To Equip The House Of Worship Volunteer Sound

Transcript

To Equip The House of Worship Volunteer Sound Operator CONNECTION, COLLABORATION, EXPERIENCE AND CREATIVITY A ‘Quick-Guide’ Training Supplement STEPHEN COMPTON MA Professional Practice (Creative Media Industries) BA (Hons) Recording Arts, Dip. Sound Engineering Connection, Collaboration, Experience and Creativity together produce a powerful asset To Equip The House of Worship Volunteer Sound Operator VALUE The important role of the sound operator requires courage, strength and skills in a number of areas. It consists of more than making sure everyone can hear and making the music sound good. The abilities of a sound operator can enhance a programme by helping to facilitate an atmosphere whereby stakeholders feel comfortable in their expressions of faith. Conversely inattentiveness and a lack of skill can cause distraction, divert focus and break the flow of a programme. Though acknowledgement for such a crucial position may not be as forthcoming as it could be, the position can provide great personal satisfaction and be an expression of the sound operator’s worship and service. PURPOSE AND CONNECTION Purpose and connection drives each volunteer, leader, musician, operator and congregation member’s actions, thoughts and communications. Everything that is said and done relates to successfully fulfilling that purpose and ultimately for the Glory of God. (Chris Huff) The purpose of church audio production is collaborating to support the pastor, the worship leader, and the musicians to accomplish their goals while taking into consideration the needs and desires of the congregation, and balancing all of that with proper live audio production processes and procedures. Many aspects of sound are within the sound operator’s control but there are aspects that are not. Stakeholders each contribute to the success of a church and the church service. Common aims and goals and connected relationships are key to successful collaboration. Stakeholder responsibilities Factors Influencing Sound - shared aims - understanding roles - collaboration - skill of the operator - building acoustics - stage noise - musician skill - tuning - orchestration - equipment Qualities of a Sound Operator - enjoy working with sound and with sound equipment - calm under pressure - patient - good problem solver - good hearing - negotiator - teacher - multitasker - they can find satisfaction without acknowledgement - can musically ‘feel’ the emotion with music - vigilant - can balance expectations - can balance audio - diligent - conscientious - couragious - thick skinned and resilient - can embrace and learn technology As with learning an instrument sound operators can make noise relatively easily. The better that the mixing skill is studied and practised the better the resulting sound is. Anyone can make sound. Not everybody can make music - St Vincent COMMON AIMS AND GOAL Leaders Musicians Sound Operator Congregation - Hold an understanding of how stakeholders, building acoustics, equipment, training and processes impact eachother. - Sincere acknowledgement of volunteers - Management - Budget - Equipping stakeholders with resources - Encouraging mentorship, training, ownership and relationship - Flow of information: service planning, preparation, rosters - Ongoing personal developement - Connection with other stakeholders - Culture of excellence - Musician skill - Tuning and rhythm - Cohesive and practised - Musical arrangement - Onstage volume - Ongoing personal developement - Embracing and learning the equipment - Tonal and dynamic choices - Connection with other stakeholders - Prepared - Calm - Attentive and diligent - Good hearing - Problem solver - Ongoing personal developement - Embracing and learning the equipment - Connection with other stakeholders - Actively participating in fulfilling the church aims - Understanding the limitations of using volunteers - Attitude of encouragement not critics - Realtionship and connection with other stakeholders onstage noise Whatever you do, work at it with all your heart, as working for the Lord ... Col 3:23 A faithful man will abound with blessings. Proverbs 28:20 . The greatest among you will be your servant. Mathew 23.11 Each of you should use whatever gift you have received to serve others, as faithful stewards of God’s grace in its various forms. 1Peter 4:10 And let us consider how we may spur one another on toward love and good deeds. Hebrews 10:24 Quick Guide Audio Training Supplement - Stephen Compton 2 INDEX PAGE • • • • • PAGE • • value of qualities of knowing purpose factors influencing sound stakeholder responsiblities • • • • • balanced/unbalanced jack, RCA, XLR, speakon Cat5 and Cat6 DI line, microphone and speaker level referencing and what to listen for volume foldback mixes pan/balance feedback • • • • • • • • • • • • • • • • compressor, limiter, gate delay and reverb 14. Acoustics and Speaker Placement and ins and outs and gain structure aux pre/post and reducing stage noise 15. Other Useful Bits • • • • • • 6-7. Microphones • • • • • • • • • 12-13. Dynamic Processors and Effects 4-5. Service Checklist • • • • EQ spread HPF, sweep, Q, Gain, LPF 10-11. The Mix 3. Plugs, Cables and Levels • • • • • Useful kit for operators 8-9. EQ 2. The Sound Operator dynamic, condenser polar patterns, cardioid, omni, hypercardiod, PZM, ribbon high SPL ‘plosives, proximity effect placement power, buzzes and hums computer audio radio microphones in NZ battery usage volume/time scale hearing loss hearing aid loops 16. Further Resources and Author’s note • electrical tape (black and white) headphones / earphones and minijack extender cable Sharpie (marker) torch cable/plug adaptors pocket knife / multitool screwdiver and adjustable spanner flash drive (manuals / transfer) multimeter and cable tester pen and paper spare alkaline batteries musician earplugs spare DI - good transformer spare cables incl mini jack to 2 x jack sound level meter portable device for wireless control, viewing scripts, quick spectrum analysis and sound level meter Computer for audio playback and recording BALANCED PLUGS AND CABLE UNBALANCED PLUGS AND CABLE - XLR = Extra Long Run 250 metres+ - Used for microphones due to low signal level - Used for line level sources - Used for all stage audio sources to console, and console to amplifiers - Must be shorter than 6m long or radio interference or other induced noise may mix with the source audio. - used for electric and acoustic guitars, keyboards, bass guitar to amps and/or DIs, AV, iPods over short cables. As stereo jacks Hot Cold these 6.35mm and 3.5mm jacks are unbalanced Shield RCA 6.35mm TRS Jack (tip, ring, sleeve) Plug/Female XLR Socket/Male XLR Outer coating 6.35mm TS Jack (tip, sleeve) (hot, cold, shield) Balanced Unbalanced 3.5mm Stereo Jack (tip-left, ring-right, sleeve-shield) D I - D I R E C T I N P U T / D I R E C T I N J E C T I O N / D I R E C T I N T E R F A C E - converts an unbalanced signal to a balanced and: - reduces or eliminates earthing issues. - pads audio (reduces the level 20 - 30dB). - provide a ‘through’ port to send the signal to the mixing console and to an