Simple Tips to Transform Your Church's Sound — Andrew Camagay の全文書き起こし

00:04:26.290 --> 00:04:30.310 play it. What I was most happy with was getting 00:04:30.310 --> 00:04:33.899 to play in church, getting to share music. Although 00:04:33.899 --> 00:04:37.379 a lot of people do play the violin, I find that 00:04:37.379 --> 00:04:41.560 I love putting more of my classical music background 00:04:41.560 --> 00:04:45.879 into it. And so what I really enjoyed was discovering 00:04:45.879 --> 00:04:49.879 ways to tie in my classical background after 00:04:49.879 --> 00:04:52.379 getting to the point that I was able to. It was 00:04:52.379 --> 00:04:54.300 always, from the start, it was always really 00:04:54.300 --> 00:04:57.180 exciting to see how people reacted to music. 00:04:57.879 --> 00:05:00.240 It's like people connect with you differently 00:05:00.240 --> 00:05:03.269 when you play music and when you... versus if 00:05:03.269 --> 00:05:06.529 you just talk to them, if you play an instrument 00:05:06.529 --> 00:05:09.970 and they play an instrument, it's an immediate 00:05:09.970 --> 00:05:13.689 connection point. Or some people might really 00:05:13.689 --> 00:05:16.829 enjoy a certain style of music and being able 00:05:16.829 --> 00:05:19.629 to play that kind of music for them really just 00:05:19.629 --> 00:05:23.670 connects you instantly. But you mentioned that 00:05:23.670 --> 00:05:26.889 your mom gave you a violin at four years old. 00:05:26.949 --> 00:05:30.569 Let's go back to that moment where she gave you 00:05:30.569 --> 00:05:34.410 that violin. That's a pretty young age. And do 00:05:34.410 --> 00:05:39.470 you remember anything about that time? If I remember 00:05:39.470 --> 00:05:41.810 correctly, it was my birthday gift because I 00:05:41.810 --> 00:05:46.050 had been really asking for a violin. And so at 00:05:46.050 --> 00:05:47.810 the birthday party or something, I remember there 00:05:47.810 --> 00:05:51.209 was a gathering of relatives. They handed me 00:05:51.209 --> 00:05:53.709 the violin and I was just so happy to play it. 00:05:53.870 --> 00:05:57.790 After many years of playing, I started at four 00:05:57.790 --> 00:06:04.040 and then around 2017, 2018, I was just like really 00:06:04.040 --> 00:06:08.399 tired of playing it because I just played, practiced 00:06:08.399 --> 00:06:11.540 week after week every single Sunday you go to 00:06:11.540 --> 00:06:15.459 lesson and then during the week get lazy to practice 00:06:15.459 --> 00:06:18.220 the same story for I'm sure a lot of musicians 00:06:18.220 --> 00:06:22.100 and that was a really hard period. My parents 00:06:22.100 --> 00:06:27.410 had to move me to another teacher and I started 00:06:27.410 --> 00:06:30.089 with Suzuki, but that other teacher that I went 00:06:30.089 --> 00:06:34.009 to, he had a different method and he just gave 00:06:34.009 --> 00:06:38.529 me a really, really, really hard piece just so 00:06:38.529 --> 00:06:43.310 that I wouldn't stop playing. His job was to 00:06:43.310 --> 00:06:46.529 keep me from stopping playing and the piece was 00:06:46.529 --> 00:06:51.550 just beyond my ability that it made me strive 00:06:51.550 --> 00:06:55.230 to get that piece. It was Bach concerto in A 00:06:55.230 --> 00:07:00.800 minor, I think. And so for one whole year, I 00:07:00.800 --> 00:07:04.319 just played that piece over and over and over. 00:07:04.819 --> 00:07:07.560 And it was just beyond the level of my ability 00:07:07.560 --> 00:07:11.439 to the point that I just wanted to get to it. 00:07:11.560 --> 00:07:14.740 That kept me playing. And then besides that, 00:07:14.740 --> 00:07:19.220 in the church where I went to, we had a new pastor's 00:07:19.220 --> 00:07:22.060 family come in. The wife, Ms. Shim Hye -hyun, 00:07:22.699 --> 00:07:25.600 she was a classical pianist. classical concert 00:07:25.600 --> 00:07:31.100 pianist. And it was just so different. She arranged 00:07:31.100 --> 00:07:35.819 music in a very classical way. They really reminded 00:07:35.819 --> 00:07:38.259 me of like the romantic and classical eras of 00:07:38.259 --> 00:07:42.540 music. And that was something that was so different 00:07:42.540 --> 00:07:46.339 because at that time I'd never really been able 00:07:46.339 --> 00:07:51.560 to play sacred music that was written for violin 00:07:51.560 --> 00:07:54.500 or was written for violin and piano. or violin 00:07:54.500 --> 00:07:58.699 duets that was more classical than anything because 00:07:58.699 --> 00:08:01.379 a lot of the time they take these songs that 00:08:01.379 --> 00:08:05.300 are more for voice and then they just do really 00:08:05.300 --> 00:08:07.660 simple like two -part harmonies or stuff like 00:08:07.660 --> 00:08:10.579 that whereas her arrangements and the artists 00:08:10.579 --> 00:08:15.600 who she took inspiration from took their classical 00:08:15.600 --> 00:08:19.209 background and really put the musicality and 00:08:19.209 --> 00:08:21.610 the technicality into the music and that makes 00:08:21.610 --> 00:08:25.310 it really, really enjoyable to play. During that 00:08:25.310 --> 00:08:29.290 time, I also discovered Korean CCM. I discovered 00:08:29.290 --> 00:08:33.049 through her Soma Trio and Jennifer Jeon on YouTube. 