacing of the music was crafted. If you're like me, you'll find exercising critical listening will help shape your view of how you EQ, compress and mix every instrument.

WRAPPING UP: THE MAIN IDEA Great audio people love great music. By great, I'm not talking simply about high fidelity recordings, but music that moves them and elicits emotion. After all, we want art to move and inspire us. If you're going to create mixes that are moving and inspiring, you must be moved and inspired yourself. It doesn't have to match your personal preference of style, but great musicians and audio guys love getting lost in the artistry of all kinds of music.

If you looked at my iTunes list of music, you'd see every kind of rock there is in addition to pop, folk, gospel, southern gospel, movie sound tracks and yes, even a little bit of country. Many of the artists are wellknown, while some are most decidedly not. Some are moving scores from blockbuster movie hits and others simply are independent artists that I felt made great art. And I go through seasons listening to different music.

In order to move, you must be moved. In order to inspire, you must be inspired. In order to elicit emotion, you must experience emotion yourself. In order to mix music well, you must become a fan of great music. Become a lover of all kinds of music and a frequent critical listener and I promise you'll see your mixes improve dramatically.

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MIX SOUND LIKE A PRO: PART TEN – WRAP UP © UPDATED NOVEMBER 20, 2013

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong shares the first of many articles dedicated to helping you learn how to mix for live worship! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions.

Over the past chapters we've been talking about how to mix sound like a Pro. We've discussed how to get your input gain set correctly, how to tackle the EQ and what should determine how you build your mix. We've covered nine key topics which will help you get on your way to mixing like a Pro. If you've missed any of the 9 keys, go back and check them out. This brings us to the wrap up.

ONLY AS GOOD AS THE MUSIC! As we wrap up this series, I think it's important to talk about one of the most important elements of great mixes. At the end of the day, the mix will only be as good as the music created by those on stage. In reality, the work of the FOH guy is to take what the artists on stage create and work it to create one great sound. I used to watch some of the cooking competition shows, and I think there are some great analogies there in the roles of the musicians and the sound tech.

THE COOKS IN THE KIT CHEN! The musicians and singers are the cooks in the kitchen, responsible for the quality and flavor of each dish created and presented to the audience. A Sous Chef and a variety of cooks will all have a hand in creating the dish, but ultimately the taste of the dish is the responsibility of that team under the guidance of the Head Chef. The quality and flavor has to be great, but right before that food goes out to the audience, one last person arranges the food with a beautiful, meaningful presentation that hopefully impresses the audience at first glance also known as the "Expeditor". As the FOH tech our role is to give the food created for us the most fantastic presentation we can.

TASTE AS GOOD AS IT LOOKS! I don't care if you have an amazing gift for mixing, poor content will ruin great presentation. Amazing food has to taste just as good as it looks. It's rare that someone walks away from a meal saying, "It tasted awful, but the presentation was awesome." The same holds true for mixing. When is the last time you walked out of a music experience thinking, "The musicians weren't playing together and the vocals were pitchy, but man the mix was blended well"? It all comes down to the content, and if the content isn't there, none of it matters.

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WORSHIP TEAM CARRIES THE WEIGHT! If you are a Worship Leader, musician, or singer who is called to lead your congregations in worship, I want to bless you and honor you. I always marvel at those who have the skill and talent to play an instrument, remember both their notes and lyrics and lead 100's to 1,000's of people in worship. I cannot do that. I'm not gifted to do it. Frankly trying to do so in front of all of those people would terrify me. You carry a weight on your shoulders that most techs will never truly understand, and most of us are very grateful that we get to play a small role serving alongside you.

THE FLAVOR! As creative artists serving in the sound ministry, we hope you understand that for the most part, we can only sweeten your content so much. The flavor, the content, needs to come from you and your worship team. As your sound team strives to produce professional sounding mixes on your behalf, their ceiling will be the one your content provides. It's up to you to set the bar for flavor, and it's up to you to create content that the presentation can support.

COMMUNICATION! If you're having a challenge with content as a sound artist, talk openly with the leadership of your music ministry.

Be humble, but be truthful. In an earlier part of this series we talked about communication and coming under authority. Go back and re-read that section, then schedule to get together over coffee to share vision and life together.

Give Us Your Feedback!

We've had a blast diving into some of the keys to mixing success and have had great feedback from many of you. If you have feedback or ideas that you'd like us to expand upon, I'd love to hear from you! If you have a topic that we haven't covered, or topics you'd like us to go more in depth on, please let the author know. Our heart for the Worship Tools newsletter (Where these 10 chapters were taken from) is to help those of you serving week in and week out be successful in ministry. And since this newsletter is about helping you, you have a chance to influence the topics we cover here.

Thank you for all that you do to serve God, your family and your community. We are grateful that we get to serve you as you serve those with whom God has surrounded you.

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ELIMINATE GROUND LOOP HUM © UPDATED NOVEMBER 22, 2013

So you've got that annoying hum in your sound system. You aren't sure what it is and you may have just accepted that you'll never be rid of it. Don't despair! It's most likely a cabling issue that is allowing noise from the building's AC power lines into your equipment. Called ground loop hum, it's caused by a difference in electrical potential at grounding points. But what exactly does that mean? When you have more than one piece of equipment in your sound system connected to a common ground through different paths, like different outlets on the same circuit, you can get a ground loop. As current flows through your system, the ground loop creates a circuit for the current to flow from one unit's ground to a second unit and back to the first. This current then creates hum when it flows through the audio signal ground. So, now that you know what creates it, let's talk about how to break that ground loop so you can finally get rid of the hum.

The simple, inexpensive way to fix the ground hum is to plug the piece of equipment into a different outlet that is on a different circuit. Once you can identify which piece of equipment is causing the problem, this is the easiest fix.

For example, if your keyboard on stage creates a hum when you plug it in, get an extension cord or move the keyboard so that it is not longer on the same circuit.

