Jeff, I have been having trouble with achieving a good quality sound from our lavaliere systems, both ear set and chest clipped. I am not new to ringing out problem frequencies, but the problems are coming from across the entire band and there are many of them. We are using four downstage EAW micro wedge (the older versions) as our monitoring and I don’t get a loud enough volume through them before they feedback. We had a special guest speaker last week and his volume just wasn’t loud enough, but there was no way to achieve a louder volume without feedback. I would try placing the monitors in a different location, but the microphones are Omni so this wont help much. I’ve tried using a graphic EQ inserted on the channel and I am still having to use the parametric to do more surgical work instead of being able to use it to shape the butchered sound musically. Every time I complain about the volume level, I am told by my boss that the volume is fine, and it’s not. I get complaints from the lead and worship pastor about this nearly every week and I am running out of ideas. What do you think about this? Also, I heard that it is not good to use compression on lavaliere type of mics because they contribute to these specified problems. Is there any truth to this? I am using a compressor, but I am only compressing 3:1 at an average of 2-5db(max) gain reduction. Oh, and of course I’ve tried flipping the phase. Right now i have gone with using just the onboard parametric EQ and bypassing the graphic. I get a decent sound, but i need about 5db more headroom onstage and out front. Do you have any ideas?

Answer:

Tough job~
- loud environments (like having to provide foldback through stage wedges) almost always will require a direction mic. The Omni-direction sound better and are much less sensitive to exact placement and aiming, so I prefer to use them, but when you add wedges, when you add instruments or other sounds around the speaker / singer – then you are going to have much better results with direction mics.
- Remember the science – the closer to the source the less gain required. Also, the less of the sound from the mic returning to the mic, the more gain before feedback available. Use the pickup pattern of the mics, the polar patern of the speakers and watch for reflections (off the pulpit or other large surfaces–stage??). You can get 3db more gain by decreasing by half the distance between the mic and the mouth (6db with a directional mic).
- Once you get to the point where multiple frequencies are ringing at the same point (broadband), there is not much more you can do electronically. I usally call it quits at 6-8 specific notch filters (for any one mic / system).
- Compressors can cause problems if not used carefully. You have to be careful the input is stable at the gain setpoint with the compressor wide open – then you can use the compressor on top of that to pull down or “level” loud voices / yelling / etc. The problem often occurs in dialing in the compressor and gain while the input is under compression, then when it get quiet, the compressor opens up, adding an additional 3-9db gain to the channel, and it starts to ring.
- Gates (downward expander really) can help also, by dropping the gain of the channel 3 or 6 db when it is quiet, keeping a system that is on the edge from building up the ring.
- Quality equipment – obviously the higher quality of components, the better results you will get with all of this. One of the things you get with better equipment is smoother frequency responses and better / cleaner off axis rejection / pattern control / noise immunity. These properties can all help improve your gain to feedback ratios.

Hopefully that is helpful. No real magic bullet, just applying science and art carefully. Let me know if you need help brainstorming any other ideas for solutions or answering questions.

Background Noise Control

For the production spaces, Noise (or Room) Criteria need to be established.  These Criteria are standard measurable levels of acceptable background noise based upon the proposed uses of the room.  Background noise is generated by mechanical, electrical, environmental and structural elements in a room or shared walls with another room, including but not limited to plumbing, transformer or light fixture hum, HVAC fan and compressor noise and elevator mechanics. Mechanical and electrical systems can be designed to meet the recommended Noise/Room Criteria in order to have a space appropriate for clean, high quality speech intelligibility and worship.

Noise Isolation

Once the acceptable background noise level in a space has been established, the space must be designed to limit how much sound from outside that room is transmitted into the room. Sound Transmission Class (STC) ratings are set for walls, floors, ceilings and doors; these ratings describe the ability of the building element to reduce the level of noise transferred through it.  Noise Isolation Class (NIC) should be established defining the isolation level between two spaces based upon the usage of those spaces, and then the STC ratings of the building elements between those spaces can be determined and provide design recommendations for walls between worship space and multipurpose area, children’s area and other use spaces of the building to prevent outside noise from becoming a distraction to the worship services.

Room Acoustics

The size, shape and finish materials of the production room affect what happens to sound generated in the room.  The space is designed to support its function. Sound recording, playback, editing, mixing or listening–each has unique requirements to allow successful media production. Room size and shape play a large role in the overall acoustic properties of the room. The additions of the non-parallel walls and other design features help reduce the “slap-back” echoes and can even out the bass response of the room. Reflections from the sound system or sound originating on the platform should be controlled to provide a clear acoustic environment for the congregation. This will often require some acoustic treatment panels on the back and sidewalls of the room, which will need to be designed appropriately for this space.

The acoustical environment is designed to perform appropriately across the entire frequency range. Appropriate Reverberation Time coefficient (RT) determines the liveliness (or deadness) of the worship space.  Appropriate liveliness in the congregation area should be allowed to encourage participation, singing and create the atmosphere of excitement. One key area of acoustics, the reverberation response of the room at different frequencies, can help us determine the acoustics to match what the room needs. We will design the final package to work with the P.A., allowing the congregation to worship in a “live” feeling space where they can hear themselves sing, while minimizing room excitement and slap back to the platform to reduce feedback and improve the musicians’ performance space and the audio picked up by the microphones.

