R-E-S-P-E-C-T “just a little bit” between Tech and Talent

I had the privilege of doing front of house sound for a sitting President of the United States.  It was one of the simplest and easy gigs I have ever done.  It was also one of the highest paying gigs I have ever done. You can read about it here

During the 4 hour warm up (The President was over 2 hours late) one of the Presidents detail handed me a few CD’s for pre-music. It was they typical stuff of that day U2, Madonna, Bon Jovi and even Kenny G.  During the wait the famous song RESPECT by Aretha Franklin came on. I have to admit I chuckled, thinking yeah respect, I don’t agree with the Presidents Policies or morality.

I was struck somewhere during that song how wrong my attitude was.  While I did not agree with this man, He was in a position of authority and was the reigning leader of the free world. I am called as a Christian to respect the office of the Presidency and at least honor this man as he was placed in this position.

Continue reading “R-E-S-P-E-C-T “just a little bit” between Tech and Talent”

The Kick Drum Is Too Loud? Says Who?

Sometimes my first reaction to something isn’t always my best reaction.

Recently I was mixing a group that I’d handled a few times before, and after about 30 minutes of rehearsal, the leader walked out in to the house to listen to the mix.

What happened next is where I thankfully took time to process rather than react. After a few minutes, the leader shouted, in what I interpreted as a rather curt tone, “The kick drum is way too loud!”

My passive aggressive nature was screaming from me to either shout back or turn up the kick even more.

But fortunately, in my case, a bit of wisdom has finally come with age. So rather than elevate the conflict, I did the smart thing and turned down the kick. Doing so also allowed me to think a bit more rationally.

My thoughts, not in any particular order:

1) The leader knows the band and what the mix should sound like.

2) The leader is an idiot. Everyone likes to feel the kick drum (notice I said I was only a bit more rational).

3) I’m a professional and know how to mix (OK, so I’m not always rational).

4) Maybe the kick is a little heavier on the main floor (I was mixing from a balcony position).

5) The average age of the audience will be somewhere between blue hair and retirement home, so the leader is probably just asking me to mix to the audience.

6) I’ve been accused before about having too much kick in my mixes.

7) Perhaps my mix is not matching the musical performance.

That last thought, number 7, is the one I settled on as “most” valid and most likely what the leader intended: the sound of the performance should match the music of the performance. Bill Gaither music should not sound like rock. Rock should not sound like classical. Classical should not sound like there is a sound system present. Etc…

I was thankful I didn’t take his “suggestion” as a personal attack and do something stupid, and I was able to provide a mix that better represented the musical performance. Win-win.

Later in the rehearsal, I went down to the main floor to hear how it sounded overall, and to specifically evaluate the kick. I thought the kick (and drums overall) sounded O.K., maybe a little light, but I asked the leader to join me and share what he was hearing.

His take was that the drums, overall, were a little too loud. It was his show, he had written all of the arrangements, and he leads this band all of the time, so he knows the sound he is looking for. It was my job to make that happen.

The morals of this story:

1) Be slow to speak and react.

2) Don’t take things personally. Just because someone makes a suggestion, don’t get offended.

3) Our role as sound mixers is to best represent what’s happening on the stage and to mix to that style of music, not how we personally like it.

4) The leader has the final say. He (or she) has either written or picked out the arrangements, secured the musicians, and has an opinion on how it should sound.

The Extra 10% Really Matters

Why do so many churches talk about middle of the road when it comes to system upgrades?
I recently had two experiences, unrelated on the surface, that really got me thinking.
The first happened at a church that was talking with me about upgrading their sound system. If you’ve ever been through the process of updating a system, be it sound, lighting or video, you know it’s a chore—or actually, a set of chores.There’s the pursuit of determining what’s needed, soliciting proposals, selecting a proposal, getting the church/committee to sign off on it, overseeing the install of the new components, and then figuring out how to operate them. I could talk at length about any one of the steps, but based on my recent experience, let’s start with a question (actually two): Why upgrade, and what are the expectations?

