Why Does a Church need a Sound System?

A sound system is an appliance which amplifies the audio sounds of a minister or performers so that a large gathering of people can hear the preaching or singing. Consequently, a church needs a sound system as a vehicle to effectively communicate the Gospel of Jesus Christ to an audience.

When properly installed and operated, a sound system is a subtle device which should not draw attention to itself. Within its technical abilities, it is intended to capture a live presentation and pleasantly amplify it with high fidelity without restricting a performers concentration or expression.

A sound system has legitimate purpose only when it effectively serves both the performer and the audience. It is not there to be served, but to be a servant. Whenever a sound system or its operation impairs the performance of a minister, or hinders the listening of a congregation, it has lost its reason for existing. The sound operator must be acutely aware of this fact and be sensitive to the needs of both.

Feedback, unbalanced mixes, volume levels too high or low, or monitors which cannot be heard by the performers are some of the common problems with a system which can literally ruin the atmosphere of a service or the composure of a minister or singers. I’ve seen times where the minister and congregation were more tempted to strangle the sound operator, than in appreciating the sermon or presentation of a service. This certainly is not serving the intended purpose of a sound system and does not bring glory to God.

Tips for good Sound System Operation

Operation of the sound system is a serious ministry and the person who works with the sound must take it seriously. The sound operator should be a dependable person who has a servant’s heart, willing to cooperate and take directions, not touchy or easily offended. He should be a person with a good ear, attention span, and instinctives in working with sound mixing. He should be well trained and knowledgeable with the overall sound operation, as well as familiar with its technical abilities and limitations.

Operation of the sound system has to be rehearsed, just as singers and musicians do. The operator should be present for all rehearsals of the choir, orchestra, drama group, or similar events. He should make a chart of channel volumes and adjustments which sound best in rehearsals so that they can be easily duplicated during a performance. If there is no formal rehearsal for a vocalist or preacher, a “sound-check” must always be conducted sometime prior to a service, in which all mics and equipment are tested, and all sound levels are adjusted and verified. Excessive guesswork and “flying by the seat of your pants” during the service can produce many embarrassing errors which can devastate the sensitive mood of a congregation or hinder their reception of ministry.

As it seems to be in most other aspects of a church, there is a diversity of opinions about how the sound system should be operated. You will discover that when the volume level is satisfactory for most, there will still be some who cannot hear well and others who will think it’s too loud. Unfortunately, a sound operator cannot always accommodate every hearing sensitivity. All he can do is try to gauge the volume to an acceptable level for the average listener. A sound operator should have a “few” selected spotters in the audience that can help him gauge volume levels from different locations, but he should avoid being manipulated by the numerous diverse opinions.

A decibel meter is helpful in gauging volume in a auditorium. But even though the volume levels may be set identically during each service, the perception of loudness will be affected by the quantity and seating assignments of the persons in attendance. The presence of each person has an effect on the acoustic environment. A larger crowd will require more volume — a smaller attendance will require less volume.

It is best that only one person, such as one of the ministers or church elders, be authorized to direct or overrule the sound operator’s judgment for the auditorium volume. There should be some way to speak to the operator directly by intercom or headsets. The performers obviously should direct the levels of the stage monitors according to their individual preference. An established system of hand signals is generally the best method of communication between the person on stage and the sound operator.

Frequently, demands are placed on a sound system which cannot always be delivered. All sound systems have their particular limitations. A sound operator should be able to know and define them to performers and congregation, and should be able to give advice how to maximize their performance with a given system. Consequently, it would be helpful for people to also be willing to try to understand the limitations of a system and accept that an operator cannot always perform miracles. The sound operator is often the target of undeserved criticism because of the limitations of what he has to work with.

Formula for Good Sound

Because of prohibitive costs, it is rare to find a church which has the highest quality microphones and audio equipment, and most churches are notorious for building designs which produce poor acoustics. Complicated by volunteer personnel which usually have little or no training with audio technology, it is easy to realize why churches often complain about their sound. People who are accustomed to the professionally mixed sounds of records, tapes and video expect the same results in their church. But this high quality can only be achieved with: (1) Properly installed, high quality microphones and audio equipment, (2) a favorable acoustic environment, and (3) knowledgeable and experienced technical operation of the sound system.

