Hey, Let's Live Stream Our Services!

Everyone is excited - every service is going to be live streamed to the Whole Wide World. But where to begin, what else do I need to know?

Here are some considerations that I believe every church should address before launching an online ministry.

Technical

Well, we know we've got to have a good camera. Brother Smith knows a guy down at Best Buy who knows all about cameras and can hook us up with a good deal. HD for sure! But... let's pause and take a look at what it really takes to stream "watchable" internet video. I say "watchable" because if it is not very watchable then it would be better to just stream audio only - eliminating the distraction of poorly shot video. (Note: In a post to come I will discuss creating your own internet radio station.)

Here are some facts we have to work with:
• An internet live stream is basically a small form factor medium - meaning a great percentage of viewers are watching on small screen smart phones or tablets.
• The highest quality of stream(s) you can deliver is determined by the upload speed of the internet service at (or 'in') the church building.
• Shooting good video is like shooting good still photography - Lighting is the most important thing.
• Also like still photography the lens matters greatly.
• The audio will sound different online than at church if corrective steps are not taken.
• The person that knows how it's all setup may not be the same person that's best at creatively "producing" the video stream.

Let's drill down into each one of these facts.

The Small Form Factor

Since most of the viewing audience will be watching on a personal device with a relatively small screen you will need to provide a viewing experience that provides as many close up shots as possible. This will necessitate either purchasing a camera with a long zoom lens or placing the camera close enough to the platform to get a tight shot. This will also mean that the camera will not be in a set-it and forget-it configuration. A camera operator will be required at all times to pan, zoom and tilt the camera as the action demands.

Some churches opt for a robotic camera that can be hung from the ceiling closer to the platform. This type of camera will also need a full time operator. The trade off between the robotic camera and the tripod manually operated camera is in the smoothness of following a preacher who just might be running from one side of the church to the other. The robotic camera is very challenging to operate in these type of situations.

Stream Quality

As I mentioned "The highest quality of stream(s) you can deliver is determined by the upload speed of the internet service at (or 'in') the church building".  Most streaming applications can deliver multiple quality streams simultaneously to cover the needs of mobile, desktop, and high-definition viewing. In any case the amount of streams you can push to meet these needs are determined first by the upload speed you have available to you and, secondarily, by the computer processing power you have. Pushing  Mobile, Medium, High and HD streams would require constant 10Mbs upload capabilities. The processing power to generate these streams would require a high end Mac or PC.

Streaming over Wifi or Cellular service is never recommended.

Lighting

The human eye is very adaptable and much more "forgiving" than a video camera's sensor. The eye can distinguish detail in a subject that is poorly lit or even back-lit while the circuitry of a camera sensor has limited dynamic range and the brightest item in the shot (perhaps a white wall behind the speaker) will determine the overall brightness and detail of the entire shot.

When we add a video camera to the church scene we then need to assess the platform (and possibly the altar area) lighting. You might say "we have plenty of lighting over the platform!". The real issue is not necessarily the quantity of lights but the quality and the angle of the lights. Direct overhead lighting lights mostly the top of a person's head but create uncanny shadows under the eyes and chin. This is why all stage lighting is in front of the stage and come from a high and angled (45 degrees up) position. Additionally back lighting (a light or lights shining on the back of the presenter) is recommended as it helps create visual separation of the subject from the background.

The thing to remember is that bad lighting will always create bad looking video.

Audio

One of the things I most often hear is "why does my mix sound bad on the video stream when it sounded good in sanctuary?". This usually tells me one thing - they are sending the same mix to the web stream as they are sending to the house sound system. Why doesn't that work? Mostly it's because the house mix is adjusted to compensate for room acoustics, stage monitor volumes and naturally projected acoustics. For instance on the steam audio one singer (or instrument) is way louder than all others. This is likely because in the sanctuary the audio operator was hearing all of the other singers (or instruments) well because the stage monitors (and room acoustics) was adding to his house mix except for that one singer or instrument. His natural response was to turn that singer up in the mix. Since the stream audio sits outside of these natural room acoustics and additive nature of the stage monitors the result is one louder singer.

There are two ways to overcome this problem. The first, less effective but cheaper, way is to use an Aux mix just for the web stream. This requires the sound operator to pay attention to two simultaneous mixes - the one in the sanctuary and (by headphones) the one sending to the web stream. Adding a second sound operator for the web stream would be best.

The better and more effective way is to add a second mixer in an isolated room that also receives all inputs from the stage exclusively for the web stream audio mix. For older analog sound systems this would require adding mic splitters at the house console and running a mic snake to the new web mix room. For some digital systems the digital stage boxes (and head amps) can be shared by two consoles requiring only the running of additional Cat 5 cable.

