Thousands of sound checks happen every week for rehearsals and worship gatherings.  Some of them are flawless and effortless.  Many of them are downright frustrating and haphazard.  Different musicians each week.  Many of them very good weekend warrior musicians.  They've got a PMM in front of them.  But then there's a different FOH engineer each week too.  Many musicians and engineers simply don't know an efficient way of sound checking (hand signals for more/less/hold, communication, play/sing your strongest level until gain is set, etc.).

It's not their fault.  No one has ever taught them.  Someone says, "Hey, let's sound check with NAME OF WORSHIP SONG."  Frustration ensues.  Not everyone plays/sings all the time in the song, it may not be strong if they don't know the song as a new musician, the FOH didn't know there was a loop track, the click track isn't set at a good level yet, musicians say "I need more of INSTRUMENT-A." when the rest of the band was working on INSTRUMENTS-B, and C, and D.  You get the picture.

With the advent of click tracks and loops in the worship environment, sound check is sometimes mistakenly done without a click level for stage and a loop level for house. There has to be a way to make this easier without training a new group of weekend warriors each week.

ONE SOUND CHECK SOLUTION FROM MYMUSICWRITER.COM

Use a pre-recorded MP3 split-track sound check process that guides the on/off stage - completing a general gain structure in 7-minutes in PMM and FOH.  Verbal guides give everyone a heads up for what will be checked next.  Each channel is given just the right amount of time to dial in the gain, pan, and maybe a little EQ for FOH.  When 7-minutes are up — now you are ready to get down to business.

WHY AND HOW IT WORKS

This 7-minute MP3 file contains a click track and verbal guides (left channel) and loop and guide (right channel).  Based off the 12-bar blues, every instrument and singer builds the mix in the same order every week — and it kind of fun too.  Gain structure in IEM and FOH set quickly and more accurately.  Vocals have three part harmony parts to sing over top of the band too (SAT).

Musicians perform musically with confidence — and the guide makes it clear who's up next.

The click track substitutes the live band with a prerecorded track for the instruments that are first up to bat.  For example, when the bass guitar plays alone...he or she will play more confidently if they are playing with a band.  That's why the "band" appears in the recording at the beginning, but "loses" each instrument as soon as they are added live.

Got musicians who don't play by ear and are timid when it comes to the 12-bar blues?  No problem.  Sheet music is included with transcribed chords, notated piano & string/B3 parts, and vocal parts with lyrics.  I've attached this as well.

How much is the 7-Minute Sound Check of value?  It's currently $15.  How much would I be willing to pay for a streamlined sound check process that works?  $15.  That's $0.25 a week to boil the process down to 7-minutes, make those 7-minutes count, and get on to the stuff everyone wants to work on.

Oh yeah, it's always a good idea to do a line check before launching the 7-Minute Sound Check process.  We've learned from experience.

BACKSTORY: HOW WE STUMBLED ON THIS

We had two bands synchronized back to back in two rooms (sound bleed, thus the reason for syncronization — it's a long story). These bands started together, turned together, hit solos together, ended together, and transitioned together.  We even piped in channels from the other room to fill out missing players when they were sick.  Sound check process was a challenge with this setup — but once we figured out this 7-minute process...it streamlined it, and we checked the bands simultaneously — even set gain structure from instruments in a different room into the live band in the other room.  Crazy, I know.  And a lot of work.  But it worked.  And it worked well.  It wasn't cheese or poorly done.

Hope this helps.  Please let me know if I can do anything else for you.  Would love to make sound check processes around the world at worship gatherings something that's fun, efficient, and helpful.

EMERGENCY STOP PRESS HERE

It's easy to do with a laptop. The drummer just taps the space bar.  Voilà!  iTunes stops.

It's easy to do with an iPod. The drummer just clicks the jog wheel.  Bam.  It stops.