Multi-phase Sound Systems

Sound systems can be very basic, consisting of just a mic, amp/mixer, and speakers. But for larger applications, a sound system can be fairly complex. Some systems may have a variety of different microphones for different applications, including a multi-channeled stereo mixer board with an ensemble of speaker consoles. Such systems might be reinforced with components for equalization, compression/limiting, audio distribution mixing and splitting, digital delay, reverb, phantom power supply, tape recording equipment and isolated mixers for fold-back/monitor speakers or other sound applications.

When a church has a simple system which delivers sound only toward the congregation, I refer to this as a single phase system. However, a system which also includes separately controlled stage monitor speakers (also called fold-back speakers) for performers to hear themselves, would be considered a two phase system.

The best way to understand a two phase system is to think of it as two separate sound systems. A public address system for the audience, and a stage monitor system for the performers. Each system receives identical input from the same set of microphones, but each can mix a different volume balance on each channel and send to its own set of speakers.

The purpose of a monitor system is to help the person on the stage. Singers and performers need to hear themselves in order to blend together, and they often need a different sound mix than what would generally sound pleasant and blended to the audience. For example, a singer using recorded music tracks to accompany himself could have the sound for the monitor mixed so that his voice is heard louder than the music track, if so desired. This would have no affect on the sound directed toward the audience, which would be mixed by separate controls to cause the music and vocals to blend together evenly. Monitors are essential in larger churches, or especially when a performer cannot adequately hear his own sound coming over the PA to the congregation.

For more extensive applications, there also can be three phase systems which can add an additional “closed circuit” for independently mixing sounds for broadcasting or recording purposes. This is thought of as a third, isolated system in which sounds from the same microphones are mixed differently for another type of application.

The reason for this is, while the audio heard by the audience may sound well blended, it will not always sound correctly mixed when listening through headphones or on a tape recording. There is a difference between “ambient sound” which is affected by acoustic conditions, and “closed circuit” sound, which is pure audio signals without the bias of acoustics. In an auditorium, the ear hears sounds from PA speakers over a distance after the sound has reflected off walls and shaped objects. These acoustic conditions change the nature of frequencies, tonal quality, and perceived volume values and blends. So what may sound good to the natural ear, may sound terrible on a recording or when broadcast over the radio.

Location of Sound Operation

One of the most common problems in a church is the positioning of the audio control/mixer board. For the sake of security or visual aesthetics, control equipment might be installed in a remote booth in the rear, perhaps with an openable window for the operator to hear. Headphones are often used as the only method to gauge the balances between microphones. However, this almost always proves to be a disaster as the sound operator cannot accurately hear the acoustic balance of the sound he is trying to control.

The sound controls and operator must be placed where he can hear the same acoustic environment that the congregation hears. A open air, box-seat enclosure equipped with sound mixer, in the approximate center of an auditorium or balcony is usually the most effective format.

Tips on Dealing with Feedback Problems

Feedback is technically known as audio oscillation. In simple terms, it is nothing more than sound coming out of the speakers, going back into the microphones and reamplified in rapid oscillating cycles, creating a shrill whine or squeal. The object of a system is to achieve satisfactory, high fidelity amplification of sound before feedback occurs. Under some circumstances, limited by acoustics and poor equipment, this can be a real challenge.

There is no complete cure for feedback. If the volume of any mic is boosted loud enough, it will eventually cause feedback. However, these are ways that it can be reduced and controlled:

Tips on Reducing Interference

Radio frequency interference (RFI) can bleed into sound systems from nearby radio stations, or C.B. radio transmitters. Electro-magnetic frequency (EMF) interference can also come from other electrical devices such as electrical transformers, fluorescent lights, computers, electric motors, or switches.

