The Ultimate Church Sound Operator's Handbook Book

Preface     xxi
The Value in History     xxi
The Road Is Narrow     xxii
Terminology     xxiii
Qualifications for Being a Sound Operator     1
List of Qualifications     2
Listens to Music     2
Loves Music     3
Is a Proven Advocate of the Church, Pastor, Council, Organizational Structure, and Leadership     3
Agrees with Church Theology     3
Is a Church Member, Committed to the Church Mission and Vision     3
Understands the Style and Spirit of Worship Music Desired by Church Leadership     4
Is Servant-Hearted     4
Has a Positive Outlook     4
Does Not Have an Ego Problem     5
Has a Consistent Spiritual Life     5
Is Ministry-Minded     6
Is a Lifelong Learner     7
Is a Hard Worker     7
Has a Long Attention Span     7
Has a Stable Family Life     7
Pursues Excellence     8
Is Technically Gifted     8
Has Good People Skills     8
Has a Mature Perspective     9
Likes to Help Others Succeed     10
Does Not Participate in Gossip     10
IsDetermined to Become an Excellent Sound Operator     10
Summary     10
Responsibilities of a Sound Operator     11
Pray for the Worship Team     11
Commit to Spiritual Development and Growth     12
Get to Know the Team Leaders     12
F+ind Out What the Music Director Expects     13
Attend Rehearsals     13
Attend Small Group Meetings     13
Listen to Service Recordings     14
Listen to Current Worship Music     14
Be Punctual     15
Learn the Songs     15
Set Up Gear     16
Strike Gear     16
Develop Storage Systems     17
Labeling Systems     17
Snakes     19
Storage Bins and Reels     19
Mic Cases and Racks     20
Storage Hooks and Racks     20
Learn What a Good Mix Is     20
Attend Seminars and Classes     20
The Spiritual Importance of Worship and Music     21
What Is Worship?     21
The Authority of Excellence     22
The Musicians to Battle before the Soldiers     23
We Are Instructed throughout the Bible to Worship      24
Take Your Duty Seriously     26
Communicating the Heart and Word of God     26
Prayer and the Sound Ministry     26
Time, Just in Time     27
Relational Considerations     29
The Worship Service from the Minister's Viewpoint     29
Introduce the Congregation to God     30
Prepare the Congregation to Hear the Sermon     30
Create a Unified Spiritual Tone among the Congregation     30
Getting Along with Everyone     31
Bending Over Backward     31
Grace versus Judgment     31
Keep Everything in Perspective     32
An Atmosphere of Peace     32
The Sound Operator/Pastor Relationship     33
Be a Friend to the Pastor     33
Ask Your Pastor's Opinion     33
Be Understanding     33
Be Open to Criticism     34
Don't Offend Quickly     34
Pastors Are People Too     35
You Gotta Know When to Hold 'Em, Know When to Fold 'Em     35
Communicate, Communicate, Communicate     35
Ask Questions     36
Keep Track of the Leaders' Opinions     36
Conflicting Opinions and Who Wins     37
Don't Avoid the Elephant in the Room     38
Tone of Communication     38
Reasons to Stand Up and Speak Your Mind     39
Countering Blasphemy     39
Defending the Pastor     40
When the Pastor Doesn't Understand the Facts     40
Don't Sweat the Small Stuff     40
The Best Ways to Get Your Point Across     40
Prayer     40
Follow Protocol     41
List Your Concerns or Joys     41
The Worst Ways to Get Your Point Across     41
Gossip     42
Stirring the Pot     42
Setting Up Camp     42
Well...I'll Just Do It Anyway     43
The E-Mail Bomb and Why You Should Avoid It     43
Negative, Harsh, and Judgmental Attitude     44
To Get Paid or Not to Get Paid     45
The Volunteer Sound Operator     45
It Doesn't Matter if You're Paid or Not     45
Do Your Best     45
Enjoy Being Part of Ministry     46
Be Sensitive to Others     46
Be Punctual     47
The Quest for Excellence Shouldn't Change with Pay     47
The Paid-Staff Sound Operator     48
The Part-Time Gig      48
Accountability     48
Serving Multiple Ministries     49
Training Ministry Leaders     50
Building a Team     52
Developing a Volunteer Crew     52
Prayer and Share Time     53
Special Functions     53
Motivating and Assisting     54
Job Descriptions     57
Scheduling     58
Volume Issues     61
Pastoral Considerations     61
Sound Operator Considerations     63
Congregational Considerations     63
Why Volume Issues Are So Common     64
The Pastor versus the Music Director     65
Agreement Is the Solution     65
EQ versus Volume     66
Painful Frequencies versus Comforting Frequencies     67
Sound Reinforcement versus Music Presentation     67
The Decibel Meter     67
Who Is in Control?     68
Can the Congregation Hear Themselves?     69
Earning the Trust of the Team     69
Multi-Generational Considerations     71
Understanding Hearing Differences     71