Continue reading “The Extra 10% Really Matters”

The Dynamics Of Dynamics

Sitting in the tech booth during a service on a recent Sunday, I had an “a-ha” moment. Not a big one, but still a good lesson.

We had traded worship bands for the day with our sister church. Our band was playing at their place, and vice versa.

One of our front of house people, Justin, traveled with the band to do the mixing. Just as our service began, I received a text from Justin that simply said, “Running a service at 85 dBA. A new record!” I glanced over at the Smaart app running on my iPad, and our levels were hovering around 88 dBA.

This was during a mellow song; moments later we were doing 90 to 95 dBA. Just then, Justin texted me again: “Update. I was able to get it to 80 dBA. It seems to have pleased the masses.”

This “conversation” (via text) got me thinking about the “how loud is too loud” conversation that’s a constant among church tech folks, and I found myself watching our Smaart app meter a little more than usual. In fact, I rarely look at it in terms of overall SPL, but rather for monitoring overall frequency response.

Continue reading “The Dynamics Of Dynamics”

Communication Can Make All The Difference In Making A Ministry Much More Effective

Over the years I’ve worked with churches, the problems I find often have foundation in basic communication, organization and administrative skills — or more precisely, the lack thereof.

Over the years I’ve worked with churches, the problems I find often have foundation in basic communication, organization and administrative skills—or more precisely, the lack thereof.

My primary field of interest and experience is with the technical side of ministry, so the discussion here will reflect that. However, I offer that many of these same approaches and ideas can be applied to many areas of a ministry.

Quite often I visit with a church where there are numerous complaints about a lack of consistently in the technical area, and the explanation goes something like: “When Jim is here everything works, but when he is not it is a disaster.”

I know at that point that while Jim may be a great operator and may understand the system very well, he’s most likely not a good delegator, administrator or teacher. When a church is suffering from the “Jim’s the man” syndrome, I can almost guarantee that the mixing board/patching is either not labeled, labeled incorrectly or just poorly labeled. The poor folks who are mixing on the weeks Jim is not there end up scrambling just to get things properly connected and working.

Also, because they’re volunteers and “Jim the man” is the golden boy in the eyes of the Worship Leader, people are afraid to step in and to try to organize and logically lay out the board.

Other things that end up happening usually relate back to clear organization, things like:

• Batteries failing in the middle of the service because everybody thought someone else had changed them.

• Trying four mic cables until you find one that works, because nobody throws out or labels the bad cables.

• The last minute scramble to find a mic (or stand, or direct box) that is missing because somebody used it during the week in another room at the church.

• Nobody shows up to mix on a Sunday morning. Bob traded with Steve who traded with George and now nobody really knows who on for the next month.

• The sound person “on” for a given week shows up “late” because “Jim the man” never told him/her the Worship Leader was bringing in a mini-orchestra of 10 players, along with  six vocalists. The poor sound person was actually on-time for a typical Sunday, but did now know an extra hour or so was needed for additional setup.

I’m sure you can add your own list of frustrations but rather than moan over them, let’s look at how to prevent them.

1) Get together as a group and agree to a consistent layout of the mixing board and create a channel/patch list that sits next to the board. Also, commit to each other that if for some reason you need to deviate from the standard layout, immediately following the service you will reset the boars to the standard layout.

2) Make a rule that first thing every Sunday new batteries go in the wireless mics. This takes the guess work out of the equation and also lets you use the mics during the week without wondering when the batteries will die. Wireless mics usually last up to 10 hours on a fresh set of batteries. To be precise, check the specs of your system, and then simply do the math.

3) Throw away bad cables. I know that this is not eco-friendly and everyone likes to occasionally get out the soldering iron. However, my experience shows that either the repair never happens and the cable accidentally gets placed back with the good ones, or a repair ends up being poorly done.

4) Organize mics, cables and all accessories and put a sign out sheet that details who took the item and to what room they took it to. This way everyone will know where that missing equipment should be located.