High impedance microphones and equipment are much more sensitive to these types of interference. In some cases, interference in such systems can be reduced by using shielded microphone and input cables, and reducing their lengths.

If possible, the best solution is to convert to low impedance, balanced mics and equipment, making certain that all mic and input cables and connections are well shielded. Low impedance systems are more resistant to interference. If interference is detected, it’s often due to some defect in a shielded cable or connection somewhere in the input side of the system which can be traced and repaired.

Grounding problems can be another common cause for PA interference. If your control board and amps are equipped with a three pronged, grounded AC plug, make sure that the electrical outlet is properly wired with a good ground connection. If electrical “buzz” still occurs, some amps or mixer boards have polarity switches that can be reversed, which by experimentation may help reduce or eliminate some electrical noise. If problems persist, consider that the problem may originate in one of the components in your system. Remove individual components (such as equalizer, limiter, etc.) one at a time, and see if their removal eliminates the problem. If no success, try temporarily lifting the ground at the electrical source to see if the “buzz” disappears. If so, this will usually confirm that it is a grounding problem somewhere in the system.

Removing the ground to a system or certain devices is a common method that some technicians use to eliminate grounding buzzes, but it is dangerous and not recommended to leave a system ungrounded. A ground is there for human safety, to provide shut-down of an electrical circuit in the event that live voltage comes in contact with the chassis or a user handled area. Even though most audio equipment will be powered by 110 volts, this is more than enough to kill a human being under the right circumstances. For this reason, all sound operators or technicians should always wear rubber-soled shoes.

For temporary testing purposes, a ground fault interrupter (GFI) can be substituted in absence of a ground, which can provide an operator some limited protection from electric shock. But the advisable method of dealing with grounding problems is to have an electrician seek out and eliminate any possible “floating ground” or “ground loop” in your electrical source. When possible, have an “isolated” dedicated ground installed to the outlets which supply power to all PA related equipment. All inter-related audio devices such as tape recorders, film projectors, VCR’s or TV broadcast equipment must share the same common ground.

Obviously, there may be times that you experience a problem that only can be remedied by a trained technician. But these suggestions may help in many situations, and hopefully, save you time and money for the Lord’s work.

©1990 Dale A. Robbins, Victorious Publications, Grass Valley, CA 95949

Used with permission

Mixing sound levels on a mixing board can be a complicated task. It is recommended that some type of sound rehearsal be conducted prior to a performance so that the operator can calibrate the board, gauge settings, mark feedback thresholds and establish a reference of how to best mix the sound. These settings can be marked on the board or on a chart for easy reference later.

Before performing a sound mix, first initialize the mixer controls by setting them to off, flat, or zero. This establishes a frame of reference and eliminates complications later. Make sure the master volume fader is all the way down or set to zero.

After powering up your mixer console and other audio equipment, set your power amp volume to about 50% and turn it on. You always want to power up amplifiers last to avoid audio “booms” when you turn on the mixer. This can blow out speakers or damage circuitry.

Gradually raise the master fader, and submaster faders, to the mid-center positions, usually marked by shading or lines. This position provides the least mixer noise or distortion.

Start adjusting the mix with the lead singer or key instrument. Raise their volume fader to a pleasant level and use this as a reference for the rest (an initial reference is best obtained before the service). Adjust the individual volume of the other singers or musicians to blend together pleasantly. (You can do a quick rough adjustment on each and then go back and fine-tune each fader. However, never make such a fast change so it is noticeable to the congregation or invokes feedback.) Always remember that the lead singer or worship leader should have an slight edge on volume.

Headphones are useful for blending a mix, but remember, the ambient sound will be slightly different than what you hear in the headphones. Your fine-tuning of the mix will need to be performed without headphones, listening to what the congregation hears. Hopefully, where you’re operating sound is in an open enclosure, somewhere in the approximate center of the auditorium. This is the only way to gauge the ambient sound properly.

