How to Operate Church Sound Systems by Kevin Harris

In this book, we take an in-depth look at church sound systems. We consider the various components, how to position them, and how to operate them correctly. Whether or not the congregation hears the words, depends on the person operating the equipment. An untrained sound operator can hold back a congregation from moving into praise and worship. They can even prevent the listener from receiving the gospel, or healing. Bad sounds, loud sounds, inaudible sounds, or bad mixes will not be readily accepted by the human ear. From personal experience, the Author can assure you that only words and music arriving pleasantly to the ear will go easily into the heart. Most churches in the world today are using untrained sound people. They encourage willing church members from within their congregation. This book was initially written for them, however, christian musicians and ministers everywhere are welcoming the publication.

     Audio Cables & Connectors          Outputs        Inputs       Connecting Up To The Mixer

     Power amp inside the mixer    Power amp inside the speakers      Earth Loops     DI Box

     Graphic Equalisers      The Foldback System       Mono output from mixer

     Multicore Stage-box    Using a split-box for an advanced setup      Tape In & Tape Out

     Using a splitter cable    Loudspeaker placement         Room Acoustics

     Chaining speakers together      Series or parallel      Crossovers       Equipment Checklist

     Input – Output Channels      Faders or knobs?        The master volume sliders       Pan

     Input Connections     Gain knobs      Initial gain & fader settings     Peak indicator LED

     Pad button   Equalisers (Filters)   Making a Good Sound   Instrument frequency ranges

     Sends        Pre send and post send      Returns   Inserts    Direct Outs    Sub-groups       

     Busses      Mute     Solo & PFL       Monitoring & Signal Level Meters 

     Order of Setup          Operating a Sound System

     How To Balance Music Levels         Microphone Technique

     Powering a Microphone    Dynamic & condenser mikes     Choosing a Microphone

     Determining a mike’s polarity   Working with a directional, and omni-directional mike

     Lapel radio-mike      Boundary mike      Polarity diagrams     Frequency response charts

     Putting the Microphone in the Right Place         Stereo Miking    Microphone Accessories

     Contact Mikes & Pickups

     Connecting an Effect Unit    Effects unit placed in-line   Feeding the effect into an insert jack

     Connecting an effects loop        The Parameters Common to most Effects Processors 

     Reverb         Delay          Compressor          Limiter          Feedback Eliminator

Appendix A – Soldering

Appendix B – Wiring Cables to Jacks

Appendix C – Using a Multi-tester