If changing the outlet isn't a workable answer, you'll need to add another piece of equipment to your system. You have some basic choices: Adding a direct box, like the Rapco DB-1, that has a dedicated ground lift on it to your system will break the ground loop and allow your guitarist or keyboard players to send a clean feed to the console without the hum. Or, you can use a product like the one from Ebtech properly named the Hum Eliminator, specifically created to break ground loops. Simply insert the Hum Eliminator between the offending pieces of equipment to break the ground loop and get rid of the hum. Both solutions work to correct ground loop antenna problems that are associated with audio signal cables connected to improperly grounded equipment. They isolate the shield of the cable from the equipment ground which helps to reduce or eliminate hum from the AC power used to run the system or other equipment in the building. We would recommend trying a quality direct box first. But if that doesn't work, the Hum Eliminator may do the job.

Breaking the ground loop is the key to removing hum, but we want to warn you against doing this by cutting the ground wire in your equipment. This may seem like an easy and logical fix, but it's dangerous and it is not the correct way to solve the ground loop problem.

Hopefully, you'll be able to solve your hum problems with one of the solutions listed above. If not, or if you want more information, please call us and we'll be happy to work with you to find a solution that fits your needs.

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GUITAR AMPS IN YOUR WORSHIP © UPDATED NOVEMBER 21, 2013

By Ron Simonson, CCI Solutions President & CEO Many worship teams now include an electric guitar to reproduce the growing number of contemporary worship songs found on the radio and used in churches across America and abroad. The idea of an electric guitar came from the need to overcome the challenge of playing in a large ensemble since the acoustic guitars of the day could not compete with the volume of the other instruments.

The original amplifiers were simple and had very few tonal adjustments available, but they were portable and did the job. Over the years, there have been many changes to the guitar amp and they have even gone as far as virtual or synthesized. There are a growing number of guitar players using the virtual and/or pedal-guitar-amp substitutes in worship today. Some reasons for the change may be: the devices have improved, convenience, and to rid the stage of the loud guitar amp that overwhelmed the overall mix of the worship team.

If you are a sound technician and you have requested that the guitar player make the switch to a virtual amp or you are the musician that has made the change for any reason, keep an open mind to the option of using a guitar amp.

Most professional engineers and artists will tell you the best sounds from an electric guitar still come from a "real guitar amplifier." The physical attributes of a wooden speaker cabinet loaded with the proper speaker creates harmonic overtones and resonates like an acoustic instrument. A microphone can help increase the quality of sound by picking up different harmonic qualities based on the type and placement of the microphone. Most digital guitar systems try to copy these elements but it can't compare to the real thing.

Learn how you can use your amp in quieter settings and still benefit from the sound quality of the amp. Below you'll find tips on fitting your amp into the worship environment and how to mic the cabinet for the best sound.

THE WORSHIP ENVIRONM ENT: 1.

2.

3.

Aim the amp up like a floor monitor, making sure that the angle of the speaker is away from the audience. Remember to keep the volume low; check the maximum acceptable volume with the sound technician and stay below that level at all times. To help aim the amp up at you and away from the audience, you can use a simple desk mic stand or the bottom of a cheap guitar stand.

Use an amplifier isolation system to block some or most of the sound that will bleed off the stage to the audience and technicians. This can remove any problems that you have controlling the stage volume. See the ClearSonic examples below to see what they are and how they are used. It is possible to use other materials and build one yourself, but these work well and look nice.

If you use in-ear monitors, make sure the guitarist has plenty of their guitar sound in their personal mix. This way the guitarist won't be tempted to turn up their amp, and the amp setting will stay under control. It is unfortunate that teams who use the in-ear systems think they need to go virtual, when in reality these systems combine with a real guitar amp for a winning combination.

If you can keep the volume of the amp under an appropriate threshold to avoid interfering with the mix, then there is no reason not to use the amp if you like the sound.

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GUITAR AMPLIFIER MIC ROPHONE TECHNIQUES: There are many right ways to get the sound of the guitar amp into the PA system. Two factors affecting the sound are the type of mic and the placement of the mic. The choice of mic can dramatically change the sound and the SM57 has been the favorite guitar cabinet microphone of most engineers for many years. If you do not have a SM57, substitute a Shure SM58, and next in line would be whatever dynamic vocal mic is available. In the example below, we are showing a Shure SM57 dynamic microphone in four different positions.

As with many aspects concerning musical instruments and sound equipment, there are too may variables to give you more than a good place to start. You will need to experiment to see what sounds best with your equipment.

Make sure the sound technician and guitar player work through this together. Use your monitors or in-ear system and include the main speakers so you both can hear what will be heard during worship.

1.

2.

3.

4.

If you're looking for a brighter sound, aim the mic at the center of the speaker where the voice coil is located. Do this if the amp sounds dull. (See Example A.) As you move parallel towards the outer edge of the speaker, the sound becomes warmer and less bright. (See Example B.) Wherever the mic is placed, experiment with putting the mic off axis; this will change the sound as it gives you more of the room sound and also changes the sound of the amp. (See Example C.) You can also experiment with the distance of the mic from the speaker. The closer the mic is to the speaker, the more intimate and direct the sound. As you move farther away, it adds more room sound and becomes less direct. In a quieter worship setting, you'll want to keep the volume of the amp down, so we should keep the mic close, about one to three inches away from the speaker. (See Example D.)

Whether you are the player or the sound technician, you will have fun with this exercise and it might add a noticeable difference to the sound of the electric guitar that your visitors and congregation will experience in your worship space.

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PROPER SPEAKER PLACEMENT

The two most important elements in your sound system are your microphones and your loudspeakers. The first determines what sound enters your system; the second determines what sound exits your system. Assuming you have selected the appropriate mics and all that's in between, everything your system has achieved will be wasted if your loudspeakers are improperly placed.

Feedback is the first sign that your loudspeakers may not be properly located. Reverberating sound bouncing off room walls or dead spots in your coverage area are other symptoms of poorly placed speakers. Speaker placement is always dependent upon a room's acoustical characteristics, but some basic rules can offer guidance.

First, the primary rule is that loudspeakers need to cover your seating area.