amplifier. - Active DIs require phantom power (+48v) supplied from the mixing console or from a battery. - Passive DIs do not require phantom power. Mic level - The tiny voltage produced from the vibrating diaphragm in a microphone needs gain amplification (pre-amp) from a mixing console to increase the signal to a useable level - XLR Line/Instrument level - Compared to microphone level, line level may only need a smaller amount of gain to be at a useable level - Using console jack inputs prepare the console for line level input. Consoles that only have XLR inputs may have a PAD button or MIC/LINE INPUT selector button to prepare the console for line level input. Amplifier level - Cables from an amplifier are unbalanced but as they carry a large signal don’t suffer noticeable induced noise. CAt5, Cat5E, Cat6 ethernet cable with RJ45 connector. Speakon Connector Quick Guide Audio Training Supplement - Stephen Compton used to pass digital multichannel audio or network signals 3 Preparation and Setup Careful preparation reduces stress, allows time to solve any issues and leaves the operator to focus on the creative aspects of the mix BEFORE THE MUSICIANS ARRIVE 1. PURPOSE Understand your role in relation to church aims, and with other people MAKING NOISE AND FINAL CHECKS 5. TEST SPEAKERS AND THE ROOM a. Play a ‘clean’ sounding track and listen to each front of house speaker to check they are working, not distorting and sounding as they should. b. Do the same for foldback. This also checks the sends are all working. c. Play a track you know well in the style of the service to hear the influence of the room, temperature, humidity and walk around the room to hear how even the sound coverage is and any variations in volume and tone within the room. Make a playlist of songs that include: 2. TURN ON IN CORRECT ORDER a. Desk/Effects ON b. Amps/Speakers ON • • • • • • • 3. CHANNEL ALLOCATION a. Determine best channel allocation for quick, easy access b. Label the mixing desk clearly 4. PLUGGING IN AND PREPARING MIXER a. MUTE ALL input channels b. Plug in all microphones and instruments c. Leave the channel faders down but put only the Group masters and Aux master knob/faders to 0 (U) d. LR at 0 (U) or cautious at -10dB e. Put HPF on all but bass, kick and maybe keys f. Put phantom power on DIs and condensers g. Select PREFADE for all foldback sends except for track playback and effect sends which are POSTFADER. h. Group each channel to the Group Masters 1 2 3 4 L R eg band to 1&2 Vocals to 3&4 and playback tracks straight to LR. Pan/Balance directs the audio between the stereo group selected tracks that are used at your church (commercial recordings) tracks you personally know the sound of very well clean tracks to hear if there is any distortion in the speakers tracks that have a wide stereo image tracks that contain deep full bass tracks that contain crisp highs without being too harsh tracks that are known to be mixed very well 6. CHECK ROUTING (use playback track and desk mic) a. Check all channelt routing to groups and FOH b. Check all desk routing to foldbacks c. Check all desk routing to effects d. Check batteries in radio mics have enough charge for the rehearsal, and service e. Check all radio mics are working well f. Check lapel/headset cable/plug that none are damaged g. Test AV and playback devices h. Line-check all channels if possible Labeling a Mixing Desk - an example: Colour code, text or pictures to visually separate sources. Group and label for quick identification and access Kik Sn Ohl Ohr Keysl Keysr Bass Elgat AcGat Drum overheads and keyboards on channels that could be ‘linked’ Bass and rhythm section close together 12 34 LR Grouping instruments to 1 2 Vox1 Vox2 MUSICIANS SOUNDCHECK SETTING GAIN STRUCTURE MC Hedset Vocals left to right from operator perspective AV iPod stereo channels MC & Headset - close for quick access 12 34 LR Mike (L) Plugging into DIs and condensers when the mixer channel is unmuted will cause loud pops through the system and potential damage Vox3 Grouping vocals to 3 4 Paula (Ctr) Jane (R) 12 MC Hedset OUT of one - IN to another OUT mouth - IN mic OUT mic - IN mixer OUT mixer - IN amp OUT amp - IN speaker OUT mixer send - IN effects unit OUT effects unit - IN mixer channel LR 34 AV Grouping AV to L R iPod OUT mixer - IN System Processor OUT System Processor - In Amp OUT Amp - IN Speakers Every piece of equipment audio runs through adds some degree of unwanted noise. Optimising gains will reduce the amount of unwanted noise, provide good levels of audio for use with foldback sends and deliver the best signal from and to transducers (microphones, instruments, AV equipment and speakers). Much of the gain structure process can be done while musicians are setting up. Talking and building relationships will help the collaborative aspects. Note: A transducer is something that changes one form of energy into another. 7. PREPARE CHANNEL IN SILENCE a. Fader down, Gain low *. Make sure instrument/mics are plugged in b. Press PFL/SOLO. Watch meters c. Adjust gain while musican/singer plays/sings at performance volume. Increase the gain until the the signal in the meters: Analogue console: reaches 0dB. Can occasionally go to +3 maximum +6 Digital console: is a maximum of -12dB. d. Make sure there are no ‘clip’s and don’t increase the gain knob further than 3 o’clock. 8. PREPARE CHANNEL TO SPEAKERS g. Unmute the audio channel h. Raise the fader WITH CARE to performance level. Not past 0dB (U) i. EQ j. Turn the appropriate Aux knob to Send the channel audio to Foldback (PREFADE for all foldback sends except for track playback) 9. REPEAT FOR ALL INPUT CHANNELS +16 PFL/Solo: - allows the operator to listen to the channel on headphones - allows the operator to get a more detailed view of the signal levels in the LED meters when setting gains +6 +3 0 -3 PFL Prefade Listen/ Solo +9 Gain -6 -9 -12 -16 Pre Pre/Post -20 Aux/FB -30 * If the channels don’t change much from week to week or if using presets on a digital console a few of the above steps may be shortcutted. Quick Guide Audio Training Supplement - Stephen Compton 4 REHEARSAL Ways of reducing stage noise Sometimes the only chance to walk around and hear what the musicians and the congregation hear in various parts of the building. 