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Live Sound for Worship

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by

Jeff Barnett

on 7 July 2015

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Transcript of Live Sound for Worship

Live Sound for Worship
Why we care
Microphones
Jeff Barnett
Introduction
So - a funny thing happened one day at church...
Started in 2001
Texas Playhouse Theater

Baylor University

...and a bunch of bands I've forgotten the names of.
Ecclesiastes 9:10
Whatever your hand finds to do, do it with all your might. (NIV)

Colossians 3:23
Whatever you do, work at it with all your heart, as working for the Lord, not for human masters. (NIV)
Ephesians 6:7
Serve wholeheartedly, as if you were serving the Lord, not people...
(NIV)
Psalm 33:3
Play skillfully... (NIV)
(...and with a LOUD noise)
The Audio Engineer
Typical System
Sources
Line level
Instruments
through direct boxes
Microphones
The Mixer
Analog
Digital
On individual channels
Reverb / other effects
Compression
On the entire mix
Speaker processing
System EQ
Processing
Amplifiers
Speakers
Monitors
Wedges
In-ear
Connections
Impedance (Z)
What you really need to know:
High impedance and low impedance devices are incompatible with each other. To make them compatible, you need one of these:
Direct Box - Hi Z to Lo Z
Impedance transformer -
Lo Z to Hi Z
Balanced Signals
Levels
Highest voltage
Lowest voltage
Speaker
Line level
Instrument
Microphone
Connectors
RCA
1/4 inch
TS
1/4 inch
TRS
XLR
SpeakOn
Dual Banana
Remember...
You make some educated guesses about a signal by the connector, but the connector alone can't tell you everything.

- XLR could be mic or line level
- 1/4 inch TRS could be balanced mono or unbalanced stereo
- 1/4 inch TS could be instrument, line, or speaker level
- A three-conductor connector may be used on an unbalanced signal

etc...
Remember...
Direct Boxes
Convert:
-Hi Z to Lo Z
-Instrument or line level to mic level
-Unbalanced to balanced

Essential for long cable runs
Basics
Techniques
Wireless Mics
Types
Dynamic
-Durable
-Handles loud sources
-Most common for live sound
Vocals
Drums
Anything loud
Applications:
Condenser
Typically more accurate
More delicate
More sensitive
Can be more prone to feedback
Require phantom power
Dynamic
Condenser
Applications:
Drum overheads
Choirs
Anything requiring distant miking
Acoustic instruments
Polar Patterns
Cardioid
Supercardioid
Omnidirectional
Choir
Piano
Method #1
Method #2
More bass
More treble
More attack
Less attack
Vocals
Cardioid mic aimed away from monitor
Supercardioid mic aimed away from monitor
One transmitter per receiver
Maintain line of sight
Keep it in the family
Don't cover transmitter antenna
Don't wrap cable around beltpack
Use antenna distribution if you have 3+ systems
The mixer
Inputs
The
channel
strip
Direction of signal flow
Preamp
Section
EQ
Section
Aux
Section
Fader
Section
These are important!
Stereo
Channel
Level
meters
The Matrix
Aux Masters
Subgroup
Masters
G r o u p / a u x s w a p b u t t o n s
Missing:
Recording output level
Headphone /
Control Room
Level
2-Track
Input
Missing:
Stereo aux returns
Mute groups
Master
Faders
Digital Mixers
So much power in such a small package!
No two digital mixers are the same
One control - many functions
Acoustics
“The science of sound smacking into stuff.”
Next Week...
Mixing monitors
Wedges
In-ears
Personal monitor mixing systems
Recording the service
The importance of rehearsal and soundchecks
Sound system care and maintenance
Relationships:
with the musicians
with pastors and other church leaders
Building a team (finding and retaining volunteers)
Avoiding burnout
Sound system care and maintenance
Full transcript