MONO , STEREO , PANNED
For most context , you ’ ll likely end up with one of three possible stereo configurations for your keys rig . While there ’ s lots of gray area between these three configurations , they ’ re the most common and helpful to have a baseline understanding of .
Mono : Here your stereo keys signal consisting of Left and Right channels is summed ( audio word for combined or merged ) down to a single , mono signal . In a stereo room then your keys parts would be identically sent through both the left and right front of house speakers .
You might think that this is the least desirable option but it can actually be a decent choice depending on the way the rest of the band is mixed . For example , if your band has two electric guitarists that are panned aggressively left and right , having the mono keys sound sitting neatly in the center can aid in maintaining a nice amount of separation between each instrument .
Additionally , if your sound system is mono it ’ s a good idea to ensure your keys signal is also summed to mono at some point in the signal chain , whether within your software / hardware or at the soundboard .
Stereo : Assuming your sound system is stereo many rooms are best served by a stereo keys signal where effects like reverb , delay , etc . widen the image , but the sounds themselves are still centered . For most rigs that just looks like not intentionally changing any of the output settings and it ’ s usually a quick way to get good results .
Just like with a mono signal , the keys stay largely centered in the mix , leaving room for guitars and other auxiliary instruments to be spread out further . The primary difference between mono and stereo signals then is in the perception of width , not location in the stereo field .
Panned : Lastly , some churches with well-tuned stereo sound systems may encourage the keys player to actually pan some of their sounds around the stereo field to some extent . This can be helpful when the keys parts and sounds are more dense , and especially if having the keys prominently featured in the mix is desired .
Panning these sounds out might look like
shifting that dulcimer lead mid-right and the companion synth lead mid-left , leaving the piano and pad dead center . Keep in mind that spreading your sound out too far might make it more difficult to stay off your band member ’ s toes and will also require a higher level of communication and collaboration with your audio engineer to make sure that your panning choices translate well throughout the room .
DON ’ T OBSESS , COLLABORATE
It ’ s easy to get stuck in the weeds here so let me encourage you to send those texts if you haven ’ t already , start the conversation and see if there are simple improvements you can try implementing . From there , know that whether you ’ re mono , stereo , or panned all over the place the note placements , sound choices , and heart behind what you contribute will always be more impactful than your stereo image alone .
Now get out there and be ( moderately ) imageconscious .
David Pfaltzgraff Founder and Lead Sound Designer at SundaySounds . com , a site that resources worship keys players and guitarists around the world . David currently resides in Des Moines , IA with his wife and two boys . He enjoys volunteering in his church ’ s worship ministry , old synthesizers , and a good super-hero movie .
SundaySounds . com