10. MIX and MONITOR a. Sculpt a mix using volume, pan, EQ b. Monitor the input meters and the output meters to check there are no ‘clips’ exceeding 0dB. If the level ‘clips’: - On the channel reduce the gain - On the groups reduce channel faders - Musicians lower their volume - Reduce foldback volume - Use in ear monitors (they also aid communication, click track) - Install screens around acoustic drums or use electric drums - Have all instrument amplifiers facing the musician or off stage - Install acoustic treatment to reduce audio reflections c. Walk onstage and check the individual ONSTAGE foldbacks. Walk around room and check how mix sounds in different parts of the room 11. LOOK AT WHERE FADERS ARE. No channel faders should be over 0 (U). Some will be at zero and some lower. Close to zero will allow greater fine adjustments. Adjust the speaker amplifier volume so the Master fader is also close to 0(U) The mix volume has to be at minimum just above the acoustic. During rehearsal pull out FoH volume to check the acoustic level. If this is still too loud the band need to quieten their on-stage volume. TIDY UP BEFORE SERVICE STARTS 12. SAFETY AND AESTHETICS a. Check all cables are not a tripping hazard or visually messy b. Check all audio equipment and areas are tidy +16 +9 +6 +3 0 -3 -6 -9 -12 -16 -20 -30 (Sending Groups to LR) LR L LR R L LR R L Band R L LR R L L Vox R R MainLR 10 5 0 or U 5 10 20 30 40 50 8 60 Groups 13. PRE-SERVICE AMBIENCE Playback appropriate preservice music at a level people can talk but also creates the desired atmosphere 14. RESET EARS Have a coffee and/or a quick bit of fresh air outside 15. JUST BEFORE SERVICE START Progressively increase the volume of the preservice tracks so when musicians start to play the volume isn’t too much of a shock to the congregation. Master 16. DURING THE SERVICE Acoustic drums with screens (and lid?) Mix Postion Electric drums Mixing from under a balcony or in a booth compromises how the operator hears a performance. This in turn this affects how the operator can make informed audio choices. - The optimum mix position in the venue should be where the operator can hear a similar sound to what most of the audience hears. - Speaker placement and system design may aid this. - Wireless control of digital consoles allows the operator to check how the mix sounds around the room and make adjustments. - Walking around the room during rehearsal gives the operator an indication of any differences in sound response throughout the venue. (see page 10 for mixing tips) - Preperation: Effective preperation makes the mixing process easier, more creative and with more focus. - Attentive: Be ready for any changes or fixes required. - Seamlessness: like changing gears in a car aim for smooth transitions that cause no distractions. - Anticipation: Prepare for what comes next. No dropped audio, Consistent volume when passing microphones around requiring fingers on faders ready. Consistent tone when passing microphones around. - Observe: Watch meters to avoid distortion. NOTE: Changes in channel GAIN also affect foldback levels. During the service only change the GAIN to fix ‘clipping’. Observe musicians and singers to make sure they are getting what they need. Observe congregational involvement. You contribute to their responsiveness and will notice when the levels and mix is good. - Make musical audio choices and be aware that the choices you make impact each stakeholder. - Intelligibility: Speech and singer intelligibility is vital to a good mix. - Dynamics: Allow dynamics within the music. Have moments when the music is quieter and sensitive and may build to be louder at times. These moments of less volume allow the ears to ‘breathe’ - The Orator: Pastor/minister speaking: The sound of the orator should be as natural sounding as possible, warm, no accented sibilance, minimal compression. The congregation should ‘lean’ their ears in instead of being ‘pushed back’ in their seats. If an operator can find the volume correct within one syllable or word the congregation will believe the operator has had the correct volume from the outset and a slightly quiet or too loud first syllable is ignored. AFTER THE SERVICE 17. Turn off system: a. Amplifiers/speakers OFF b. Everything else: desk etc OFF c. Put the batteries on charge d. Tidy cables, mics, console and workspace ready for next operator. e. Check with musicians and leaders that everything went well from their perspective and provide encouragement as a team member. Quick Guide Audio Training Supplement - Stephen Compton 5 Microphones MUTE the channel when plugging or unplugging items ESPECIALLY CONDENSERS AND DIs FINDING THE RIGHT MICROPHONE Mic choice and placement are a key to retrieving good audio. Different microphones will have have different frequency responses so researching and trialling microphones to find which is best suited for a particular voice or instrument is an important part of the process. CONSIDERATIONS: SPL of instrument, type of microphone and its frequency response, sensitivity, ruggedness, price, polar pattern, appearance, placement and treatment. CONDENSER DYNAMIC Close to source Can be further from the source Better isolation Sensitive Harder wearing Less rugged Proximity effect Brighter tone Less Expensive More expensive Quiet handling Noisey handling Less prone to feedback More prone to feedback Phantom power (+48v) OFF Phantom power (+48v) ON (won’t damage mic if phantom is ON) For: ANYTHING CLOSE OR WHEN ISOLATION IS REQUIRED eg vocals, guitar cabinets, percussion, brass. (won’t work if phantom is OFF) For: WHEN NOT CLOSE TO SOURCE OR NEEDING DETAIL eg choir, lecturn, orchestra, piano, strings, winds, cymbals and percussion, lecturn mic, recording POLAR PATTERNS Microphone polar patterns are important, not only to establish what the microphone DOES pick up but are useful for establishing what they DON’T pick up. OMNI • picks up all directions CARDIOID • • • picks up front and sides rejects behind good if directly in front of a foldback or noisy instrument HYPERCARDIOID • • • picks up front and a little behind rejects 45 º behind good if foldback or noisy instrument on 45 º axis Other patterns include figure of 8, shotgun, semi-circular and super cardioid shotgun MICROPHONE CONSIDERATIONS ‘Plosives - are a large amount of low frequency energy when For high SPL (Sound Pressure Level) eg Kick drum vocalists use words with ‘P’ or ‘B’. Fixes can include: - adjusting how the microphone sits in relation to the mouth. Some experimentation may be required as not everyone expresses air in the same direction. - using a foam wind sock over the microphone. Wind socks are often essential for outdoor uses where wind causes noise. Visually discreet eg PZM floor mic, clipon Proximity effect - There is a low-mid boost of frequencies often OTHER SPECIALIST MICROPHONES Ribbon microphones have a flatter response curve so are more accurate though fragile and comparitavely expensive. DO NOT USE PHANTOM POWER on ribbon microphones unless expressly told. Shotgun microphones pick up directionally a longer distance in front Quick Guide Audio Training Supplement - Stephen Compton when using a cardioid or hyper cardioid dynamic microphone close to the mouth. This boost can be favourable. If necessary the effect can be reduced by using EQ or by holding the microphone a little further away from the mouth. To Limit Feedback Issues - Close mic the source eg the vocalist should hold the mic close to their mouth and sing strongly; microphones should be faced away from speakers; use an appropriate polar pattern according to where foldbacks and other sound sources are; lower the foldback levels; use a feedback destoyer; EQ out problem frequencies using a multiband EQ. 6 FINDING THE RIGHT PLACEMENT FOR A MICROPHONE LIsten to each instrument by moving your ear to different positions. Put the microphone at the exact place that your ear determines is the sound you want. CONSIDERATIONS: Isolation/bleed and capturing the desired sound of the instrument. Good choice of mic and