Types of Hearing Loss     72
Presbycusis      72
Tinnitus     73
Conductive Hearing Loss     73
Aural Hypersensitivity     73
Hyperacusis     73
Recruitment     74
Education Is the Answer     74
Senior Citizens (Born before 1946)     75
Boomers (Born between 1946 and 1964)     75
Generation X (Born between 1965 and 1980)     76
Youth Groups     77
Children     78
Sound Theory     79
Characteristics of Sound     79
Speed     81
Cycles     82
Frequency     82
Pitch     83
Wavelength     83
Amplitude     84
Loudness     84
Phase     87
Harmonics, Overtones, and Partials     89
Shape     92
Envelope     93
Attack     93
Decay     94
Sustain     94
Release     94
Interconnect Basics     95
Speaker Cables     95
Line-Level Cables     95
Microphone Cables     96
Some Cable Theory     96
Balance of Amplitude      97
Timing Considerations     97
Do Cables Really Sound Different?     97
Digital-Interconnect Cables     98
Impedance     99
Terminology     100
Compatibility between Hi Z and Lo Z     100
Balanced versus Unbalanced     102
Terminology     102
Unbalanced Guitar Cables     103
Balanced Wiring     103
Connectors     105
RCA Connectors     105
Quarter-Inch Phone Connectors     106
XLR Connectors     107
The Dual Banana Connector     107
Speakon Connectors     108
Plugging In     109
Electrical Power     109
Powering Up     109
Powering Down     109
Ground Hum     109
Grounding     110
Ground Loops     110
Solutions to Grounding Problems     110
Connect All Equipment to the Same Outlet     111
Hire a Pro     111
Auxiliary Power Supply     111
Lifting the Ground     111
Disconnect Shield at the Destination     112
Circuit Tester     112
Danger, Danger      112
The Front-of-House Mixer     115
Signal Path     115
Input Levels     116
Comparison of Three Different Versions of the Same Mix     117
Input Stage     117
Output Impedance     117
The Preamp     118
Attenuator     119
Direct Box     120
Passive versus Active DIs     121
Meters     121
Volume Unit (VU)     121
Peak Program Meters (PPM)     122
Adjusting Levels for Transients     122
Phase     123
Input Level Comparison     125
Phantom Power     126
Mic Level     126
Line Level     126
+4 dBm versus-10 dBV     127
Channel Insert     128
Effects Bus     128
The Difference between a Live Mixer and a Recording Mixer     129
Mutes     129
Live     129
Recording     129
Outputs     130
Live     130
Recording     130
Inputs     130
Live     130
Recording     130
Solo Functions      131
Live     131
Recording     131
Portability     131
Live     131
Recording     131
Managing the Signal Path     131
Input Faders     131
Pre and Post     131
Using the Aux Bus     132
Group Assignment     133
Summing     134
Three Practical Applications for Splitting a Signal Using a Y     134
Pan     135
Gain Structure     135
Unity Gain     135
Potential Problems     136
Solo     136
PFL (Pre Fader Listen)     136
AFL (After Fader Listen)     137
Solo in Place/Mixdown Solo     137
Mutes     137
The Equalizer     137
Frequency Selection (Hertz)     138
Definition of Frequency Ranges     140
Bandwidth     141
Sweepable EQ     142
Parametric EQ     143
Graphic EQ     143
Notch Filter     144
Peaking Filters     144
High-Pass Filter     144
Low-Pass Filter     145
Band-Pass Filter      145
Shelving EQ     145
Combined Equalizers     146
The Equalizer's Sound     146
Stereo Master     146
Talkback/Communications     146
Test Tones     147
Console Layout     148
Matrix     149
Direct Outs     149
The Analog Mixer versus the Digital Mixer     150
FOH Mixer Position     150
Mono Mix     150
Stereo Mix     150
Signal Processors     153
Dynamics Processors     153
Compressor     153
To Compress or Not to Compress-That Is the Question     155
Compression Parameters     155
Threshold     155
Attack Time     156
Release Time     157
Ratio     157
Output Level     158
The Difference between a Compressor and a Limiter     158
Hard Knee versus Soft Knee Compression/Limiting     158
Peak/RMS Detection     158
Side Chain     159
Meters on the Compressor/Limiter     160
Input Level Meter     160
Output Level Meter     161
Gain Reduction Meter      161
The Limiter     161
Setup Suggestions for the Compressor/Limiter     162
Effects Processors     163
Wet versus Dry     163
Patching Effects Devices     163
Simple Delay Effects     163
Slapback Delay     164
Doubling/Tripling     165
Modulation     166
Phase Shifter     167
Flanger     167
Chorus     167
Phase Reversal and Regeneration     167
Stereo Effects     168
Reverberation Effects     169
Hall Reverb     170
Chamber Reverb     170
Plate Reverb     170
Room Reverb     170
Reverse Reverb     171
Gated Reverb     171
Other Variations of Reverberation     171
Reverberation Effects Parameters     172
Predelay     172