00:08:33.509 --> 00:08:35.149 And if you haven't listened to these artists, 00:08:35.350 --> 00:08:39.490 you definitely should. They're arrangements of 00:08:39.490 --> 00:08:42.490 very well -known hymns like Amazing Grace, Blessed 00:08:42.490 --> 00:08:45.210 Assurance, Many others like The Lord's Prayer 00:08:45.210 --> 00:08:49.629 are so, so musical. They're just so different. 00:08:49.870 --> 00:08:53.490 The way they move through the ideas, the way 00:08:53.490 --> 00:08:57.570 they modulate to keys. Sometimes they have like 00:08:57.570 --> 00:09:01.610 three to four modulations on just one song. And 00:09:01.610 --> 00:09:04.409 while it's very, very technical, their music 00:09:04.409 --> 00:09:07.429 is so beautiful at the same time. And so it merges

00:09:07.429 --> 00:09:10.549 these two things that we as musicians really 00:09:10.549 --> 00:09:13.200 love. And there's something for everyone, whether 00:09:13.200 --> 00:09:15.500 you're a musician and you can appreciate the 00:09:15.500 --> 00:09:17.919 musicality, or you're someone who just loves 00:09:17.919 --> 00:09:22.059 listening to music and hearing the same hymns, 00:09:22.480 --> 00:09:24.639 there's something for you in their arrangements. 00:09:24.639 --> 00:09:27.940 And that's something that I really enjoy about 00:09:27.940 --> 00:09:31.200 their music. And so that's how I kept playing. 00:09:32.059 --> 00:09:39.519 I see. So you are currently studying at University 00:09:39.519 --> 00:09:44.539 doing aerospace, uh, engineering, um, tell us, 00:09:44.620 --> 00:09:48.679 when did you begin going there? Um, I've been, 00:09:48.759 --> 00:09:52.600 I'm, I've just finished my second year. Yeah. 00:09:52.919 --> 00:09:55.480 So I just, I started two years ago. So when did 00:09:55.480 --> 00:10:00.600 you, um, you said that you were involved in church 00:10:00.600 --> 00:10:04.379 ministry doing sound engineering. Um, tell us 00:10:04.379 --> 00:10:06.240 about like some of the work that you're currently 00:10:06.240 --> 00:10:11.759 doing there. Yeah, so I was born and raised in 00:10:11.759 --> 00:10:15.960 Thailand, and now I serve at the Bangkok, Seventh 00:10:15.960 --> 00:10:19.120 -day Adventist Bangkok Korean Church. And I serve 00:10:19.120 --> 00:10:23.740 as the head of AVL, audio, video, and live streaming, 00:10:25.080 --> 00:10:30.919 and as well as front of house. So I started two 00:10:30.919 --> 00:10:35.080 years ago, or three now, with transitioning from 00:10:36.240 --> 00:10:40.720 my studio recording side to seeing the need for 00:10:40.720 --> 00:10:43.639 audio engineering in our church because we're, 00:10:43.639 --> 00:10:45.720 yeah, front of house and live streaming in our 00:10:45.720 --> 00:10:49.240 church. Can we talk about a bit more about your 00:10:49.240 --> 00:10:52.419 background though? And you mentioned that you 00:10:52.419 --> 00:10:56.340 used to do stuff in audio music production. Did 00:10:56.340 --> 00:10:58.480 that set you up? I mean, it sounded like you 00:10:58.480 --> 00:11:00.720 were doing that before you got into this whole 00:11:00.720 --> 00:11:04.149 church audio space as well. Yeah, so during the 00:11:04.149 --> 00:11:10.690 pandemic, we came off that 2017, 2018, 2019 period 00:11:10.690 --> 00:11:14.330 where I had gotten back into music with the people 00:11:14.330 --> 00:11:16.549 from my church, especially my pianist friend 00:11:16.549 --> 00:11:19.649 and her daughter. We would play duets all the 00:11:19.649 --> 00:11:22.769 time. And then came the pandemic and we were 00:11:22.769 --> 00:11:27.149 all at home. And something that came out of that 00:11:27.149 --> 00:11:30.179 was Amazing Facts of Youth. which was started 00:11:30.179 --> 00:11:34.139 by Uncle Tony

