Resources

Headphones - every mixer needs a pair.


Before I knew what a fader was, I watched the sound guys at church put on their headphones at the beginning of the service and keep them on until the end, never or rarely listening to what the rest of us were hearing.  They'd watch the meters, and the congregation had to live with something that might have sounded good to the sound crew, but didn't necessarily sound good in the sanctuary.  That made absolutely no sense to me, so until a few years later, I wouldn't have been caught dead with a pair of headphones because no one ever taught me the value of using headphones correctly.

As a live sound mixer, you need a pair of headphones.  There's no negotiating that point, but make sure that you use them the right way.  Your primary job is to make sure that the system sounds good in the room, not to make sure that the board mix sounds good for the recording.

In the standard live sound set-up where you can hear the speakers directly, here are a handful of reasons to add a pair to your setup, if you don't own  a pair already.

With a good pair of headphones, you can use the PFL (pre-fader listen) or Solo button on your console to listen to any one channel or group of channels.

Why might you choose to do that?

Have you ever needed to cue a CD, DVD, or taped accompaniment without everyone in the room hearing what you're doing?  PFL means that you can listen to a channel in the headphones with the fader shut off.  As a rookie sound mixer, I used to cue accompaniment tapes using only the meters on the cassette deck, and sometimes I cued things up to the wrong point.  Not smart.

In the similar manner, headphones allows you to isolate a channel in order to find a hum, buzz, or noisy guitar amp.  Make sure to mute the noisy guitar amplifiers during the sermon and/or use a noise gate.

With a pair of headphones, you can figure out who's singing off-key and keep them back a little in the mix, and you can tell if whether someone is really playing their instrument or singing.  From 50-70' away, it's often hard to tell exactly what's going on.  Sometimes, the keyboard player isn't really playing or a vocalist isn't singing.

When the guitar player wants more guitar in the monitors, you can quickly listen to his or her monitor mix to see whether more is needed or if you can achieve the same thing by reducing the level of something else that's covering up the guitar.  It's a fact of life; guitar players always want more guitar.  If you continually give everyone more of themselves, you'll soon have monitors that are too loud, which causes other problems.

A really good pair of headphones might set you back $150 or so, and there are plenty of good alternatives, even as low as $50.  Whatever you do, if you don't have a pair of headphones and if your console has a headphone jack and PFL/Solo buttons, make sure that you get a pair.  You'll wonder how you ever lived without them.

Take a look here for some great headphone options.

 

Provide Assistive Listening Systems


Provide Assistive Listening Systems (ALS) for your congregation and let people know that they’re available

Many churches have ALS on premises, but very few let people know that they’re available.  I’ll admit that ALS may well be the most boring category of product that we offer, but let me tell you about my own experience.  A few years ago, my own church decided to install an ALS system.  The church leadership debated its merits and whether it “was worth it to spend $800 on something that people may not use.”  I’ll bet that sounds familiar to some of you. 

The first day of use, we passed out just one of the four receivers to Mr. Borton, a 92-year-old man in the congregation who already wore hearing aids in both ears, but still couldn’t hear well.  Our pastor had prepared well, our worship team was well-rehearsed, and the audio mix was, of course, spectacular with Yours Truly at the helm.  None of that mattered. 

For at least a couple years, Mr. Borton had been so deaf that he never picked up more than an occasional word, despite hearing aids, a good sound system, and sitting on the third row.  A person had to almost yell at him in order for him to hear anything at all. 

This day was different, and Mr. Borton’s first reaction is known only to the members of our choir who witnessed it.  Before the choir’s featured song, the pastor called the children up to the platform to share a story.  Only the choir members could see Mr. Borton’s face light up and his eyes dart back and forth as he followed what was taking place on the platform.  After the service, he gave me a huge smile, a thumbs up, and each week after that, I looked forward to his stopping by to pick up his receiver and earphones.  We got our “$800 worth” during the first service. 

Have you ever listened to a hearing aid?  I tried one once, and it was enough to make me realize that amplifying all of the noise in the room just makes the clutter louder. 

How does an ALS work differently?  An ALS is a simple one-way radio transmitter/receiver combination that allows the wearer to hear only what you want the person to hear. 

Imagine giving your members the ability to hear only the overall message itself without having to amplify the HVAC fans, the ambience of the room, paper rattling and pages turning, or even the people talking nearby.  That’s exactly what an ALS offers.  Any signal that you can select from your mixer (same as the speakers, a special mix, or the pastor’s voice only) can be routed into the ALS with a simple cable. 

