Where should we put the mixer?
The question is very simple, but 80% of churches choose the wrong answer.
In practice, most churches will try to put the control room (mixer) in a concealed position, mainly for visual aesthetics. I guess they didn't ask anyone in the band to operate these devices, they would rather put them in a corner.
If you mix vocals with instruments, where is the balance point of *?
How to balance the volume of religious singing and the volume of sound system?
Your answer should be "put the mixer in the main area where the audience sits!"
If the mixer can't hear the sound system and religious singing clearly when operating the mixer, his / her tuning will never be good. For example: the sound system in the main area may be too loud, but your tuner doesn't know. Chinese style
Like the picture above, the control room is behind the balcony on the third floor. The tuner tries to use this position to tune. Pastor (PS: Party A) is convinced that there is no problem in this room. If there is any problem, the tuner can come out of the room to listen. Poor guy.When the sound system is too loud, you will find one thing: lost the feeling of worship. This powerful difference makes your church music a unique live concert. Too loud a sound will make the believers unable to concentrate on prayer. Run down from the balcony on the third floor to the main amplifying position to listen to the sound. It's better to put the mixing table in the position that should be put.
If it is unlikely to place a mixer in the main sound reinforcement area, what are your options?
I can't say that the mixer shouldn't be on the third floor balcony, because it works in extremely rare cases.
If you have to put the mixer on the balcony, you can improve the situation by adding special monitoring speakers for the mixer. This monitor speaker needs to do delay, equalization and level matching to replace the sound effect at the audience's seat in the main sound reinforcement area. The tuner won't hear the voices of the believers, but it's good to hear the remix.
Another consideration is not to put the mixer in the center of the room.
Remember that when the sound from your speaker system interacts with the acoustic environment of the church, the energy of the sound will cancel out in some areas of the room.
For example, a 100Hz sine wave is used to test, feed it into the sound system, and then walk around the room to listen to the areas where the sound disappears.
It depends on the architectural structure of the church and the location of the speaker, but since most of the church structures are symmetrical, it is entirely possible to cancel out in the middle of the room. If it is a low-frequency sound, the "zero point" may be quite wide. As a result, this low-frequency sound is likely to be missed in the center of the building.
In view of this situation, the tuner will naturally add more low-frequency EQ to adjust the bass part, or increase the bass volume in the music.
To know if the low frequency is correct, * the way is to go to other areas of the room and listen to the sound effect. Mixing can be easily affected when the mixer is away from the mixer. What's worse, if they choose the wrong time to walk around, they may miss the management of microphone whistling, which is not a good thing.
Another "popular" location for the mixer in the church is in the opening in the back wall, a solution that often creates serious obstacles for the mixer.
The sound heard in the control room can differ from 10dB to 20dB in high frequency response and overall level, which is totally different from that in the main sound reinforcement area. Because this location is a separate room, it can also have its own characteristics in sound presentation. In such a context, it is almost impossible for a tuner to hear a voice close to what the audience hears. Tuning in this case is like driving on a highway with a frosted windshield.
Imagine you have a top chair on which you can sit and see everything on the stage through the photographer's legs. Do you think it's a good idea?
Please never put the mixer in the room behind the glass window or in a closet.
I've seen some bad control rooms, but * the bad place is in a church in Singapore. The tuner was enclosed in a dark room with a glass curtain wall. He had a small window about 8 inches high and 12 inches wide, which he could push open to "listen" to what was going on in the church.
Here he often listens to the speakers through a microphone suspended in the church, so that he can hear the sound outside. In addition, he couldn't see a clear stage here, so he remotely controlled the camera hanging on a high post in front of the stage, and watched the stage through a small monitor on the table.
I'm glad I'm just teaching tuning there, not every day.
Here is a list to help you locate the control room (mixer) correctly:
Can the tuner see the high frequency horn unit aiming at this position directly?
Can the tuner clearly observe what's going on on stage?
Is the body close enough to the audience to share their feelings?
Within 10 feet, in the area above or on the side, are there any obstacles that block the sound?
Is the difference between the room frequency response and the frequency response sound pressure level of the mixer position within ± 3dB, and SPL is measured at the main seating area?
If the tuning is not good, don't attack the tuners, it may not be their fault.
Instead, I would encourage you to try not to hide the sound equipment and the tuner.
If our goal is technical excellence, is it meaningful to put your tuner's ears in a sound environment with your audience? If you agree, call Amen! (if you don't, remember - this is God's physical law, not mine. )