Every seat in the house needs to receive sound for every person to hear your message.

Second, determine if your loudspeakers should be located centrally or on opposite sides of the stage. If your ceiling is high enough, a center cluster may be recommended. If your meeting place has low ceilings or is a temporary location, speakers placed on opposing sides may be the best alternative.

Especially long rooms may require satellite speakers and a digital delay. (Ask your CCI Solutions representative for details if this might apply to you.)

Third, attempt to place your speakers between the first row of the audience and your microphones. Speakers emitting sound directly into a microphone will almost always cause feedback.

To avoid phase cancellation, a fourth rule of thumb applies if your loudspeakers are on opposing sides: make sure each speaker covers its own half of the room. Phase cancellation occurs when the sound waves from a pair of speakers cross. The sound waves cancel each other and leave a dead spot in the room with no sound.

A fifth rule is to raise your speakers to the proper height. Loudspeakers should be high enough for the sound to get over the heads of people in the front row, whether they're standing or sitting, and reach the back row. Sound has a difficult time traveling through solid objects. The less you put in its path, the better.

Other variables will determine the ideal location for your loudspeakers: room acoustics, loudspeaker efficiency, and your sound system's capabilities. But, these short guidelines will give you a starting point.

Always feel free to call your CCI Solutions representative for assistance with your particular sound system's needs.

You'll find a comprehensive selection of loudspeakers, ranging from the popular QSC K12 speakers to the amazing QSC KLA Active Line Array System for sound installations. You can also call us.

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AUDIO SNAKE BASICS © UPDATED NOVEMBER 22, 2013

Ron Simonson, CCI Solutions President & CEO THE BASICS OF SELECTING AND USING AUDIO SNA KES Do you find yourself constantly taping down several long microphone cables just to have to wind them up again?

Do you worry about people tripping over the tangled mess of cables used for your services or performances? Then you may be the perfect candidate for an audio snake.

This handy device groups all your mic and return lines in one cable, offering greater portability, efficiency and neatness than a set of separate cables.

Snakes are specially built, single cables that have multiple connections at each end. The words “fan” and “box” describe common ways these ends are terminated. A “fan end” has separate connectors which reach out to various components.

A “box end” of a snake is a rectangular box housing connection points for return lines. A fan is usually used at the mixer end of the snake, while the box end is placed on the stage or platform so performers can plug in their mic and instrument cables. Special application snakes are available that terminate with a blunt end connector that can be attached to a separate fan or box.

Two important factors to consider when selecting a snake are length and configuration.

The appropriate length of a snake depends on the distance from your stage or source to your mixer. Snake lengths commonly range from 50 feet to 150 feet, although almost any length is available. A snake’s configuration is marked by its number of mic lines (lines in), its number of return lines (lines out), and its combination of connectors at each end. Normal connector types are 3-pin XLR (typical for mic inputs and balanced line outputs) and ¼” phono type for unbalanced line level sends.

The number of mic lines for your snake should match the number of mic inputs and line level outputs on your mixer.

Ask your CCI Solutions representative to recommend a snake that’s perfect for your application

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FEEDBACK CONTROL © UPDATED NOVEMBER 25, 2013

Ron Simonson, CCI Solutions President & CEO RING OUT A TUNE - FEEDBACK CONTROL AND R OOM TUNING An Important Note: Equalization is the last step that should be taken in tuning a sound system. Unless a system is correctly designed and carefully set up, the equalization may not accomplish much, and may actually degrade the sound.

There are two basic approaches to tuning the system. One approach is to “ring out” the system, whereby feedback is induced and the equalization is then applied to knock down individual feedback frequencies (nodes). This procedure is described below. Another approach is to measure the frequency response with a device known as a real-time audio spectrum analyzer, and adjust the equalization to obtain the desired EQ curve for the room.

Instruction in the use of spectrum analyzers is beyond the scope of this article, and use of such devices is best left to qualified audio professionals.

Ringing out a sound system is accomplished as follows: Turn up the overall gain (volume) of the system, while someone speaks into a microphone.

Feedback will first occur at that frequency (or frequencies) where the system has a peak. It typically begins as a slight ringing, and then becomes a loud howl. Identify the feedback frequency, either by ear or using a spectrum analyzer, if you have access to one and know how to use it. Locate the corresponding frequency band on the graphic equalizer and pull that band down until it stops ringing. If howling commences again, pull the slider down a little more; if it's at a different frequency, pull that slider down.

Eventually, you’ll reach a point where many frequencies all start to howl at once, or where you’ve already adjusted most of the frequencies that begin to howl as you further raise the gain. That's when you can stop the EQ adjustments. You’ve gotten all the gain there is. Then back off the gain by 10 dB or so to leave some headroom (room between the nominal signal level and the peak signal level). When you’re done, you may find you've obtained from 3 to 15 dB more usable gain from the system.

It may not be necessary to try to obtain all possible gain before feedback. If you obtain sufficient gain before ringing out every available frequency, stop there. In any case, it’s important that the sound still be natural.

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Feedback is dependent on the wavelengths of sounds, rather than the frequencies. This means that the frequencies at which feedback nodes occur may change with changes in temperature or humidity (For example, the warmer the air, the faster sound travels: hence a given wavelength will correspond to a higher frequency).

Such changes may require that the system be rung out again, especially if very narrow band filters in your EQ are used. The process of “ringing out” should be performed separately for each speaker system – including any stage monitor systems.

There are also some amazing products that have come out in recent years that use a digital process to automatically detect feedback problems and make realtime adjustments with narrow EQ filters to control the feedback. These are best used to correct problems that may arise from time to time after a room has been tuned.

They can also be very effective with portable systems, or applications where stage set ups are constantly changing.

Be sure to ask one of our sales consultants about the equipment choices and methods that would be best for your system.

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ARE YOUR DRUMS TOO LOUD? CONTROLLING DRUMS IN CHURCH

By David McLain Any time a band has some of its sound coming through the main PA system (usually vocals and electronic instruments) and some of the sound coming from the stage acoustically (most notably the drums) you have problems. The drummer must play loud enough to keep up with the sound system, which he cannot hear.