placement reduce the work required to get a good sound at the mixing console PLACEMENT - SINGLE MICROPHONES ON A SINGLE SOUND SOURCE A few examples: off axis edge will have warmer sound, less ‘cut’ on axis centre will ‘cut’ and be a ‘harder’ sound clamping to a music stand is discreet and saves floor space Headset mic: - Close enough to get plenty of level from the mouth - Far enough away so don’t get breath wind noises or ‘plosives - gently on cheek flute: straight on into a dynamic microphone - best isolation. For recording use a condenser above with some air gap. Closer mics will pick up more breath sounds. violin: dynamic close for isolation - close mics will have more grain sound of the bow on strings - condenser microphones further away will have smoother sound but will pick up other sound sources as well - ‘The Band’ pickup system is an option which stretches around the instrument PLACEMENT - MULTIPLE MICROPHONES ON A SINGLE SOUND SOURCE Two microphones on the same source may give a fuller, wider stereo image but may also have a detrimental impact and make the sound ‘smaller’. Adjusting the distance between the mics and/or to the source or pressing the phase (Ø) button on one input may make an improvement. AB and XY stereo techniques are useful for choir/quartet/orchestra or drum overhead mics. choir/quartet/orchestra/drum overheads/piano mics choir/quartet/orchestra/drum overheads/piano mics 1 XY (Coincident pair) 90º to eachother pan one left, one right XY A 3 AB mics spaced 3:1 apart:sound source AB B A B 1 D C PIANO: Listen closely at various positions around and in the piano as the pianist plays. Place the mic where your ear determines has the sound you want. Starting Points : A Condensers AB 3:1 spacing - clear and defined notes, some pedal noise possible. Can be used with lid open or closed. B Rich grainy bass, and general coverage. Lid open. Level or below lip. C Single or XY condensers. Lid open. D Single microphone or XY for general coverage. Lid open. Vertically half way between lip and lid E Classical sound. Warmer with less cut, more acoustic, less isolation E Quick Guide Audio Training Supplement - Stephen Compton DRUMS: 1 mic: 1 x kick OR overhead 2 mics: 1 x kick, 1 x overhead 3 mics: 1 x kick, 2 x overhead or 1 x kick, 1 x overhead, 1 x snare Kick: the further the mic is into the hole the more slap of the beater is heard. Use a mic that can withstand high Sound Pressure Levels (SPL). Can use two mics in the kick: 1 to pick up the thump and another inside for the slap eg Sennheiser 902 and 901. Snare: a mic on the top picks up the body of the snare, a mic on the bottom picks up more of the chain/crack. If using 2 mics then the signals can be combined to get the desired sound. Press Ø on one of the channels to see if the sound is fuller. If it is then leave Ø in. Close mic’ing of each element improves the isolation of sounds but the more mics used does not necessarily produce a better result! 7 EQ - Equalisation - tonal control Equalisation is a process of altering the frequency content in sound. The sounds we hear are the result of many simple frequencies added together and we are able to increase or reduce these simple frequencies using equalisation. EQ allows the user to fix, enhance, spatialise or assist in blending one sound source with other sound sources A visual representation (FFT) illustrating the many simple frequencies that make up a song at a single point in time. (using SMAART software) sub warm vs mud bass 20Hz 80Hz 250Hz body vs boxey 350Hz 800Hz sibilance, clarity vs harsh hard/nasal 2kHz 4kHz 6kHz air/sizzle 12kHz 20kHz 50Hz AC Fullness Boominess/Warm/Mud Fullness Boominess/Warm/Mud Fullness Honky Tinny Presence Sibilance Air Male Voice Honky Tinny Presence Sibilance Air Female Voice Honky Tinny Honky Piercing Nasal Trumpet Scratchiness Overblow HPF ON Fullness (Ac) body (Ac) /Fullness (El) Presence Clang Fullness (Floor) HPF OFF Presence Fullness (Rack) Fullness Punch/Thump Tinny Bottom Drum - Snare Snap Attack Attack/Pick Drum - Cymbals Drum - Tom Attack Fullness Flute Guitar Shimmer Attack Ring Violin Drum - Kick String Noise Bass Guitar Piano Sub Bass Sub-Woofers Midrange Midrange Speakers High Mids High Horns/Tweeters 20Hz Human Hearing 20kHz 31 band EQ used for ‘notching out’ narrow problem frequencies eg feedback USEFUL POINTS WHEN USING AN EQ • • • • • • • • • • LIsten to lots of music, particularly commercial tracks of the songs performed in your church and listen to the tone of each sound. Find a combination of words that describe each sound source’s tone eg warm, muddy, boxey, bright, harsh, nasal, sibilant. Use a High Pass Filter (HPF) on all but kick, bass guitar, AV and maybe keyboards. Reducing high frequencies and lowering the volume will sound as if you have pushed the source ‘back’ into the mix. If singers have a trouble with timing, reducing the sibilant frequencies (4-6kHz) will make multiple occurences of ‘hard’ words less noticeable. Some instruments are eq’d differently depending on the songs they are used for eg A solo acoustic guitar with a vocal: The guitar can be ‘full’ sounding and eq’d so that each word of the vocal is heard clearly. In a band situation the bass guitar and keys provide many ‘full’ and ‘warm’ frequencies and so the acoustic may be less full with mid-highs and highs providing the ‘cut’ and strumming sounds. Try to make instruments and voices sound real though the kick may be fuller and louder than it is acoustically. It is better to cut frequencies than add. Better choice and placement of microphones is better than EQ’ing. Consider using an EQ to scoop out frequencies on instruments competing within the same frequency spectrum. Quick Guide Audio Training Supplement - Stephen Compton 8 EQ FLAT Hi Pass Filter (HPF)/Low Cut Filter +15 +15 +10 +10 +5 +5 HPF 0dB 0dB -5 -5 -10 -10 -15 -15 20 40 60 80 100 200 300 400 500 800 1k 2k 3k 4k 5k 6k 8k 10k 20k 20 40 60 80 100 200 300 400 500 800 1k 2k 3k 4k 5k 6k 8k 10k 20k Shelf Filters Low Shelf High Shelf +15 +15 +10 +10 +5 +5 0dB 0dB -5 -5 -10 Lo/GAIN -15 20 40 60 80 100 200 300 400 500 800 1k 2k 3k 4k 5k 6k 8k 10k Hi/GAIN 20k -10 -15 20 60 80 100 200 300 400 500 800 1k 2k 3k 4k 5k 6k 8k 10k 20k 40 60 80 100 200 300 400 500 800 1k 2k 3k 4k 5k 6k 8k 10k 20k 40 60 80 100 200 300 400 500 800 1k 2k 3k 4k 5k 6k 8k 10k 20k +15 +15 +10 +10 +5 +5 0dB 0dB -5 Lo/GAIN -10 -15 20 40 40 60 80 100 200 300 400 500 800 1k 2k 3k 4k 5k 6k 8k 10k Hi/GAIN -5 -10 -15 20 20k Parametric EQ +15 +15 +10 +10 +5 +5 0dB 0dB -5 -5 -10 GAIN -15 20 40 60 80 100 200 300 400 500 800 1k 2k 3k 4k 5k 6k 8k 10k GAIN 20k -10 -15 20 +15 +10 +5 Selects the centre frequency 0dB -5 wide Q -10 -15 20 40 60 80 100 200 300 400 500 800 1k 2k 3k 4k 5k 6k 8k 10k FREQ 20k Increases or reduces frequency content +15 +10 +5 0dB GAIN narrow Q -5 -10 -15 20 40 60 80 100 200 300 400 500 800 1k 2k 3k 4k 5k 6k 8k 10k 20k Q = Quality factor - selects how many frequencies either side of the centre frequency are affected Q FREQ Equalising EQ - FIX THEN ENHANCE. 1. 