This solution, obviously, also requires a second sound operator per service.

Who operates the Camera?

A lot of the time the type of people that are attracted to media systems are the computer and technical types. This is good in one sense. They have a natural ability with  and understanding of technical things and can keep the systems in order and troubleshoot if necessary.

In another sense it can be problematic. Media systems are by nature both technical and creative and some of the time it's difficult to find folks with an equal measure of technical ability and creativity. The techies are normally linear thinkers who do not, generally,  like to get "outside of the box".

This will put a damper on some creativity. However, the more important thing in producing good video is having someone who understands why we are showing what we are showing - not necessarily how.  Most always it's not about what you show but it's about what you should not have shown. Please let the camera operator be the person that understands that.




(Coming soon Multi-Cameras - why do I need more than one?)



 Glenn Stewart is a multi-media consultant and trainer with over 35 years of experience in the corporate and church markets. For questions or discussion email gs@gspromedia.com.

Head Amp, Gain, Trim... Whaaaaat?

Often I see leftover mixes (that would be the positions the faders were left after the last use) that portrayed a rather chaotic mix. Some of the faders would be all of the way to the top, other faders somewhere in the middle and, always, a few near the bottom but not off.

When asked about it the sound operator would usually state defensively "Well, I can barely get enough volume out of some inputs while others are blasting!".

What we clearly have here is a lack of understanding of what I call proper signal management - usually beginning at the mixer's first setup (or, by subsequent Monkeying around with, after being set by a professional, by those who know just enough to be dangerous).

Proper signal management is accomplished when the sound operator adjusts the incoming (input) signals to optimum levels. Optimum levels are ones that have sufficient gain to provide sufficient signal-to-noise ratios while also providing sufficient headroom for transient signals.

Let me describe that in less engineery terms.

Most all input signals are analog - that is...regular electrical voltage. Various types of input devices (microphones, guitars, keyboards, etc.) output different levels of voltages. Our task as sound operators is to blend all of these various inputs into a mix where all inputs can be heard without any being overbearing. This requires us to match, as close as possible, the input voltages of those input sources.

Enter the Head Amp...or Gain, .....or Trim, .....or anything else manufacturers want to call it.

One amplifier sits at the entry point of the signal path to each input channel. With them we can manage the setup of the gain structure of the input signals across the board.

To help you visualize this process imagine a box. This box represents the input channel into which we've plugged a microphone. When someone speaks into the mic a small voltage is generated. That voltage travels down the mic cable and into our input channel on the mixer (our box). The signal fills the box to the level proportional to the amount of volume being put into the mic - a small amount for whispering or a large amount for screaming.

Now one thing we must realize is that there was already something in the box. Don't blame the last person who used the mixer - it's only the inherent noise that's generated in an energized analog circuit.

I hear some of you saying now... Wait! But I have a digital console so I shouldn't have any noise in my circuits... I paid big money! Keep this in mind - while your mixer is digital our input devices and output devices (speakers) are analog. That means that inside of your nice digital mixer are two types of analog circuits - Analog-to-Digital converters for inputs and Digital-to-Analog converters for outputs. So you got some noise.

Back to the box

So we've put some input signal into the box and have discovered that noise was already in the box. Now, for us to hear the input signal above the noise we have to increase the input signal over the noise (which we'll call the noise floor). This is where we use the head amplifier to increase the input signal. So if we had marked our box with level markings at, say, every tenth and had found our noise to be at the ten level and our input signal also at the ten level what will we hear. Yep, equal parts of noise and signal. What to do? We must increase in the input signal using the Head Amp to a sufficient ratio above the noise as to make the inherent noise negligible.

We call that signal-to-noise ratio.  The nifty part is that the mixers manufacturer has already figured out the optimum S/N ratio for you. If you look at the fader around the zero mark you will usually find a band that is colored differently (that's not at the bottom of the fader - the bottom mark is infinity, then, as you go up from the bottom, the mark numbers decrease in negative decibel levels (db) until you reach zero near the top. Above zero you see increasing db level number markings). This differently colored band near zero is where the fader should be operated to achieve optimum Signal-to-Noise ratios.

Don't overfill the box.

Oh, yeah. Our box has a top on it. Bad things happen when you try to overfill the box. Your life may never be the same... Well, at least your input signal will never be the same!