Scarpino at Granite Bay Seventh 00:11:34.139 --> 00:11:36.539 -day Adventist Church. At first, for the youth 00:11:36.539 --> 00:11:39.720 of his church, we really, really wanted to share 00:11:39.720 --> 00:11:45.480 our music. And so during lockdown, I just decided 00:11:45.480 --> 00:11:50.700 to start learning to record with whatever I had. 00:11:51.360 --> 00:11:54.539 At the time, I just had a webcam mic that was 00:11:54.539 --> 00:11:57.620 surprisingly decent enough to use up to a certain 00:11:57.620 --> 00:12:00.610 point. and so I started recording with that and 00:12:00.610 --> 00:12:04.509 then eventually we got a shotgun mic to record 00:12:04.509 --> 00:12:07.289 videos. We weren't really happy with the sound 00:12:07.289 --> 00:12:10.210 of that so we went and got a Zoom H2n and then 00:12:10.210 --> 00:12:13.830 finally some actual small diaphragm condensers. 00:12:14.070 --> 00:12:17.490 Little by little I learned through YouTube and 00:12:17.490 --> 00:12:19.990 with whatever I could find that was like free 00:12:19.990 --> 00:12:22.450 because we didn't have that much of a budget 00:12:22.450 --> 00:12:25.710 for recording and so I found a free DAW which 00:12:25.710 --> 00:12:28.919 I still use today. a traction waveform because 00:12:28.919 --> 00:12:31.759 of the way the workflow is, the routing is very 00:12:31.759 --> 00:12:36.460 flexible. I started learning and it was very 00:12:36.460 --> 00:12:40.600 very difficult at first because I'm sure many 00:12:40.600 --> 00:12:43.399 people have heard violin recordings on YouTube 00:12:43.399 --> 00:12:46.539 done by people and it just sounds very very harsh, 00:12:46.779 --> 00:12:48.720 like the mid -range, high mid -range of a violin 00:12:48.720 --> 00:12:53.120 is very harsh. So that was what really pushed 00:12:53.120 --> 00:12:57.320 me to learn proper audio engineering. which was 00:12:57.320 --> 00:13:01.580 to mix my violin so that I too would enjoy listening 00:13:01.580 --> 00:13:07.659 to my music recorded. Because everyone was very 00:13:07.659 --> 00:13:11.360 surprised by me recording and everyone was saying 00:13:11.360 --> 00:13:15.399 that they really loved my recordings. But I myself 00:13:15.399 --> 00:13:18.059 wasn't really happy with how my instrument sounded, 00:13:18.059 --> 00:13:21.879 how my voice sounded in recordings. And so I 00:13:21.879 --> 00:13:25.659 wanted to make the most of the gift that God 00:13:25.659 --> 00:13:28.750 gave me. the talent for playing the violin and 00:13:28.750 --> 00:13:32.190 I wanted to share how I myself hear my violin 00:13:32.190 --> 00:13:36.049 under my ear and in the room which is very very 00:13:36.049 --> 00:13:39.269 full and very like resonant sounding rather than 00:13:39.269 --> 00:13:43.769 harsh and so I started learning all the techniques 00:13:43.769 --> 00:13:49.759 EQ dynamic EQ compression and all that I eventually 00:13:49.759 --> 00:13:53.360 got to a point where I did enjoy music production 00:13:53.360 --> 00:13:55.659 and recording myself and actually listening to 00:13:55.659 --> 00:13:58.039 my recordings. It just so happened that that 00:13:58.039 --> 00:14:01.500 was the time that I saw the need to help churches 00:14:01.500 --> 00:14:04.860 out, help my church out with sound. It took quite 00:14:04.860 --> 00:14:07.440 a few years. Let's talk about that a bit more. 00:14:08.419 --> 00:14:11.200 What was going on in your life at the time? I 00:14:11.200 --> 00:14:14.799 actually only transitioned from studio sound 00:14:14.799 --> 00:14:18.460 to live sound. very recently, as I said three 00:14:18.460 --> 00:14:22.100 years ago, which was when I started doing it 00:14:22.100 --> 00:14:26.980 for my church. And then, little by little, I 00:14:26.980 --> 00:14:29.440 started getting opportunities at other churches, 00:14:29.840 --> 00:14:33.080 like whenever there's a school event or another 00:14:33.080 --> 00:14:37.460 church had an event. And I knew a bit about sound, 00:14:37.700 --> 00:14:42.120 and so I started going to other churches to help. 00:14:42.360 --> 00:14:45.220 And so, yeah, I started helping churches out 00:14:45.220 --> 00:14:49.559 and Here and there, I've been getting opportunities 00:14:49.559 --> 00:14:53.620 to work with other churches besides my own and 00:14:53.620 --> 00:14:57.559 help them with their sound. So it sounds like 00:14:57.559 --> 00:14:59.860 it kind of grew organically through your relationships 00:14:59.860 --> 00:15:02.580 at church that you were forming there at the 00:15:02.580 --> 00:15:06.340 time. Yeah. I definitely want to come back to 00:15:06.340 --> 00:15:09.370 some of the things that you did. there at those 00:15:09.370 --> 00:15:12.190 churches and see if you can give us some tips 00:15:12.190 --> 00:15:14.789 to help people to optimize their church audio. 