for that sound source - when every arm in the air has a fist and not a pointing hand . Any band members sharing a monitor mix ( perhaps three singers with one mix through a pair of open speaker wedges ) will need to communicate with each other and designate only one of them to give the hand signal .
8 ) Once the leader ’ s voice has been soundchecked , they will then indicate to the whole team which is the next sound source to be checked . Then the next and the next until every sound source - every microphone and DI - has been checked individually . Soundcheck each item in a logical order that is systematic and not haphazard . I like to move through each vocal microphone first and then each instrument from one side of the platform to the other . Don ’ t forget the metronome click or any tracks if you ’ re using them ! And remember that for each sound source , the audio engineer must first be gaining the signal for FOH before they can move to monitors .
NOTE : Properly soundchecking acoustic drums - especially the kick and snare drums - can take a while . Hopefully you ’ re using a kit and mics set up that remain in position week in and week out . In this case , your regular , pre-rehearsal soundcheck should just make sure everything with the drums is as it should be . But if you ’ re starting from scratch with the acoustic drums , I ’ d suggest allocating time to get that done before other band members arrive .
9 ) As each person produces sound for checking , they must give a level that is at the upper edge of what they will produce when the whole band is playing . We need to hear the loudest you plan to be ! Singers must sing with full voice . A tentative “ check 1 , 2 …” just won ’ t do . This singing alone with no other sounds to hide behind can be tough for less experienced or under-confident singers , but with the right encouragement and support , it is achievable … and must be .
10 ) Once all the singers , guitars , keys , drums , bass , and anything else has been individually checked , we must play something together . This should be part of one of our band ’ s louder , more energetic songs to test our sound at the upper edge of our dynamic range . It ’ ll also help if it ’ s one we all know super well . Play just a louder double chorus together and stop .
11 ) The leader should now ask if anyone needs any adjustments made to their monitors . What seemed right when we were listening to each sound on its own may not be right now as we hear it in the full band context . Those needing changes should raise their hand and communicate to the leader what they need . Again , using the up / down / happy hand signals , those adjustments can be made quickly .
12 ) Play the same upbeat double chorus again . Once that ’ s done , the leader should again ask if anyone needs adjustments . Hopefully we ’ re all happy now but if not , the process can be repeated until we are .
13 ) It ’ s easy to think that our soundcheck is finished now . But there are actually just a couple more important factors to review . Make sure you consider any other sound sources that the band - and especially the leader - might need to be able to hear during the service . The mic from the person giving announcements ? The pastor ? The audio feed from any video that might be played ? If the band might be called upon to provide instrumental backing as the pastor concludes the sermon , we need to be able to hear what ’ s being said through that mic so we can respond appropriately and remain connected with what ’ s going on in the general flow of the service . Mixing these additional sounds is especially needed if in-ear monitors ( IEMs ) are being used as they tend to block out any ambient noise .
NOTE : To help a band using IEMs have a better sense of the “ voice ” of the congregation , many churches will use ambient ( also known as “ crowd ” or “ room ”) mics . We can ’ t soundcheck the congregation before the service . They ’ re not there . I have no solution for this apart from working out good volume levels from trial and error during the service over time .
14 ) If the MD on the platform has been the one running the soundcheck , now is the time for him or her to direct a very important question to the audio engineer . “ Before we finish the soundcheck , is there anything else you need from us , or anything you ’ d like us to change to make things better from your perspective ?” … or words to that effect . The audio engineer might need to hear more from just the kick drum to get that sound better EQ ’ d in the room or for some other adjustment to be made . The audio engineer has the only truly objective ears in the room . They know how we sound , and how that sound will meet the ears of our congregation way better than we do . Whatever they ask for , give it .
15 ) The soundcheck is complete ! The leader should clearly announce this to the whole team and transition us into rehearsal .
So that ’ s the soundcheck system that I learned and developed from MDing bands in a huge variety of situations over many , many years . It works for me , and I hope it will for you too .
This soundcheck system does require some patience and focus from the whole team . We must work together - singers , instrumentalists , and technicians - as one team for a common goal . There are a few steps involved and this can take a little while with a team who has never done it before . But if this becomes part of your regular routine , it can be slammed out very quickly , effectively , and efficiently .
The time and energy spent on an effective soundcheck will reap massive benefits . The improved overall sound - with the subsequent reduction of sonic soup - will allow you to more warmly invite your church congregation to worship Almighty God through the songs .
Grant Norsworthy founder of MoreThanMusicMentor . com providing training for worshipping musicians .
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