AudioTechng

10/06/2025

Safeguarding our Eqiupment: A Call to Vigilance

The recent surge in theft targeting churches has raised concerns about the security of valuable equipment. Pastors and church administrators must prioritize safeguarding their assets to minimize potential losses.

Theft of church equipment can have far-reaching consequences, including financial burdens, disruption of services, and emotional distress. To mitigate these risks, churches should implement robust security measures.

Some effective strategies include:

1. Securing storage areas: Locking equipment in secure rooms or cabinets when not in use.
2. Cable locks and alarms: Using cable locks and alarm systems to deter theft.
3. Surveillance: Installing CCTV cameras to monitor premises.
4. Inventory management: Conducting regular inventories to detect missing items.
5. Alarm systems: Install motion detectors and alarm systems.
6. Equipment insurance: Consider purchasing insurance to cover equipment against theft or damage.
7. Asset tagging: Use asset tags or stickers to identify equipment e.g Apple Air Tag, Samsung Air tag, etc. If your item goes missing, you can mark the AirTag as "lost" in the Find My app, and it will send anonymous signals to nearby devices.

Churches must remain vigilant and proactive in protecting their equipment. By prioritizing security, they can safeguard their assets and continue serving their communities effectively.

Remain Secure!
for more informations and enquiries,
AudioTechng Sound Solutions
09020504919

13/09/2022

Getting the best possible makes mixing the whole gig easier. To get the best sound from your source may be you just adjusting your microphone placement or the speaker placement or changing the cable or you changing that microphone.

06/09/2022

Never assume what you were suppose to do, do it yourself. Find out more: https://egkadj.wixsite.com/audiotechng

01/09/2022

📢️ GIVEAWAY ANNOUNCEMENT 📢

To celebrate the launch of our newly-redesigned Thump loudspeakers and the all-new 115S 15" sub, we want one lucky person to add it into their setup for FREE.

Check the comments for details 👇

26/07/2021

No need to bother your self about why your sound isnt sounding right, Let us carry that burden for you

29/05/2021

Making your sound, sound better!

21/03/2021

House of Worship Sound Tips: Proper Stage Monitor Setup: Meeting the Desires of the Worship Band

“I’ve always set the monitor levels first, with the mains off, that’s how "my Oga" taught me to do it,” a Sound Tech once said to me. As those words escaped the sound tech’s lips, I could tell they had been trained by a musician.

A musician wants to hear the right sounds in the monitor. They want to hear themselves in the monitor. However, if you go with a musician-centric stage monitor setup you are going to have problems with stage volume and clarity in your mix.

Let’s look at the problem of a musician-centric setup and how a congregation (audience)-centric setup correctly deals with these issues.

Musician-centric set up

Setting monitors first starts you off on the wrong foot because, basing the monitor mix on a absent of the mains, you will be raising monitors levels in excess of what they could be if the mains were active. Therefore, you’re adding volume to monitors that does not have to be added to the same degree if the main speakers were active. I think I just said the same thing twice…consider it important enough to say twice.

Monitor levels are unrestricted. You are setting levels without any regard to their volume bleeding off the stage. This is done in part because you are giving the musicians what they want but as you don’t have the main house volume to compare, you can’t tell when the stage volume is so great that it’s negatively affecting the house mix and the audience in the first few rows.

Right out of the mixing gate, you are mixing against the stage volume. Phrased more accurate to what’s happening, you are mixing so the blend of the mains and the stage volume produces a good sound.

Congregation (Audience)-centric set up:

Setting the general house levels first, you can set up your baseline mix for the room without having to deal with and existing loud stage volume. The musicians are also hearing a limited amount of volume in the room in which they can base their monitor requests.

Monitor levels can be limited as you will hear the point where they are impacting the house mix. At this point, you can work with the musicians to modify their monitor mixes so they get the sounds they need……
..for example, a musician might find that if they drop another instrument’s volume in their mix, that they don’t need to boost another quite so much. Also, you can tell them that when their monitor levels go above a certain volume, the audience is hearing a bad sound because of the mixing of house and monitor sounds at different time

Wait, but what if…

My pro colleagues knows how I can easily debate both sides of anything. With that in mind, let’s say you go with a musician-centric setup process by setting monitor levels without turning on the mains. And let’s say you can do it AND get a good mix as a final result.

I’m going out on a very short limb and guessing your mixing process involves quite a bit of back and forth with the monitors after you set your house mix levels and/or you spend an extended period of time working on the house mix to mix the monitor sounds in with the house. You are spending more time than you should!

Keep it simple

Here is a simple outline for running your sound check after checking line levels and such;
Set your channel gains, with the faders set to zero, for a good baseline mix.

Perform some simple eq’ing on your channels so they are close to where you want the sound. Note that frequency changes can raise or low the volume of a channel.
Set the monitor mixes with the house speakers on.

