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Kent Margraves is National Applications Manager, Installed Sound at Sennheiser Electronic Corporation, where he provides audio training and product application/system design support to the worship community. Kent also has extensive, full-time experience as a professional worship audio director.
Michael Hill is a Sennheiser sales representative and has been mixing audio for touring and church installations for over 25 years. He has led worship since the age of 17 and is currently serving as Worship Pastor at Trinity Fellowship Church in Rockwall, TX. His seminars focus on eliminating the gap between "stage performers" and techs to make a more productive "praise team."
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H.O.W. Tips & Tricks - Get Out of the Booth!

Audio Sound Systems, Houses of Worship, voice, microphone
Audio Sound Systems, Houses of Worship, voice, microphone Tips & Tricks
Get Out of the Booth!
Mixing for the Whole House
By Kent Margraves, Sennheiser

Ever had a comment from a worshipper, whether positive or negative, regarding the live sound experience – and it differs totally from what you thought you just heard and mixed?

Large room acoustics (particularly room modes), loudspeaker selection / orientation / optimization, audience size and participation, and several other factors all contribute to the fact that the live sound experience is different in every seat in your worship space. If it is a great room with proper system design and installation, those variations may be minor. In many instances, they are not minor. Either way, they do exist, and the FOH mixer must realize that he or she is only listening to (and mixing to) one position's perspective when standing behind the mixing console.
During worship, only one of all those factors is under his control – the mix. The best the mixer can do is understand the other factors and learn to mix within that particular environment. There are some worship facilities where consistency has been achieved across most of the audience area through excellent design and integration...but for the vast majority of venues, it's one thing to create a brilliant mix for the mix position and another thing to translate that across the whole house.
So it is critical to walk the audience area whenever possible to hear the perspectives of the audience areas (especially if there is a trustworthy A2 to drive the console for a few minutes at a time). Tonality may be noticeably different in some locations. For instance, it may be discovered that the majority of the house hears a little more bass thump than the mix position does. The mixer that notices this can take it into account in the mixing process. That would never be noticed, and compensated for, without walking away from the mix position.

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