Audio Training: V/P Vox Production

Team Roles

• Zak – Production Director (Sound, Lighting, Broadcasting – Branford)
• Dan – Creative Tech Lead (Technology Owner – Special Events, Future Tech)

Vision

• To help create environments that encourage the congregation to engage with the Lord.
• Meet people where they are by supporting familiar atmospheres.

Standards

• Mixing standards are created but may vary slightly depending on campus location.

Cable Management

• Over/Under Wrapping – Use correct wrapping technique to prevent cable damage.
• Misshapen cables can be left in the sun to soften, making them easier to wrap properly.

Portal

Voxprod.rocks – Information and communication portal:

• Slack Channel – Read-only for production leads.
• Sermon Updates and Planning Information
• Songs/Slides – Available through Dropbox.
• Location Section – Campus-specific production protocols, including:
  •  Step-by-step system instructions
  • Cheat sheets
  • Photos
  • Troubleshooting guides

Training 101

Mixing Basics

• Four VCAs – Yellow (Voice Channels are Blue)
• Yellow VCA Groups – Control volume for grouped channels. (Drums, Vocal)

Worship Overview

Welcome/Open

Walk-In and Pre-Roll

1. iPod plays walk-in music when people enter.
2. Pre-roll video starts (first 40 seconds are quiet).
3. Keep iPod running for the first 30 seconds, then fade out into pre-roll.
4. At the end of pre-roll, the band crashes out.

Vocals and Effects

• Keep vocals muted until the last 45 seconds of pre-roll.
• Unmute vocals and reduce vocal effects for the leader’s first spoken introduction.
• Adjust effects during worship to reduce reverb for speaking and increase for singing.

Host Mic

• Open as soon as the host is on stage.
• Some campuses prefer the host to control muting directly.
• When the host is speaking, reduce the keys volume for support.
• If the host transitions to prayer or offering, gradually fade them back up.

Live Stream Start

1. Mute all channels at the start of the live stream.
2. Unmute the keys channel only. (Solid red = mute; flashing red = unmuted.)
3. When the band cues everyone to stand, unmute the band and increase vocal effects.
4. When the host returns, mute the band except for low-volume keys.

Departure

• Fade in a quieter, mellow iPod track for the exit.

Soundboard Overview

• Right-Hand Controls “Handle”– Main focus for vocals and host mics (4 faders).
• Right Side – Hit Layers – Shifts page layer to display grouped channels in BLUE (input).
• Arrows – Navigate up and down on layers.

Color	Function
Blue	Source (sent to destination)
Purple	Aux Sends (In-ear monitors)
Red	Master Bus (combines channels to speakers)
Gold	VCA – Controls volume for grouped faders
Green	Matrix – Mixer after the mixer (usually not needed on Sundays)

Channel Processing

1. High Pass Filter – Removes low-frequency “mud.”
2. EQ – Tonal shaping of sound.
3. Compressor – Evens out dynamic range (reduces loud peaks, increases soft sounds).
4. Gate – Used on drums to reduce noise when the channel is not in use.
5. Outputs – Sent to AUX sends and group assigns. (Preset unless troubleshooting.)

Training 102

Signal Flow

• Blue Input Channels – Left side (signal flow from top to bottom).
• Aux Sends – Mix to in-ears for the band.

In-Ear Change

• Pac 1 – Drums channel.
• Tap the channel to turn it Purple (mixing for in-ears).
• Switch back to Blue to mix for the house.

Volume Standards

• Musicians may request dB changes, but follow production leads’ guidelines:
  • 2–3 dB = A little more
  • 6–10 dB = A lot more
• Higher fader = smaller dB changes; lower fader = larger dB changes.

Macros

• Top left of screen – View all aux tiles for in-ear mixing.
• Always return to Blue after mixing in-ears.

EQ and Compression Overview

EQ Adjustments

• Adjust during rehearsal, not during service.
• Subtractive EQ is preferred (boost only when necessary).
• Red = Low (Thud) | Blue = High
• “Search and destroy” method – Sweep frequencies to find trouble spots, then cut.

Compression

• Balances volume range between loud and quiet.
• Gain Reduction – Manage output to prevent clipping.
• Keep in the red zone without going too far into yellow for natural sound.
• Adjust Make-Up Gain to balance the dynamic range.

Mixing Tips

• Lead vocals should always sit on top of the mix.
• If you see someone playing, you should hear them.
• For smaller campuses missing musicians:
  •  Route the missing instrument track into the channel the instrument would have originally been routed.
• In-ear packs should be around 6 – adjust mix from there.
• Focus on what needs to be reduced rather than increasing other levels.
• If a musician’s pack is at 1 and still too loud:
  • Lower inputs so the musician can increase their pack volume and regain control.
  • You can only mix as quietly as the loudest instrument (usually drums).

• Feeling the energy – Keep the kick drum present in the mix.