Input faders must be adjusted so that the meter level reads approximately zero during the loudest volume. Less than this will allow hiss to be heard in the program sound — more than this (in the red zone) will cause distortion (a ragged, raspy edge to the sound).

When maintaining a volume level, it’s not advisable to constantly raise and lower the volume with every dynamic change — just keep the volume at an acceptable “average” level, not too loud and not too quiet. If the dynamic extremes of the preacher/singer become too broad (speaks in a whisper, then screams, etc.) volume tracking obviously becomes necessary. This is best achieved by using a compressor/limiter which electronically lifts the lower volumes and limits the higher volumes from surpassing a defined level.

When mics on stage are not being used, it is best that they are muted off on the mixer board — this prevents unwanted feedback and eliminates ambient echo and phase shifting. A “sound gate” will perform this function automatically — it will mute the mic when no one is speaking, and will open instantly when someone speaks (sensitivity is adjustable).

There are times that although voices are mixed together perfectly, they still will not sound good because of poor vocal quality. Unfortunately a sound operator will sometimes be blamed for a bad mix when it’s just bad singing. However, here’s a trick. Identify the vocalists who sing best on key, and highlight their volume slightly — not a lot, just slightly! Reduce volume and high frequency gain slightly on those who sing off key. (Less high gain tends to take the “edge” off of sour notes.) People will think you’re doing a better job mixing, but they’ll not know why.

Whenever a normally good singer is consistently off key, it usually means they cannot hear themself, or cannot distinguish their voice from the music or other singers. Slowly raise their individual mic gain in their monitor speaker and see if this corrects their singing — it usually will. (If it doesn’t, slowly return fader to original position lest you mess up the settings for everyone else.)

Most preachers or broadcasters get used to hearing their voice through speakers and learn to gauge their vocal volume and tonal quality by what they hear. They need to have a consistently good monitor volume to feel confident with their voice. Too little volume through the monitor will cause a preacher (or singer) to “eat” the microphone, unconsciencely jamming it up to their mouth to make it louder. It will also cause them to strain their voice from trying to preach or sing louder. Too much volume will cause them to draw the mic too far away and cause them to speak meekly. Watch where they hold their mike — if too far away, lower the monitor volume. If too close, raise the volume.

©1990 Dale A. Robbins, Victorious Publications, Grass Valley, CA 95949

Used with permission

Most persons who serve in the ministry in any capacity will have an occasion to use a microphone for public speaking, and consequently it is important to know something about their use.

The most extreme example of this need can be illustrated by this real incident. In a neighboring church during a Sunday School promotion day, each teacher was asked to come to the pulpit to give a brief testimony. One elderly teacher, visibly nervous, came up and was handed the microphone. With shaking hands she took the mic, and to everyone’s surprise, she placed the mic up to her ear and began speaking! She had never used a mic before and thought she should hold it like her telephone receiver.

Selection of the right Microphone

Simply stated, a microphone changes sound waves into an electronic signal which is transmitted to an amplifier and then to speakers or perhaps a tape recorder.

For the purpose of most singers or preachers, the type of microphone most commonly used will be a cardioid type, which has a narrow pattern of audio sensitivity. This unidirectional pattern will pick up sound from a source directly in front of it, but will tend to avoid sounds from other directions. This is helpful in preventing bleed-in to the mix from unwanted sounds or in the attempt to control feedback, etc.
In those cases where you want to amplify sound from all directions an omidriectional mic is used. Besides these basic pattern characteristics, different manufacturers design specific characteristics and sensitivities into various mics for different purposes, such as amplifying musical instruments. Choosing the right mic is important to the nature of the desired results.

There are three basic pickup patterns used by most microphones:



• Omnidirectional – Sensitive to sounds from all directions
• Unidirectional – Sensitive only in one direction, usually a cone shaped pattern
• Cardioid – A type of unidirectional mic, sensitive in one direction. It picks up sound in a heart-shaped pattern, strongly from front, and about half as loud from the sides.


