2. Fairmont Park Baptist Church Technical Support Ministry Sound System Training Program

3. MUST In order to understand how to run the board you MUST understand how the audio chain works. However don’t let this frighten you … its just like going from Texas to California... it begins with knowing the route you need to take to get there. Once you start the car, you can follow the route. So lets get started

4. What is the audio chain? every step The audio chain is every step of the process that is necessary to get the sound from the source to the speakers. It is imperative that in order to properly route the signal to where you need it, (like getting from Texas to California), you must know where it’s coming from and where it’s going.

5. TheOverview

6. There are five parts to our sound system; a) The source - a mic or instrument b) The pre-amp - the BOARD c) Signal processing - EQ & Crossover d) The amplifier(s) e) The speaker(s)

7. The inputs At FPBC we use microphones, (both hard wired and wireless), instruments, tape decks, CD players, computer generated sounds, and VCR audio as inputs to the board. There are approximately 24 inputs coming from the stage to the sound booth. We seldom have to change these around but occasionally we have to. At a later time you will learn where they are all at and how to switch them around for the need.

8. The Hardware Just about everything you need to know about how to run the system hardware will be found in the owners manuals. However … manuals can be boring and sometimes contain WTMI, way too much information. I, however, encourage you to spend time learning every configuration possible. You may at some time have to make an emergency “patch around” on a Sunday morning when you don’t have time to get out the manuals.

9. Inputs - Mic, Tape, CD, Computer, etc. BoardLR12 Crown MT1200 BA Crown MT600 BA Crown D-75 BA EQLR CrossoverLMH Peavy SB118 JBL CS15L JBL2410YamahaSM15-IV JBL Series 1 Var.

10. The “Board”

11. The board has 24 inputs. Each input represents a microphone, instrument, etc etc. Each input can be assigned to; up to two monitor sends (FB1 & FB2) each having a master send up to two auxiliary sends Echo 1 & 2 each having a master send up to 4 sub groups (although you will only use one) (S1-4) Each sub-group is then assigned to stereo left. Stereo right is used as a third FB send for special occasions

12. The FOH Processors From the board the FOH signal is routed through the top channel of the Yamaha graphic EQ. The purpose of the EQ is to make the response of the room equal at all frequencies. EQ is not used for tone control (bass / treble) From the EQ the signal is routed to the crossover. The crossover divides the signal so the high frequencies go to the horns, the mid-range go to the JBL boxes, and the lows go to the Peavey subs.

13. The Monitor Processors The FB1 signal from the board goes to the bottom channel on the Yamaha EQ. Again this is to flatten out the response of the speakers and not to make any tonal changes in the system. There is no signal processing on FB2 which are the monitors for the band.

14. The FOH Amplifiers From the crossover; The low frequencies are taken to channel “A” of the Crown MT1200 amplifier. The mid-range frequencies are taken to channel “B” of the Crown MT1200 amplifier. The high frequencies are taken to channel “A” of the Crown MT600 amplifier.

15. The FOH Speakers The high frequencies use the two JBL horns in the cluster. These are JBL 4”x10” horns with 200 watt drivers. The mid-range are three JBL 15” speaker horns. The subs are two Peavey BW18’s in homemade Peavey SB-118 boxes.

16. The Monitor Amplifiers The signal for the FB1 EQ is routed to channel “B” of the Crown MT600 amplifier. The signal from FB2 is routed directly to Channel “A” on the Crown D75 amplifier. We call the right channel on the board output “FB3” and it is routed to channel “B” of the Crown D75 amplifier (more about how we use this later).

17. The Monitor Speakers The front stage, (FB1), monitors are the Yamaha SM-15 IV. These are a full range 15” & HF horn in one package. The band monitors, (FB2), are the JBL mini-monitors. Hopefully these will be replaced with Galaxy Hot-Spots in the future.

18. Moving on to the fun stuff... “ Running the Board “

19. Remember … I mentioned that running a sound system is much like a trip to California. Well here’s how we get from Texas to California

20. Board design The Input Section

21. The “Input channel” Each input channel consists of a: 20 db pad Gain control Hi EQ Mid EQ with parametric sweep Lo EQ FB1 & FB2 sends Echo 1 & 2 sends Sub group assignments Pan control Channel cue button Mute button Volume fader

22. 20 db Pad This is used to CUT or remove part of the input signal … right off the top before you do anything else. This is useful for inputs such as tape decks, CDs, guitars, keyboards and signal processors.

23. Gain This is used to increase or decrease the amount of signal coming into the input channel of the board. This is useful for getting the correct “gain structure” on the inputs. More on gain structure later.

24. A quick word about EQ You will encounter two types of EQ. Shelving & Parametric It is imperative that you understand how a parametric EQ works but we will discuss this in more detail later.