But what if you use an iPad? An iPad is popular to use for running mymusicwriter.com loops because the user can see the entire playlist at a glance.  But there's one problem.  If you need to stop the click, that pause button is unforgivingly small.  Your finger has to land on that 1/2 inch pause button in iTunes.  How in the world does the drummer keep time and manage to accurately hit the button?

The "Emergency Stop Press Here" tracks of course.

That's right.  It's eight tracks lined up in the bottom of your iTunes playlist.  All the tracks are identical and are all 10 minutes of silence each. Here's how it works.

When things go awry, the drummer can tap ANY of the bottom eight tracks labeled "EMERGENCY STOP PRESS HERE" tracks.  The surface area on those 10 tracks is lots bigger than that pesky pause button at the top.

It's a simple way to create a "panic button" that helps the drummer use when the iPad doesn't offer a tactile button like space bar or jog wheel.  Then again, if you've been using click/loop tracks for awhile — the panic button is rarely needed.

Boss DB-90 Dr.Beat Metronome

Life has some little annoyances...and when it comes to the Boss DB-90 Dr.Beat metronome, the big one is the light doesn't stay on...until now.  Let's reveal the *little secret* shall we.  It's not in the manuel.  And it's not online anywhere at Boss. So, for the first time ever, here's the secret.

Drum roll please.  Curtain pulls back.

How to the keep the light ON for the Boss DB-90 Dr.Beat

STEP 1 - Press and hold the POWER button

STEP 2 - Press and hold the LIGHT button (you are still holding down POWER, right?)

STEP 3 - Release the POWER button while you continue to hold the LIGHT button

STEP 4 - Release the LIGHT button and enjoy illumination all night long.

There are some key things to consider when using ear-buds.

• Get the best seal to keep the bass in. If the in-ear tips don't seal out the stage volume, then you could be losing the low end.  The tips should be completely sealing off the stage volume, and thus sealing the bass IN.
• Discover the best way to reduce cord tension so the buds don't pull out of your ears. If you get several songs in, and the buds start to pull out — you'll be in trouble.  One method is to run the cords through your shirt back, then coil it in your pocket before it runs to the personal monitor mixer (Aviom, Hearback, etc.).  If you are wireless, there's way less tension already — which is a good thing.
• Use the correct size of ear tips for your ear canals. Strangely enough, your left and right ear canals can be different sizes.  Experiment with different tips and sizes to get the correct feel and seal.
• Buy the best pair you can afford. It's true you get what you pay for.  So purchase something that you will take care of, that will last, and will benefit you in the long run.  Fighting a cheap pair of in-ears can leave you disenchanted.

Here are a couple of things the The Audiophiliac over at CNET News has to say about getting the best sound from in-ear buds...

Everybody's ears are different, so achieving a perfect fit can be a tricky exercise. Most in-ear headphones come with a selection of differently sized and shaped eartips. Try them all; the goal is to produce a the best possible "seal," which reduces the amount of outside noise you hear and delivers the headphone's fullest-possible bass response.

The difference in sound quality between a good seal and an iffy one isn't subtle. It's definitely worth a little extra effort to maximize each tip's seal. Remember, too, that poor sealing makes for a less secure fit, so the earpiece is more likely to fall out of your ear.

Tip: Your left and right ear canals may not be exactly the same size; you might need, for example, the smallest eartip for your right ear and a medium tip for the left ear.

How to get the best sound from in-ear headphones

I've included a gallery of images to help perfect your in-ear insertion techniques. First, try rotating/twisting the tip slightly as you push the headphone inside the canal.

Gently push it in, and when you hear less external noise, you're done. The quieting effect can be at least as powerful as the better noise reduction headphones. If the tip still feels loose or the external noise level is about the same, try using a larger or different type of tip, if it's provided by the manufacturer (foam, silicon, or flange tips (see gallery). If the tip feels too tight or uncomfortable, try a smaller or different tip type.

If the push-in technique doesn't work, try the "lobe tug": Before you push the headphone in, gently tug your earlobe down and/or out, then push the headphone in, then release the lobe. I use this technique with my Monster Turbine headphones. Again, experiment with the tugging direction, as it might take a few tries before you get it right.