2. Press the HPF button if the frequency content required is higher than 80Hz eg This will reduce the bleed of other low frequency sounds into other microphones eg reducing bass guitar from a vocal microphone. HPF is normally on for all but the kick drum, bass guitar and possibly keyboards. During rehearsal if there is a frequency area that doesn’t sound right compared to your ‘reference’ listening eg in the low mid area sweep, find and fix as shown in the following: ‘SWEEPING’ to FIND frequencies - ONLY DURING REHEARSAL!!! 1. Increase the EQ gain 2. ‘Sweep’the frequency knob till you hear the desired frequency accented 3. 4. 5. Make sure the most important source is the clearest eg lead vocal. Instruments supporting these sources may be slightly duller and at a lower volume which sonically push them back in the mix and makes the vocal feel more forward. Listen for the warmth/mud 250Hz-350Hz area. Use the low-mid frequency sweep knob along with gain to balance warmth without being too ‘thick’ sounding. Listen for clarity around 4 - 6kHz. Balance the high-mid sibilant frequencies so the ‘s’ or ‘t’ don’t stick out too much but has enough to maintain clarity. to +15 EQ GAIN 3. Reduce the EQ gain till the chosen freq is at the right volume level FREQ FREQ FREQ 4. Adjust the Q so that the EQ changes balance being natural sounding while also targeting the intended frequencies +10 +5 0dB -5 -10 -15 20 40 60 80 100 200 300 400 500 800 1k 2k 3k 4k 5k 6k 8k 10k 20k An example of what an EQ curve may look like with an HPF ON, lowering the muddy and sibilant frequencies and adding a little ‘air/sizzle’ EQ GAIN Quick Guide Audio Training Supplement - Stephen Compton Q 9 The Mix • • • • • • • • • • • • • • • • Mixing skilled musicians/singers is much easier than mixing unskilled musicians/singers. Any musician and singer’s tuning, timing and rhythmic issues will result in the operator unable to make the mix ‘sit’ perfectly. A skilled sound operator can make a poor sound system sound ok while a poorly skilled operator can make even a good system sound poor. Be the invisible support where technology is used well and does not draw attention to itself. Every song, orator will be different and requires changes made to balance sounds that are continually moving. To effectively adjust volume and tonal settings it is important to know what sounds to aim for. The stating point for being a good sound mixer is to develop critical listening skills. The mix must fulfill the aims of the church and not just be to personal taste eg don’t make a guitar heavy mix just because the operator likes guitars. The most important mix channels are the vocal. Bring the lead vocal slighty louder than the backing vocals and it can also be clearer than the backing vocals. MC mic and orator’s mics: They should be heard and natural sounding but should not be overly loud. Leave the congregation to ‘lean’ their ears in instead of being conscious of amplification. Bass frequencies are important for fullness and for vocal pitching. Good microphone choice and placement will save trying to ‘fix’ the sound with EQ. Some congregation members may find it distracting to have a song mixed differently than the recordings they use at home to worship to. Others may find a different and well executed mix refreshing. A well mixed band with skilled musicians can be louder without causing complaints compared than a quieter, poorer mix from less skilled musicians. Not every instrument has to be heard at the same volume, some are more subtle and some change their volume within and per song. Allow the congregation’s ears to ‘breathe’. Some songs may be louder but some should be quiet. effects - the icing on the cake Vocals keyboards, guitars etc rhythm section T H E L AY E R C A K E A N A LO GY: TOP Layer: The vocals are at the top of the ‘mix’ clearly above the supporting instruments. BASE Layer:- The rhythm section supports the complete ‘mix’. The other instruments and vocals build on this foundation. The FILLER: Between the layers is a ‘glue’ that stops the layers sliding off and holding the one above in the right place. It can be likened to relationship between the audio elements and the relationship between the people involved. The ICING: effects - reverberation and delay that can pretty up (and give ‘space’ to) the mix. Without any ‘icing’ the mix still can be tastey. Too much ‘icing’ and the mix becomes sickly and takes away from what is at the ‘core’. Mixing Foldback Musicians and singers should be within the horizontal and vertical flare of the speaker horn to hear higher frequency content. Setting up mixes for foldback wedges and in-ear monitors • VOLUME!!! on-stage volume + acoustics + amplified mix + congregational sound = OVERALL VOLUME If the unamplified mix is too loud - then the onstage volume and/or room acoustics need to be addressed. For the operator to mix the sound effectively the front-of-house sound level must be above the acoustic level. To find the acoustic level drop the front of house level during rehearsal. Identifying the influence of foldback volume: As the speaker horns are facing towards the musicians the sound of their foldbacks, from the congregation viewpoint, will be tonally dull as the higher frequencies are dispersing in the opposite direction. Quick Guide Audio Training Supplement - Stephen Compton • • • • Keep the stage volume and wedge volume as low as possible while allowing musicians/singers to hear what they need. Note that vocalists often pitch off the bass. Instead of increasing the volume of one item in the foldback it may prove better to lower the volume of everything else. The monitor mix will normally sound different to the front of house mix. Foldback operators shouldn’t be expected to change foldback levels per song or during a song to accomodate a musican that hasn’t set up their instrument patches correctly. Use and place microphones with their designed polar pattern to best reject sound returning through the foldback. Avoid returning condenser signals eg from choirs or headset microphone back through the source’s ownfoldback wedge. Hearing damage: Check in-ear and musician volume on stage (particularly the drummer) . At 100dB for 15 minutes damage will occur. We do have a responsibility to inform musicians and singers to preserve their long-term hearing. See page 14 for volume exposure/time/damage scale. In-ear monitors allow for audio communication from the MD. Initial users of in-ears may feel disconnected from the congregation. An auditorium mic fed to them may help. In-ears can be wireless or using wired versions are less expensive. A digital console may be required to provide efficient ways to provide multiple in-ear mixes. 10 Pan / Balance L R 1. 2. 3. 