However, playing loudly enough for the back row of listeners means that the drums are often too loud for the first several rows. It's even louder on stage, which requires the rest of the band to play louder and turn up the stage monitors.

The result is a stage volume that is overwhelming – too loud for the room, and often louder than the main sound system in the room, and still unclear. People get frustrated and irritable, and some leave to find another church where they can understand the music.

A major part of the solution for this problem is to control the sound of the on-stage instruments, beginning with the drums. There are three steps in controlling drums in church: 1.

2.

3.

Contain the acoustic energy from the drums Absorb the acoustic energy from the drums Reinforce the sound that you want from the drums Containing the acoustic energy from the drums is the easiest part. The sound of the drums travels from the drum head to the ears of the people hearing it. The strongest part of that sound is generally direct line-of-sight. Many churches have installed plexiglass drum shields around the drums for this purpose. It's costeffective and it's a reasonably effective starting point. The plexiglass reflects most sound, preventing the direct line-of-sight sound from reaching the people in the congregation.

This solves one problem and introduces a couple of new ones.

Plexiglass does not absorb sound; virtually all of the sound created by the drums is reflected; that means that the sound is still in the room, it's just not traveling to the listeners in a direct route. The drummer often feels more confident now that he's behind the plexiglass, and often times he plays harder, creating even more sound than before. Now that sound is bouncing around the room as reflected sound.

Reflected sound is, by definition, noise: it has the same amount of energy as direct sound, but because it is reflected, it has become "incoherent." Now instead of hearing the clear "slap" of the snare from a single source, we hear reflections of that slap from various reflective surfaces around the room. The clarity is decreased, but the energy of the snare is still there, rattling around the room, muddying up the rest of the sound.

The second problem with a plexiglass drum cage is that the first reflection of the sound is concentrated back at the drummer's ears. The potential for hearing damage is greatly increased. That's one reason some drummers want to play loudly – they can't hear the sound as well as they used to, so they feel the need to play louder.

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The result of plexiglass by itself is that the total energy of sound is not decreased. Instead, it's just bouncing around the room, making the rest of the sound muddy, and damaging the drummer's hearing.

After we block the direct sound of the drums with a plexiglass drum shield, the next step is to absorb a good portion of the sound, to keep it from filling the room with incoherent echoes. This is generally accomplished with sound-absorptive foam.

Generally, the foam is installed in three locations: on the wall behind the drummer, on the plexiglass itself, and as sound-absorptive "lid" over the top of the drummer.

How much absorption to install is governed by several factors, some practical and some aesthetic. Since the drummer needs to be able to see the rest of the band, it's best to not block all of the plexiglass. Rather, install foam along the bottom and sides of the plexiglass. Generally, the foam is not installed above the height of the drumheads themselves, and often only to the top of the kick drum. On the sides, install the foam higher, particularly on the side with the snare and hihat, as these are the greatest sources of sound.

Install a greater amount of sound absorption on the wall behind the drummer. In fact, complete coverage of this wall is often appropriate, up to the height of the plexiglass drum shield. Since the sound from the drums is omnidirectional it will either strike the wall first or it will reflect off of the plexiglass and then strike the wall.

Absorption on the wall behind the drummer will be a big help in keeping the reflections around the room under control.

Some of the sound from the drums, of course, goes straight up, where it will bounce off of the ceiling before eventually making its way to peoples' ears. If you have done an effective job of absorbing the sound inside the drum cage this reduced amount of reflected sound may be acceptable, or even desirable. It may still be too much sound, especially in a low-ceilinged room, or with a large drum kit, or with a particularly physical drummer. In this case, it may be necessary to add a sound absorptive ceiling over the top of the drum kit.

All this absorption sounds expensive, but it is possible to cover all three sections - on the plexiglass, the wall behind the drummer, and the lid - for about the cost of the plexiglass drum shield itself.

To this point, we have been reducing the overall volume of the drums. The stage volume is under control, so the musicians can hear themselves, and the sound from the stage doesn't overwhelm the main speakers. The front several rows of the congregation are no longer being overwhelmed by sound. But now the back part of the sanctuary isn't being reached.

The third step of controlling the drum sound is to put the drums into the sound system. At the very least, you'll need to mic the kick drum, the snare drum, and the hihat. With careful placement, a single mic can pick up both the snare and the hihat, for a two-mic minimum.

As far as mic selection goes, my preference is to use a large diaphragm mic on the kick drum – either a dynamic mic like the Shure Beta 52 or the Sennheiser E602II, or a large condenser mic like the CAD GXL2200. Dynamic mics tend to capture the "boom" of a kick drum well, and condensers can capture the "snap" of the sound. Audio 53

Technica makes a mic that has both a condenser capsule and a dynamic capsule in it. Be sure that the mic can handle the high sound pressure levels of a kick drum closely mic’d.

Your first choice for a snare mic is a simple dynamic microphone, with the ubiquitous Shure SM57 being the most popular. It'll take a number of accidental whacks from overlyenthusiastic drumsticks and keep working well. Dynamic mics can also be used on the toms, but there are several very nice tiny condenser mics that have become popular, like the AKG C417 or the Audio Technica PRO 37. Sennheiser makes a small dynamic mic for this purpose, the E604. These small, specialized mics generally come with their own mic clips which attach directly to the drum itself, reducing the number of stands and cables sticking out of the drum kit, and allowing the plexiglass drum shield to be brought in nice and tight.

In a large room, you'll want to add a pair of overhead mics, to capture the overhead cymbals and the overall ambience of the drum kit. Small condenser mics like the entry level AT Pro37R or the higher priced Sennheiser E914 are common choices. Recently, the trend has been moving towards large-diaphragm mics overhead, including the inexpensive CAD GXL2200 or the versatile AKG C1000 S. Be sure to experiment with mic placement, listening closely to the sound of each mic, to determine best placement on your drum kit.