Test your microphone. What type of mic do you have? Speak into the mic head from the front and then from the side. If the sound is fairly even from all sides, you have an omnidirectional mic. If your voice fades when you speak from the side, you have a unidirectional mic.
Mics are sometimes selected on the basis of how they generate the initial audio signal. Condenser type mics require an additional power source to operate — either with a battery or phantom power supplied through the cable from the sound board. They tend to be brighter, crisper and require less amplification. In contrast, a “dynamic” mic uses only the sound source to generate signals to be sent to the sound board.
Wireless mics use a tiny transmitter to send audio to a receiver connected to a sound board. A limited variety of mic types are available for handheld or lavaliere use. These mics are great but are not without their drawbacks. They run on batteries (always use alkaline) which have to be changed regularly, are sometimes subject to transmitter interference or “dropout” (a lapse in the received signal), and do not offer the variety of types and qualities available to hardwired.

A hard-wired mic is the standard type of mic which has a cable wired directly into a sound control board. Most mics used today are of a low impedance type (low resistance) which are resistant to interference and allow longer cable runs.
A lavaliere (or lapel) mic is tiny, hardly noticed mic clipped on a person’s clothing, great for amplifying speech, but not so good for the broad dynamic range of singing. Some preachers love these because they leave the hands free and no cords to dangle — others hate them because the sound is not as good as a larger, hand-held mic and there is no dynamic control over the volume (by lowering and raising the mic).
As in many other things, with mics you get what you pay for. The better quality instruments are not cheap and they must be used together with good quality equipment and acoustics to produce the desired results.

Using a Mic for Maximum Performance

When used for vocal amplification, a microphone should be mounted or held within a tolerance of between 3 and 8 inches of the person. To keep a mic within these tolerances, a gooseneck or boom can be used on a stand or lectern to adjust the vertical/horizontal placement.

When holding a microphone during singing or preaching, it’s best to hold your mic approximately 3 to 4 inches under your chin. If you hold the microphone father away, the sound operator must increase amplification, and unfortunately, when excessive volume must be used to amplify your voice, it may also amplify other surrounding sounds. This makes it difficult to “mix” or separate your voice from other nearby sounds or singers which may “bleed” into your microphone. Do not speak directly into the mic, but “across” the mic, in order to avoid pop caused from your breath.
Another problem in obtaining good mic mixes in church services is separating the volume of the drums. Drums (acoustic type) often project so loudly (mostly the cymbals) that they can be heard through other microphones on the platform. You can turn down the microphones (if any) used to amplify the drums, but depending on the acoustics and type of mics used, their sound may be still heard through the other mics of the singers. Consequently, the sound of the drums cannot be easily separated from the other sounds of singers or musicians. (When such problems exist, a drummer must reduce his playing volume or a clear acoustic shield must be placed around the drums.)

Whenever other acoustic instruments are used, it is very important for all singers to hold their microphone close to their mouth so that “their voice” is what is heard through their mic, not all the surrounding sounds. Even other singers can “bleed” into your microphone, making it impossible to mix the individual voices. How important it is to hold your mic properly.

Holding a mic too close can also be a problem. This can create “distortion,” which makes your voice sound fuzzy and indistinguishable. Avoid a “rubber arm.” Practice holding your mic at an acceptable distance and learn to hold your arm at a consistent arc which will keep your mic at the right position. If your mic distance fluctuates much, so will your volume, causing difficulty for the sound operator to maintain a good mix.
During moments that a microphone is not being used, it should never be held randomly in any direction. If the mic is still “live” and not used, it should always be held in an upright position, lowered from your mouth if so desired until you need to use it again. Due to the concern in delivering sufficient power to the monitors for the singers to hear themselves, the “feedback” threshold is often stretched to its limits. By inadvertently pointing the mic toward or near a speaker may create shrill feedback.

There is another problem which is caused by holding two or microphones too close together. This is called “phase shifting,” and creates unpleasant, unnatural sounds. It is advisable to never allow two live mics to come closer than two feet from each other.