00:15:15.149 --> 00:15:18.690 Because for those of you guys out there who have 00:15:18.690 --> 00:15:23.210 a church audio system that maybe you have no 00:15:23.210 --> 00:15:26.149 idea how to run, we definitely want to help you 00:15:26.149 --> 00:15:28.330 guys out and answer some of your questions you 00:15:28.330 --> 00:15:31.549 have. So let's come back to that. Before we do 00:15:31.549 --> 00:15:33.490 that though, I'd like to talk to you a bit about 00:15:33.490 --> 00:15:36.940 church audio. some of the project. Let's talk 00:15:36.940 --> 00:15:39.519 about like a real project that you have done 00:15:39.519 --> 00:15:42.820 and some of the problems that you faced and how 00:15:42.820 --> 00:15:45.919 you solved them. One project that I've worked 00:15:45.919 --> 00:15:51.000 on was when our church choir was invited to sing 00:15:51.000 --> 00:15:55.340 for the North Asian Division ASI conference that 00:15:55.340 --> 00:16:00.019 was held here in Bangkok last year, I think. 00:16:00.980 --> 00:16:06.870 And so I wanted to multitrack record our choir 00:16:06.870 --> 00:16:10.190 to post to our YouTube

channel. And so the week 00:16:10.190 --> 00:16:14.789 before the conference, I got the information 00:16:14.789 --> 00:16:17.629 that it would be held at this church only two 00:16:17.629 --> 00:16:21.169 weeks prior. So the next week after that, I decided 00:16:21.169 --> 00:16:23.429 to go to the church to like, scout out the location. 00:16:24.289 --> 00:16:27.889 When I got there, it was something. They have 00:16:27.889 --> 00:16:33.429 an X32 Compact and I booted up the mixer and 00:16:33.710 --> 00:16:39.610 It was on the old firmware where you can't remote 00:16:39.610 --> 00:16:44.490 into the console at all on a tablet or a computer. 00:16:45.009 --> 00:16:48.429 So they said that they wanted to update the mixer 00:16:48.429 --> 00:16:51.029 but they didn't know how to. They asked me to 00:16:51.029 --> 00:16:53.750 try. I asked around if anyone had a thumb drive 00:16:53.750 --> 00:16:56.850 so that I could update the mixer. But it was 00:16:56.850 --> 00:16:58.490 Sabbath afternoon and everyone had gone home 00:16:58.490 --> 00:17:02.340 and nobody had a thumb drive. and so I had to 00:17:02.340 --> 00:17:06.160 dig around in my bag for an SD card and I had 00:17:06.160 --> 00:17:08.839 an SD card reader on me so I formatted that SD 00:17:08.839 --> 00:17:13.400 card, downloaded the firmware and by the time 00:17:13.400 --> 00:17:16.220 I had done that it took quite a while because 00:17:16.220 --> 00:17:20.519 we had to go look for the storage to do it and 00:17:20.519 --> 00:17:23.480 then when I finally got it updated I plugged 00:17:23.480 --> 00:17:26.049 it into the router And it turned out that the 00:17:26.049 --> 00:17:28.950 router's ethernet was on a completely different 00:17:28.950 --> 00:17:32.329 subnet from the Wi -Fi. And so we still weren't 00:17:32.329 --> 00:17:34.970 able to mix on the tablet. I decided to just 00:17:34.970 --> 00:17:37.849 work with a mixer. So the next thing I did was 00:17:37.849 --> 00:17:41.329 go to the front of the church to their stage 00:17:41.329 --> 00:17:44.730 box and look at what they were doing. And on 00:17:44.730 --> 00:17:48.609 the stage box, it was all plugged in, what looked 00:17:48.609 --> 00:17:51.529 to be correctly. And then I went to the back, 00:17:51.589 --> 00:17:53.869 I checked the channels and the mics were all 00:17:53.869 --> 00:17:58.000 on random channels like some vocal mics were 00:17:58.000 --> 00:18:00.200 on channels five and six piano was on channel 00:18:00.200 --> 00:18:06.039 two and they had some wireless mics and so I 00:18:06.039 --> 00:18:10.759 tried to organize stuff I tried to get things 00:18:10.759 --> 00:18:13.920 to a point where I could work with it and I did 00:18:13.920 --> 00:18:17.960 and then I discovered that their wireless mics 00:18:17.960 --> 00:18:21.599 were sharing a receiver so they had two wireless 00:18:21.599 --> 00:18:26.559 mics that were on one receiver. I was stunned, 00:18:27.440 --> 00:18:31.759 like, I don't know who

