Problem Solving: Solutions For Problems You Didn't Know You Could Fix

PROBLEM 1: Voices Too Soft or Too Loud

We've all experienced it. Mrs. OhTooSweetToShout has just finished presenting the weekly calendar events and Sunday School report. The usher has just turned up the volume on her microphone so everyone could hear her, and has since returned to his seat. Up steps Mr. I'veGotAPointToMake to talk to the congregation about their needed support for the upcoming evangelistic conference. You know what happens next. In fact, as you're reading this you're probably beginning to tense up in anticipation of the pain.

What I've just described is a problem all too common to most churches. But, there is a solution for this headache. In recent years, not only has the technology become available to improve this situation, but this same technology has been improved and has also become affordable. This type of device is known by several names such as a compressor, compressor/limiter, leveler, or compander.

As you might conclude, these devices are extremely valuable in sound systems that do not have an operator continually monitoring and adjusting volume controls. But don't make the assumption that compressors do not have their place in systems with full-time operators.

Compressor/expander/limiter devices are also very useful in maintaining consistent levels on tape recordings of the service.

One aspect of this type of component is extremely important for you to remember: Knowing where to plug these units into your system and knowing how to adjust the controls is vital to the success of using a compressor/limiter. For example, if you place a single compressor/limiter at the output of the main mixer, chances are you will degrade the quality of the system for music. There's a simple remedy for this dilemma. Simply call us and ask us for recommendations that make sense for your specific circumstances.

PROBLEM 2: Lavalier Sounds Funny & Feedbacks Quickly

Of all the different types of microphones available, the lavalier microphones is probably the most difficult to use. It often seems like it will never sound natural - and don't even think about turning it up to where it is actually loud enough to hear. Do the words "howl" or "squeal" come to mind?

There is a way to fix this. First of all, before we start talking about fixing what you have, maybe you should consider listening to an alternative to the lavalier microphone that you now have. Substantial improvements have been made in the sound quality of lavalier microphones.

Now, let's assume that your lavalier microphone is performing as well as can be expected. In order to really make this microphone sound good, an equalizer should be used. No, I'm not talking about the equalizer that you now have for the overall main speaker system. You mean there is no main equalizer in the system? Uh oh. Stop reading this article right now and pick up the phone. Call us!

Now you can continue reading. What I'm suggesting is the addition of a separate equalizer just for the lavalier microphone(s) you are using. And not just any equalizer. Depending on your specific needs, either a one-third octave equalizer or a parametric equalizer should be considered.

If you don't use a separate equalizer for lavalier microphones, any adjustments made to compensate for the lavalier microphones will degrade the sound quality of any other microphones, instruments or prerecorded music.

And don't assume that the channel tone controls on your mixer will do the job. First of all, channel tone controls should not be used to control feedback problems. And second, the tonal quality problems associated with lavalier microphones are usually difficult to fix with the type of tone controls found on most church sound mixers.

PROBLEM 3: Vocals and Instruments Sound Dead and Lifeless

There's nothing more irritating than to listen to a special music soloist sing to performance tracks that sound as big as life, only to hear the singer's voice sticking out like a sore thumb. This is especially true when you can hear the background singers on the performance track, and they sound wonderful.

Assuming that the singer can sing on pitch with some reasonable amount of tonal quality, the big difference between the sound of the performance tracks and the singer's voice is the digital reverb units that were used on the recording of those tracks. It makes perfect sense that if you use a similar digital reverb for vocals (and instruments on occasion), the overall quality of special music will be greatly improved. Digital reverbs have become very cost-effective and easy to use. There is no reason to delay (get it?). Call us and ask us for some recommendations.

PROBLEM 4: Performance Cassette Tracks Are Noisy

In working with tape recording and playback machines, whether it is a cassette deck or a reel-to-reel machine, we are often plagued with the ever-present hiss or background tape noise. Yes, Dolby works fairly well but if you've spent anytime at all with tape formats, you know the problem. Is it Dolby B or Dolby C? Or is it dbx noise reduction? Or did they use any Dolby or dbx noise reduction at all?

Figure 2

Well, once again there is a simple solution. It's called single-ended noise reduction (Figure 2). This type of unit can be used with any tape format, regardless of whether or not any Dolby or dbx was used on the recording. This is a great tool - especially when the special music performer(s) bring their own homemade tapes or copies to use. Chances are they will need all the help they can get.

A Closing Thought

It may seem like there is a never-ending need for more "boxes" to add to the sound system. But the components we've discussed really do make a difference. Look at it this way: You've invested a lot of time and money into your sound system. Doesn't it make sense to invest a bit more to make the difference between merely adequate and inspirational? Think about it. If you have any questions at all, just give us a call.

by Travis Ludwig © 1996 Internet Sound Institute (www.soundinstitute.com). This articles is for personal use only. Any commercial reproduction is not permitted without permission. To obtain permission, contact ISI at hopi@soundinstitute.com

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