Step 3: Equalize The Mix

We could have many good discussions-okay, disagreements -about this point. But equalization offers sound mixers the opportunity to be creative, smart, and innovative (or on the other hand, inept).

To begin, I recommend that sound engineers start with the equalizer section set flat. That means all level controls should be set at zero, or straight up.

Next, we need to understand how we hear sound. We hear sound from a low of about 20Hz (Hz = hertz or cycles per second), which is a very low frequency. A kick drum is usually tuned between 80Hz and 100Hz. At the other end, we hear sound up to about 20,000Hz or 20kHz (k = 1,000), which is a very high frequency. A dog whistle at around 22kHz is out of the range of the human ear.
The equalizer on a mixing board allows you to select a frequency or frequency range and to increase or decrease the level of a specified range. For example, if I am hearing ringing or feedback, I try to equate it to a number. If the ringing I hear is about the level of an "A" on the music scale, it equates to about 440Hz (a piano is tuned to A440).

I would then either turn the midrange section down on the mixing board, or I would select 440Hz on the frequency selection knob, then turn down the level control for that frequency. The key to successfully using the equalization section is learning to translate what you hear into numbers representing Hz (cycles per second).

Step 4: Route The Signal

The bottom of the channel strip offers another option for routing signals. On most mixing boards, you can choose left or right signals as well as subgroups. By selecting the right buttons, you can assign sound to travel right to the main output of the mixer or through a subgroup.

Subgroups are good for controlling the volume of multiple inputs. For example, you could assign the worship leader's microphone to the main mix and the background vocalists' mics to a subgroup. This will allow you to bring the total level of all the background mics up or down with one fader.

The mute button is the channel's on/off button. Caution: if you turn it off, it might also turn off the auxiliary sends. Check your soundboard's operating manual to see whether this is how your mute button works.

Regardless, the mute button will affect a channel in the subgroup as well as the main mix. When the prefade listen (PFL) button is pressed down on most soundboards, a channel can be assigned to headphones regardless of the channel fader position. This is very handy for cueing up tapes. You can listen via headphones to a tape without letting the signal go to the main mix.

However, proceed with caution. If you have any prefade aux sends turned on, the sound on the tape will be sent there. There's nothing worse than checking to see if a tape is cued properly during prayer in a worship service and forgetting to turn off the prefade aux send monitors. Been there, done that, will never do that again.

The channel fader is the master volume control for that input. Most mixing takes place in adjusting the volume of the signal that goes through the mix board.

Step 5: Master The Mix

The master section of the mixing board consists of the subgroup control, mains, aux masters, and headphone level. This section is where everything comes together before it is sent out of the mixing board.
If proper sound checks have been done and the board has been set up correctly, technicians can spend most of their time mixing the sound by adjusting levels. They can adjust subgroups to bring the mix together. They can make minor individual channel-level changes, minor equalizer changes on individual channels, and small adjustments on the aux sends. Once the mix is set up, a technician can camp out at the master section to manage the mix.

To obtain good sound, an engineer must have a good understanding of not only what all the buttons do on a soundboard, but also the concepts behind pushing those buttons.

Practice to Perform

The most important thing that a sound techician can do to learn how to mix sound is to spend time experimenting with various buttons on the board. The time to do this is not during a service, however. Nor should this be done when rehearsing for a worship service or performance. This time should be spent with musicians, adjusting the sound levels as they rehearse and setting the mix for when they perform.

In addition, technicians should read through their mixing console manual to be come familiar with its features and how to use them. They should read articles on mixing sound. And they should avail them selves of training sessions or workshops on sound.
The better you understand every part of a mixing console, the better your mix will sound.

Gary Zandstra is head of A/V Systems development for Parkway Group of Holland, MI and can be reached at garyz@prosoundweb.com.