In 1900, tire makers André and Édouard Michelin published their first travel guide for French motorists. By 1926 the guides included special stars for noteworthy eating establishments. Popularity of this system evolved in 1936 into what is now the gold standard of restaurant ratings, the Michelin Star. While the number of high-end restaurants reach into the hundreds of thousands worldwide, the latest Michelin guide has only awarded 113 three-star ratings.
So why all the talk regarding fancy cuisine and stars? They contain a wealth of principles to draw upon when it comes to constructing an aural experience that will keep your audience comfortable, engaged, and free from distraction. Although numerous factors play into world-class cuisine and top-notch live events, two elements often stand out above the rest: Balance and consistency.
To think about balance when it comes to audio elements in a worship environment, let's explore the world of cinema. Post-production audio mixers divide movie sound into three basic categories: dialogue, sound effects, and music. At their basic core, all elements must work both independently yet cohesively. Dynamic range, regardless of the film, will typically fall into a controlled set of boundaries. Dialogue, even in the most quiet and intimate moments, is still audible without fail. Sound effects give impact but never to the point of exhaustion. We perceive the entire film experience in many cases as being pleasing and balanced; all elements complimenting each other in well-defined ratios. The same principles are applicable when considering a worship environment.
Ears perceive changes in loudness, direction, pressure, and tone in ways that are as astounding as they are complex. Because of this exponential sensitivity, the tonal makeup of any sound drives the perception of loudness.
It is not enough, however, to think of balance exclusively in terms of volume. If that were the case, the only step left is to walk over to a prospective mixing console, adjust a few gain settings, nudge the faders, and presto, the issue is fixed. Tonality and the way humans perceive loudness is equally, if not more, important.
The human ear is a dynamic powerhouse and, along with the eye, one of the most sensitive indicators we depend on in daily life. Ears perceive changes in loudness, direction, pressure, and tone in ways that are as astounding as they are complex. Because of this exponential sensitivity, the tonal makeup of any sound drives the perception of loudness.
In the diagram on the right, we see the relationship detailing sound pressure levels needed along the frequency spectrum in order for the human ear to perceive equal loudness.
As one might guess, it takes a much higher level in lower frequencies than it does in the upper mid range, where the ear is most sensitive, to achieve the perception of equal volume. This explains why simply boosting or neglecting to cut harsh frequencies in an audio system or individual channel can automatically make the listening experience perceived as being loud. This is the same reason a lack of balance across the frequency spectrum can do the same.
So how can we use these principles and apply them to our worship environment? Let's start with the basic elements of any worship service or event and how to make them work cohesively.
Most audio elements fall into one of the following categories:
1. Music playback - Pre-recorded music tracks
2. Live music - band, instrumentalists, soloists, etc
3. Video – custom-made, purchased, supporting clips, etc.
4. Spoken word - worship leader, pastor, drama, other presenters
Know Your Limits And Be Consistent
Live music will typically be the upper decibel limit followed closely by video. Spoken word is going to fall below these but it should be forward and unmistakably present, just as it would be in movie dialogue. Especially after an opening song or intro video, ears in the audience will be dialed into that higher SPL. Keep the energy with your spoken word element. Better to err on the side of too much than too little.
Checking video playback levels should be a default part of any pre-service technical routine....
Checking video playback levels should be a default part of any pre-service technical routine, as well. The FOH mixer should know exactly where the level should be in relation to other elements. Aim to keep this within 5 dBA of your loudest live music level. Nothing ruins the impact of a powerful video than not feeling that impact.
Above all, establish a decibel level benchmark and stick to it. Know where each element will live and make that the standard. Your audience will thank you when it comes to consistency and what to expect week in and week out.
Be Ruthless About Tonality
As we explored earlier, tonality plays a vital role in how the audience is going to perceive loudness and balance. The FOH engineer must work hand in hand with the worship leader, band, and presenters to continually control and produce a consistent and matched sound. The largest discrepancies we often encounter are with spoken word. The worship leader sounds fantastic on his dynamic mic. Then comes the pastor on a less-than-desirable lavalier and sounds like he's forever stuck in a metal can.
The FOH engineer must work hand in hand with the worship leader, band, and presenters to continually control and produce a consistent and matched sound.
While no two microphones will ever be the same, it's our job to find the right gear, know how to use it, understand the application, and provide a seamless transition from one speaker to the next.
Do you have an in-house video production team? Open up the discussion in how you can work together to solve audio challenges. Know your environment, audience, and continually push for the utmost clarity. Playback on computer speakers is not a reliable reference if videos will be played through your house PA. Take time to help all those involved understand the end goal.
The same goes for purchased content. There's no need to settle for just ‘OK'. Find companies that are putting out well-produced video and run them through your PA. Try several media outlets, touch up the EQ if needed in a software editor. Control every sonic element possible and establish a level playing field with tonality.
The Takeaway
John Wooden, the legendary UCLA basketball coach, often reminded his players, “It's the little details that are vital. Little things make big things happen.” Balance and consistency are the little yet vital details that make an environment transparent and pleasurable--or distracting. They are the details that keep us coming back for more or scratching our head.
Spend the next several weeks evaluating and attending to these sonic elements and how you and your team can bring a more disciplined approach to balance and consistency. Make it the Michelin Star of your service, giving your audience a world-class experience.