4. Using pan wisely can help to provide seperation of onstage sources so the centre image is not so cluttered. Pans that are too wide can mean audience on one side of the room may not hear some audio panned to the other. Pan can be used to balance the acoustic image on stage eg guitar on left panned slightly to the right. Stereo signals eg drum overhead mics or stereo keys are often panned hard left and right. If stereo overheads are not panned hard left and right you may hear more of what is in the middle e.g. snare in the mix. FEEDBACK - FoH speakers should be forward of the stage - Move and face the microphones away from speakers - Use microphones with suitable polar patterns to reject sound from the direction of the speakers - Lower the volume of the speakers - Use a HPF on all but bass, kick and possibly keyboards - Notch out potential problem frequencies using a 31 band EQ or a feedback destroyer - DO NOT put a lapel, headset or lecturn microphone through their own foldback speaker - Compression may make feedback occur easier - Condensers will feedback easier than dynamics Feedback Loop KEEP CALM FIX IT AND CARRY ON DURING A PERFORMANCE: 1 STOP THE FEEDBACK QUICKLY by MUTING the offending CHANNEL. 2. Establish quickly the cause of the feedback eg whether it is the result of a temporary mistake by performer or whether there is a bigger issue to solve. Foldback volume and where a microphone is facing is most likely to be the cause of high frequency feedback. Lower frequency feedback could come from anywhere. If it is determined the feedback is not a temporary performer mistake: lower the foldback GAIN a bit, then lift the volume of the channel to front of house cautiously. Return foldback slowly but not quite to the previous level and listen for hints of feedback starting. Using headphones may help identify the problem. 3. Return to the performance ASAP. *Good preparation limits potential issues but will not eliminate them* Referencing: Comparing ‘apples with apples’ ... Gary Larson Referencing: is the essential tool for mixing - The ability to compare one sound with another - training the operator’s ear to know what sounds to aim for, matching sonic size, colour and texture, position and how each sound interacts with other sounds. Listen carefully to commercial recordings, especially the songs peformed at the church. Listen to the relative volume and tone of each instrument and voice. Listen specifically for: • what is the loudest sound source (normally vocals and keyboards). • the sound of each vocal: how warm or muddy it sounds, how much ‘body’ is in it, how much can the ‘s’ and ‘t’ be heard. • the change in volumes of each sound source (dynamics) through the song. • the blend of vocal harmonies - the volume and tone of each of the parts. • which instruments or vocals sound closer or further away, to the left or to the right or in the centre. • how an acoustic guitar sounds when single acoustic guitar and vocal. Listen to how different each sound when part of a band. • how a piano sounds in a classical type scenario vs a pop scenario or as part of a band. Classical will be ‘warmer’ and less high frequency content than a pop style. • how each element of drums sound tonally and the relative volume of each. • how the bass guitar and kick drum work and sound together. • what effects are on sound sources to make them sound like they are in a particular space. Quick Guide Audio Training Supplement - Stephen Compton 11 Dynamic Processors (dynamics are the difference in volume between the quietest sounds and the loudest sounds) Dynamic Processors work with volume when above or below a chosen volume threshold automating volume functions. How to connect a dynamic processor These dynamic processors are INSERTED onto a channel and affect the audio on that channel. Dynamic processors include the compressor, gate, limiter, de-esser and downward expander. Sleeve Ring 1 x TRS Jack to 2 x TS jacks known as a Y-split Compressor - Reduces the dynamic range between too loud and too quiet so that the volume changes are more even. Tip Red Send from dynamic processor (eg compressor input) From the Tip/Sleeve Connected to Tip/Sleeve Return from dynamic processor (eg compressor output) From the Ring/Sleeve Connected to Tip/Sleeve When to use: • Vocals, passing around an MC mic, inconsistent kick or snare, acoustic guitar • If the sound source eg singer is too loud sometimes and too quiet in others the operator could continually adjust the volume faders to provide consistent volume. Alternately the operator can insert a compressor to make their volume more consistent. • Some use of compression allows the audience to hear quiet audio while not being startled or discomforted by louder sounds. • Can help to provide some ‘glue’ to tighten the band or elements within the band, making volumes ‘smooth’. Too much compression and the sound is ‘controlled’ but loses ‘life’ and may become harder to listen to for longer periods. Careful use of compression allows people to hear the audio without being surprised when it is too loud or straining to hear when things are quiet. The most useful parameters: Threshold: Above this volume threshold the compressor will reduce volume Ratio: The ratio of how much the audio above the threshold will be reduced Gain/Output: Makes up the whole volume to compensate for the reduction (Other parameters include attack and release) Contr o l Life The compressor can be thought of in terms of the operator whose finger is on the fader: When a loud sound occurs that needs to be lowered the: - Threshold is the point where the operator needs to change the volume - Ratio is how much they change the volume - Attack is how quickly they affect the volume by moving the fader after the loud sound - Release is how long it takes before they return the volume to its original position Philosophy of how to use a compressor: a. A voice that needs just a little help in controlling the dynamics: Ratio 2:1. Wind the threshold back until see some reduction shown in the LEDs. There is no exact amount of reduction that it is best. It is a balance between controlling the sound and allowing ‘life’. Try not to compress more than 9dB. b. For an MC mic that gets passed around many people quickly an operator may choose to heavily compress the mic signal ‘for a short time’ to maintain as consistent a volume as possible. eg ratio 3:1 at times over 9dB compression. To keep ‘life’ in the sound use the faders to control volume and minimal compression. Return the ratio to 2:1 and minimal compression when the mic is n0 longer passed around. c. For a snare or a kick drum: Ratio 3:1 or 4:1 if very dynamic and wind the threshold down till the volume is as even as you require. d. For a wildly dynamic bass player who ‘slaps’ and ‘plucks’ and ‘thumbs’ may require a higher ratio of 5:1. Limiter - An extreme compressor (ratio 20:1) used to provide safety to equipment. Some limiters increase the overall volume by cutting audio peaks hard Gate - Reduces the volume when the audio level is below a threshold. Useful for: reducing drum resonance ‘ringing on’ too long on a kick, snare or tom. A gate can also be used to remove a troublesome buzz heard on an instrument when the volume of the instrument is not playing. Careful use is required to make the gate close and open in a natural way so as to not be distracting. The most useful parameters: Threshold: Below this volume threshold the gate will reduce volume. Ratio: The ratio of how much the audio below the threshold will be reduced. (Other parameters include hold and release) Quick Guide Audio Training Supplement - Stephen Compton The LEDs give an indication of when the gate is open and sound passes or closed and no sound passes 12 Effects • • • • • The use of reverb can give a ‘dry’ sound a sence of space. The use of tap delay in time with each song can give a sound depth with a rhythmic element. Excessive use of effects become a distraction from the purpose of the audio. Putting a reverb and/or delay on a singer who is out of tune makes the bad notes last longer. Critical listening to commercial recordings provides a reference for appropriate use. Reverberation and delay effects are a mix of orginal sound + effected sound How to connect: 1. On a channel send some of the sound to an effects unit using a postfader auxillary OUT of AUX to IN of Effects. 