25. Channel EQ Hi EQ - This is a shelving control and is used to add or cut hi frequencies to that channel.

26. Channel EQ Mid EQ - This is a parametric control. The add / cut is based upon the frequency that the parametric control is set at.

27. Channel EQ Lo EQ - This is also a shelving control and is used to add or cut lo frequencies to that channel.

28. FB1 & FB2 Raising or lowering the FB1 or FB2 control raises or lowers the amount of signal sent to the FB1 & FB2 busses (outputs). not These are pre fade – pre EQ. What that means is changing the EQ controls will not make any tonal changes in the monitors and the output is not affected by the fader position. FB1 is the front stage monitors FB2 is the band monitors.

29. ECHO 1 & 2 (AKA EFX, FX, Reverb) This raises the amount of signal being sent to the FX1 & FX2 busses. Echo 1 & 2 are post fade and post EQ. What this means is that the amount of signal being sent to Echo 1 & 2 busses will change as the fader is raised and lowered.

30. Group Assignments & Pan Each channel can be assigned to any of the four busses by pressing either the 1-2 or 3-4 button down and panning to the left or right. Panning to the center will assign it to both 1 & 2 or 3-4 or all four if both buttons are depressed. Or to 1 & 3 or 2 & 4 by pressing both and panning left or right.

31. Channel Cue This is so you can monitor the signal coming into the channel.

32. Channel mute The red button will turn the channel on and off. all In the off position it will mute all outputs off the channel.

33. Channel fader The fader will raise and lower the volume of the channel.

34. FOH Master section Echo return (AKA … FX … EFX … Reverb) We are not using the echo returns but instead bring our effects unit back into a normal input channel. This gives us greater control over the tonal range and assignments of the reverb to where we want it.

35. FOH Master section Group Out At the present time we are not using any of the group outs off this board. Group outs can be used for any number of things such as recording or auxiliary monitors sends to nursery or hallways.

36. FOH Master section Group Pan Group pan is used to assign whatever has been assigned to that sub-group to either the Stereo L-R outputs. Since we are running mono you only need to know that we pan everything to the left.

37. FOH Master section Group Cue The group cue is used to monitor the mix of what has been assigned to that sub- group.

38. FOH Master section Group On/Off This is used to turn the sub group on & off. This will not affect any monitor or effect (echo) sends.

39. FOH Master section Group Fader This is used to control the amount of volume from the sub group to the main outputs. This will not affect any monitor or effect (echo) sends.

40. FB Outputs The FB outs are a “master” volume control for how much of the Echo 1 & 2 busses are being sent to the amplifiers and speakers.

41. FB Cue These are for you to monitor the mix you have going to the amplifiers and speakers

42. Echo (FX) 1 Output The FX outs are a “master” volume control for how much of the FX1 buss is being sent to the reverb unit.

43. Echo (FX) 1 Cue This is so you can monitor what is being sent to the reverb unit.

44. Echo (FX) 2 Output In our set up, Echo 2 is actually being used as our record buss. The signal goes from Echo 2 to the bottom (record) Yamaha tape deck

45. Echo (FX) 2 Cue This is so you can monitor what is being sent to the record deck.

46. Special effects processing

47. “Reverb unit” We have a Digitech special effects unit for reverb, chorus and other EFX on the vocals. We do not run any EFX on the worship leader or pastors mic’s. Likewise we do not run any EFX on the drama mic’s. The signal back from the EFX unit is brought into CH 13 and is assigned to all four sub-groups. There are too many factors about using EFX to go into here. Basically if you don’t know what you’re doing with reverb … don’t use it period end of discussion.

48. Whats next?

49. Tape decks, CD players, audio from the computer and from the VCR! The tape deck & CD player goes to the Tascam rack mixer before going to the board. This frees up a couple of channels on the board. If you get stuck playing a split track tape or CD you can turn off the track that has the vocals on it at the board. Do not mess with the rack mixer because its old and many of the variable resistors and capacitors in it are on their last legs.

50. Tape decks, CD players, audio from the computer and from the VCR! The audio from the computer and the VCR go directly to the board and are so marked.

51. Am I ready to “rock & roll” now? Well … I suppose so … hopefully you’ve got the basic’s down. You still need to know where everything gets plugged in. You have a lot to practice in your mind and in come up and hook things up and practice running through things.

52. Last … but far from least. Read … you have a lot to read. The most important book on sound you can read is the “Guide to Sound Systems for Worship” In addition to this get a book on “Basic Electricity” having a basic grip on electricity is a must for troubleshooting a system. Remember Murphy’s laws … I can guarantee you one thing … if it’s going to break, it’s going to break on Sunday morning.