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Get quick tips and tricks for achieving the best sound
10 Tips for Improving the Monitor Mix Prior to Sunday
By Kent Margraves, Sennheiser
The worship mixer's job is executed in the mix position during worship, but its success is mostly established
outside the mix position, prior to worship.
- Know the music beforehand
- Host a pre-production meeting
- Check RF performance
- Perform system checks
- Optimize microphone technique
- Make or obtain cue sheets
- Remember that soundcheck is not set-up
- Perform I/O checks
- Review mixes
- Train your ears
Get whatever rehearsal music media is available to the worship team for review (legally). Learn the arrangements
by listening during the week. Not only will your mixes come together quicker for each song, you'll also
anticipate things like guitar solos or false endings before they happen—not just after they've already begun.
Does it really make sense when everyone on the stage knows the songs and arrangements thoroughly, but the sound
tech does not?
Meet with the music/worship and production teams well in advance of each planned service. Reviewing plans and
expectations can ensure an appropriate audio setup, and can avoid potentially tough sound reinforcement surprises.
Example: the worship department requests three wireless lavalier or headworn systems for a worship service. At
soundcheck, they are placed on three actors and the tech quickly finds they're not actors at all... they're
singers, and they're asking for their vocals in the monitors! If they are omni-directional it's a tough situation
at best, and practically impossible in many environments. Now, the worship department may have requested the
drama-style mics because the presentation or mood doesn't suit the normal handheld vocal miking approach. But
they didn't anticipate the technical disaster that comes with their request (is it really their job to understand
all the tech stuff?). Heading this surprise off at an advance meeting allows the audio tech to suggest a better
miking technique, such as normal handheld vocal mics or possibly cardioid headworn mics. But our point here is
not about which mic technique is right for this application, it is that regardless of the chosen solution or
compromise, it can be sorted out in advance – not at soundcheck.
If any wireless microphones, wireless personal monitor systems, wireless assistive listening systems or any other
RF devices are used in the worship space, they must be properly installed and their frequencies coordinated for
compatibility. Assuming proper installation, antenna orientation, and frequency coordination have been
accomplished, it remains wise to periodically check RF performance. New sources of interference and other
surprises are better found during testing—without an audience!
To properly check the systems, turn on all RF devices that will be on during worship, and turn on any equipment
in close proximity to the RF devices. Portable transmitters and receivers should not be clustered together for
the test—piling them together on a desk or other surface at the sound booth is convenient, but a common mistake!
They should be at least several feet apart, and located onstage or in a general area where they will be used.
The outputs of all devices should be auditioned over the PA or with headphones (RF mics), on headphones or
earphones (wireless personal monitor receivers), or the receiver/transducer that will be used by the worshipper
(assistive listening device).
Note: It can be alternately argued that piling all portable RF devices together for an RF test/sound check can
actually be a wise move as it creates a worst case scenario.
Verify the PA system is in working order before Sunday morning. A brief walk/listen check a day (or a few) in
advance can confirm that all PA zones/loudspeakers are working with no failures, and it's wise to check other
output zones too, like lobby, overflow and monitor sends. A blown horn driver in the main PA cluster is not easy
to resolve at 7:45 a.m. on Sunday!
Review the microphone selection and placements onstage. Choosing appropriate mics and optimizing placement can
influence the PA mix notably by reducing leakage, increasing gain-before-feedback and capturing better sounding
sources.
Get a copy of whatever cue/tech sheet or order of service outline is available or draw one up. Clearly mark mic
and roll-in cues, and any other important audio notes, in advance of soundcheck. Mixing notes can be added during
soundcheck. (If mixing on a suitable digital platform, it may be possible to pre-program some or all of the cues
and mix changes. But manual control should always be available, and the cue sheet should always be visible,
whether in paper or electronic form.) For very busy events, such as dramatic pageants, enlist an assistant to
manage and announce the cues.
Clearly distinguish between set-up and soundcheck. Soundcheck is the time for the audio team to dial in the
mixes, with the elements (gear and musicians, etc.) working exactly as they will be during the worship service.
Complete all audio set-up work in advance of soundcheck, so that soundcheck really is just that—soundcheck!
Some worship audio techs add an Input/Output (I/O) check procedure prior to sound check. This is highly
recommended. I/O check takes a sound source (such as a CD), one person on stage, and one person at each mix
position (two people in many church applications). Every input and output is briefly tested over the PA system
(inputs) and over wedges or earphones (outputs). It's a 5- or 10-minute effort at most, and this procedure
verifies the entire signal paths from sources to worshippers (FOH) and sources to artists (monitors). And the
occasional I/O that doesn't work is identified and hopefully resolved before the worship team hits the
stage—preserving soundcheck.
If you record your mixes, review them. If you are making a classic "board tape" right off the console's PA mix,
review it with the knowledge that it is mixed for the house sound and it does not include the live acoustic
portion of the listening experience (which affects mix balance). If you multi-track your services, you've got a
great practice and training tool—play the tracks back through the FOH console. And if you're fortunate enough to
own a digital mixing platform that offers "virtual sound check" technology, you've got the ultimate tool for
practicing, training and fine tuning the sound reinforcement mix.
Good mixing requires good listening skills, which require training and practice. Listen to great mixes that are
relevant to your worship style, and "take them apart" mentally. Discover the details that make good blends and
mixes. Train your ears to identify frequency ranges. This skill is critical for sound reinforcement mixing. There
are a number of useful training tools on the market. Or, simply practice with a tone generator and real-time
analyzer (RTA).
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Testimonials
What worship ministries are saying about Sennheiser...
"I also would like to thank you and Sennheiser for not only your assistance with the whole TVBD fiasco, but your support of the H.O.W. market in general. It is truly remarkable these days to have a manufacturer of the size of Sennheiser that allows its personnel to interact with the end-user not only through outlets such as CSC, but the rapid personal response to crazy tech guys like me! It is why I can recommend using your products so readily."
"I also would like to thank you and Sennheiser for not only your assistance with the whole TVBD fiasco, but your support of the H.O.W. market in general. It is truly remarkable these days to have a manufacturer of the size of Sennheiser that allows its personnel to interact with the end-user not only through outlets such as CSC, but the rapid personal response to crazy tech guys like me! It is why I can recommend using your products so readily."
Jay Ballard, Director of Technical Ministries, First Baptist Church of Plant City, Florida