It’s a great thing that technology has become more and more affordable. A console 3-feet wide can now do more than all the gear you could cram in a 20′ x 10′ FOH area! Digital boards, smaller circuitry, computer-assisted all means many more sophisticated tools right at your fingertips, for the church audio guy to either masterfully shape your worship band mix… or destroy it by trying to use every tool available! This topic alone could be a book, but I’m going to focus in on one specific tool that I think gets waaaaay overused: Mute Groups, or Scenes (depending on your board).

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.

Understanding and using EQ is essential for any audio engineer. Going beyond treble and bass and learning what frequencies sound like when they are too loud or missing from an input will allow you to shape the sounds into full, smooth, natural pieces of your mix. This post is going to focus on how to get some practice listening to different frequencies, shaping the sounds into the best they can be, and some common traps some fall into that you should try to avoid.

A common technique I see in churches, especially ones on a tight budget, is the use of a compressor on a subgroup. The thinking is that rather than having to purchase 4, 6, or 8 channels of compression, the user will just get a 2-channel unit, insert it into a subgroup, and then whenever something needs compressed, they will route it through that subgroup instead of straight to the master output of the console.

Ideally, if something needs compressed, you should insert your compressor into that input’s channel directly. By routing everything through a subgroup, the compressor can have some ill affects on your mix, and you may be adding more frustrations than your solving.

Here’s the scene. You’ve been helping out at church for a few months. By now you’re comfortable setting up the stage, hooking up the monitors, making sure the mics are all working, and you’ve even had to troubleshoot some problems along the way. You’re getting comfortable behind the board, understanding the aux sends, assigning your inputs into the subgroups, and even figured out how to hook up the recording CD deck by the RCA plugs instead of 3 sets of adapters coming from some random aux send. Are you ready for the next step that 99% of church sound guys never take?