Basically, a recipe is a list of ingredients and directions. We found a RECIPE that works for sound! But, it takes more than a good recipe to make a great meal or dessert. For the best results, you need the best ingredients and the best directions possible. You also have to understand the expectations of those who are going to taste the results of your effort. For example, a chef may like extra spicy food. But, when preparing food for others, s/he must take into consideration the guests s/he will be serving. The chef may need to vary the recipe slightly.
Figure 1
THE INGREDIENTS:
If a recipe calls for cream, it's not essential to use Alpine milk from hand-milked Bavarian cows. But, if you try to use skim milk instead of cream, you may jeopardize the final results. The same holds true for sound reinforcement. A microphone designed for hand-held vocals used as a pulpit microphone simply isn't the ingredient for the recipe - it won't create the best results.
Here is a list of ingredients (* indicates optional ingredients) for your sound system:
* Well-Designed, Properly Installed Main Speaker System
* Quality Microphones for Speech
* Quality Microphones for Music Vocals
* High Quality Microphones and Direct Boxes for Musical Instruments
* Low-Noise Main Mixer with Sufficient Inputs and Outputs, Gain and Headroom
* Quality Equalizer(s) of the Right Type and Configuration
* Well-Built, Well-Maintained Cables
* * Quality Monitor Speakers
* * Quality Playback Cassette Decks and CD Players
* And, the Icing for the Cake
THE DIRECTIONS FOR A GREAT MIX:
Let's start with the basics (eggs, flour, milk. . .):
It is vital to understand the acoustical elements of the sound mix and their effect on each other. Take a look at the following multilayer cake. It represents the concept that each ingredient builds on the other and they all work together to create a desired outcome. It should be pointed out that you may not use all these layers. However, the principals remain the same.
The bottom layer (ambient noise) is already established for you. The amount of ambient noise in the room establishes the base layer of sound. In other words, the air system, conversations, babies crying, people moving, etc. creates noise the sound system must overcome. The ambient noise will also change levels. For example, an empty room is much quieter than one filled with people.
The second layer is acoustical instruments. It is important to begin first with the organ, next add the piano, then add the drums, and finally add any other acoustical instruments. For example, if the two main instruments are organ and piano, begin with the organist playing a selection. Have the pianist join after the first verse. If you have trouble hearing the piano, open the piano to "full stick" and reposition it so the open lid is facing the congregation. (Upright piano: face the back sound board toward the congregation.) If the piano is still not loud enough, then a reinforcement microphone will need to be added.
Please note, we advise natural acoustical solutions before adding sound reinforcement.
If you use drums during a service, test them next. Have the piano begin playing. Then begin the drummer after a minute or two. Listen first to determine if you can still hear the piano (hint: the higher octaves of the piano are usually easier to hear over other instruments). If the piano starts to get buried, increase the microphone level on the piano gradually. Again, try natural solutions before adding microphones or raising volumes. Perhaps the drummer or organist can play softer. Finally, test any other acoustical instruments including acoustical guitar, woodwinds and brass.
The third level is made up of electronic instruments such as keyboards, electric guitars, bass guitars, acoustic instruments with electronic pickups, electronic drums, etc. The piano is usually the primary acoustical instrument, and you have already set the piano level. Now add any electronic keyboards to the mix. At this point, you can have the drummer and other acoustic musicians take five. Use the same procedure as before. Begin with piano and add one keyboard at a time. Then continue with any other electronic instruments. When you have finished, take a break. Try to leave the room and listen to silence for five minutes. Then go back and listen to the whole instrumental mix.
Last, but certainly not least, are the vocals. Beginning with the background vocals, add each vocalist one at a time as you did the instruments. Finally add the primary vocalists. Obviously, it is vital that the primary vocalist(s) are heard and understood above all the other instruments and background vocals.
A PERSONALIZED TOUCH:
As in our example of the chef varying the recipe slightly; you, as the sound operator, may need to vary this recipe slightly. You know what your congregation likes to hear. Also, you know which specific instruments will be used in your situation. So, if you would like the background vocalist to be as pronounced as the primary vocalist, add your personalized touch!
A FEW TIPS FROM THE CHEF:
1) Always listen for what is too loud as well as what is too soft.
2) If a musician or vocalist says s/he needs more of themselves in the monitors, first think of turning other instruments or vocals down ...just a bit. Ask them what is too loud.
3) Always make level changes to the monitor mix or channel gain trim control when the musician or vocalist is not active.
4) Make small, gradual changes.
5) Occasionally turn down the master levels for the main sound system and listen to the monitor system to see how loud it is. The monitor system may be causing the main system to sound poor. Also, walk to the first few pews to see if you hear more sound from the monitors than the main system.
A FINAL WORD:
Communicate with the ministry team. Let them know this recipe may take several attempts before creating a cake that deserves icing. It will take extra time, effort and patience on everybody's part. But the results will be worth it!
OPERATION HINTS
Gain Trim Hint: Use this method when first setting up a mixer channel. Before you begin to bring the volume control up (fader) on a channel, make certain the channel gain trim control (usually located at the top of the channel) is turned completely down (counterclockwise). Also make certain the master output (and subgroup) faders are set at a normal operating position (check your mixer manual if you aren't sure about this). THEN, set the channel fader at a nominal position (usually 2/3 or 3/4 of the overall fader travel). NEXT, bring up the channel gain trim control slowly until you have a decent level.
Monitor Level Hint: Adjust the main level first, then add monitors. Follow this simple rule of thumb: When "adding" an instrument or vocal to the sound reinforcement mix, make certain the monitor speakers are off. After you have established a good level in the main system, gradually bring up the monitor mix(es). This way, the vocalist or musician will usually require less monitor level since they also hear themselves in the room.
Channel Equalizer Hint: Level first, equalizer last! When you begin to setup your initial mix levels, make certain the tone/equalizer (EQ) controls on each channel are turned back to zero (or bypassed if the mixer has an EQ bypass switch). Add EQ changes ONLY after you have finished your initial mix level settings. Use the EQ to blend or highlight instruments and voices. This takes time and practice. Done right, proper EQ can make a dramatic difference in the overall mix.
Drum Hint: If you use drums, there are two reasons you may want to consider constructing or purchasing portable isolation panels to surround the drums. First, the other musicians and vocalists will hear less drum level on the platform. Secondly, the sound mixing technician will have more control of the drum levels AND will usually be able to reduce the overall sound level.
by Travis Ludwig
< Back
No comments:
Post a Comment