I want to discuss a technique that appears to be fairly simple, yet can lead to frustration. The basic concept is to create a mix that allows you to hear everything you see on stage. The concept is simple enough- Look at each input on your console and ask yourself if you can hear it in the mix. If the answer is ‘yes,’ then move on to the next channel. If the answer is ‘no,’ then the fun begins! Rather than just push the fader up until you can hear that specific input, I’d quickly ask yourself a few questions to help you determine how to best address the issue.

Let me ask you a question. What do you think of the sound of your room? What I want to know is how you think it sounds when you turn off the sound system. Have you heard an acoustic piano or drum kit played in the room while you sit in the seats and just listen? How about the voices of a choir, sans amplification? I’m guessing very few of you would say it sounds very good. Walk into any church and there’s a better than 50% chance you’ll find some kind of acoustic treatment on the walls, in the ceiling, under the stage, etc. If you’ve added these at your church, let us know if you noticed a big difference or not. I tend to find these treatments as band-aids, not resolutions.

Do you know what the difference is between an acoustic guitar and a trampoline? One of my favorite music jokes. The truth is that acoustics can be a pain. Getting a good acoustic sound in the studio usually involves several condenser microphones, some compression, a room mic, and a lot of attention to detail. In a live setting, most acoustics get plugged into a direct box and are given very little thought. The result is usually a dull, unatural ’nylon’ sound. To combat this we have to follow one of my #1 rules in doing sound.