2. Return the signal from the effects unit to the console via a normal channel or Auxillary return. Make sure the returned channel doesn’t also send that signal back to the effect or feedback will occur. The most useful parameters: Reverb: Reverb type eg hall, plate, room; Reveb time/tail eg 1.2 seconds. Delay: Time eg 1sec (best to use a tap button to match the tempo with the delay). Feedback - selects how many repeats of the sound. to AUX return or normal channel AUX OUT of desk to effect IN Commonly one auxillary feeds into the effects unit and outputs just left or stereo left and right A VISUAL REPRESENTATION OF AUDIO DELAY/REVERBERATION EFFECTS EFFECTS original sound - flat sounding and close EFFECTS original sound + delayed copy by delay volume same as original - loses clarity EFFECTS original sound + delayed quieter copy by delay volume down lower than original - has depth clearly heard original and delay Direct sound REVERBERATION PARAMETERS ON AN EFFECTS UNIT Pre-delay: the first early reflections from bouncing off walls, floors and ceiling etc Time is the length of the reverb tail (how long the reverb will be heard). Keep the time short enough to not detrimentally muffle subsequent sounds. Predelay. Using a predelay of 20-30ms delays the reverb slightly allowing the original sound to not be muffled by the mix of the effect. This provides some clarity as well as hearing the effect Other reflections after bouncing off two or more surfaces Diffusion creates a smoother spread of reverb. Less diffusion contains more noticeable delays. High Frequency Damping affects the sound much like hanging up drapes in a room EFFECTS original sound + delayed quieter blurrier copy by delay volume down lower than original and high cut EQ - has depth clearly heard original EFFECTS EFFECTS original sound + 4 delayed copies by delay with too much ‘feedback’ at same volume as the original Early reflections Tail/Rev Time - loses clarity Quick Guide Audio Training Supplement - Stephen Compton 13 Analogue vs Digital Mixing Consoles Analogue Mixing Console: • • • • Perceived ease of use Less expensive for basic console All functions are visible Dedicated controls for each channel • • Digital Mixing Console: • Smaller footprint Presets can help with EQ and dynamics Multiple use controls accessible through a channel select button • • • • • Built in effects and dynamics More options for in-ear monitoring Scene save/recall options for quick setup per user More routing options More grouping options • • • • Multitrack and stereo recording/playback options Digital snake options Wireless control Multiple layers may cause some confusion Acoustics and Speaker Placement - Too loud in one area while too loud in another? Hard to hear things clearly because of room reflections? The sound is dull sounding in some places within the room? TOO LOUD HERE?? TOO QUIET HERE?? The answer may be to add more speakers at a lower volume level. This can provide greater consistency in the room without ‘exciting’ the room acoustics too much. Sound treatment on the walls, ceiling and floor will also reduce reflections and improve clarity. High Frequencies are directional following the angles of the horn Dull Sounding TOO MUCH ROOM REVERB?? The lower the frequency the less directional the sound becomes STAGE Each of the added speakers create ‘zone’s’ of coverage and on top of a standard left/right Front of House (FoH) PA may include: centre fill, front fill, side fills, delay speakers, creche and foyer mixes. DIfferent amounts of music, vocals or orator mic may be required through each zone. Zone 1 Zone 3 Multiple speaker setups require skilled system engineers for their initial set-up to calculate and insert delay times, tonal and level control of each through matrixes and/or ‘zone processors’. Careful setup can pschoacoustically help to focus attention towards the centre of the stage. Zone 2 Zone 3 Zone 1 STAGE ZONES: Zone 1: Left, Right, Subs Zone 2: Centre Alternatively a line array system may provide a solution for even coverage without the use of delay speakers Zone 4 Zone 3: Delays Zone 4: Foyer / Creche An example of Zone Controller (dbx ZonePro 1260) Considered placement of each speaker is important especially when using multiple speaker systems. The initial system set up requires an experienced technician to independantly adjust sound for each ‘zone’ by manipulating volume, tone, time alignment and phase through an audio processor. Natural reflections in a hall creating reverberation can be beneficial Auditorium Stage The direct sound is louder than the reflected reverberant sound or detrimental depending on the types of sound within the building. The reflected reverberant sound is louder than the direct sound critical distance Quick Guide Audio Training Supplement - Stephen Compton Classical instruments prefer favourable acoustic reverberation from buildings with harder surfaces like wood, or concrete but may conversely make speech less intelligible. Contemporary instruments commonly require less reflective surfaces and more treatment to reduce natural reverberation using carpet, heavydrapes, soft chairs and acoustic treatments . Different parts of the building may exhibit different levels of reverberation 14 Other Useful Bits Power, buzzes and hums: - Make sure all audio power is on the same phase. - When using 2 different phases a good transformer may remove noise issues. - Some building’s electrics cause noise on audio that is difficult to eliminate without very good equipment. - Audio cables that cross AC adaptors eg power box to a keyboard, may induce noise on the line. - Using a good DI with earth lift button may reduce problem noises. - Replace a cable or snake position to source the potential cable fault if there is a noise on the channel. If the volume from one source is lower than it should be: When two mic cables are connected to two identical microphones or DIs with the same gain structure on both channels and one channel is 3dB louder than the other .... one of the wires on pin 2 or 3 may have broken from the plug terminal on the quieter one. Cable and plug testers VOLUME AND HEARING (special attention required for in-ears and drummers) dB Hearing damage after 194dB 140dB loudest possible immediate damage 121dB 120dB 118dB 115dB 7 secs Examples Sound waves become shock waves gunshot. Firecrackers at 150dB. Shotgun at 160dB 130dB less than 1 sec Pneumatic Drill. Jet plane 30m 124dB pain begins at 125dB Balloon popping at 125dB 3 secs 112dB 110dB 109dB 106dB 103dB 100dB 97dB 94dB 91dB 90dB 88dB 85dB 80dB 70dB 