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This document provides a cheat sheet for local church audio technicians to help shape sound during mixing. It offers EQ and compression settings for kick drums and snares to create punchy yet natural sounds. For kicks, it suggests high-pass filtering low end, reducing mid-range troubles, and adding attack and low frequencies. For snares, it recommends compressing first to remove ring, then EQ'ing for a "gun blast" sound. Settings include fast attack and release with 4:1-8:1 ratio and adjusting threshold and attack.
This document provides a cheat sheet for local church audio technicians to help shape sound during mixing. It offers EQ and compression settings for kick drums and snares to create punchy yet natural sounds. For kicks, it suggests high-pass filtering low end, reducing mid-range troubles, and adding attack and low frequencies. For snares, it recommends compressing first to remove ring, then EQ'ing for a "gun blast" sound. Settings include fast attack and release with 4:1-8:1 ratio and adjusting threshold and attack.
This document provides a cheat sheet for local church audio technicians to help shape sound during mixing. It offers EQ and compression settings for kick drums and snares to create punchy yet natural sounds. For kicks, it suggests high-pass filtering low end, reducing mid-range troubles, and adding attack and low frequencies. For snares, it recommends compressing first to remove ring, then EQ'ing for a "gun blast" sound. Settings include fast attack and release with 4:1-8:1 ratio and adjusting threshold and attack.
Thank
you
for
attending
this
session
and
supporting
your
churchs
ministry.
I
believe
that,
as
a
sound
technician,
you
are
a
vital
part
of
the
worship
team.
The
soundboard
is
your
instrument.
Many
guitarists
will
say
that
their
instrument
is
an
extension
of
themselves;
they
know
it
so
well
that
it
is
part
of
who
they
are.
I
hope
that
this
session
will
be
a
step
towards
passionate
pursuit
of
intimately
knowing
your
instrument.
This
Cheat
Sheet
is
intended
to
give
you
a
place
to
start
in
shaping
the
sound
of
your
instruments.
Results
will
vary
depending
on
the
microphone,
the
instrument
being
micd,
the
soundboard
you
are
using,
and
the
room
you
are
mixing
in.
Trust
your
ears.
Kick:
Set
EQ:
-
If
you
need
to
control
low-end
presence,
set
your
HPF
at
around
100hz.
(If
youre
not
sure
what
I
mean
by
low
end
presence,
ask
yourself
Has
anyones
grandmother
come
up
to
me
and
said
that
their
heart
hurt
while
sitting
in
front
of
the
subs?
If
the
answer
is
yes
or
is
a
form
of
yes,
then
you
need
to
control
low-end
presence)
-
Get
rid
of
trouble
mid
range
frequencies.
Lower
mid
gain
and
sweep
between
300-600
to
hear
when
it
sounds
punchy.
400hz
is
a
common
frequency
to
reduce
for
good
punch.
-
Add
attack
to
the
drum.
Check
mid-highs
around
4k
or
highs
around
10k.
Which
sounds
better?
Don't
add
too
much.
You
are
looking
to
compliment
the
sound,
not
recreate
it.
-
Add
low
freqs.
Add
between
50hz
and
200hz.
This
will
add
body
and
depth
to
the
drum.
Set
Gate:
-
Turn
on
the
gate
and
set
the
threshold
where
it
is
turning
the
gate
on
consistently.
-
Adjust
the
key
setting.
Hit
LPF
and
roll
the
frequency
down
to
about
100hz.
This
will
allow
only
frequencies
that
are
under
100hz
to
open
the
gate.
-
Adjust
the
threshold
between
5-10db
lower
so
softer
kicks
will
open
the
gate.
-
Set
hold
decay
and
attack.
Hold
=
30ms,
Decay
=
170ms,
attack
=
0.
-
Make
sure
Threshold
is
still
good.
If
it
needs
adjustment,
set
that
now.
Make
sure
that
only
the
kick
is
opening
the
gate.
If
other
sounds
are
opening
the
gate,
adjust
the
LPF
as
needed.
-
Set
the
range
to
-15
or
so.
It
will
allow
the
drum
to
sound
more
natural
and
not
shut.
Set
compression:
-
You
are
going
to
compress
the
resonating
sound.
You
are
shaping
the
sound,
not
adjusting
the
volume.
-
Turn
on
the
compression.
Set
attack
all
the
way
fast.
Set
release
fast
to
about
100.
Ratio
set
around
4:1.
-
Lower
the
threshold
until
compression
becomes
completely
enabled.