If you have the room, I prefer using a compressor on both the kick drum and the snare, and an ideal world would call for gates on the toms, the snare and the hihat, to tighten up the sound, but most churches will stop before that point.

The main goal is to prevent the acoustic sound of the drums from either overpowering the rest of the band, or reverberating around the room, by bringing the drums into the sound system with the rest of the band. You'll be surprised how much cleaner your band sounds, and how much easier it is to keep the volume under control.

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HOW MUCH POWER DO I NEED? © AUGUST 20, 2012

By Chuck McGregor HOW BIG AN AMPLIFIER DO I NEED FOR A LOUDSPEAKER? Note: This applies to professional loudspeakers from reputable manufacturers. This includes drivers as well as complete loudspeaker systems.

HOW MANY WATTS?: "So how many watts can this loudspeaker take?" The technical answer is that it depends on the thermal and mechanical limits of the drivers and crossover components. The practical answer is that it depends on the program material played: its peak/average ratio or transient content, and spectral (frequency) content. The REAL question is not “what is the power handling,” but what is the OPTIMUM size power amplifier to use on a loudspeaker?

Rule of Thumb: For a Rule of Thumb the best answer is found using the loudspeaker's RMS Power Rating. Use an amplifier that is twice the RMS rating. If you can't find an amplifier with that exact rating, multiply this power rating by 0.8 and also by 1.25 to find a range of acceptable power.

Example: A loudspeaker has a 250W RMS rating. Twice this is 500W. Therefore the acceptable range for the power amplifier to use is from 400W (0.8 x 500) to 625W (1.25 x 500). Anything larger is potentially excessive power.

Anything smaller can cause damage from the amplifier clipping. Remember that the power amplifier output you select must be rated for the nominal impedance of the loudspeaker (i.e. 16, 8, 4 or 2 Ohms).

Explanation: The RMS rating represents the thermal power limit for the loudspeaker. It is also a good number to use for comparing products. Twice the RMS rating represents a realistic scenario for most actual audio signals. This is 3 dB more power than the RMS rating. An amplifier's RMS rating is based on a sine wave measurement. The peak power in a sine wave is 3 dB more than the RMS power. Therefore using twice the RMS power rating for the loudspeaker provides 6 dB more power for short term power peaks.

A good loudspeaker can easily handle this. Why? The RMS rating for professional loudspeakers is almost always measured using pink noise for a test signal. The content of this test signal is an RMS level with peaks that are 6 dB above the RMS level. Thus testing a loudspeaker with pink noise requires an amplifier that can produce power peaks of 6 dB above RMS level of the input signal to the loudspeaker without clipping. The Rule of Thumb provides an amplifier with this capability.

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REAL WORLD AUDIO SIGNALS: Real audio signals usually have peaks at least 10 dB peaks their RMS level. Therefore, with a properly sized amplifier just below clipping on those peaks, the RMS value of typical audio signals will be at least 3 dB below or 1/2 the loudspeaker's RMS rating. This provides a margin of safety.

Still Possible to Damage a Loudspeaker Having said this, it is entirely possible damage a loudspeaker with an amplifier that is in the "Rule of Thumb" power range. Why? Because power handling depends on the type of input signal and the user, not the manufacturer, controls the input signal in actual use. For example, the RMS and peak levels can be about equal on compressed audio signals and for certain signals from instruments like synthesizers or highly processed electric guitars. This means any amplifier power capability above the loudspeaker's RMS rating can damage it! Also, no matter what size the amplifier is, clipped signals are death to loudspeakers, even if the clipping occurs in the mixer, equalizer or other signal processor.

There is not a perfect answer to the power handling question. This Rule of Thumb is a realistic guide for the optimum size power amplifier to use on a loudspeaker for MOST live audio signals. It allows the loudspeaker to be used to its maximum specified power rating.

CAVEAT ABOUT DISTORTION Almost no loudspeakers are rated for their distortion at maximum power. For this reason there is nothing implied by the manufacturer in the maximum power rating that says a loudspeaker will still sound good at its maximum power rating. If you find that a loudspeaker "sounds bad" when run near its maximum rating then the maximum distortion that you find tolerable will be the limiting factor rather than the maximum power rating.

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KEEPING THE MAIN THING THE MAIN THING

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong shares some thought provoking mixing concepts.

Female Worship Leader Singing a Praise Song Recently I had the opportunity to attend a church service with a highly talented, highly creative team of artists who lead worship in a very dynamic and fun way. At this service, the music was rockin and there was great energy, but I found myself struggling to engage myself in worship because I couldn't clearly hear the vocals.

Humming the Kick Drum Legendary audio engineer Robert Scovill (Tom Petty, Rush) has a famous saying, "Nobody ever goes home humming the kick drum." His point is that if your drums are disproportionally louder than the vocals, you're robbing people of the opportunity to connect with and engage in the lyrics of the song. In fact if you listen to nearly any album by today's top artists, one thing remains the same regardless of musical style. You can always clearly hear the lead vocals, and that's what most people connect to within a song.

Male Worship Leader with Long Hair Playing Electric Guitar Leading Them And it's not just about drums, I've been to numerous churches where the lead guitar or keyboards were the main thing in the mix, and I struggled just as much then to worship as I would if the drums were overbearing. As I sat in this particular service, the music was big, clear and balanced but the vocals were often hidden under the big-ness of the music. I remember wondering just how many people like me were there to worship God, but were having a hard time joining in and following along because they couldn't understand the words the leader and team was singing.

The Main Thing People who lead and serve the church must always remember to keep "the main thing, the main thing." The story of the Gospel is in the words God has spoken to us through His Word, and our worship, praise and prayers back to him are most often communicated in word too. While it's true the Bible tells us to worship Him with instruments, our congregations worship and praise God through the words we sing with the accompaniment of instruments.