During the next practice song, walk up within a few rows of the stage and listen for the monitors. If they are washing past the 2nd row of seats, you’ll need to turn them down.
Put the finishing touches on your mix.

Summary

Musicians want to hear the right sounds in the monitors so they can play tight as a band. However, you should know their real desire is for the audience to hear a great sound. Using the proper stage monitor setup, you can reach both of these goals.

Question: What’s your biggest problem with monitors / stage volume? And how did you solve it. Lets hear from you too. Thanks for helping us to perfect our sound tech creativities.

Thanks Guys and always remember to keep the creativity perfected.

SMI: INSPIRING CREATIVE MINDS THROUGH LEARNING.

14/03/2021

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Church Sound: The "Right" Sound! Can It Be Achieved?

I've been having more conversations lately about trying to get sound "right." I've spoken with more than ten Pastors and other church/worship leaders who just wants the sound to be "right," but doesn't really have a handle on how complicated the task of getting there is.

In some conversations, they seem to intimate that there is a k**b labeled "right," and all we have to do is turn it up and we're done. You and I know this is just plain silly, but I can understand their point of view.

For example; why does it take them 20 if not 24 hours to come up with a 30 minute sermon? I mean really? Based on how I write, I'm quite sure I could write an article worth of 10 minutes or less to read in 3 hours. What are you doing with the other 17 hours, Pastor? Surfing the biblical commentaries and references?

When we don't understand each other's worlds, it's easy to make assumptions. They tend to assume that the shiny new digital console mixes the sound all the way to "right" by itself, and thereby assume we're slow.

In an effort to bridge the gap, I'm always trying to come up with ways to explain the complexity of what we do. One of my latest illustrations comes out of my math-geekness.

I started adding up the number of adjustments we make on any given Sunday to make the sound good. Then I started adding up the number of parameters we have at our disposal, out of which we make adjustments. Then it occurred to me that each of those parameters has a wide range of values. And I wondered what that big number added up to.

So I did what anyone would do, I built a spreadsheet. Starting with the basic parameters on our church Yamaha M7CL 48 channels mixing console (I excluded multi-band comps and dynamic EQ, as well as inserted GEQs and FX) and started adding up how many things we can adjust (HPF, LPF, EQ, Comps, Gates, Auxes, Fader). In our current configuration, that number is 43. I then assigned an approximate number of values to each parameter.

Now this is somewhat subjective; take EQ gain for example. If you have 18 dB boost or cut, how many steps are there? The M7CL works in 0.1 dB. But who among us can hear 0.1 dB? So I took it to 1 dB, thus I have four EQ gains with 36 possible settings (actually 37, counting 0). I did the same with Q and frequency, then worked my way through the channel strip.

Any guesses as to how many values we have per channel strip? Remember, this is our board in our configuration and I've made some subjective judgements as to the number of values per parameter. Nonetheless, I came up with just over 2,000 values per channel!
Of course, we don't have one channel. In our case, we normally run between 32-40 channels on a weekend, depending on band configuration, number of speaking mics, etc.. Total it all up, and you are at 65,000+ possible values! 65,000! Some combination of those values will make it sound "right." And as my colleague says, "A lot more of them will make it sound wrong!"

I never really got a handle on permutations and combinations in math class so perhaps someone can help me out here. But if you take 43 parameters with 2000 possible values and spread it out over 32 channels, I'm guessing the total number of possible combinations runs into the billions. Math is like that.

Essentially, we have to pick one of a billion possible combinations (for each song, mind you) to make it sound "right."

Of course, this is a vast over-simplification; you can likely be 1 dB off on your guitar EQ and still be in the "right" ballpark. But when you look at it this way, it starts to become a little more clear that this is way harder than it looks.

And, we've not even begun to talk about mic choice or placement; reverb and other effects settings (heck, I didn't even count up output parameters and values!); or even the basic musical artistry that separates technically competent engineers from great engineers.

Perfecting The Creativity

There’s no simple answer to the question “what is good sound?” The best answer might be along the lines of “whatever is stylistically and artistically appropriate.” Good sound is subjective.

As an audio engineer, you should similarly find good quality recordings, listen to them, analyze them, and try to emulate them –building up your skills and techniques before eventually developing your own style.

Feel free to pass this on to your Pastor/Worship Leader if you're struggling to help him understand the complexities of what you do. If I have the opportunity to run this to our Pastor before the end of the year; I'll let you know how it goes.

Have you been successful in communicating the complexities of your job with your Pastor? If so, what's your secret? Kindly plug it into the comment channel below.

Thanks guys and always remember to keep the creativity perfected.

01/03/2021

Ever wondered how a sound system works or the mystery behind your voice and instruments coming out of those big boxes.... Then join us, as we walk you through an amazing beginning of a journey of sound, audio and audio engineering!!!!

Details in the flyer

25/12/2020

Compliments of the season to all our customers!