2015

Beginning Sound System Principles | Pastor Rich Barnett

SWU Sound Tech 101

DAY I. WORKING WITH WORSHIP
In this class we will be working to gather a better understanding of what it takes to be a sound tech in a
local church. To do that we are going to cover the basics of a sound and media system, but we will also
talk some about the purpose and function of a sound tech.

Question: Who can tell me what the primary purpose of a sound technician in a church is? (Have each
student answer)

A. 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.

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 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.

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.

B. SECONDARY FUNCTION
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.

1. 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.

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 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)

Transition: So the first qualification or characteristic that a sound tech should have is:

A) E XCELLENCE F OR C HRIST
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.

Transition: The next qualification or characteristic that a sound tech should have is:

B) C OOPERATION & R ECOGNITION OF A UTHORITY

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)

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 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.

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.

Transition: The next qualification or characteristic that a sound tech should have is:

C) E XPERIENCE & T EACHABILITY

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.

Transition: The next qualification or characteristic that a sound tech should have is:

D) K NOWLEDGE OF THE S OUND S YSTEM

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)

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 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.

Transition: The next qualification or characteristic that a sound tech should have is:

E) S ENSE OF M USIC & A BILITY TO L ISTEN

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.

Transition: The last qualification or characteristic that a sound tech should have is:

F) P ATIENCE AND P ERSEVERANCE

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

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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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DAY II. WORKING WITH EQUIPMENT
A. INVENTORY AND RESPONSIBILITY
Knowing what equipment you have and what it is for is a very important responsibility for any sound tech,
so today we are going to empty the tech trailer and inventory the equipment we have available to us and
in the process we are going to cover the different types of equipment that you will be exposed to when
doing sound for your church.

The basic sound reinforcement components needed for a small church with a contemporary service are:

 Mixer: 16-24 channel analog mixer with 4 or more auxiliary sends or a 16-24 channel digital
mixer.

 Cable snake: 16-24 channels with 4 or more auxiliary returns, 100-150 ft snake – whatever gets
you from the stage to the booth.

 2 15-inch 3-way powered speakers for front of house (same brand and model line as the subs)

 1 or 2 18-inch powered subwoofers (same brand and model line as the mains)

 1 1/3-octave equalizer for front of house (not needed with a digital mixer)

 1 2-channel compressor for pastor and one other channel (could be lead vocal or guest mic)
(not needed with a digital mixer)

 Either 4 powered stage monitor wedge speakers or 4 in-ear monitor systems

 4-6 vocal mics

 Kick drum mic

 4 instrument mics

 Mic cables

 Pastor wireless headset mic

 Mic stands (regular and shorty)

 Furman power conditioner for the equipment at the sound booth.

B. THE BASICS

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 1. MICROPHONES

A) U NIDIRECTIONAL M ICS
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) O MNIDIRECTIONAL M ICS
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.

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

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 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.

2. 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

We are going to spend the bulk of the next session going through the different sound boards in
detail and so I’m not going to spend too much time on them now.

3. 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.

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

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 and unpowered mixers become the norm, the other is becoming difficult to even find for
purchase.

4. CABLES
There are a number of cables that you should familiarize yourself with:

A) XLR C ABLES
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) S NAKE C ABLES
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) ¼ I NCH OR I NSTRUMENT C ABLES

¼ 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) S PEAKON C ABLES
Speakon cables are a newer standard of speaker cable and are often found with powered
speakers or newer speaker connections on mixer boards.

E) S PEAKER W IRE
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 C ABLES
RCA cables are the cables used for sound on your playstation. They are the Red/White plugs that
you often connect to a TV that doesn’t use HDMI.

5. 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.

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 6. INSTRUMENT CONNECTION
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

7. OTHER PERIPHERALS (IPODS, CD P LAYERS , ETC…)

iPods, 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 ¼ 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 ¼ inch

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DAY III. WORKING WITH OTHERS
A. WORKING WITH THE WORSHIP LEADER
1. MAKING THEM SOUND GOOD

A) S ELECT THE R IGHT M ICROPHONE

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.

B) S TART YOUR SOUND CHECK WITH THE W ORSHIP L EADER 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.

C) T HE M OST I MPORTANT T HING

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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 2. WHAT TO LISTEN FOR
Feedback!

A) T YPES AND C AUSES

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.

B) A VOIDING F EEDBACK
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.

C) E LIMINATING F EEDBACK
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.

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 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. What happens when people start with the microphone up to
their mouth and then slowly lower it as the song goes on? You will have to turn up the gain
until…SCREEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEECH!

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. Have them read a bit after the sound check to set the
gain.

B. MORE SOUND BOARD EXPLORATION

1. ANALOG BOARD CONTROLS
2. DIGITAL BOARD CONTROLS

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DAY IV. WORKING WITH MEDIA
A. WORSHIP MEDIA PROGRAMS
1. PRO-PRESENTER
2. EASY WORSHIP
3. POWERPOINT
4. MEDIA SHOUT

B. OTHER HELPS FOR WHEN YOU ARE HOME

One of the best helps that I found while putting this class together is the website:

http://www.behindthemixer.com/

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