If that doesn't work, try the opposite approach: the "ear pull." Before you push the earphone in, reach over your head with your other hand, and gently pull you ear up, then push the headphone in. Release the ear. If it's not working, try different pulling angles before pushing the headphone in.

via How to get the best sound from in-ear headphones | The Audiophiliac - CNET News.

While we are obviously biased at mymusicwriter.com that our stuff is the bomb, there are other really, really good resources out there.  At the end of the day, selecting the best from each site and locating what works for you is a win/win.  And if after you check all the sites, including mymusicwriter.com, and you don't find what you are looking for — drop us a line at mymusicwriter.com for a custom track (currently $30 a custom track).

On to David's list of other great resources out there.

Here we go:

1. LOOPS IN WORSHIP – This is a fantastic resource for all things loops in worship (hence, the name of the website). While the design looks fantastic and has been chosen as a top resource by Worship Leader Magazine, it really does have some great courses, tools, and blog. So if you’re a looping pro or simply want to learn more about what it takes, grab a cup ‘o joe, a snuggie, and cuddle up with this site. Brilliant stuff. Be sure to follow them on Twitter as well. And leave the Snuggie where it is.

2. LOOPING WORSHIP – Another sweet website for loop crazed folks. What I love about this site is the ability to download FREE loops for songs and also REQUEST a custom loop. Maybe you have all the gear you need but lack the time to actually CREATE your own loops. Look no further than Looping Worship. Show some love and follow them on Twitter.

3. LOOP COMMUNITY - Download loops, submit loops, all to your heart’s content. I love seeing how many loops are created in Propellerhead Reason (affiliate link), the software I use to create my own. There are some great sounding, easy to implement loops over here. You can follow them on Twitter here.

4. BWACKS FORUM – If you are remotely interested in loops, you’ve probably been influenced by the looping craziness of the David Crowder Band. Most of their songs are built entirely on programmed loops that are intricate, creative, and just plain weird (in an awesome way). This forum is the online community of the DCB, where you can interact with other loop-a-holics, share your stories, and even download loops. Sounds scary, huh? Exactly why you should check it out!

5. INTERACTIVE WORSHIP – What I love most about Interactive Worship is that you can get original masters from the recordings. This is great if you want to add other instruments to the mix besides drums, say strings, percussion, guitars, you name it. There’s also an incredible training page to figure out what you need to get started. Be sure to follow these guys on Twitter.

While I recommend the use of click tracks and loops for your team, it is not a necessity. I think it builds discipline in your musicians but the presence of God can still anoint your team regardless. These are mere suggestions that I definitely recommend you explore. Why not try it?

via 5 Essential Websites For Using Loops in Worship | David Santistevan.

How to Route Your Audio for Click Tracks/Loops

You've see many churches utilize click tracks and loops worship with the full blown setup. It takes a speedy laptop computer, audio interface with multiple outs, Ableton Live or Reason software installed, and maybe a MIDI foot controller.  This can add up quickly.

The Full Blown Way ($2000 TOTAL)

• $1000 - Laptop Computer
• $500 - Ableton Live or Reason Software
• $200 - Audio Interface
• $100 - three or four direct input boxes and cables
• $200 - MIDI foot controller (optional)

But there's an easier and more affordable solution to get started by using MP3 loops and click tracks.

The Affordable Way ($200 TOTAL)

• $100 - MP3 player
• $50 - loops from mymusicwriter.com
• $50 - two direct input boxes and cables

Worship leaders in local churches can get started running click tracks and loops with equipment they probably already have. Here's how to get started.