-
Start
to
slow
the
attack
down
to
let
the
kick
sound
happen.
You
should
have
a
very
punchy
kick
sound.
Don't
compress
too
much.
If
it's
too
compressed,
adjust
the
attack
and/ratio
as
needed.
Snare:
Theres
two
schools
of
thought
when
it
comes
to
a
snare
drum.
Some
people
think
they
like
a
snare
that
sounds
like
a
crack
of
a
baseball
bat.
Others
like
their
snare
to
sound
like
a
gun
blast.
Listen
to
the
type
of
music
youre
mixing
and
evaluate
how
the
drum
sounds.
The
gun
blast
sound
is
the
one
that
I
tend
to
steer
towards.
To
shape
the
sound
of
the
snare,
we
will
first
compress
before
we
EQ.
This
will
remove
much
of
the
ringing
resonating
snare
sound.
Set
compression:
-
Turn
on
compressor.
-
Add
punch
to
drum
by
upping
the
ratio
pretty
steep,
around
8:1.
Set
attack
all
the
way
fast.
Set
release
around
150ms.
-
Reduce
the
threshold
until
the
drum
is
compressed.
Slow
attack
down
until
there
is
a
nice
pop.
-
Be
sure
not
to
slow
the
attack
too
much.
You
may
want
to
try
to
keep
it
between
30
and
50ms.
-
If
the
drum
is
compressed
to
where
it
is
becoming
quiet,
add
some
output
gain.
Set
EQ:
-
Set
HPF
around
100Hz.
We
dont
want
to
pick
up
a
lot
of
low
end
from
the
kick
-
Add
some
body
to
the
drum
by
increasing
between
200
and
500Hz.
(Keep
your
ear
on
the
compressor.
If
you
add
volume,
it
will
compress
quicker).
-
Adding
high
freqs
will
add
attack
to
the
drum.
Check
between
5-10k.
Revisit
Compressor
to
check
threshold
as
needed.
Toms:
Set
EQ:
-
Start
reducing
the
low-mids
with
a
semi-narrow
Q.
Sweep
around
200
1k
until
the
drums
sound
OK.
If
you
are
having
a
hard
time
finding
exactly
what
doesnt
work,
you
can
boost
to
find
worst
frequency,
then
once
you
found
it,
you
can
reduce
that
frequency
and
take
out
as
much
as
needed.
-
Add
lows
using
a
shelf
as
needed.
-
Add
some
mid-highs
between
3-5k
to
add
attack
presence.
Be
careful
though,
too
much
of
this
sounds
like
2
pieces
of
wood
slapping,
and
less
like
the
drum.
10k
is
also
a
good
slap
frequency.
Set
Gate:
-
Turn
on
gate
-
Set
the
attack
to
open
immediately
-
Set
your
hold
time
to
at
least
200ms
~300
-
Set
the
decay
to
somewhere
around
500
or
600
ms
-
Set
range
around
-18
and
adjust
until
it
sounds
open
-
Set
the
threshold
to
allow
the
drum
to
open
and
be
sure
that
the
snare
doesn't
open
the
gate.
Acoustic
Guitar
Set
EQ:
-
Start
in
the
mid-highs
and
take
away
some
in
the
2-5k
range.
Don't
take
too
much
out,
itll
flatten
the
sound
of
your
guitar.
-
1k
is
another
common
area
for
harsh
freqs.
Sweep
around
to
hear
bad
frequencies
between
500- 1.5k
and
take
out
only
what
you
need.
-
You
may
want
to
add
some
lows
to
add
warmth.
Increase
in
the
100-250hz
to
add
body
back
to
the
guitar.
If
it
starts
to
feed
back,
but
the
guitar
sounds
good
otherwise,
you
can
set
the
HPF
around
100hz
to
help
with
feedback.
Set
compression:
We
want
to
set
compression
to
allow
the
quiet
guitar
parts
to
be
nicely
placed
along
with
loud
guitar
parts.
-
Turn
on
compressor
-
Start
with
the
ratio
at
4:1
-
Set
attack
fast
-
Set
release
to
start
at
150ms
-
Listen
to
the
guitar
and
set
the
threshold
during
loud
strumming
until
it
compresses.
-
Increase
the
output
gain
to
compensate
for
compressed
volume
level.
2-3db
should
work.
If
you
have
a
stereo
system,
you
may
want
to
pan
your
acoustic
guitar
opposite
of
the
hi-hat
since
they
often
play
the
same
rhythm.
Vocals
Vocals
are
VERY
subjective.