What not to do with a Mic

1. Don’t blow into a mike to see if it’s on. This sound is annoying and you might blow harmful moisture (spit!) into it. It’s a better idea to say something or tap it lightly with your finger.

2. Do not speak directly into a mic. You’ll usually create a popping sound, especially if you make a “P” or “T” sound. A wind screen on the mic will help to reduce this, but it’s best to improve technique by speaking across the mic rather than into it.

3. Do not place a clip-on mic under clothing. Although out of sight, the mic will pick up rustling noises as clothing rubs against it, and it will muffle sounds. It is better to clip it on a lapel or wear it around your neck. For stage or TV productions, lavaliere mics can be concealed under clothing if first placed into a silk pouch which reduces noise-causing friction.

4. Do not wear or handle a mic when you step into a baptistry. A hard-wired mic may deliver a serious electrical shock to a person grounded in a pool of water. This danger doesn’t exist with a wireless mic, however water and moisture is an enemy to any electronic device and may ruin your equipment. It’s better to mount a mic above your head or in front of baptistry. In those “unique” circumstances when nothing else can be arranged, a hand-held wireless mic, sealed inside a zip-lock plastic bag can be used. The plastic will waterproof the mic, but sound (somewhat muffled) will still pass through.

5. Don’t abuse your microphone. Don’t drop it, subject it to shock, or hold it dangling by the cable, etc. It is a delicate instrument and may be expensive to repair or replace. Store it in a clean, dry place when not in use.

The Importance of a Sound Rehearsal

Whenever the sound system is to be used to reinforce the sound for choirs, singing groups, orchestras, musicians, soloists, or special speakers, a “sound rehearsal” is a absolute necessity.

Since the sound system is used as the means to project the sounds of your speech, singing, or music, it is just as important to practice with it as it would be to rehearse playing a musical instrument before a performance. Most of us would not consider trying to sing a song in public without adequate rehearsal in advance. Neither should we ever consider using the sound system with any less degree of preparation.

Many people are under the impression that the operation of the sound system is an easy task, as simple as adjusting the volume on the radio. But not so. It is a very complicated process. A 32 channel sound board has about 30 adjustment controls for each channel. This means that there are 960 different knobs and controls with a combination ratio of 144,000 possible adjustment combinations. In addition to the sound board, there are dozens of other components which have multiple adjustments. A piano only has 88 keys while the sound board has 960. If we can understand the complex art of playing a piano and how much training and practice it takes to become proficient, how much more must we realize the need for rehearsal time with the sound system in order to produce professional results.

The sound rehearsal is important so that the operator can set volume and mix levels for the main speakers which deliver sound to the congregation. But even more critical to the performer, the sound rehearsal is where the performer fine tunes his or her monitor so they can hear their self and one another. The monitor (or fold-back) system is in reality a separate sound system designed just for the performers and is capable of customizing different volume mixes according to the preference of the performer’s hearing. It is impossible for musicians or singers to perform together if they cannot hear properly.

Note that in the last paragraph I said that “the performer” is the one who fine tunes their monitor. This is so very important to understand. The sound operator cannot hear your monitor speaker, and has no idea of whether you sing better hearing yourself louder than the other voices, or visa versa. The only way the monitor can be properly adjusted is by the performer’s direction to the sound operator, and this can only be done during a rehearsal along with the other singers or performers using the sound system. Once again, the only way a sound operator can set the volume for the monitor speakers is during a rehearsal or sound-check. It is not possible to do so during a service or without the directions of the performer.

©1990 Dale A. Robbins, Victorious Publications, Grass Valley, CA 95949

Used with permission

The genteel 63 year-old urban bluesman donned a tan canvas “Indiana Jones” hat with a yellow cloth ribbon, squarish black-rimmed spectacles and scraggly gray beard. Van Ronk took to the stage with his Guild six-string, which he fondly refers to as “Old Miss Ready,” so-named after the pistol Van Ronk says the blind Reverend Gary Davis used to carry.

And so began an evening of music, interwoven wherever possible with the most colorful of storytelling.