When more input voltage is sent to the input circuit than the circuit can handle (overfilling the box) clipping happens. At the output end (the speakers) you hear that clipping as distortion. Clipping is simply taking that lovely sound you are inputting - which has a beautiful rounded sine wave pattern - and clipping off the round tops turning them into square waves (distortion). It doesn't sound very good unless you happen to like the sound of a buzz saw. By the way, distortion is the number one killer of speakers. I saw it on a poster in the Post Office.

So you gotta fill the box with enough signal to overcome the noise floor but leave enough room for our transient signals (someone shouts or drops the mic un-expectantly). We call that Headroom.

So what was going on with those left over mixes I first mentioned?

Someone was trying to mix with improperly set up Head Amps. Some boxes were overfilled - others barely had any signal (other than noise) in them.

How to properly fill the box

Read the instructions. They will tell you something like this. With all other inputs off begin to input signal into the channel you desire to setup. Have someone talk or sing - if a mic (at the volume of the actual performance), or play the instrument if a line level input. Select Solo or PFL if the mixer does not have individual input meters on the input channels. Turn the Head Amp all of the way down (could also be labeled Gain or Trim). Raise the Fader to the Zero mark (optimum S/R ratio). Then, slowly, increase the Head Amp watching the master or solo/PFL meter until you reach close to the zero mark. On some mixers that will be just before the meter light colors turn to red. Leave the signal a little below that zero mark to allow for those big transients.

Rinse and Repeat

Now, one by one, go through all of the remaining channels and repeat the process. Once complete, and if done properly, there should be very little need (if any) to change the Head Amp during a performance. The need would only arise if something changed on the input side like taking a mic from a singer and throwing it into the kick drum (bad idea). Stranger things have happened though - in such cases you gotta go through the Head Amp setup process again (just without turning off all the other inputs!)

Don't Mix from the Head Amps

Better yet don't touch them once set unless absolutely necessary. Why? As you can now visualize the Head Amp controls all of the signal going into the input channel. You, likely, are using your aux mixes for things like monitors, effects sends, and other outputs. When you adjust the Head Amp, turning the level up or down, you are turning the level up or down to all outputs associated with that channel - like monitors. You're gonna get some dirty looks.

After you have set up all inputs to their optimum Signal-to-Noise ratio settings you will be able to mix all faders at or around the zero marks. Obviously, to get a good mix, they won't all be in an exact line across the board but they should be at varying levels near zero. Faders at the very top or near bottom is a big indicator that someone has not properly setup the mixer.

Don't leave an ugly leftover mix.

Drums A or E?

Often Churches are drawn into the dilemma of choosing between Acoustic Drums and Electronic drums when building or platform parameters change. As we will see, the choices are not as clear and straightforward as one might think. Sometimes decisions must be made for the greater good rather than personal preference. This article will highlight the many different factors that should be considered when choosing which type of drum set to use.

First, though, a few disclaimers. I am not either pro Electronic Drums - anti Acoustic Drums, or pro Acoustic Drums - anti Electronic Drums. I believe each have their place. Also, I bring a small amount of perspective to the discussion as I have, on occasion, played both types in church services (though I was the bottom-of-the-barrel choice for a drummer).

Acoustic Drums are Always Better than Electronic Drums...

Many drummers, if not all, will make and stick by the above statement. And from their perspective it's probably true. They sit amongst the set receiving the full surround-sound experience of the thrill of the shimmering highs, booming lows, and the nuances of the percussive attacks at close range. However, for us mere mortals listening in the audience, the experience can be drastically different.

Some History and the Need for Control

In the good ol' days everything was acoustic - pianos, guitars, drums, voices and all other musical instruments. Then came along electronics and the ability to record music. Before the advent of elaborate multi-channel mixers and multi-track tape recording many recordings were done with a single mic. In the recording studio voices and instruments were strategically placed in varying distance from the microphone. The softest sounding was placed near the mic and the loudest placed the furtherest. Anyone can guess where the drums were...yep, way at the back.

Just a quick aside here - anyone that thinks drums can't be played softly hasn't consulted with an accomplished Jazz drummer wielding a set of brushes. However, most drummers go after the drums and cymbals with a big oak stick... It's gonna be loud... at some point.

Back to the historic recording studios. Soon multi-channel mixing and recording technology came along. Now each voice and instrument could be mic'd independently. This introduced a new problem - bleed over. The drums, and other loud instruments like brass, would bleed over into the microphones set for voices and soft instruments which of necessity had their gains (head amps) turned up to capture the weak sounds. The solution was "get those drums out of here". Enter the drum booth. This new little room isolated the drums from the main studio and kept the drum sounds only in the drum mics. New problem. The drum booths were small and thus highly reflective to sound waves - loud would be another term for it. The walls had to be dampened with sound absorbing materials. Egg crates worked great (back when they were made of cardboard).