Everyone
has
a
different
voice,
and
therefore
there
is
no
exact
way
to
EQ
vocals,
so
here
is
a
quick
guide
to
certain
vocal
frequency
characteristics
EQ:
-
Low
Mids
add
warmth,
but
may
add
muddyness.
-
Mid
range
frequencies
can
sound
like
the
singer
has
a
cold.
Adding
1k
may
add
nasal
sound.
Removing
1k
will
remove
some
life.
-
Don't
take
away
too
much
mids.
Mids
add
punch.
-
Don't
allow
too
many
other
instruments
to
'live'
in
700
hz.
-
If
700
doesn't
work
for
the
vocals,
try
to
add
between
2-3k.
This
WILL
sound
harsh
alone
but
it
will
cut
through
the
mix
and
may
sound
good
in
the
mix.
Too
much
is
bad
but
removing
2-3k
takes
away
clarity.
Try
to
find
a
good
balance.
-
Sibilance
lives
between
4-8k.
Don't
add
too
much
to
this
area
unless
there
are
no
sibilance
problems.
Building
a
Mix
Every
audio
engineer
has
a
way
that
they
build
the
mix
every
time.
In
reality,
there
is
no
secret
formula
to
make
everything
come
together.
However,
there
are
some
pieces
that
work
very
well
to
give
you
a
solid
start.
The
mix
basics
will
change
with
each
application,
of
course.
The
way
you
build
the
mix
will
differ
greatly
if
you
have
a
full
band
(with
drums,
bass,
percussion,
keys,
electric,
acoustic,
vocals)
versus
if
you
have
a
very
acoustic
setup
(with
percussion,
2
acoustics,
and
2
vocals).
For
this
cheat
sheet,
I
will
give
suggestions
about
building
a
mix
with
a
full
band.
No
matter
what
application
you
are
using,
you
WILL
want
to
start
by
setting
the
gain
properly
on
your
soundboard.
Every
board
has
preamps
built
in.
99%
of
preamps
work
best
when
the
signal
is
hot.
However,
without
proper
mic
placement,
hot
signal
can
cause
feedback.
Make
sure
that
you
understand
polar
patterns
and
how
to
set
up
mics
to
use
the
polar
patterns
to
your
advantage.
Shure.com
has
great
FREE
documentation
for
these
subjects.
Proper
gain
structure
is
crucial
to
getting
the
most
out
of
your
soundboard.
The
mix
starts
with
the
drums.
With
all
the
faders
down,
start
with
the
kick
drum.
Make
sure
that
the
low/high
frequency
is
set
well,
that
you
have
punch
and
presence.
Next,
bring
in
the
snare.
Listen
to
the
relationship
between
the
snare
and
the
kick.
Think
about
the
gunshot/cannon
sound.
You
want
the
kick
and
snare
to
work
together.
Think
how
a
clock
has
the
tick-tock.
Kick
and
snare
NEED
to
work
together.
Bring
up
overheads.
Make
sure
that
theyre
not
too
bright.
If
you
need
to,
take
out
some
mid
range,
and
in
all
cases,
a
high
pass
filter
is
necessary.
You
dont
want
lows
in
the
overheads.
Add
your
toms.
Listen
for
a
balance.
Hear
EVERYTHING,
but
verify
that
nothing
sticks
out.
Make
sure
toms
fit
in
within
the
mix.
As
mentioned,
make
sure
the
kick
and
snare
have
the
'tick-tock'
sound
and
that
the
volume
is
pretty
equal.
Add
the
hi-hat
as
needed.
In
most
cases,
the
overheads
pick
up
enough
of
the
hi-hat.
Note
the
fader
positions
of
all
your
drums
and
move
on
to
the
bass.
Bass
is
next.
I
like
to
drop
all
of
the
drums
out
and
leave
just
the
kick.
The
bass
and
kick
NEED
to
work
together.
The
kick
will
give
the
initial
attack
and
start
of
the
bass
note,
and
the
bass
guitar
will
finish
it
out.
The
kick
drum
starts
the
note
and
the
bass
guitar
finishes
the
note.
Then
bring
the
snare
back
and
make
sure
that
the
kick
and
the
bass
work
together
AND
the
kick
and
snare
work
together.
Bring
the
rest
of
the
drums
back
in.
Keys
are
next.
Unless
theres
a
specific
piano
part
being
played,
keys
are
often
a
pad.
They
sit
in
the
background
they
set
the
foundation
that
the
mix
will
sit
on.