integrated this system, 00:18:32.460 --> 00:18:36.819 but they did not do it correctly. I talked to 00:18:36.819 --> 00:18:39.720 the media team and they said that their integrator 00:18:39.720 --> 00:18:43.500 had done the install for them, they had set it 00:18:43.500 --> 00:18:47.299 up to a certain point, and then they had given 00:18:47.299 --> 00:18:51.099 them a two -hour, only two -hour session. on 00:18:51.099 --> 00:18:53.559 how to use the X32 and they'd left them in the 00:18:53.559 --> 00:18:56.920 dust and that's it. So all this media team knew 00:18:56.920 --> 00:18:59.880 how to do was push faders. They didn't know how 00:18:59.880 --> 00:19:04.519 to set gain. They didn't know how to use the 00:19:04.519 --> 00:19:08.160 EQ. The compressor wasn't even on on the mixer. 00:19:08.980 --> 00:19:15.019 The PA wasn't tuned and so they were afraid to 00:19:15.019 --> 00:19:17.079 set the gain higher because the PA wasn't tuned 00:19:17.079 --> 00:19:21.130 so they would get feedback. And so that first 00:19:21.130 --> 00:19:25.329 Sabbath ended up being getting that mixer to 00:19:25.329 --> 00:19:29.009 a point where I could use it the next week and 00:19:29.009 --> 00:19:33.569 along the way teaching them little bits here 00:19:33.569 --> 00:19:37.309 and there where I could how to use this mixer 00:19:37.309 --> 00:19:40.009 and like speaking into the mic and showing them 00:19:40.009 --> 00:19:43.349 what the EQ did. But this was already very late 00:19:43.349 --> 00:19:46.309 on a Sabbath afternoon and everyone was tired 00:19:46.309 --> 00:19:49.450 and wanted to go home. I can see. I can see the 00:19:49.450 --> 00:19:52.109 challenges you could have faced at that point. 00:19:52.369 --> 00:19:54.529 Tell us about the team that you're working with 00:19:54.529 --> 00:19:59.569 there. Yeah, they had no training whatsoever 00:19:59.569 --> 00:20:02.650 on how to use this mixer, as I said. They only 00:20:02.650 --> 00:20:07.609 had a two -hour, like, briefer, more like, than 00:20:07.609 --> 00:20:12.750 training on the X32 by this integrator. And so... 00:20:12.750 --> 00:20:14.269 I'm guessing that's the person who sold it to 00:20:14.269 --> 00:20:18.250 them? Yeah, the... I don't even know if it's 00:20:18.250 --> 00:20:20.210 supposed to be called an integrator, maybe just 00:20:20.210 --> 00:20:24.569 a supplier. So the supplier just dropped it in, 00:20:25.309 --> 00:20:28.470 connected it to their system, routed the audio 00:20:28.470 --> 00:20:30.829 to the different speakers and then left them 00:20:30.829 --> 00:20:33.349 to figure it out on their own mostly. And so 00:20:33.349 --> 00:20:35.509 they didn't really know how to use this mixer. 00:20:36.109 --> 00:20:38.329 Yeah, I mean, this is a digital mixer. I'm just 00:20:38.329 --> 00:20:42.309 looking at the specs for it now. It's pretty 00:20:42.309 --> 00:20:46.390 much got everything on it. When you have a digital 00:20:46.390 --> 00:20:52.150 console like this one, it's got a large learning 00:20:52.150 --> 00:20:56.190 curve, which is why it's good to start off with 00:20:56.190 --> 00:20:58.569 an analog console when you're beginning too, 00:20:58.569 --> 00:21:02.609 isn't it? For someone who's supplying gear like 00:21:02.609 --> 00:21:05.609 that, maybe he should have considered that, right? 00:21:05.609 --> 00:21:08.490 Don't you think? Yeah, or even giving them a 00:21:08.490 --> 00:21:14.309 simpler digital console like the... the old Q 00:21:14.309 --> 00:21:19.069 series from Alan and Heath or their CQ18T which 00:21:19.069 --> 00:21:23.789 are really a direct upgrade from an analog system 00:21:23.789 --> 00:21:26.549 where the the routing is patched one -to -one 00:21:26.549 --> 00:21:29.549 like mic one comes in on channel one right away 00:21:29.549 --> 00:21:31.690 and you push the main fader and it goes right 00:21:31.690 --> 00:21:36.029 to the speakers right away and so they were not 00:21:36.029 --> 00:21:39.710 set up for success And so that first session, 00:21:39.710 --> 00:21:42.789 I just had to get the mixer to a point where 00:21:42.789 --> 00:21:45.809 we could use it the next Sabbath. And then the 00:21:45.809 --> 00:21:48.769 next Sabbath, I came back. Instead of attending 00:21:48.769 --> 00:21:51.130 my church, I went to their church. And from Sabbath 00:21:51.130 --> 00:21:53.849 school in the morning, I worked on the mixer 00:21:53.849 --> 00:21:57.650 to prepare it for our choir. And it just so happened 00:21:57.650 --> 00:22:00.789 that that week, they had another choir come in 00:22:00.789 --> 00:22:02.970 during Divine Service and have a full concert. 00:22:03.650 --> 00:22:06.789 And so I was able to build a mix for that choir 00:22:06.789 --> 00:22:09.829 and use it for our choir in the afternoon. And 00:22:09.829 --> 00:22:12.869 all the while I was showing them how to set gain, 00:22:12.990 --> 00:22:18.069 how to set the EQ, and even just labeling each 00:22:18.069 --> 00:22:20.789 channel properly on the scribble strips, setting 00:22:20.789 --> 00:22:22.789 the gain correctly and putting a high -pass filter. 