Diffusion     172
Decay Time     172
Density     172
Microphone Principles and Design     173
Directional Characteristic     174
Polar Response Graph     175
On-Axis     175
Off-Axis      175
Sensitivity Scale     176
Omnidirectional     176
Bidirectional     177
Unidirectional     177
Cardioid     178
Supercardioid     178
Hypercardioid     178
Ultracardioid     178
Subcardioid     178
Practical Applications     179
Operating Principle     180
Transducer Types     180
Magnetic Induction Transducers     180
Variable Capacitance Transducers     180
Operating Principle of the Moving-Coil Mic     181
Operating Principle of the Ribbon Mic     181
Operating Principle of the Condenser Mic     182
Phantom Power     184
Electret Condenser Microphones     185
Comparison between Moving-Coil, Ribbon, and Condenser Microphones     185
Moving-Coil Mics     185
Condenser Microphones     186
Ribbon Mics     187
The Shaping of the Pickup Pattern     188
Physical Housing Design     188
The Proximity Effect     190
Compensating for the Proximity Effect     191
Using the Proximity Effect to Our Advantage     191
Response Characteristic     191
Frequency Response Curve     191
Transient Response     192
Output Characteristic     192
Equivalent Noise Rating/Self-Noise     192
Sensitivity     193
Maximum SPL Rating     193
Impedance     194
Stereo Mic Techniques     194
Wireless Systems     199
Components of the System     199
Input Device     199
Transmitter     199
Receiver     200
AM and FM Systems     200
Amplitude Modulation     201
Frequency Modulation     201
VHF and UHF Systems     201
Capture Effect     202
Diversity     202
Range     203
Antenna Distribution Systems     204
Batteries     204
Diversity Indicator     205
Squelch     206
Microphones for Wireless Systems     206
Lavaliere     206
Headset     209
Lectern     209
Handheld     209
Control Which Mic Is Turned On     209
Two Mics     210
Wireless Frequency Selection      210
Mute Switch versus Power Switch     211
Caring for the Antenna     211
Adjusting Levels     212
Connecting to the Sound System     212
The Backup Plan     213
Using the Wireless System     213
Loudspeakers     215
Commercially Built Cabinets     215
Manufacturers     217
Pro Audio Suppliers     218
Crossover Configurations     218
Passive Crossover     219
Active Crossover     219
Analog versus Digital Crossovers     220
Full-Range Cabinets     220
Two-Way Cabinets     220
Three-Way Cabinets     221
Four-Way Systems     222
Powered Cabinets Pros and Cons     222
Speaker Components     223
Drivers     223
Direct Radiating Cone Speakers     223
Horn Compression Drivers     224
The Importance of Enclosures     224
Sealed Enclosures     225
Infinite Baffle     225
Acoustic Suspension     225
Bass Reflex     225
The Passive Radiator     226
Transmission Line      226
Component Alignment     226
Speaker Impedance     228
Calculating Speaker Impedance Loads     229
The Racks     231
Drive Rack     231
Dynamics     232
Compressor/Limiters     232
Equalizers     233
Real-Time Analyzers (RTA)     233
Crossovers     235
Delays     236
The Amp Rack     237
Peak Power     237
RMS Power     237
Continuous Power     237
THD (Total Harmonic Distortion)     238
IMD (Intermodulation Distortion)     238
Speaker Sensitivity     238
Power, SPL, and Sensitivity     239
Correct Power Ratings for Each Cabinet     239
Bridging a Stereo Amplifier     239
Effects Rack     241
Mic Preamplifiers     241
Dynamics     242
Compressor/Limiter     243
Expander/Gates     244
Effects     246
Equalizers     247
Music Playback Devices     247
Recording Devices     248
Patch Bays     248
Intermittent Connections      249
Loss of Signal Integrity     249
Confusion for Inexperienced Operators     249
Are They More Trouble Than They're Worth?     250
Selecting the Appropriate Connection Format     250
Quarter-Inch     250
Tiny Telephone     250
RCA     250
Types of Patch Bay Connections     250
Normalled     250
Half Normalled-Bottom     251
Half-Normalled-Top     251
Full-Normalled     251
Parallel     251
De-Normalled, Non-Normalled, or Isolated     251
What Goes into a Patch Bay     252
Mixer Outputs     252
Mixer Inputs     252
Processor Inputs and Outputs     253
Playback Device Outputs     253
Tie Lines     253
Recording Device Inputs and Outputs     253
Planning and Laying Out an Efficient Bay     254
Keeping it Neat     255
Locking Various Components     255
Lockout Devices     255
The Box with No Knobs     256
Basic Equipment Needs     247
Generic Recommendations     257
Professional Help      257
Microphones     258
Cables     258
Direct Boxes     258
Playback Devices     259
Cases     259
Small Church: Fewer Than 75 People     259
Music versus Voice Reproduction     259
Sound System Recommendation #1