Wrapping it Up As leaders of worship, and those who serve in technology help lead congregations in worship as much as any musician, it's important that we remember to keep the main thing the main thing. In order to help lead and engage congregations in worship, regardless of how big the drums, guitars or pianos are, we must remember to keep the vocals present in our mixes. Whether you have one vocal or 10, if we're expecting people to connect to the words being sung, the voices must be intelligible. After all, when people walk out of our services, would we rather they talk about how awesome the guitar solo was or "How Great Is Our God"?

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GOING THE DISTANCE FOR YOUR MIX © JULY 27, 2013

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong enlightens us with a thoughtprovoking mixing tip! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions MORE AUDIO MIXING TIPS YOU CAN USE! One of the things I learned as I first started to mix was how to get comfortable at Front of House (FOH). I could get set up comfortably and go for long stretches perched in front of the console, ready to enjoy mixing for hours on end. It was great fun, dialing in a mix that sounded clear and had lots of punch. I could enjoy mixing from my little world and it would sound great, and I knew everyone would enjoy it.

Everyone, Really!

Unfortunately, not everyone did. I'd occasionally get comments from other FOH guys about what they'd change in the mix and I'd get bummed out. Sometimes I would even take it personally and feel hurt, not understanding why those people didn't like my mix. Fortunately I had some great mentors early on and when discussing this with one of them, the first question I was asked was, "Well, where were they sitting?" Wow, did my eyes open wide that day, when I realized for the first time that it wasn't about my mix, it was about my mix in that spot, which was very different to my mix at my seat. The next time I mixed I got everything going and walked down to where some of those guys usually sit, and I wasn't too happy with my mix either.

Your Own Little World!

When mixing FOH, it's very easy to get settled in and live in your own little world, but my challenge to you today is to go the distance to make your mix great for the audience, not just FOH. In fact, in reality it matters very little what it sounds like at the console, but it matters a whole lot what it sounds like in every seat in the audience. I've learned that when I mix, I have to spend a decent amount of time walking the entire room during sound checks and rehearsals to get a great feel for how the room is sounding. Even during service, now that we've added people (living acoustic absorption) it's critical again to at least listen in a few different spots to make sure what you are trying to accomplish with the mix resonates with the audience and not just FOH. Can I Get a Groan from Anyone!

I have yet to visit a church with perfect acoustics and a perfect sound system. We can make a lot of strides to get close, but there are still going to be anomalies in your room. Get out from behind the console on occasion and go listen. My church has FOH right under the front of the balcony (can I get a groan from anyone?) and it's critical that I get out and listen to the house from other perspectives throughout services. If your mix position is compromised like mine is, meaning in the balcony, under the balcony, off to the side of the room or even in another room altogether, it's that much more critical for you to go the distance to make the mix right for the audience. But even if your mix position is great, you still need to go listen to the rest of the room occasionally because odds are there are spots in the room that aren't.

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Wrapping it Up! Mixing FOH is a fantastic role and I love doing it every chance I get. I get a chance to help churches and ministries lead congregations in worshipping and learning about our God. But if the mix is only good at FOH, who am I really serving? Go the distance for your mix, you'll see more people engage in worship and clearly hearing the message, and that's what it's all about.

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THE RIGHT STUFF © JULY 13, 2013

Veteran Technical Director and CCI Solutions Church Relations Director, Duke DeJong gives us his take on choosing the right tool for the job! Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions AVOIDING THE WRONG TOOLS FOR THE JOB! Two pieces of wood, a crowbar and scissors. A few weeks ago I was working with a church in Chicago and we suddenly found ourselves in need of a shelf. We just needed a small shelf for the iMac to sit on and some space for the video switcher to sit under it. Fortunately we had a decent amount of 2x6s around with which to build one. So we gathered up 2 or 3 2x6s, a pair of scissors and a crowbar, and went outside to cut and assemble the shelf. It was a great shelf, very sturdy and custom sized for the space we had available.

THE REAL COST OF CHO OSING THE WRONG TOOL S Most of the above story is true. Of course, the part about the scissors and crowbar is ridiculous. You would never use scissors to cut a 2x6 or a crowbar to screw the wood together - yet I find that church techs often do this very thing. Often I see people using a cheap vocal microphone to mic a grand piano, using standard mic cables as DMX cables, or using home movie cameras to tape video in a large auditorium with Drawing of a man holding hands out saying What inconsistent light. It seems that too often we in the church tech world are quick to grab scissors when a saw is what we need, and then we're surprised that the results are less than good (or worse). Why are we surprised at the difficulty we face when we use the wrong tool for the job? And why do so many people keep using the same tool over and over hoping that the results will somehow improve? Yes, sometimes choosing the right tool is a little more costly initially, but what you save in efficiency and gain in performance, usually far outweighs the small amount you might have saved choosing the wrong tool!

INFORMATION RESOURCE S We understand that you are working hard to provide the best results possible with the talent and tools you have.

CCI Solutions has created the Worship Tools Learning Center to help provide the knowledge you need to be the more effective in your ministry. You'll find videos and articles that are relevant and useful to help you choose and use the right tool for the job you're working on today.

Check out the Worship Tools Learning Center at CCI Solutions.com for information and advice from our seasoned techs about choosing and using various AV tools in churches.

WORSHIP TOOLS - HOW-TO ARTICLES, PRODUCT REVIEWS, TECH TIPS AND VIDEOS Our Systems Consultants and Retail Sales Consultants are passionate about serving churches and helping you get (and correctly use) the right tools for the job. Give 'em a call or email today - they'd love to help. After all you don't want to be the guy cutting a 2x6 with a pair of scissors, do you?

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AVOID WIRELESS MIC P ROBLEMS © AUGUST 20, 2012

Here are some basic check points from our equipment experts to help you achieve the best wireless performance.

Some of the items on this list are no-brainers. Nevertheless, a reminder once in a while doesn't hurt.

We thought this was such an important topic that we included a 7th way to improve your wireless as an added bonus!