5) Hand out or post online a schedule for six months of who is “on” every Sunday. In the sound booth (or online), keep a master schedule with this rule: “if your name is on for that day, you’d better be there.” This doesn’t mean that dates can’t be traded; rather, if dates are traded, this should be immediately noted on the master schedule.

6) Put the burden on the Worship Leader to communicate—ahead of time—with the actual person that is on for that Sunday. A simple email with a stage layout and instrument list will provide the information needed to plan for special needs and configurations, as well as the time to do them right.

These may sound like simple suggestions, but may churches are simply negligent in these fairly basic tasks. If there is a no leader of the crew, volunteer to be the coordinator, or facilitator that will facilitate the items above. If there is a clear leader, offer to help them with the organization. In a respectful manner, of course

 

Insuring Consistency From Service To Service

The benefit of keeping everything in its place and in working order

Talking with worship technicians and worship leaders, I often hear the complaint that from week to week, the quality of Sunday morning services varies.

Some of this stems from training, such as when there’s a problem and the tech doesn’t know how to fix it. Some of it is skill; for example, some sound engineers just have a better ear and command of the equipment than others.

The skill level of musicians may also vary, usually due to lack of experience and thus confidence. When they know a song, no problem, but when they’re unsure, they hold back and can become tentative.

But in my experience, there’s another primary contributor to the problem of inconsistency: equipment status and organization.

Example: It’s five minutes before the start of the service, and the sound engineer is sweating bullets, being told to set up for an additional four musicians that the worship leader hadn’t mentioned until just now. No time for sound check, no time for even a simple line check for these new players.

The mics and direct boxes are quickly located, plugged in, and positioned, and then the engineer high-tails it to the sound booth in time for the start of the service.

Rough estimates are made requiring the input gain and monitor levels, a quick prayer murmured, and the channels are unmuted for the opening song.

Then, and of course, “it” happens: that infamous bzzzzzzzz that makes everyone’s hair stand on end!

This particular time, the problem is the additional bass player’s direct box. Time for a split decision: mute the channel or quickly get to the stage to check find the cause, likely the line cord on the bass, or the direct box is faulty (or set wrong), or the direct box cable is bad, or…?!?

With so many potential trouble spots, and so much else going on during the service, the choice is likely going to be to mute the channel and be comforted by the fact that at least some of the sound coming from the bass rig is still being heard in the house, so the player’s efforts aren’t completely wasted.

Was this entire situation preventable? Of course! And, as usual, it’s the simple things that matter most.

There are at least five things that could and should have been done prior to this “sweat and bzzzzzz” fest:

1) Basic maintenance. All cables and cords need to be checked on a monthly basis. In addition, these should be treated properly (wrapped correctly) and organized (hung in a single, logical location). I recommend a peg board, where cables are sorted by type and length. This way, they can be easily found, even in pressure situation, and will work correctly.

There should be at least two spare cables for each variety of cables (and connectors) being used.

2) Organization. Staying with audio, it’s vital to know exactly how many inputs, and what type, will be required for each and every service. And all of these must be set up and tested ahead of time.

3) Communication. Techs should regularly interface with the worship leader and never be shy about asking if anything new or unusual is coming up. Do this early, and as often as necessary. It beats being surprised, and, it also beats having things go wrong on Sunday.

Still, last-minute stuff can and will happen. Working sound at my church recently, I noticed on the worship order that a missions report had been scheduled, and it would be delivered by someone we weren’t outfitted with a headset/lavalier mic. This was 10 minutes before the service.

So I walked up to the stage and quickly arranged for one of the vocalists, at the appropriate time, to hand off her vocal mic to the person delivering the report, and then to collect it when he was done. Nothing genius, but a last-minute solution that worked smoothly and well. When the time came, I was ready to quickly adjust that particular mic channel to adjust for the new person’s particular voice and mic handling.

4) Plan ahead, and always have a “plan B.” Normally the above scenario would not have been an issue because we always keep a spare “just in case” handheld mic on a stand on the stage (discretely out of the way). But at this particular point in the service, it was already going to be used by someone else on the worship team.