Without a doubt, our ALS was the best $800 our church has ever spent on technology. If it had made a difference for Mr. Borton for only one service, it would have still been worth every penny. 

ALS can also be utilized for language translation, by your ushers, and for room-to-room distributed audio for nursery and overflow space – wirelessly.  Call for more information today. 

Listen Technologies Systems from $767.99 (four users)

   

Wireless Rebate Info


700MHZ Rebate Center

AT_700mhz_featureOn January 14, 2010, the FCC officially announced the sunset period for existing wireless microphones operating in the 698-806MHZ range.  That range is commonly called the "700MHZ range."  In short, it will be illegal to operate wireless microphones anywhere in the United States in this range after June 12, 2010. Find more information on the FCC ruling here.

To make it easier for you to find the latest information on 700MHZ Rebates, see the information below.

Great news!  Today, we were informed that Audio-Technica restarted its 700MHZ RebatesClick here for the latest news on Audio Technica 700MHZ Wireless Rebates.  Save up to 15% on any purchase of Audio-Technica equipment.

Shure was the first company to reinstitute its 700MHZ rebate program.  For more infomation, please follow this link.  Save up to $1000 per system (UHF-R systems only).

If and when more manufacturers begin to offer rebates on replacement of existing 700MHZ systems, we'll update this page.  If you have questions on the replacement of your existing wireless systems, please call (800) 747-7301.  Don't wait.  We do not expect these rebates to be renewed or extended.

   

Can your sound technician hear what the congregation hears?


That question seems like it should have an obvious answer, right?  Unfortunately, that's not always the case.

For years, we've debated with architects, church building committees and just about everyone else (except the sound technician) when it comes to choosing the location for the sound booth.  From mixing week in and week out, sound technicians understand where the sound system controls need to be, but because even building design experts don't "get it," your sound technician is very likely listening from the worst seat in the house.  That doesn't make much sense, does it?

Rule  #1 - when picking a location for your sound booth, make sure that the sound quality and general volume level at the sound booth is the same as it is in the sanctuary itself.

Rule #2 - forget any other ideas that you have.

It's just about that simple.

I can't tell you how many times I've visited a church only to find the sound system controls in an unused balcony, against the back wall in a corner, enclosed in "control room" with a window, in its own little cubbyhole "out of the way" or even completely outside the sanctuary itself.  Think about it.  If you expect good sound (and all of us do) and if you want to make sure that the microphones get turned on at the right time, make sure that you don't make the mistake of putting your sound technician someplace that he or she can't hear (or see) well.

Unused balconies may make convenient and semi-secure locations, but if your sound technician has to run up and down the stairs to make sure that things sound good for the rest of the congregtion, doesn't it make sense that he or she shouldn't be there in the first place?

Bass frequencies build up against walls and in corners.  If you wonder why the system sounds "thin" in most of the auditorium, it's probably because the sound technician hears more bass where he or she is sitting due to the nearby walls.

Please don't put your sound technician in a "control room."  Yes, it's secure, but your sound technician needs to be a part of the worship service in order to participate, to keep from being distracted, and to hear what the rest of the congregation hears.  I've even been to churches where the system controls are outside the sanctuary entirely.  Think about that.  How can anyone possibly control the sound for a room that they're not physically inside?

Effective sound system operation is the key to having a "successful" worship service.  If your sound technicians are asking to be moved into the main sanctuary, away from the back wall, out of a "control room" that the architect designed, or any other suggestion, please listen.  Getting God's message to your congregation depends on your tech team being equipped to do its job well.

   

Finding the Ultimate Kick Drum Microphone!


by Eric Chancey

One could say that the kick drum (bass drum) sound is the signature of any song.  Rap, Rock, Jazz, R&B all have distinctive kick drum sounds that help define those genres. With that in mind, picking the right tool will make creating the sound a lot easier. Here are some tips for making the proper purchasing decision.

Frequency response.

Check the frequency response of the microphone. Do you really need a built-in +12dB boost at 40Hz when doing jazz?  Will a massive 3 kHz boost be helpful for R&B?

You want those built-in curves working for you, not against you.

If you put the second microphone on your kick drum and you don't want all that high end, now you’re in fix-it mode, trying to get the right sound or fighting feedback.

Make sure that you find a microphone that compliments the type of sound you are trying to achieve.  Doing so will save you time and headaches.

Ease of use.

I can hear you now, "Ease of use? It's a microphone, you put it on a stand and stick it in front of something." It's not that easy.

When selecting a kick drum microphone, here are some things to look for.

Read more: Finding the Ultimate Kick Drum Microphone!

   

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