PICK THE RIGHT WIRELESS MIC FOR EACH APPLIC ATION One type of wireless mic does not fit all. Make sure you match voice types with microphones that complement them. You also want to make sure that you choose wireless mics with the proper pick-up pattern. That is, unless you don't mind picking up everything else on your stage including the singer who is holding the mic but doesn't sing quite loud enough in the first place. Having a mic with the correct pickup pattern will help eliminate excess noise (for more on this topic check out The Basic Basics of Microphone Basics). It is also important to decide who can benefit from using headset-style wireless mics. You might also consider using wireless in-ear monitor systems for singers and musicians who need the most mobility.

Check all your frequencies for compatibility Large events and programs frequently require more wireless systems than you normally use. You will need to make sure any systems you add to your existing ones are set on different, yet compatible frequencies. Wireless systems that are on the same or incompatible frequencies can cause all kinds of awful noise or not work at all.

Most modern wireless systems are in the UHF frequency band and can pick up local TV or other commercial stations. We can help you find frequencies that work with your existing system and that don't overlap with stations in your area.

MAKE SURE VOLUMES AR E SET PERFECTLY Be sure to set the transmitter input levels and/or receiver output levels for the person using the mic and to match the input of your mixer. Loud singers can overload the level into your mixer. Levels that are too low can cause you to use too much input gain and can increase noise. Don't assume that the settings from the factory are correct for your application. Call our experts at 1-800-426-8664.

LOAD UP ON FRESH BATTERIES There is nothing worse than dead or weak batteries to interrupt the flow of a worship service or program. Make sure you have plenty of fresh alkaline batteries on hand - the right types for your various wireless systems. If you use rechargeable batteries, be sure primaries and back-ups are fully charged.

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EQ YOUR MICS CAREFULLY Equalization (EQ) is a useful tool if used judiciously. By choosing good mics with the right characteristics for the application you will be able to faithfully reproduce the voice with little need for tonal adjustment. Properly adjusting the EQ can help reduce some problems and enhance some voices. For instance you can turn down the lows a bit to reduce rumbly handling noise, breath pops & wind noise. Add some highs to brighten mics that are hidden in the hair or under clothes. Sometimes a mid-range adjustment can make speech a little more intelligible.

Making small EQ adjustments can make a big difference in the way things sound.

TEACH THE PROPER USE OF WIRELESS MICROPH ONES Many problems with wireless mics can come from "user error". One of the most common problems people have is not knowing how to properly turn on and off the mics they are using. Those who aren't used to using wireless may not know that they need to turn the wireless on and off, or where the switch is. Even regular wireless users can forget to turn on the mic before they start singing or speaking.

Handheld mic transmitters and bodypacks usually have two swithches - a power switch and a standby switch.

Sometimes turning off the power switch when the receiver is on can cause a noise burst in the sound system. The standby switch allows the mic to be muted without actually turning the wireless link off. Many newer wireless systems have electronics that prevent these kinds of problems. Just be sure your team members know which switches to use and where they are on the mic or bodypack. Everyone needs to be taught how to properly hold and speak or sing into the mic, as well as how to handle mics around live monitors or main speakers.

(BONUS) INSPECT ALL YOUR WIRELESS COMPON ENTS EARLY Don't wait 'til just a few days before your production or service to get all your wireless stuff out to see if it works.

Check all your lapel and headset mic cables two or three weeks before the event so you're not surprised by a bad mic on the big day.

Make sure you have all the antennae you need for your systems (consider using an antenna combiner with multiple systems). Make sure you have stand clips or holders to set handheld mics in when not in use. You'll need working tie-clips for lapels and possibly wind screens for outdoor applications. If you find you need to replace some components, CCI Solutions can help you get accessories for many top brands of wireless.

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10 THINGS WORSHIP LEADERS AND AUDIO TECHS CAN DO TO SUPPORT ONE ANOTHER

Duke DeJong has over 12 years of experience as a technical artist, trainer and collaborator for ministries. Duke travels around the country for CCI Solutions and is available to help your ministry. Join Duke on Facebook at www.facebook.com/ccisolutions. & www.twitter.com/ccisolutions Worship teams and audio techs exist in order to help lead our congregations to worship and love God. We all have the same goal, to provide excellence in leading worship. So why do Audio Techs and Worship Leaders frequently experience conflict, having a hard time supporting and respecting one another?

It’s a relationship that is more often strained than healthy. That’s not good because these two people need each other to be successful. Regardless of which role you hold, here are 10 ideas to help you have a great relationship with your counterpart.

10 TEN THINGS YOU CAN DO AS AN AUDIO TECH TO SUPPORT AND SHOW RESPECT TO YOUR WORSHIP LEADER: 1.

Be on time for rehearsal and sound check. Don’t waste the worship team’s time. This usually means mics in place and checked in advance of the scheduled start of rehearsal or sound check.

2. Communicate questions or needs with your Worship Leader as early as possible so there is still time to accommodate and adapt.

3. Have everything needed set up and turned on before the band gets there. There is much to accomplish in a short time. Use rehearsal time to try different eq’s and mixes in the house or your headphones, but not in the monitors.

4. Do not yell to or at the Worship Leader from the sound booth. Use a talk back mic or go up and talk to him/her.

5. Ask your Worship Leader how he wants the mix to sound from a musical perspective. Then, try to accomplish that. More lead? More Snare? Less background vocal?

6. If the Worship Leader asks you to do something, do it as soon as possible and with a smile.

7. If you have to question the Worship Leader about something, or need to make a suggestion, do it privately and not in front of the worship team. It’s important that the leader can trust your intentions and it’s hard if they feel embarrassed.

8. Remember the Worship Leader has many things to consider and is looking out for the good of the whole congregation. Remember there are no sides, everyone is in this together.

9. Own up to your mistakes.

10. Pray for your Worship Leader and remember that just like every artist, they have insecurities and are putting their art out there for everyone to judge. Take every opportunity you can to be supportive and encouraging.

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10 THINGS YOU CAN DO AS A WORSHIP LEADER TO SUPPORT AND SHOW RESPECT TO YOUR AUDIO TECH: 1.

Have the worship team be on time for rehearsal/sound check. Don’t waste the tech’s time. This usually requires the instruments to be “strapped up” in advance of the scheduled start of rehearsal or sound check.

