a console a certain way, most likely the Allen &
BEST PRACTICES
we use is really easy to understand so no one
Heath can be set up that way and make it really
thinks it’s complicated and no one thinks it’s
[WM] One of the themes I’ve mentioned too simple. It really hits on all cylinders and all of
repeatedly in the previous installments of this our sound guys enjoy that workflow. They have
[WM] Why and when did you move to Allen story is best practices. Sound techs tend to some preferences as far as where everything is
& Heath? have their own approach to doing what they do. laid out on the console, and how some things
How do you approach managing consistency may be named or different channel colors or
in workflow? stuff like that, and we’re flexible on that. But as
easy to transition to.
[John] We moved to Allen & Heath when we
were growing from our second location into our
far as how we actually run our line checks, how
third location, and we realized that we were [John] I think it’s establishing a system we run through our morning sound check, it is
getting ready to start looking for a broadcast between a manager and a leader. A manager consistent across all locations.
location. At that point, we knew that the sixty- manages systems that are already in place and four channels we had on our existing console exist, and a leader creates systems that people [WM] How does mixing for broadcast differ
wasn’t going to cut it. We didn’t have enough can manage. So, when we’re looking for from mixing for front of house, and how do you
busses, we didn’t have enough channels, people on our team we’re looking for leaders, approaching training your team to understand
and it just so happened that dLive kind of but the leadership of the church helps create and mix for the nuances for these markedly
met everything we were looking for. It had the system. That was one of the things that, different audiences?
the flexibility for growth, it had a hundred and we did with audio, was to create a system that twelve channels and sixty-four mix busses, and everyone could follow that would get everything [John] It’s very different mixing house,
it was the right price. When you can get a large up and going in a quick manner. especially at a broadcast location. When you
format desk, again, and not have to spend a
mix for broadcast, a lot of people are streaming
ton of money… it was a good transition for us Especially because a couple of our locations church at home and when you send it to
because of its user flexibility, we could really are portable, there’s not a lot of time to do Facebook it can sound terrible. I’m giving my
transition over seamlessly. I think I did the things differently on a Sunday morning. We’re team very specific instructions on what I’m
transition when we switched from our SC48 showing up at five or five thirty in the morning looking for, so that when people are listening,
to our dLive in like two days. From physically and setting everything up and doing a line we’re making them feel like they’re in the space.
taking the console out and installing it, getting check by seven am, so there’s not a lot of You’re just trying to get clarity, you’re trying to
everything spun up as far as patching and flexibility in time, so it’s just making sure that get punch, it’s all about feel. But when you’re
naming channels, it was all done in a matter of the workflow stays pretty consistent across mixing broadcast that’s important, and that can
just a couple days. locations. The good thing is that the workflow be challenging when you go from mixing in a
December 2018
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