Don't
give
too
much
low
end
on
the
keys
because
it
will
step
over
what
the
bass
is
doing.
If
mix
is
muddy,
take
out
mid's
in
the
200-500Hz
range.
Next,
add
in
your
acoustic
guitar.
If
your
worship
is
acoustic
guitar
led,
the
acoustic
guitar
should
be
the
most
present
instrument
that
sits
above
the
other
instruments,
but
not
so
much
that
its
awkward.
As
with
the
keys,
you
want
this
instrument
to
sit
in
its
own
acoustic
space.
Higher
frequencies
need
sound
good
when
theres
a
full
band.
If
its
a
stripped
down
acoustic
set,
low
frequencies
are
VERY
important
to
be
added
but
only
if
there
are
no
other
instruments
in
the
lower
range.
Electric
guitars
give
the
mix
a
lot
of
texture
and
body
a
lot
of
character.
Electric
guitars
will
probably
be
the
instrument
that
keeps
you
the
most
busy.
Many
modern
guitar
parts
sound
very
textured
like
pads
on
keyboards,
but
in
the
next
verse,
they
may
be
playing
a
driving
lead
part.
I
like
to
keep
the
electric
guitar
out
towards
the
front
of
the
mix,
either
sitting
alongside
the
acoustic
guitar
or
just
behind
it.
If
your
worship
is
electric
led,
make
sure
the
guitars
are
out
front.
Make
sure
they
cut
through
the
mix,
but
it's
not
too
painful.
At
this
point
in
the
mix
build,
it
may
sound
painful.
We
EQd
the
instruments
by
themselves.
If
adding
electric
guitar
made
the
mix
sound
bad,
the
problem
may
not
be
with
the
electric
guitar.
You
need
to
listen
to
isolate
what,
exactly,
is
causing
the
offending
tone
and
adjust
the
EQ.
Once
the
instruments
sound
good,
add
vocals.
Vocals
are
the
most
important
thing
in
the
mix.
Make
sure
the
vocals
sound
great.
Dynamic
singers
will
need
to
be
compressed
slightly,
but
not
to
where
it
sounds
awkward.
Remember:
if
no
one
knows
you
did
something,
you
did
it
right.
Quiet
singers
do
not
get
compressed.
Make
sure
the
vocals
are
warm
and
present,
but
not
painful.
The
most
important
part
is
to
make
the
vocal
sit
ON
TOP
of
the
mix.
Think
of
a
boat
in
the
water.
The
water
is
the
instrument
mix,
the
vocals
are
the
boat.
The
boat
isnt
hovering
over
the
water,
and
its
not
sunk
lost
under
the
water.
It
sits
on
top
of
the
water.
Work
a
LOT
on
vocals.
They
need
to
sound
warm
and
clear.
Tweak
everything.
Listen
for
things
that
need
to
stand
out
and
make
adjustments.
If
there
are
a
lot
of
instruments
in
the
same
area,
take
one
or
two
down
in
certain
frequencies
that
are
causing
problems.
If
you
have
a
digital
board,
try
to
save
different
songs
in
the
setlist
to
different
scenes.
If
you
have
an
analog
board,
TAKE
NOTES.
Paying
close
attention
in
practice
and
soundcheck
will
make
all
the
difference
during
service.
Always
be
practicing.
Try
to
know
your
instrument.
I
spend
much
of
my
day
reading
blogs
and
trying
to
learn
different
things
about
microphones.
I
spent
4
hours
researching
SPL
and
the
difference
between
A
weighting
and
C
weighting.
While
doing
this
I
learned
about
the
Fletcher-Munson
curve.
If
you
dont
know
about
these
things,
check
them
out.
The
way
that
we
perceive
loudness
greatly
affects
our
ability
to
mix
well.
Here
are
some
of
the
sites
that
I
visit
often
to
learn.
Perhaps
theyll
help
you
out:
http://www.behindthemixer.com/
http://www.cordernotes.com
http://www.churchtecharts.org/
http://mediaministry.blogspot.com/
http://www.mychurchgig.com/
http://www.ratsound.com/cblog/
also
http://www.youtube.com/user/www73171
Look
for
Links
on
these
pages
for
more
resources.
If
youve
got
the
time,
the
information
thats
out
there
will
help
make
you
an
excellent
sound
person.
Heres
information
from
Shure
that
was
talked
about
earlier:
http://www.shure.com/americas/how-to/index.htm
And
finally,
heres
Simple
Feedback
Trainer.
This
will
train
you
to
identify
problem
frequencies:
http://sft.sourceforge.net/