5) Have a party! (You didn’t see that one coming, did you?) Once every few months or so,  the entire tech team should get together to go through all of the equipment, making sure it’s all there, working properly, and organized. It really helps to make this a fun, festive event, with pizza and cold drinks and some time for everyone to “just hang.”

Keep these five things in mind, and you’ll see a dramatic improvement in consistency from service to service.

 

R-E-S-P-E-C-T just a little between Musicians and Techs

I had the privilege of doing front of house sound for a sitting President of the United States.  It was one of the simplest and easy gigs I have ever done.  It was also one of the highest paying gigs I have ever done. You can read about it here

 

During the 4 hour warm up (The President was over 2 hours late) one of the Presidents detail handed me a few CD’s for pre-music. It was they typical stuff of that day U2, Madonna, Bon Jovi and even Kenny G.  During the wait the famous song RESPECT by Aretha Franklin came on. I have to admit I chuckled, thinking yeah respect, I don’t agree with the Presidents Policies or morality.

 

I was struck somewhere during that song how wrong my attitude was.  While I did not agree with this man, He was in a position of authority and was the reigning leader of the free world. I am called as a Christian to respect the office of the Presidency and at least honor this man as he was placed in this position.

Continue reading “R-E-S-P-E-C-T just a little between Musicians and Techs”

The Art and Science of Audio

Just what is the real art and science of great audio? The author narrows the discussion down to a one-word solution.
One of my favorite sayings: “Audio is an art that everyone thinks is a science,  and audio is a science that everyone thinks is an art.”

There’s no doubt that delivering an accurate (not to mention good-sounding) mix without missed cues is the right blend of both art and science.

Knowing the science helps in setting up the mix and making sure that everything is routed properly and the right things plugged in to the right parts of the system.

Knowing the art
helps to creatively bring all of the various sounds from the instruments and singers together to deliver a pleasing sound without any distractions.

Sounds so simple, doesn’t it? Not so fast…

I love the title of the book written by audio’s beloved patriarchs, Don and Carolyn Davis, “If Bad Sound Were Fatal, Audio Would Be The Leading Cause Of Death.

If that title were true, I would not be here writing this, and the unfortunate thing is that I would be dead from self-inflicted wounds!  Over the years I’ve found that I can usually attribute the reason for the bad sound that I’ve mixed to one word: anticipation.

On the science side, anticipation means:

1) Being generally prepared, having the right tools, and being aware of what is going on at the event.
2) Check over the system to make sure everything is working.
3) Check all the inputs to make sure they are working and patched correctly.
4) Visually reviewing the board, making sure things are routed were they are supposed to be, the channel EQs are on and aren’t set too crazy, etc.
5) Having a backup emergency microphone on stage that everyone knows to go to if his/her particular mic fails.

And on the art side of things:

1) Thinking ahead, planning to boost the levels for solos.
2) Keeping my eyes on the stage to make sure mics are turned on ahead of people speaking.
3) Having my headphones handy so I can pfl channels to check anything, and quickly.

4) Being in tune with that is going on so I can react quickly to any changes that occur.
5) Having my cue sheet or order of service right next to me and then read ahead and mentally prepare for the next event on the sheet.
6) Listening to the worship songs ahead of time to hear what the original recordings sound like.
7) Knowing where the backup emergency mic is patched and being prepared to use it for any surprise events (unplanned testimony) or mic failures.

Obviously anticipation alone doesn’t guarantee a great mix – you still need to have the fundamentals down. But it does greatly increase the potential of having an error-free service or event.

So there you have it. The real art of audio, or, I mean the real science of audio, is… well, in both cases, it’s anticipation.

7 Steps to Great Worship Audio

Producing great sound in a worship service can seem as elusive as finding a soloist who always sings on key. However, this doesn’t have to be.

 

Producing great sound in a worship service can seem as elusive as finding a soloist who always sings on key. However, this doesn’t have to be.