1. Use a standard MP3 player. If you do, then you can line up click tracks and loops straight from there.
2. Line up the MP3 click tracks/loops from mymusicwriter.com in the order they will be triggered.  Remember to put some buffer/pause tracks in the line up too (available free from mymusicwriter.com).
3. Give the MP3 player to someone on stage other than the worship leader. Give them instructions to trigger the tracks when appropriate.  Give them instructions of what to do if the band gets off the click track (fade out the MP3 player or computer; or simply hit pause).
4. Use velcro with the MP3 player and mount it in a place where the worshippers might not see — unless you like the "I'm checking email" look on the stage during worship.  Try the MP3 player on a music stand for starters.

Are you a musician or audio engineer that finds yourself cringing during the dreading sound check process?

Sound Check Click Track and Loop is a 7-minute solution for sound checks. Musicians will enjoy jamming to the click and loop, giving the engineer an opportunity to dial in solid gain structure. Audio engineers will enjoy keeping musicians alert and on-task during sound check with the guided cues built in to the click track. The Sound Check Click Track and Loop includes real-time split-track verbal instructions for audio engineer and musicians during the sound check process. Click track and loop checks in a systematic building approach to obtain audio level, EQ, and mix for both front of house and IEM monitor world. It will bring order out of what many times is simply chaos. The result...audio engineers and musicians can be friends again.

Based off the 12-bar blues in Am, the musicians perform musically with confidence. The process easily allows the entire band to dial in monitor settings at the same time. It is designed to be used on a regular basis with rotating musicians and/or audio engineers.

Works with any In-Ear-Monitoring situation, but can be used for wedge monitors too.  Check it out and start your effortless sound check process today.

Then there's the other scenario…

Jumping the gun happens too. The electric guitar is right in the middle of the sweet spot in his solo, but who cares — the vocals just came in.  But it's not just the vocalists…

Remember the time the drummer zigged when the band zagged? The guitarist thought it was the big double chorus, but the band did the big break drop at the bridge.  Wow.  Awkward.  But no more!

There's a way to never miss a song entrance again — through the magic of vocal cues built into the click tracks.

The click tracks and loops at mymusicwriter.com all have vocal cues built in to them. This means each track will guide the band through the verse, pre-chorus, chorus, bridge, instrumental, outro, intro, and the like.  Imagine someone counting you in to the verse, every time, ON TIME.

"But I want to deviate from the click track's song sequence," you say.  Easy. Simply have your trigger person (running the click) to fade out the volume of the MP3 player or computer and then hit pause — then deviate to your heart's content.  This will allow flexibility and more freeform.  Yet the song was able to get a confident start with a steady tempo and cues.

Give it a try. See how effortless entrances become with MMW's loop tracks.

Whiplash would happen if we simply ended the slow song and began with the second uptempo song. But a nice flowing transition is the following secret; take part or all of the CHORUS of the second faster song and sing it as a slow transition between songs.  In fact, leave the click track OFF for this chorus.  Simply sing it free form and have your band play the chords as a nice sonic bed underneath.  It would feel something like the following…

FOREVER REIGN (click track)

| Am   /   /   /   |  F   /   /   /   | C / / / | G / / / | F (hold) ||
My heart will sing, no other Name.    Jesus        Jesus

TRANSITION (no click track, sing slooowwly)

| G  /  /  /  | Em7   /    C  /    | G   /   /   /   |  Em7  /  C    /     |
Our God will reign forever        and all the world   will know His name;

| G  /  /  /  | Em7   /    C  /    | G   /   /   /   |  Em7  /  C    /     |
Everyone  together              sing the song*      of  the redeemed.
[*trigger click here]

MY SAVIOR LIVES (click track, instrumental intro)

| G / / / | Em7 / C / | G / / / | Em7 / C / | continue…

Try it sometime before a rehearsal situation yourself with a guitar or piano. See if you can get it smooth yourself.  Then demonstrate it in rehearsal to the one who triggers the click track and loops.  Once you get the feel of it, you'll be able to transition from slower songs to faster ones with a nice flowing transition.

One more trick — be sure to put a spacer track between the two songs.  It will allow your trigger man to pause the track until the worship leader reaches the point where the next song begins.  You can pick up your spacer tracks at mymusicwriter.com (here).

Worship without the whiplash.