Audio Info & Education

In Part 1 of this series, we discussed the basic concept of side-chaining along with a couple of the most common applications. In this segment we'll learn about more specialized uses of side-chaining and how to set up your system for side-chaining.

The concept of side-chaining is nothing new; studio engineers and mastering specialists discovered long ago how to use one track to control others in the mix with this method. But what is side-chaining and how can it be utilized to get a better mix? Sometimes it is desirable to create a powerful mix without forcing the vocals or more subtle instruments to compete for sonic space. By using the solo tracks to control a compressor on other or the rest of the tracks, the engineer seeks to maintain a relatively uncompressed mix that automatically "steps out of the way of the solos." Subtle side-chain applications are intended to enhance the separation of instruments in the mix without drawing the listener's attention. More dramatic applications can significantly alter the feel of the song and these often become part of the sounds themselves. 

If you read parts 1 and 2 of this series, you should have a better idea of which format your church's PA system needs to be for your present needs. You should also have a plan for investing in equipment today that can grow and meet your needs tomorrow. What other factors do you want to keep in mind when planning a sound system? In this article we'll explore some other systems and accessories you'll want to incorporate into designing your system.

A true staple of rock and roll is a good old fashioned house show. The house show or house party can be enjoyed by high school garage bands and adult bands alike. Compared to more traditional venues, house shows provide a more intimate and inclusive atmosphere for both bands and audience members. While they may not always be as glorious as they are portrayed in movies, a well-run house show is a thing of beauty and actually takes a lot of organization to get right.

In the Part 1 of this series, we learned how choosing the right format for your church sound system is crucial to keeping your message easily understood. The wrong setup can literally create reflections that clutter your listeners' aural field and make it harder for them to hear the message. We also discussed how a very large system calls for some professional design and installation advice. Now what if your church is a new startup, or a mobile outreach that might become a brick-and-mortar church one day? Is your mobile church towing a trailer and setting up a system for each service? Maybe your budget only allows for a small investment in sound reinforcement, but you don't want to invest in equipment you'll have to replace later? In each of these cases you'll want to take a creative approach to building your system incrementally. Let's look at some options for building a modular system over time and become familiar with the design considerations.

Selecting a sound system for your church can be a lot more challenging than it might seem at first glance. In the past, most houses of worship were either small enough not to need a sound system, or equipped with minimal systems just so you could hear the pastor or the choir a little better. But as the size of the average church has steadily increased over time, even modest presentations often need a sound system to be effective. With the increasing popularity of contemporary worship music which requires more robust sound reproduction, most ministries will find themselves investing in sound equipment at some point.

In Part 1 of this series we discussed how you can use the PFL system to listen in on different parts of the mix individually. In Part 2 we'll learn how your PFL system can also help you see what is happening too.

A high-performance sports car can be exciting to drive even if you don't know anything about auto mechanics. But if you are having performance issues or you want to tune the motor to perfection, you're going to have to look under the hood. With all the great features that the latest generation of mixers have to offer it is easy to get distracted by bells and whistles and overlook how useful the simple tools can be in helping you to achieve a great sound. One of those important tools is PFL (which is an abbreviation for 'pre-fader listen'). If the Digital Signal Processor on your mixer is like the sports car's turbo boost, then the PFL would be like the headlights. Sometimes you need to be able to focus your ears on individual sounds in order to make sure you're going in the right direction with your mix. But to get there you need to learn the techniques which make PFL the Sound Tech's Secret Weapon.

Part 3: Putting the Final Polish on Your Mix

This is a continuation of our first two articles, Mixing Live- 10 Steps to Pull Your Mix Together Quickly: Part 1 and 2

This is a continuation of our first article, Mixing Live- 10 Steps to Pull Your Mix Together Quickly: Part 1. 

Part 2: Perfect is the Enemy of the Good- Just Try to Get a Good Mix!

Your band spent a lot of time practicing in order to put on a really great show. No doubt each player also invested a lot of time and creativity into getting their instrument to sound its best. But even if your band sounds amazing in the rehearsal room, you've probably found that getting it to come across that way live is very difficult to accomplish. To make things even more challenging, being allowed enough time for an extended soundcheck is rare. Sometimes you might even have to finish "mixing on the fly," while the band is playing their first number. If this happens and you aren't prepared it could ruin a great show, and learning how to get a good mix quickly is a learned skill. But if you follow these basic guidelines consistently (and perhaps invest in an ear training app like this one), you will be able to approach the situation with confidence and achieve success.