00:22:23.150 --> 00:22:25.890 And they were already commenting that, wow, this 00:22:25.890 --> 00:22:28.430 sounds so much better. Because it was getting 00:22:28.430 --> 00:22:31.019 to the correct loudness for the room. whereas 00:22:31.019 --> 00:22:32.720 they were running it really, really quietly and 00:22:32.720 --> 00:22:36.940 trying to push the faders up. And another problem 00:22:36.940 --> 00:22:41.339 that we faced was that their cables that the 00:22:41.339 --> 00:22:43.660 suppliers chose were not really high quality. 00:22:44.220 --> 00:22:47.779 And so we were getting radio interference where 00:22:47.779 --> 00:22:50.900 we were having like a station next door come 00:22:50.900 --> 00:22:57.900 in and we could hear the news over the PA. Yeah, 00:22:57.920 --> 00:23:00.940 and everyone in the room was asking, like, what's 00:23:00.940

--> 00:23:04.680 that noise? Who's speaking? And we just had to 00:23:04.680 --> 00:23:07.859 say, oh, this is maybe a radio station next door, 00:23:08.140 --> 00:23:11.339 because we had set the gain correctly. And so 00:23:11.339 --> 00:23:14.059 it was picking up the interference from next 00:23:14.059 --> 00:23:17.559 door. So they weren't shielded cables? No, they 00:23:17.559 --> 00:23:20.220 were just probably like the cheapest XLRs that 00:23:20.220 --> 00:23:25.160 you could get. Oh man, that is shocking. Yeah, 00:23:25.160 --> 00:23:30.690 so... In the afternoon, what I said, the two 00:23:30.690 --> 00:23:34.369 wireless mics coming in on one receiver, they 00:23:34.369 --> 00:23:36.809 didn't know that, and so they couldn't tell me 00:23:36.809 --> 00:23:41.549 that. They had three sets of wireless mics. They 00:23:41.549 --> 00:23:44.089 had four wireless mics. Two were plugged into 00:23:44.089 --> 00:23:47.609 the booth directly. They had a budget Shure system. 00:23:48.049 --> 00:23:51.569 The other one was a JBL wireless receiver at 00:23:51.569 --> 00:23:53.650 the front. It was plugged into the stage box. 00:23:54.279 --> 00:24:00.680 And I only discovered when I was mixing the tracks 00:24:00.680 --> 00:24:05.240 after the fact that two mics were coming in on 00:24:05.240 --> 00:24:09.559 that one receiver. And nobody knew. How do you 00:24:09.559 --> 00:24:11.559 not know that? That's kind of an obvious thing 00:24:11.559 --> 00:24:14.539 when you're looking at the mixer, isn't it? No, 00:24:14.559 --> 00:24:18.700 because they patched that thing twice. They patched 00:24:18.700 --> 00:24:22.210 it into two channels, assuming that... it could 00:24:22.210 --> 00:24:24.650 split into two, because two mics are coming on 00:24:24.650 --> 00:24:28.369 the same mono input. And so they assumed that 00:24:28.369 --> 00:24:30.829 it would go into two channels. And so I was trying 00:24:30.829 --> 00:24:35.029 to mix for two people, and it turns out I was 00:24:35.029 --> 00:24:39.410 mixing one single receiver. And so I found out 00:24:39.410 --> 00:24:42.630 after the fact, and I was just shocked that the 00:24:42.630 --> 00:24:45.799 person who had... supplied them this system or 00:24:45.799 --> 00:24:48.740 whoever had gone out and bought these wireless 00:24:48.740 --> 00:24:53.420 mics had not had the knowledge to know that you're 00:24:53.420 --> 00:24:55.880 not supposed to have two mics on one channel. 00:24:56.500 --> 00:25:00.740 Because you won't be able to mix it properly. 00:25:01.039 --> 00:25:03.819 Right after. How did you end up overcoming that 00:25:03.819 --> 00:25:09.259 challenge? So in the end we just had to run with 00:25:09.259 --> 00:25:13.269 whatever we had set. The choir... the choir did 00:25:13.269 --> 00:25:16.670 come through the speakers okay but the room wasn't 00:25:16.670 --> 00:25:21.089 treated either so we were fighting feedback we 00:25:21.089 --> 00:25:24.630 were trying to sing loudly the piano wasn't balanced 00:25:24.630 --> 00:25:27.430 but then after the fact I took those tracks and 00:25:27.430 --> 00:25:30.829 I mixed them for post we were able to get a really 00:25:30.829 --> 00:25:33.750 good recording out of that so what I left the 00:25:33.750 --> 00:25:37.430 church with was a place where they could like 00:25:37.430 --> 00:25:39.809 a starting point where the gain was set correctly. 