5. Connect the reverb unit’s stereo outputs to the line inputs of
two unused input modules, and label them “Reverb.”
6. In those two reverb modules, assign the left module to Group 3. Assign the right module to Group 4. That way you’ll record reverb in stereo.
7. Turn the faders on those reverb modules up about halfway.
8. Monitor the recorder output with headphones.
Turn up the choir mic effect sends (aux 1 knobs) until you hear the desired amount of reverb on the choir. Be sure that the aux 1 knobs are set to “post-fader,” not “pre-fader”
Miking the Choir For PA & Recording
If you have enough microphones, you might want to record the choir with distant mics, and amplify the choir through the PA with close-up mics. Again, submixes make this possible.
Mic the choir closely as described earlier. Those close-up mics will feed the PA system. Also, mic the choir at a distance for the recording. Those distant mics will pick up room reverb, so you won’t need a digital reverb unit.
Try a stereo pair of cardioid condenser mics (Figure 3B) or a pair of omni condenser mics (Figure 3C).
Mount the cardioid mics on a stereo mic adapter. Put the adapter on a tall mic stand above 12 feet in front of the choir.
During a rehearsal, listen just to the distant choir mics with headphones. If the choir sounds too distant and muddy, move the mics about a foot closer and listen again.
If the choir sounds too close, without much room sound, move the mics farther away. Once you’ve found a good spot, you might hang the mics there.
Assign the close choir mics only to Groups 1 and 2 (feeding the PA system). Assign the recording mics only to Groups 3 and 4 (feeding the recorder).
Mission accomplished!
Bruce Bartlett is an audio journalist, recording engineer and sound system operator; and he has been active with sound at his church for several decades.