Still touring coffeehouses after some 45-years, Van Ronk seemed at home here, in the church activity room just behind the 80 year-old Gloria Dei Swedish Evangelical Lutheran Church, complete with linoleum floor, the requisite random missing ceiling tiles, and tables set up for Amnesty International and Amos House to promote their causes.

The master of ceremonies for the informal gathering, an older man, face peeking out of a round head of silver beard under a black beret, hushed the audience by walking up to the microphone and simply making a long, quiet “shhh” sound . . .the house quiets, as if a powerful old childhood command has been issued.

Onstage, Van Ronk speaks just above a whisper, a technique that immediately creates intimacy in the room. In the style of the Prairie Home Companion radio show, Van Ronk is confident and entertaining.

Van Ronk shows off his fingerpicking prowess right away to the tune of Jelly Roll Morton’s “Don’t Cha Leave Me Here.” During his take of Brownie McGhee’s “I Ain’t Got No Mother,” the sound of Van Ronk’s labored breathing can be heard, and the line “this old nightlife is killing me” seems appropriate.

But mostly, this old-timer has a sense of humor. And here it comes, with “The Little Leaguer,” a comic old Vaudeville tune, Burt Williams’ “The Tiger Song,” and a fun-loving version of the Joplin instrumental “Maple Leaf Rag.”

Next is the traditional “Motherless Children,” which builds from a slow beginning to a point midway through where Van Ronk is hollering “Jesus will be a mother to you when your mother is dead,” for a moment sounding as if the singer is gasping his last breath.
In “Green Rocky Road,” Van Ronk finger-picks some more, wrapping his thumb up over the top of the neck of his guitar to play the underlying bass notes.

After a short coffee break, Van Ronk starts a fresh set with a spunky and melodic “Ain’t Nobody’s Business If I Do,” singing “why you wanna mess with me, let me drink my wine and smoke my weed, ain’t nobody’s business here for you.”

Accompanied by a ragtime vamp, this song has a childlike energy, while remaining within the nice ‘n easy Van Ronk volume threshold.

Then it’s “Move to Kansas City.” Van Ronk sings “I wish I was a catfish, swimmin’ in the sea – I’d have all the women swimmin’ after me. I’m gonna move to Kansas City, where they don’t want you.” These are more than words – when expressed by this colorful, loveable old man – they are clearly feelings. And it’s easy to drift away – Van Ronk is indeed a master of his art. He takes you into his world through his descriptive, cavorting and always soulful songs, so the songs have become like pictures. In this way the songs are multi- dimensional – like a 3-D picture – and as you view the world of Dave Van Ronk all around you, you have a peaceful, witty and wise narrator to lead you about.

Van Ronk tells some more stories, about how Gary Davis taught him the 100 year-old guitar arrangement of “Candyman,” and how banning the song “Jelly Jelly Jelly” from the airwaves was the best thing the FCC could have done for Big Joe Williams, making the record a “clandestine hit!”

After a version of Mississippi John Hurt’s “Frankie’s Blues,” Van Ronk gets a bit silly, whipping up a whimsical original called “Proud to be a Moose,” with lines like “rather be a moose than a duck or a dog, eagle or a seagull or a pollywog. Take a look at me and you’ll see, I’m happy as an animal can be!”

The show draws to a close with a tribute to Billie Holiday, with Van Ronk’s bee-bop scat version of her “God Bless the Child,” followed by a contemplative and powerful “St. James Infirmary.”

Van Ronk says he’ll be doing a signing after the show. I noticed someone had brought an item they apparently wanted signed – an old 33 1/3 record, on the floor leaning against an aisle chair, with “Inside – Dave Van Ronk” in big black capital letters and a crinkled paper jacket that looked like it survived a basement flood a long time ago. An old relic, from the olden days, for sure.

But by the end of the show, as Van Ronk performed “St. James,” that old record had a new life. Popping and scratching his way through the songs he performed onstage, Van Ronk was the old record, coming alive – his repertoire hissing and warbling with the cherished authenticity of well-worn vinyl.