Many factors influence the quality of sound: room acoustics, sound-system design and performance, operator experience, and quality of musical performance.

Here are some practical tips on how to tie all of that together toward an optimum result.

1) Understand The Basics

To get the most out of a sound system, you must first understand how it works. Basically, acoustic energy, or the sound you make, is converted to electrical energy via a microphone, then colored or equalized via a mixer.

The mixer sends the sound through processing equipment (crossover, equalizer, signal delay), then to amplifiers to enhance the signal. Finally, the amplified signal goes to speakers, where it’s transferred back to acoustic energy.

The key components of sound—processors, amplifiers, and loudspeakers—should be professionally designed and set in a church, then left alone. The mixing board is where you should make adjustments in tone and sound levels.

2) Build A Team

A sound system won’t run by itself. It needs a trained, motivated crew to function to its true potential.

I like to recruit one-on-one, much like a hunter who goes to the woods looking for a specific target. The hunter may see ducks, squirrels, and turkeys, but he sits tight for a certain kind of deer. When he sees exactly what he’s looking for, he pursues it with vigor. The same can be done when developing a sound team. Decide what kind of people you need, then recruit them vigorously.

You can also try the fishing-pond approach. That means recruiting candidates from a select gathering of people.

For example, when Marty O’Connor was at Willow Creek Community Church in South Barrington, IL, he and his video crew offered a yearly seminar on how to make movies with a video camera. After the seminar, the crew would bring out their studio cameras and invite seminar attendees to try operating one of the “big boys.” All the while they’d look for people in that “pond” with special aptitude for working on a video crew. Then they’d recruit them.

3) Grow A Team

The acronym TEAM—meaning “Together Everybody Achieves More”—particularly applies to a sound crew. To be truly effective, team members must grow together on the job in knowledge and experience as well as in spirit and emotion.

Make sure that you provide spiritual, emotional, and technical food for sound-team members. Every week, I spend about 30 minutes in prayer and devotions with my sound crew before our hour-plus sessions in sound training. That time helped unite us and focus our work.

It’s also important to keep the team informed of what’s happening in the sound industry, such as regular visits to ProSoundWeb and reading other industry publications and sites.

Finally, to encourage ownership and 100-percent participation, every sound crew member should be welcome to make suggestions about the sound system. I take seriously crew member suggestions on equipment purchases.

And thank the team! Saying thanks is powerful, but showing thanks is even better. My favorite way of showing gratitude to crew members is to send thank-you notes to them and their spouses.

4) Aim For Consistency

“We are what we repeatedly do,” Aristotle once wrote. “Therefore, excellence is a habit not an act.”

Doing everything right with sound in a performance is hard enough, but repeating it can seem impossible, especially when different volunteers are involved.

To raise the percentage of success, standardize the layout of your mixing console, label it, then get everyone to conform to it. Example: I always lay out my mixing console with drums on the left, followed by bass, electric and acoustic guitar, then keyboards, and finally vocals. The lead vocal is always in the farthest right channel next to the subgroups and masters.

I’ve been doing that for the past 20 years, and my team follows this layout consistently. But how you lay out the board doesn’t matter as long as it’s logical and everyone follows it. The advantage is that when something goes wrong or there’s feedback, they know instinctively what to grab to fix it.

Aim for consistency also with equipment storage. Organize cables, stands, and mics so that even with last-minute changes, such as having to work with five singers instead of the four you had planned on, you can secure the proper equipment to keep a rehearsal moving.

5) Preparation, Preparation

When I was a sound technician, I was blessed with a worship leader who provided worship service outlines weeks in advance. I used to kid him that the Spirit moved in him two weeks before it hit the congregation.

One lesson I learned from him is that someone who is well prepared is able to respond much better to last-minute complications than someone who wings it. I’ve served as a consultant to churches that supposedly had sound system problems, only to discover that the real problem was poor preparation.

Example: A sound team shows up at 8 am to set up for a 9:30 am service in a temporary facility. By 9 am the sound system is set up, and a CD is playing. Musicians begin arriving for a last-minute rehearsal.