The need to control drums when used in conjunction with sound systems was recognized.

Some of this same historic progression followed in the church scene. Back then a church usually had a piano, an acoustic guitar, some accordions, and, maybe - just maybe, a drum or two. None of the instruments were mic'd and maybe only one mic was used for the singers.

Another side note here. It wasn't until the late sixties that electronic pianos were brought into the mainstream. They did not sound like real pianos but had a unique, and classic, sound of their own. Not many tossed their acoustic piano for the electronic ones. It wasn't until the Eighties and the innovation of sampling technology that keyboards, that tried to sound like real pianos, begin to evolve. Eventually the keyboard began to take over from the piano - and likely for four reasons. 1, They were basically maintenance free - no need to retune them frequently, 2, They were highly portable, 3, They offered a variety of sounds, and 4,They were getting cheaper.

Now it's difficult to find an acoustic piano in a church, but ask any pianist and they will tell you that nothing sounds and plays like a real piano. (By the way, unless you were Jerry Lee Lewis, you sat down to play the piano. Now with keyboards almost everyone stands - at least on one foot and one heel. What's up with that?)

Back to our history. Soon churches were installing some type of shield or booth for the drums to gain volume control over them. Pity the churches that didn't.

Now to present day. Electronic drums have been around a while but are continuing to evolve with better sampled sounds and more sensitive sensors on more natural playing heads. Many churches have moved to exclusive use of electronic drums. Is this the best choice? I say that depends... on a LOT of factors.

Before I get into the factors let me make one Hugh and Important point.

Once an acoustic drum set is put into an enclosed booth and mic'd they turn into a set of ELECTRONIC DRUMS for all but the drummer. Only the drummer will enjoy the full benefits of having acoustic drums. Everyone else will experience the drums colored by all components downstream in the sound system. Include the Sound Operator in the list of components that will color the drum experience.




Factors

Sound System: Does the sound system have the sonic ability to approximate the expensive set of acoustic drums in the booth? Are there properly matched mics for the frequency range of each drum component? Or are cheap $100 general purpose mics being used? Are there enough mics and available channels for each drum component? Does the mixer have available compression and gates to control the drums? Does the main speakers have the frequency range and headroom to reproduce the drums?

While an electronic drum set will sound equally as bad on a poor sound system - using an acoustic set (while sounding  great only to the drummer) will, likely, not sound any better. Improve the sound system - especially the speakers - for immediate improvement.


Sound Operator: Does the sound operator have the knowledge, training and the "ear" to mix all of the drum components into one tight drum mix? If not the edge here goes to the electronic drums which will use the drum electronics to send a one or two-channel mix to the sound system for the sound operator to deal with.

Understand that the multi-channel drum mix from either a mic'd acoustic set or a high end electronic set with multi-channel outputs will need slight mix variations from song to song. It's not set it and forget it.


Space: Does the stage have enough available space to house a fully enclosed set of acoustic drums with mic stands?

Some will advise to simply surround the front of acoustic drums with a plexiglas shield. The results are usually less than desirable with bleed (especially cymbals) coming over the top of the shield. And how are you going to contain that 30 foot long frequency wave coming off of the kick drum?

If fully enclosing (with interior absorption panels) the acoustic drums is not an option due to space or aesthetic reasons - check mark goes to electronic drums.

Tuning and Maintenance: Is your Sound Operator adept at tuning the drums? Yes, I said Sound Operator. Remember the mic'd acoustic drums are only acoustic to the drummer. For the sound system they are electronic. A sound operator who knows what they are doing works with the drummer in tuning the drums to the sound system. This is a combination of tuning the drums (usually a tighter less ringy sound is achieved at drum head) and gating, compressing and equalizing the drums at the mixer.

Does your drummer regularly replace worn drum heads and retune the drums with the sound operator? As with all acoustic instruments drums are susceptible to fluctuations in temperature and humidity. Not to mention being beat with a wood stick.

If no one knows how to tune the drum set for a sound system the advantage goes to electronic drums which never need tuning.... per se.

I say per se because electronic drums need tuning from time to time in their trigger sensitivity settings. The trigger pads get out of calibration - again from being beaten with a stick.

Hopefully this article has given you some factors to consider when choosing which type of drums to use in your church. Sometimes it's not even about price as both types of drums can range from under $500 to well over $7500. The simple fact is that it's not as simple as "Dude, those type are the worst!"


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