Acoustic Design Process

Our Acoustic design process builds a three-dimensional computer generated model of your worship space. We then add all the characteristics of the room that affect acoustic success; seating style and layout, floor and wall coverings, window treatments as well as platform layout. We then position the selected speakers in this model to see the response of the room. We adjust the speaker positions, as well as any proposed acoustic treatments to electronically ‘tune’ the room before it is built.

Through this process we are able to adjust the room responses to achieve the acoustic goals of the congregation. We are able to make the music from the platform to be alive, precise and to carefully implement the acoustics of the room to allow the congregational singing and involvement to be an important part of the experience for all. We also insure that the spoken word is clear and understandable, without unintended echo’s and unintelligibility common from a room or audio system that is not properly designed through this process.

Also see this article: Church Acoustics: Reverberation in a Room

(from Brian Johnson – whole album here)

(photo by Verge photography team)

The Big Red Tractor from Jacob Lewis on Vimeo.

For most of the last 6 months, I have been considering the coworking movement, shared office space and ways to work together as a community. In addition I have been looking for ways to be environmentally friendly and work / live / play with less impact and waste (as well as less impact to our bottom line). These ideas seem to have a part in the missional lifestyle and ministry I am called to, and they fit neatly with the life stage of my business and family.

The trend to self employment, smaller companies and telecommuting leaves a new class of worker either isolated in suburban and urban homes for the 9-to-5 or in the edge seats of coffee shops or cafes.  But the coffee shop is not always the best or most conducive place to do business, nor is it an environment that actually encourages community in a culture where people have come to expect public spaces to be free from interference into personal space: picture 30 people sitting side by side, midmorning, with headphones on and eyes trained to a screen. Coffee shop owners sometimes face the dilemma of customers who are unable to find a gathering spot among the coffee offices. Additionally, creative professionals are looking for interaction in their design process: brain storming, a place to bounce ideas off of, peer critique and impromptu partnerships for new ideas.

An article in the New York Times describes the shared office space options well. While executive suites have been around for a while, new coworking spaces place more emphasis on the “co” – the working together. Coworking spaces are becoming more popular.  Some of the more successful facilities combine the best of all worlds with informal space, conference rooms, shared desk, dedicated desk and private offices, along with services including  phone answering, post office boxes, high speed internet access, printing and other office machines and the inevitable coffee or snack bars. Some provide even more services– yoga classes, onsite daycare, and even onsite laundry and cooking facilities or services for the multi-tasking entrepreneur who maintains the “at home parent” role.

So how can coworking space fit into missional living?  Imagine if there were rent-able offices in a location central to where you live and play.  You might conduct some of your business from home, while other times walk to the coffee shop, but also having a third option, a desk with the infrastructure  and tools needed to work efficiently, but also others professionals that can be the office peers for water cooler chats.  Artists and musicians, work-at-home and telecommuting new moms and dads, company start-ups, internet jobs, church plants without church offices. Living and working in community with affordable and accessible workspace that leads to increased collaboration is good for the business, the pocketbook, the planet and the soul.

We are seeing a correction of several decades of expansion – growth in the amount of space needed for work, growth in the size of our houses, growth in the amount of consumables  and throw away and products we use, growth in the amount of isolation we find ourselves in.  It is time to reverse these trends, live more on less, bridge the social gaps and come together. Rather than working isolated in offices, homes and even coffee shops,  we should come together in community, striving to create a workplace where business professionals, artist, free lancers, web developers, entrepreneur, etc can work side-by-side as neighbors.

How else can we make a greener office? (this list is based on “Green Desk“)

8B4 :: Jan. 24, 2010 from Gateway Church on Vimeo.

8B4 Jan. 17 2010 from Gateway Church on Vimeo.

Stark Raving Solutions and
Essentric Audio Productions

Presents….

Church Sound Basic Training

a soundbooth.org Audio Workshop

Details:

Date: February 19-20th, 2010

Location: Tree of Life Church
16108 Yellow Sage Street
Pflugerville, TX 78660-2503
(www.treeoflifeaustin.org)

Cost: $245 / Person
*Early Bird and Group Discounts (3+) available

Information and Registration: http://austinchurchsound2010.eventbrite.com/

Who should attend?

• Church audio technicians who need a solid foundation in the theories and practices of successful audio production in the house of worship.
• Worship leaders and musicians who desire a greater understanding of audio systems.

Schedule for Workshop

About the Presenter

Jeffrey Jones (CTS)
Jeff received his degree in Electrical Engineering from Colorado State University. He brings over 25 years of audio experience in live sound, recording, acoustics, design and installation with a primary focus on the church context. Jeff has a strong desire to see churches effectively communicate their message. Jeff has con-
sulted with churches across the country and has designed and implemented Audio systems in Alaska, California, Colorado, Idaho, Kansas, Missouri, Texas, Oklahoma, and Washington.

Jeff has also served as Media Director and Audio Engineer for churches large and small. Jeff performs training at regional and national events, such as INFOCOMM an industry-leading technology convention.

What People Are Saying…
“The instructor was very knowledgeable: the oral presentation was excellent.”
“The best workshop I have ever attended. I will walk away with
things I’ll keep with me for the rest of my life.”
“I’ve been a sound technician for about 5 years and this was a
good refresher of basic sound mixing theory and then filled with
lots of new technical equipment info…”

jeff@soundbooth.org for more information.

Jeff Jones

Blog: mediaartsdad.com

www.essentricaudio.com

www.starkravingsolutions.com

www.soundbooth.org