2. Communicate your plan and requirements with your Audio Tech as far in advance as possible. They usually need some lead time to set up what you want and to deliver it with the quality that you expect.

3. Try not to throw impromptu requests at your Audio Tech right before rehearsal or sound check, and be patient and understanding if it takes awhile to accommodate them.

4. Don’t speak negatively of or sarcastically to techs through the mic or in front of the band. Unamplified comments can hurt. Amplified comments hurt and embarrass.

5. Don’t negatively comment on the house mix from the stage where you can’t accurately hear it. Make sure you’ve heard the mix from the seats before you comment.

6. If your Audio Tech makes a request, be respectful and remember they have the best possible outcome at heart. They’re really not trying to complicate your life. If the request is something that can be accommodated, it will usually result in a better sounding mix.

7. If you have questions or concerns about something that can wait until a private discussion can be had, please wait. It’s important that techs can trust your intentions and it’s hard to do if they feel embarrassed.

8. Remember Audio Techs do everything they can to make the mix great. They cannot make musicians play better or vocalists sing on pitch. They can only take what they are given and blend it together.

9. Include your techs in pre-rehearsal and pre-service prayer, as well as worship team get-togethers. Make them feel like part of the worship team because they are a critical piece of it.

10. Pray for your techs and remember that just like every artist, they have insecurities and are putting their art out there for everyone to judge. Take every opportunity you can to be supportive and encouraging.

Remember a great worship set takes a collaboration of artists all worshiping God genuinely, doing their part in excellence. The Worship Leader and Audio Tech, need to be on the same page, supporting and encouraging each other. Their relationship is a key foundation for the rest of the worship team and those being led.

Are you in one of those positions and a strained relationship with the other makes worship a challenge, or even something you dread?

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GLOSSARY OF TECHNICAL SOUND TERMS © UPDATED NOVEMBER 22, 2013

Ron Simonson, CCI Solutions President & CEO Adapted by Greg Braswell In the process of selecting the right sound equipment, it can be a daunting task to wade through all the jargon used to describe different features and functions. Below is a glossary of several common technical terms used in live sound and recording.

This list will help you when trying to understand differences between equipment and selecting what will fit your needs best.

1/4 Instrument Cable: is designed to carry an instrument level signal or line level signal over fairly short distances.

Instrument cables have 2 wires in them. One wire carries the signal. The other is a ground wire. Instruments put out a very weak signal path as compared to an amp. For this reason, instrument cables are shielded in order to keep unwanted RF interference (extraneous noise caused by other electronics nearby) to a minimum.

Ambient Microphones: a Sensitive mic, usually a condenser type, used to pick up the entire ambient sound of the room.

Auxiliary (AUX) Send: an output from the mixing console comprising a mix of signals from channels and groups derived independently of the main stereo/group mixes. Commonly used for monitor, record, effects or sound enhancement sends.

Bus: a mix of a number of audio signals, feeding to a common output.

Direct Box (DI Box): a device used for connecting an amplified instrument directly to a mixer mike input. The function of the direct box is to convert a high-impedance unbalanced audio signal to a low-impedance balanced audio signal.

De-esser (DS): a sibilance controller. Sibilance is a situation in which consonants like S's and T's are unduly prominient in speaking or singing. The de-esser is a signal processor that passes a signal unaltered unless it encounters high signal levels in roughly the 6kHz to 8 kHz range, where sibilant sounds occur. It momentarily compresses the signal to lower the level of these frequencies.

Equalizer (EQ): a device that boosts or cuts selected bands of frequencies in the signal path.

Fader: a linear (slider) control providing level adjustment.

Feedback: the “howling” or “ringing” sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal.

Frequency response: the range and accuracy with which components in a sound system handle different frequencies. Measurement is in hertz or kilohertz (Hz to KHz). The range of response on the low end of a 1/3 octave equalizer typically runs from 20 Hz on the low end to 20,000 Hz (or 20 KHz) on the high end.

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Gain: the variation in level of a signal. Proper gain structure within a sound system allows for maximum dynamic range and the minimum level of noise a system is capable of generating.

Headroom: the available signal range above the nominal level before distortion occurs. Headroom may be thought of as a safety margin that allows room for all those dynamic peaks that give impact to music.

Limiter: a device which clamps the level of an audio signal below a preset limit, to avoid the possibility of overloading other parts in the signal path. A limiter, if properly set, will prevent distortion, feedback, or a signal level that is too strong — and will be transparent in nature.

Nominal: a signal's “average” level. Output meters of a properly gain-structured mixing console will read zero when the program material is at nominal level.

Peak: the high point in signal level clipping, or distortion, begins.

PFL (Pre-Fade Listen)/Solo: a function that allows an operator to monitor the pre-fade signal in a channel independently of the main mix.

Phantom Power: the +48V power supply available at the channel mic inputs, for condenser mics and active direct boxes.

Speaker Cable: is designed to carry an amplified signal over short or long distances. Speaker cables have 2 wires in them. They are both the same thickness and type of wire. One wire is positive, the other is negative. There is no shielding on speaker cables. Shielding is not needed because the signal traveling through speaker cable is amplified. The strength of the signal is way higher than line level. Radio interference does not affect the signal because it is too quiet to be heard in comparison to the amplified signal traveling through the cable.

Trim Control: sets the amount of gain created by the microphone preamp. The trim control is a variable setting knob provided for balancing signal levels between mixer inputs for the wide variety of input devices plugged into a mixer. For example, a tape deck provides a stronger output than a microphone. The trim control level for a tape deck will be set much lower than for that of a microphone. Individually setting the trim controls for each device allows a sound system operator to set the input faders of a mixer at unity gain — the optimal setting for each input.

Unity Gain: when a gain-providing circuit is set for zero boost. Settings at unity gain typically ensure balanced signal levels and a hedge against feedback.

XLR Cable: (basic microphone cable) XLR cables are balanced cables. They have circular connectors with three pins-positive, negative and ground.

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