14 secs 14 secs (118dB) 28 secs, 56 secs 112 secs 3.7 mins 7.5 mins 15 mins 30 mins 1 hr 2 hrs 4 hrs 8 hrs Jack hammer, ambulance, thunderclap. Emergency siren Chainsaw @ 1m, leaf blower, rock concert mp3 maximum volume at 105dB Train Passing, Tractor, riding motorcycle Food Processor Diesel truck at 10m, lawn mower. Computer Audio: 60dB Heavy city traffic at 85dB Busy Street, Hair Dryer Vacuum cleaner, Washing machine at 75dB, Shower Conversational Speech - It is better to run audio from a computer through a USB, Firewire, Thunderbolt interface than straight from the built in audio output. - Run audio from a computer through a DI if using the built in output for distances longer than 6m. - Connecting a computer video output via VGA to a second screen may add a buzz to the audio line requiring a DI or interface to fix. 50dB Average Home, rainfall, light traffic 40dB 30dB 20dB 10dB 0dB threshold of Hearing Quiet Library, Refridgerator at 45dB, stream Quiet Bedroom at night, whisper Rustling Leaves Pin dropping Radio Microphones: - Interference and legalality: Radio microphones and wireless in-ear systems must be between: 502-606 MHz and 622-698 MHz Use outside of these frequencies is now illegal and the audio can suffer from significant audio interference. - Touching the aerial will make audible noise. - Interference from other radio frequencies is a common issue as the use of radio microphones and wireless in-ears become commonplace. A less expensive radio microphone may be able to select between a small number of frequencies to find a ‘clean’ one. More expensive radio microphones may have the ability to scan the radio spectrum and suggest ‘clean’ frequency options, and have functions that perform these changes simply and quickly though at a greater initial financial cost. Battery Usage: To be informed on how long a radio microphone or in-ears will last using batteries perform this test outside of a ‘service’: Using a multimeter test the voltage of each battery and take note of the type of battery and starting voltage. Switch the battery device on eg radio microphone and time how long it is before the microphone no longer transmits or turns off. Some batteries required a rest/recovery time before their voltage can be accurately measured again. “Measuring at 1.6v the particular brand of alkaline battery I use, I know I can safely get a minimum of 8 hours use from a 1.5v AA battery. After a single use I can safely get a minimum of 4.5 hours from these same alkaline batteries if they measure greater than 1.4v after recovery time. Measuring at 1.3v at full charge I know I can safely get 5 hours continuous use out of my rechargeable batteries.” SC Quick Guide Audio Training Supplement - Stephen Compton A 10dB increase is ‘perceived’ as being twice the volume. Two of the same signals added together results in a 3dB increase. Musician’s earplugs are advisable as hearing protection where the acoustic volume is high and it is difficult to reduce further eg acoustic drummer isolated inside screens. Hearing Aid Loops: Since 2004 NZ law requires systems to assist the hearing impaired for any new buildings with gatherings of 250 people or more. This law also applies in any theatre, cinema or public hall or assembly spaces, and in old people’s homes occupied by more than 20 people. Induction loops are one three assistive listening devices designed for whenever the hearing aid is not sufficient. Radio (FM) or infrared (IR) systems require the temporary provision of non-personalized receivers that need to be stored, checked, charged, cleaned, repaired and replaced at some point. Induction loops work directly with the individual’s personal hearing aid using its built-in receiver within the hearing aid (T-coil) to transmit the sound. Induction loops can be laid in piping within the concrete foundation, on the surface of the concrete or in the ceiling. Setting cable into the concrete means cable cannot be cut accidentally by carpet installers or from the movement of chairs etc. The wire is run from a specialized amplifier that receives an audio feed from a mixing console. The induction wire has a 3m coverage but for maximum benefit for minimal cost a two loop overlapping system running at 1.5 m spacings apart with a perimeter 1.5 m from the walls is an efficient setup. Often a cancellation loop wire is run near the stage to avoid interference with stage equipment. 15 FURTHER TRAINING SOURCES OTHER USEFUL RESOURCES Audio Essentials for Church Sound by Chris Huff - eBook and online resources with a church focus: QLab from Figure 53: http://www.behindthemixer.com/audio-essentials-church-soundtraining-1/ http://www.behindthemixer.com Simple and reliable audio playback - brilliant!! Free for stereo version. https://figure53.com/qlab/ WavesTracksLive from Waves: ProSoundWeb: Website with articles relating to church sound http://www.prosoundweb.com/church Simple and easy to use multitrack recorder and multitrack playback!! Free for the basic version! http://www.waves.com/mixers-racks/tracks-live#presenting-tracks-live Mixing With Your Mind - Michael Paul Stavrou Audacity: Free and Open Source recording software Master Handbook of Acoustics - by F. Alton Everest & Ken C. Pohlmann Smaart v.7 Di from Rational Acoustics: Paid streamlined software Very indepth book on acoustics Websites covering audio equipment and processes: http://www.audacityteam.org for analysing the frequency content of sound http://www.rationalacoustics.com/smaart-v7-di/ http://www.planetoftunes.com http://www.mediacollege.com/audio/ Easyworship: Presentation software for churches: Hearing Loops: Apps for portable devices: https://www.easyworship.com http://www.univox.eu/planning Mixing Videos: Lynda.com https://www.youtube.com/watch?v=NLVdTyNMpto Spectrum analysis and audio tools: AudioTools, Audio Tool, AudioToolkit Scripts and programmes: GoodReader, PDF Expert Digital mixer control: eg M32-Mix, Qu-Pad, SL-Remote, StageMix For musician music words and chords: OnSong Musician Tools: Cleartune, Metronome, RODE Rec, Pro Metronome Guitarists: Guitarist Ref, Amplitube, Guitar Toolkit To Equip The House of Worship Volunteer Sound Operator COLLABORATION, EXPERIENCE AND CREATIVITY AUTHOR’S NOTE This document is not a comprehensive ‘all you need to know’ manual. It is a supplement for use when conducting training sessions and a Quick Guide Reference that addresses important audio topics and practise. There are exceptions to virtually every audio rule except: • Bad sound is not good and can be distracting, unpleasant and detract from an event or service. • Good sound will please more people than bad sound does. • Audio feedback is never welcome. • The volunteer sound operator role can be a satisfying position when equipped and in collaboration with other stakeholders, employing experience and creativity. I trust this document provides a useful resource that helps in Equipping the House of Worship Volunteer Sound Operator. Stephen Compton www.classaudio.kiwi.nz for more details plus a link to freely download the Quick Guide Training Supplement plus a current report on House of Worship Volunteer Sound Operators and a resource of training tips.