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Environmental Noises

The presence of outside noises is often not considered when designing a worship space. Proximity to streets, industry, air travel, or other noise producers can affect the worship space. For instance, because of the noise level of an aircraft flying over, a worship space built near a flight path probably should not have windows.

1 Ewart A. Wetherill, "Acoustics for Worship," The American Organist, vol. 30, no. 8, (August 1996), 61.

Renovations of Existing Space

Often, the cost of renovating existing spaces can be exorbitant when an older building has to be upgraded to current building codes. Finding the original architectural drawings is a beginning point for any renovation, for it will provide much-needed information. Before redesigning or moving choir space, consider building a temporary choir space out of scrap plywood and fellowship hall tables to be sure that the sound will be pleasing. Do everything possible to avoid irreversible and expensive mistakes.

A possible solution to some acoustical problems in an existing space is to purchase a better quality sound system; however, sound systems can never make up for poor acoustical choices in the original construction.

Sound Systems

The importance of a quality sound system cannot be overemphasized because, in a day when people are so aurally sophisticated, your congregation, whatever its size, will have high expectations. Sound systems are a relatively new addition to the church, having been added mostly in the last 50 years. Prior to this time, speakers and singers were expected to project loudly enough so that people could hear. If you had difficulty hearing, you sat close to the front! Today, most churches have a sound system whether they need it or not — even worship rooms that will only seat 100 or so often have sound systems.

A sound system should provide not only sound reinforcement but sound enhancement as well. Not only should the sound become louder, it should become better as it passes through a sound system. However, this is often not the case, for the sound usually gets louder but loses much of its natural acoustical properties. This problem can be attributed to the poor quality of the sound system (especially the microphones), the improper use of the system, and the lack of knowledge and training on the part of the sound operator(s). Many churches have different sound operators on different weeks. In this situation, you become keenly aware of the operator's role in achieving maximum results from the sound equipment.

There is no way to overcome poor acoustics with a good sound system. A good sound system can help, but it will not be able to make up for the lack of effective natural acoustics in the worship space. There is no substitute for good planning before a worship room is constructed or before it is renovated.

When purchasing or updating a sound system, you should always consult a professional. In the world of sound reinforcement, what constitutes a professional? This is a difficult question, for there are no uniform qualifications that provide a standard for the industry. To add to the problem, many sound reinforcement professionals do not have training in church sound systems and are not particularly sensitive to the role of the congregation. In worship, the congregation must hear themselves and feel that their singing is reinforced. Only the acoustics of the room can provide a good environment for congregational singing. Sound professionals may only be interested in or knowledgeable about what the sound system can do. Unfortunately, in order to make the job of sound reinforcement easier, they may even recommend deadening the room to the point that congregational singing will be severely crippled. The best way to find a good sound reinforcement professional is to worship in spaces where this person has designed the system. Ask the sound engineer for recommended worship rooms where he/she has installed sound systems. Visit the recommended sites and other installations as well. You should also talk with the ministers in the churches to find out about service, follow-up, and additional items.

Sound System Basics

Quality – All elements of the sound system should be of high quality. Sound systems may have a quality soundboard and speakers, but poor quality microphones. Others may combine quality microphones and soundboard with poor speakers. None of these will result in a sound that is pleasing. Sound system components must be compatible.

A good sound system should accomplish the following: (1) provide complete and equal coverage throughout the entire worship space, not varying plus or minus 3 decibels at any location; (2) enhance the degree of intelligibility of the sound through clarity of consonants; (3) provide for smooth, wide frequency response, particularly for music; (4) allow for adequate gain before feedback; and

(5) operate free from noises, pops, squeals, sizzles, hisses, and other interference.1

Placement – Most people will rarely see the sound system, for it is usually out of sight or in places that obscure it from view. Most sound experts recommend that the main body of speakers be in the top and front of the worship room where many of the sounds of worship will originate. The soundboard's ideal location is in the center of the worship space, which allows the sound operator to hear as the other worshippers do. To minimize distractions for the worshipers, the soundboard is usually located in the center rear of the main floor of the worship space. If the room has a balcony, the soundboard should not be located under the balcony, but should be placed in the balcony to the congregation's right or left. Sound equipment should always be stored in a room or closet that is lockable and easily accessible to the front of the worship space.

Speakers – Speakers come in many brands and types and should be chosen for the particular room. They should be able to produce quality sound at all frequencies, and they should be compatible with the amplifier. If the amplifier is too small to drive them, they will not function well. If the amplifier is too large, it may blow the speakers. Amplifier and Mixer Console – The mixer is the control panel for the system. It should have an adequate number of inputs for the number of microphones and other equipment, such as CD players, that you intend to use at any given time. It should also have adequate outputs to accommodate all speakers (worship room, foyer, or cry room) and the ability to achieve tone equalization for low, mid, and high range frequencies. A reverb system is also necessary. Sometimes consoles are too complicated for the volunteers that will operate them. There should be a balance of equipment that will both accomplish the sound needs and can be easily operated by a novice.2

Microphones – Microphones come in many types and have specific purposes. Problems often arise because the wrong microphones are used for a particular individual or group. Poor microphone choices can be the reason certain members of a group are heard more prominently, a singer does not have the right "presence," consonants make noises, or microphones have feedback.

1) Condenser – Condenser microphones are easy to miniaturize, typically have wide-range and uniform frequency response, require power sources, are rugged and reliable, and are used for vocal or instrumental reinforcement and recording. These microphones have longer pickup and are usually used as hanging microphones over the choir or congregation, or they sit on an altar table. They can pick up well from between five and seven feet. Condenser microphones must have a phantom power unit — most mixers will have one. Be sure that the power unit is on so that your condenser microphones will not be damaged.

1 Warren P. Miller, "Sound Reinforcement: So That All May Hear," The Church Musician, vol. 41, no. 2, (November 1989), 13.

2 Ibid., 14.

2) Dynamic – Dynamic microphones cannot be miniaturized, typically have limited and uneven frequency ranges, do not require power sources, are usually rugged and reliable, and are used for vocal reinforcement. Dynamic microphones are usually used for singing and are excellent hand-held microphones. They are limited in pick-up pattern to only a few feet.

3) Other – Microphones may come in many shapes and sizes and designed for different purposes. These may include gooseneck (bendable microphones often used for pulpits and other speaking stands); lavaliere (small microphones that attach to clothing, usually have a battery pack attachment, and can be wireless); hanging (usually small condenser microphones that hang over the choir or congregation); handheld (wireless or regular microphones designed to be held by the user); omni/uni boundary (flat microphone, used on a table or flat surface to amplify sounds around it).

Basic Microphone Pickup Patterns3

(Microphone pick up patterns vary according to manufacturer, type, etc.)

Omnidirectional – Picks up sound in all directions, 360 degrees.

Half-omnidirectional – Picks up sound, 180 degrees.

Cardioid – Null at rear of microphone, 131-degree pickup.

Supercardioid – Narrower pickup pattern than cardioid, 115 degrees, slight rear pickup.