00:25:39.990 --> 00:25:41.609 I taught them to set the gain. I taught them 00:25:41.609 --> 00:25:44.150 to set the high pass filter. And then I offered 00:25:44.150 --> 00:25:47.990 if they ever had time, I could come back and 00:25:47.990 --> 00:25:52.430 work with their team on how to use this mixer 00:25:52.430 --> 00:25:55.549 properly. What lessons did you learn from that? 00:25:56.809 --> 00:26:01.150 Not to assume that just because a church has 00:26:01.150 --> 00:26:04.589 good equipment means that they have it routed 00:26:04.589 --> 00:26:07.250 properly, means that they have it set up. properly 00:26:07.250 --> 00:26:10.029 and that they know how to use it. I heard the 00:26:10.029 --> 00:26:13.109 name of the mixer from someone I was in contact 00:26:13.109 --> 00:26:15.529 with and I said, oh, they've chosen a good mixer 00:26:15.529 --> 00:26:19.789 for this church. That must mean that their sound 00:26:19.789 --> 00:26:21.789 is good and they know how to use it. And so I 00:26:21.789 --> 00:26:24.849 just came a week prior. What I took away from 00:26:24.849 --> 00:26:28.329 this is that every time we have an event at another 00:26:28.329 --> 00:26:31.589 place, I have to assume that I'm working from 00:26:31.589 --> 00:26:34.190 the ground up and that I need to build a new 00:26:34.190 --> 00:26:38.180 mix for this event. and I have to treat it as 00:26:38.180 --> 00:26:40.759 though I'm working from scratch with a new church 00:26:40.759 --> 00:26:45.960 rather than trying to do it, trying to just go 00:26:45.960 --> 00:26:49.500 there like a week prior and figure out everything 00:26:49.500 --> 00:26:53.400 in very little time. I have to go earlier and 00:26:53.400 --> 00:26:56.500 set myself up for more success, set the church 00:26:56.500 --> 00:27:00.259 up for more success with these projects. I want 00:27:00.259 --> 00:27:02.960 to explore some of those things that some more 00:27:02.960 --> 00:27:04.940 lessons that you have learned over the years 00:27:04.940 --> 00:27:07.980 as well. What tips would you give to somebody 00:27:07.980 --> 00:27:12.680 who is involved in the local church and would 00:27:12.680 --> 00:27:16.180 like to improve the sound quality of their audio 00:27:16.180 --> 00:27:19.839 system? Let's imagine that it's somebody who 00:27:19.839 --> 00:27:23.920 is being maybe just put in that position, doesn't 00:27:23.920 --> 00:27:27.799 really understand much of the basics of audio. 00:27:27.960 --> 00:27:32.380 Live sound mixing. Do you have any like standard? 00:27:32.440 --> 00:27:35.039 I

mean, we talked a bit about how you help the 00:27:35.039 --> 00:27:38.579 church that you were working in the past. You 00:27:38.579 --> 00:27:43.079 know, we talked about setting the gain, EQ compression. 00:27:43.819 --> 00:27:45.960 Is there any like tips that you would give somebody 00:27:45.960 --> 00:27:48.200 when it comes to gain staging? Like let's start 00:27:48.200 --> 00:27:50.240 with the gain staging. I think maybe you can 00:27:50.240 --> 00:27:53.480 help people to understand what that means and 00:27:53.480 --> 00:27:55.619 what they should be looking for when setting 00:27:55.619 --> 00:28:01.019 the input gain. Yeah. So gain staging is the 00:28:01.019 --> 00:28:06.160 way you balance volume in versus volume out. 00:28:07.640 --> 00:28:11.660 And so if you look at it from let's say a video, 00:28:11.680 --> 00:28:14.240 if you look at it from let's say a video point 00:28:14.240 --> 00:28:17.759 of view, you have your exposure triangle where 00:28:17.759 --> 00:28:20.400 you have your ISO, which is the sensitivity of 00:28:20.400 --> 00:28:25.259 your sensor. You have your shutter speed, how 00:28:25.259 --> 00:28:30.220 fast the shutter clicks. and you have the aperture 00:28:30.220 --> 00:28:34.579 of your lens which is like how wide the aperture 00:28:34.579 --> 00:28:38.900 is set so that you get your depth of field and 00:28:38.900 --> 00:28:41.599 how much light you're letting in. The same thing 00:28:41.599 --> 00:28:44.980 applies with audio in that you don't want your 00:28:44.980 --> 00:28:48.680 image to be overexposed but you don't want your 00:28:48.680 --> 00:28:51.880 image to be underexposed either. And so you have 00:28:51.880 --> 00:28:54.880 to set your gain so that you have a healthy level 00:28:54.880 --> 00:28:59.160 of signal coming in, so that when you send the 00:28:59.160 --> 00:29:02.599 audio to your speakers, you're not introducing 00:29:02.599 --> 00:29:06.420 a lot of noise from your mixer's electrical systems, 00:29:06.819 --> 00:29:10.099 or you're not sending so much volume in that 00:29:10.099 --> 00:29:13.940 you're overloading the circuitry of your mixer 00:29:13.940 --> 00:29:17.799 or the converters in your mixer and it just gets 00:29:17.799 --> 00:29:20.700 so distorted. You have to set your gain to a 00:29:20.700 --> 00:29:25.220 healthy level, and on analog that's at zero, 00:29:25.279 --> 00:29:29.460 zero dB, if you push the pre -fader lesson, the 00:29:29.460 --> 00:29:33.339 PAFL or solo button on your channels, you will 00:29:33.339 --> 00:29:37.859 get on analog mixers, you'll get the meters will 00:29:37.859 --> 00:29:41.460 start showing the signal of that input, and you 00:29:41.460 --> 00:29:44.500 want to set that input so that it peaks at around 00:29:44.500 --> 00:29:47.640 zero, because if it goes past that, you get analog 00:29:47.640 --> 00:29:52.680 distortion. which is more okay on analog consoles 00:29:52.680 --> 00:29:56.740 than digital. On digital, you have to be