The service starts seven minutes late. That’s bad enough, but what’s worse is that there’s been no time for sound checks and input testing. The service proceeds, accompanied by hums, cracks, pops, and a lousy mix. Ninety minutes later, the crew is exhausted, the musicians disgusted, and the pastor fed up. He decides to call in a sound expert…

He needn’t have spent the money. Preparation would have alleviated most of the problems. Preparation means sending information to your team well in advance of a service. Distribute the order of worship for the Sunday service to crew members early in the week so they can get a jump-start on what they’ll need to do.

Preparation also means doing sound checks with musicians prior to the service and testing all mics. Even if the same person leads worship every week, he or she may have a cold or feel insecure about a piece of music and need the sound turned up.

The key is to show up early, anticipate the unexpected, and be prepared. You can’t be too prepared.

6) Provide Training

Offer ample opportunities for your team to grow in technical knowledge. Find an expert you respect and hire that person to come in two to four times a year to train your crew.

Team up with other churches to sponsor a regional conference on sound, led by consultants such as Marty O’Connor or Curt Taipale.

Further, send for brochures and guides, and reprint articles on sound for your crew. Many manufacturers, such as Shure and Crown, provide free guides, and often, these are posted online for convenient download. Encourage your crew to participate in focused online discussions about sound with online communities such as the Church Sound Forum here on PSW.

And lead your team by example. If you want the crew to be on time, be on time yourself. If you want others to keep the sound booth and related areas organized and clean, keep your areas organized and clean.

7) Encourage Relationships

To do its work well, a crew must work in harmony with musicians and presenters. All too often there’s friction between sound technicians and performing artists. Some of that could be eased organizationally by including sound technicians in the church’s fine arts or music ministry.

The lead person of the technical team should report directly to the worship leader or minister of music—no one else. They work things out, striving for communication and harmony.

Example: I saw how that could work at a sound seminar, where David Sheets, minister of music at Central Wesleyan Church, Holland, MI, and his worship team participated in a session I led titled “Mixing a Worship Team: A Live Demonstration.” We purposefully had no rehearsal or sound check before the seminar. We merely tested the inputs to make sure they were working.

During the seminar, a conflict arose between the piano and synthesizer players. The synthesizer player wanted more synth in the monitor, and the piano player wanted less. The problem: they were sharing a monitor mix.

David let me know about the problem, and I told the players that since there were no more monitor mixes available, they should work out a solution together. He led the players through a quick trial on the monitor until the players reached agreement. They reached harmony in less than three minutes.

Tip: The key was David’s willingness to tell me about the problem, and the opportunity I had to explain the set-up limitations to the players.

I’ve discovered that when technical people are given the opportunity to explain a problem, performers are very cooperative.

Of course, technicians must never abuse that trust by blaming their mistakes or ignorance on equipment, or by refusing to listen to a musician who needs adjustments in a monitor.

Trust can also be destroyed by performers or technicians whose egos get in the way of working with others. In the sound booth or in front of a mike, the motto should be: “Check your ego at the door.”

I also know how important a good relationship can be between a technician and artist. I spent four years working with Jack Lynn, a worship leader. We had such rapport that we could communicate from sound booth to platform via hand signals.

When Jack put two hands on the mic, I knew I had to put more piano level in the monitor. Two hands with a raised index finger meant he wanted more voice. A step back from the monitor meant it was too loud. The signals worked well because I kept my eyes on the platform, and Lynn always made eye contact before signaling.

Bonus: Serve Others First
If we serve others first, we have far less friction between sound technicians and performers. Here are some ways sound people can serve others to enhance their ministry to the church. Show up early to set the sound equipment with enough time left to pray with speakers and singers before a service.

Provide little extras for platform participants, such as a glass of fresh, cold water near the lectern. Take the pastor and/or worship leader out to lunch in appreciation for their support. Tell them how much you value their contribution.

