Identify the problem or challenge Whats the Solution? Put the Solution in effect!

1. Identify the problem or challenge • Whats the Solution? • Put the Solution in effect!

2. Challenge - When you preserve the integrity of “the mix” over the stage volume, every one says the PA is too loud.

3. Plexiglas the acoustic drums or explore digital drums • Aim guitar/bass amps at the players - not the audience • Use guitar/bass pre-amps and remove amps • Experiment with asking trumpets to try to aim down or position bell away from audience • Use smaller Plexiglas shields on brass

4. Use acoustic treatment around the performance area to help contain the reflection from stage monitors into the audience • Be conscience of monitor speaker volume levels - only put in the monitor mix the minimum that the performer needs • In the Ear monitors

5. Challenge - There are comments from the congregation that it is hard to understand (hear) the Pastor

6. Check the coverage pattern of the speakers and horns. • Computer model the room for acoustic properties to show where there could be improvements. (secondary reflections could be trashing the intelligibility at certain seating areas) • Incorporate Hearing Assistive systems

7. Challenge - Feedback always seems to be a problem

8. Proper mic technique - distance from the mic to the source. • Proper mic choice - right tool for the right job. • Parametric device. • Speaker placement and set-up. • Room treatment to reduce reflections.

9. Challenge - Mixing harmony parts for your worship team never seems consistent.

10. Proper mic technique • Talk to the music leader, get familiar with the sound wanted, listen to other artists that have a sound you are aiming for. • Compressor on each channel.

11. Challenge - Our production had a lot of miscues and rough edges

12. Cue sheet is handed out to all technical staff - sound, lighting & video as well as band leader, worship leader and Pastor • Production leader “talks it through” with technical staff prior to rehearsal • Sound tech has the opportunity to prepare special effects, mic needs, pre-recorded music tracks, etc. • Use the “spotter” and “knob turner” technique.

13. Connecting the amp to speakers (permanent) • The required size (or gauge) of the conductors depends on three factors: (1) the load impedance of the speaker (2) the length of cable required (3) the amount of power loss that can be tolerated.

14. Keep speaker wire length to a minimum. (In large installs…where there is a large central cluster of speakers, the amp racks are mounted above the speakers - The amps are then remote configured, controlled and monitored via a computer application at the F.O.H. such as Crown IQ for Windows) • 12 gauge conductor size is typical - the outer jacket is not indicative of the size of conductor

15. Wonder Boxs!

17. The “Room” is part of the audio system • If you are fighting any properties of the room - The room will always win. • There is no magic speaker or electronic wonder box that will fix this - they will only help to get you closer. • How effective your audio consultant/designer/supplier understands this (in yellow) concept, directly correlates to the effectiveness of your audio system.

18. EASE Electro-Acoustic Simulator for Engineers) is an advanced software program for simulating the performance of sound reinforcement systems in an acoustic environment. It is primarily used by acoustical consultants and engineers to answer their need for an advanced and highly accurate acoustical analysis tool. It accurately simulates, analyzes and predicts the performance of an audio system in a specific room.

19. #1 - We take blueprints of your building and enter interior dimensions and all reflective surfaces into our C.A.D. (Computer Aided Drawing) computer.

20. #2 - Then we identify the stage area

21. #2 - Then we identify the stage area

22. #3 - We then identify all audience seating areas

23. #3 - We then identify all audience seating areas

24. Lets look at an overhead view of the same space...

25. Here is the stage

26. Here is the audience seating areas Notice that all seating area sound pressure levels are within +/- 2dB…

27. What does this all mean? • Audio problems are predicted and corrected before problems arise, before building gets built. • Existing problems are identified and intelligent, effective solutions can be made. • Every seat in the house gets the coverage you want - There are no “cheap” seats in your house!

28. MIDI is for you too! • Musical Instrument Digital Interface allows MIDI equipped devices the capability to share commands.

29. MIDI is for you too • Example: You are pretty slick and have three effect units • FX unit #1 on main vocals - Nice open Hall • FX unit #2 on background vocals - Doubling and light Chorus • FX unit #3 on drums and instruments - Darker sounding Hall and longer release than FX unit #1.

30. MIDI is for you too • If these units were MIDI together using the program chain command, all you have to do is recall the correct FX number and all three units go to their respective programs.

31. MIDI is for you too • Light boards can also put out a midi command. • These can be useful during large productions. Initial lighting scene changes at the light board can put out a command to your Midi-mute featured console to mute the channels you are not using at the opening of that scene.

32. What's a bus (or group) and why do I want to get on it?

33. 8 Buss master section

34. #1 Kick #2 Snare #3 Hi-Hat #4 Tom 1 #5 Tom 2 #6 Floor Tom #7 OH #8 OH • Lets add 8 channels for drums

35. After setting the individuals faders, you now can control this group of assigned faders at the group master fader #1. Now lets assign all the drums to group master #1

36. You can also insert compressor and gates on the kick, snare, etc individual channel. • Then you can also insert a compressor on the group master 7 that is keyed by the lead vocal.

37. #9 Nic #10 Chris #11 Pete #12 Mary #13 Sylvia #14 Laura • Lets add 6 channels for worship team

38. After setting the individuals faders, you now can control this group of assigned faders at the group master fader #7. • Then you can also insert a compressor on the group master that is keyed by the lead vocal. Lets assign the worship team to group master #7

39. Here is one example of group master assignments Drums/bass Keys Guitars Brass Strings Choir Team Lead Vocal

40. Lets talk about Ducking (or side chaining)

41. You can insert 8 compressor into each group channel insert. • These can controlled by the lead vocal by “telling” compressor 1-7 to “look” for the “key”…compressor 8 - the lead vocal. • When the lead vocal sings…it sends a signal to compressor 1-7 telling them to take the volume down of each of the sidechained compressor ‘automatically” • Properly set, this technique insures a great mix especially when you are mixing many channels.

42. Enrique sings background on some songs and other songs lead. By reassigning his individual channels pan control from hard left (group master 7 background vocals) and panning it hard right (group master 8 lead vocal) and doing the opposite to Sams individual channel, who now be singing background, the compressor key priority is easily changed.

43. Pastors wireless lav or podium mic can have an individual channel inserted EQ and compressor. • These can be assigned directly to the Main Mix output. • You can easily mute group masters 1-8 when the pastor is talking. • Source material such as VCR audio, cassette and CD can also be routed directly to the Main Mix output

44. Advanced techniques does not necessarily mean more watts, better specification or K.P.S.I (knobs per square inch).

45. Stop your grumbling! • You are part of a team - the performers have challenges…the tech team has challenges. When you have insight and empathy for each others situation, when you identify the problem, come up with a solution and put that solution in effect, the lines between you are erased and you become a powerful ensemble! • This is your most important specification.