A full-house of 1500 sophisticates was on its collective feet a dozen times to praise Keb’ Mo; one time they lost themselves completely, in the aisles dancing and swinging to Keb’s “She Just Wants to Dance,” as if suddenly possessed by the spirit of the Grateful Dead.

Charming and graceful with boyish good looks and a magnetic smile, Keb’ Mo is sophisticated, wreaked in tradition; and at the same instant he’s reckless and wild. He brings the reckless out of his crowd with the slap of his sizeable right hand onto the face of his guitar. One moment you’re spellbound by his sweet, smooth vocal technique, and guitar work that’s both intricate and effortless. When you wake from his spell, everyone’s dancing, smiling, clapping along. While leaning comfortably back in his chair onstage, as he fingerpicks and slides up and down the neck of his dobro, armed with nothing more than a guitar and occasional harp hanging on his neck, Keb’ Mo has the theater under his control.

A man this versatile has more than one trademark. “City Boy,” a soulful, heartfelt blues rhapsody, is Keb’s “classic sound.” Keb’ brings the song together with only his voice and an acoustic guitar in a way that immediately captures the audience and takes them wherever he’s going. Then “Muddy Water.” The funky blues begins. Steel dobro, pinky slide . . .picking, plucking, creating a dynamic, cohesive jam, with a friendly vocal on top. The crowd can’t help but clap to the beat, as they mouth the words, smiling . . .

The whole house is singing along with “You Can Love Yourself.” At the end a fan yells “we love you, Keb’!” He smiles. She loves him even more.

Keb’ moves on to his Taj Mahal tribute, “Henry,” then it’s the single “I Was Wrong.” With lines like “our love is bigger than the universe – it’s bigger than life,” it could be a serious song. But add Keb’s showmanship, his smile, a few gestures and a dramatic pause or two, and we were all laughing.

Other highlights included a rock-solid “More Then One Way Home” into Otis Redding’s “Sitting on the Dock of The Bay” – the first of two encores, and a hillbilly version of “Make Myself a Better Man,” with banjo accompaniment by Clayton Gibb.

His albums have received both Grammy and Handy awards. But it’s live onstage where Keb’ Mo is at his very best, and where he is most loved by his fans.

Just be forewarned – those fans can get pretty rowdy.

You are not alone.

These problems are so common that everyone has experienced them, whether it was a graduation at a school gymnasium, a stage performance, lecture, wedding, dinner celebration or awards ceremony. The events are planned for many months; participants and guests travel long distances; and while itʼs critical that everything goes perfectly, the audio system is overlooked, taken for granted.

Feedback, echo, hum and distortions from the PA system can ruin your event.

The problems are insistent and ever-present. But they donʼt have to be.

Hosted by 30-year audio engineer Mark Urso, “Everything You Need to Know About PA Systems for Small Groups, Volume 1 ~ Getting the Audio System Under Control” from Wham Universal DVD will show you how easy it can be to understand the mysteries of sound systems for groups of up to 500.

Mark will show you how the PA system is interconnected; explain where feedback comes from and how to avoid it, show you how to “read the room,” and how to guarantee everyone in the room will be able to hear clearly.

Using diagrams and animations, Mark guides you through individual PA system components, and shows typical room shapes and sizes, pointing out why some rooms echo, and some PA systems howl like wolves, and heʼll show you how to make these problems go away. Youʼll be amazed at how simple it can be when illustrated in a clear and deliberate way. Youʼll be able to “assess” a room at a glance, and determine what the problems might be, so they never happen!

An indispensable guide for anyone involved in hosting or organizing gatherings where portable PA systems are used, those who have problems with built-in systems, and anyone who wants to understand the system, stop the feedback, and get the system to enhance the event, like its designed to, not cause trouble!

Itʼs an eye- and ear-opener!

Available on DVD from Wham Universal DVD
Copyright 2010 Wham Universal DVD
For more information, contact Mark Urso at mark@whamuniversal.com