Explain to singers or speakers what you’re doing to adjust their sound and why. For example, tell them you’re moving a monitor two feet to the left so that the sound from the monitor is in the non-pickup area of the microphone and will thus give them a purer sound with less risk of feedback.

The Ultimate Goal
The sound ministry is like custodial service. When it’s done well, few will notice. When done poorly, everyone will notice.  Work as a respectful team, and you’ll find that your sound is consistently excellent—and you’ll have a great time to boot!

 

Sound System Upgrade From Good Enough To Great

Why do so many churches talk about middle of the road when it comes to system upgrades?

Why do so many churches talk about middle of the road when it comes to system upgrades?

I’d like to share two experiences, unrelated on the surface, that really got me thinking.

The first happened at a church that was talking with me about upgrading their sound system.

If you’ve ever been through the process of updating a system, be it sound, lighting or video, you know it’s a chore—or actually, a set of chores.
There’s the pursuit of determining what’s needed, soliciting proposals, selecting a proposal, getting the church/committee to sign off on it, overseeing the install of the new components, and then figuring out how to operate them.

I could talk at length about any one of the steps, but based on my recent experience, let’s start with a question (actually two): Why upgrade, and what are the expectations?

My meeting was with the head sound tech (volunteer) and the worship leader. We were primarily focused on switching to a new digital console and main loudspeakers. The existing stuff is almost twenty-years-old, still works fine and sounds pretty good (twenty years ago it would have been considered a near-premium system), but it is showing increasing signs of age.

As we talked the sound tech made a statement that I hear way too often. Paraphrasing it, he said, “We’re not looking for something excellent, or top of the line, but more middle of the road.”

Every time I encounter statements along these lines, I want to reply, “Sorry, I’m not the guy for you. Please see one of my competitors because they have the whole ‘doesn’t suck too bad’ thing nailed down.”

Of course, what I really say is “Well, let’s see what we can come up with” and then I start questioning them about their goals and needs, working to steer them to the best solution for the budget they have available. And if they don’t have a budget, I gently push them to establish a reasonable one.

My question: Why do so many churches talk about middle of the road?

My own experiences, both as a church member and as an A/V pro, have shown me that most/all churches striving for excellence are growing, while the ones doing the “mediocrity thing” are stagnant or shrinking.

The specific church I’m discussing here did its upgrade 20 years ago in an excellent fashion. They invested in the best they could afford at the time. (I remember it because I was involved with the project.) The minister of music (as we referred to them in those days) solicited a couple of proposals. It was a growing church, the place was pretty full, and he laid out the system needs while stressing that he wanted top quality. “I want these speakers to be hanging here 20 years from now,” he said, prophetically.

My proposal sought to meet his challenge. My competitor tried to go the middle of the road route. Of course, the minister of music did not want to settle for that.

A couple of years after we did the install, he said to me. “I never thought we’d get to use your company because you’re known as the provider of ‘Cadillac’ systems, but it turned out that you were less the 15 percent more than your competitor—and we knew with you that we would get something that would serve us well and stand the test of time.”

With that context and memory in mind, I move to my second more recent experience, where I was working front of house at a seminar at a mid-sized church. It was a very simple event, a headset mic and a handheld mic. Doing EQ on a mid-level console (only one band of sweepable EQ), I listened closely to how the system sounded. It was “just OK,” and there really wasn’t anything else I could do to make it better.

During the event, a church member who serves on the sound team stopped in to pick something up, and in passing he said, “Keep your hand on the fader—every once in a while the system just doubles in volume for no real reason, and if you don’t catch it the feedback is painful.”

Nice!

So now as I paid much more attention to the board, keeping my finger on the fader, I also began mentally adding up the cost of the system.

My conclusion was that for maybe 10 percent or so more investment, the church could have purchased far better equipment. Sound quality would be higher, and more than likely, they wouldn’t be having issues just five years after the installation.

It really does seem that with most things in life, it’s that extra 10 percent that takes things from good to great.

Something we all need to keep in mind when we’re thinking about system upgrades, because it can very much pay off in the long run.