very 00:29:56.740 --> 00:30:00.099 careful not to clip, because if you do clip, 00:30:00.599 --> 00:30:05.339 that's not recoverable. On analog, actually, 00:30:05.619 --> 00:30:08.099 there are times that you do want it to distort 00:30:08.099 --> 00:30:11.819 and you get different sounds out of it, but on 00:30:11.819 --> 00:30:16.480 digital, the hard rule is either minus 18 or 00:30:16.480 --> 00:30:22.220 minus 12 on the on the gain So you want to or 00:30:22.220 --> 00:30:24.359 on Alan and Heath they set it more for analog. 00:30:24.380 --> 00:30:28.859 So it's also zero but between digital and analog 00:30:28.859 --> 00:30:31.799 The same thing applies where you want to set 00:30:31.799 --> 00:30:36.220 the level where the the volume coming in Peaks 00:30:36.220 --> 00:30:38.980 like the most it goes to is around the yellow 00:30:38.980 --> 00:30:43.000 part so that if somebody like really really yells 00:30:43.000 --> 00:30:46.700 into the mic, it still doesn't go past zero and 00:30:46.700 --> 00:30:51.569 clip horribly So what could be the case with 00:30:51.569 --> 00:30:54.549 a church that does not have the correct gain 00:30:54.549 --> 00:30:57.569 staging? Like what could be some of those telltale 00:30:57.569 --> 00:31:04.210 signs? Either you get mics that sound like, you 00:31:04.210 --> 00:31:06.450 know, the typical streamer yelling into the mic 00:31:06.450 --> 00:31:09.910 and it sounds really distorted. A lot of live 00:31:09.910 --> 00:31:12.769 streams tend to sound the same way when churches 00:31:12.769 --> 00:31:16.089 haven't really learned or don't have the knowledge 00:31:16.089 --> 00:31:18.789 how to live stream, a lot of the time they want 00:31:18.789 --> 00:31:24.009 to set gain really hot so that it's loud enough 00:31:24.009 --> 00:31:26.970 to hear in the room. But then on the live stream 00:31:26.970 --> 00:31:31.349 that translates more so than in the room. It's 00:31:31.349 --> 00:31:33.349 heard in the room too, but on the live stream 00:31:33.349 --> 00:31:35.789 you don't have the room noise. So it's very obvious 00:31:35.789 --> 00:31:38.829 that it's clipping. And then the other side of 00:31:38.829 --> 00:31:41.529 things is when they're scared to set gain loud 00:31:41.529 --> 00:31:45.450 to a healthy level, because of feedback in the 00:31:45.450 --> 00:31:47.890 room because they haven't done anything where 00:31:47.890 --> 00:31:50.789 they haven't treated the room or they haven't 00:31:50.789 --> 00:31:53.890 tuned their PA and so they don't set gain loud 00:31:53.890 --> 00:31:58.289 enough and the telltale sign of that is the fader 00:31:58.289 --> 00:32:01.809 is at maximum. It's still not loud enough. And 00:32:01.809 --> 00:32:06.529 so you have to get it to a point where your fader 00:32:06.529 --> 00:32:10.369 is at zero. You're mixing at unity so that every 00:32:10.369 --> 00:32:14.339 little move you make is noticeable. because the 00:32:14.339 --> 00:32:17.799 faders don't have a linear scale. If you look 00:32:17.799 --> 00:32:19.940 at your fader, you go to church and you look 00:32:19.940 --> 00:32:22.940 at your fader on the mixer, the distance between 00:32:22.940 --> 00:32:26.400 0 and 5, or 0 and minus 5, is a lot bigger than 00:32:26.400 --> 00:32:29.400 the distance between minus 10 and minus 20. And 00:32:29.400 --> 00:32:31.759 so you want to set your gain so that you're mixing 00:32:31.759 --> 00:32:36.000 around 0, so that whatever small moves you make 00:32:36.000 --> 00:32:39.099 on your faders translate to what you hear in 00:32:39.099 --> 00:32:42.940 the room, and that also... makes it so that you 00:32:42.940 --> 00:32:44.700 have a healthy signal going to your live stream 00:32:44.700 --> 00:32:48.500 that's not too noisy or distorted. I see that 00:32:48.500 --> 00:32:51.940 happening a lot in churches where they are trying, 00:32:52.200 --> 00:32:54.019 if it's a bit too quiet, then they'll just bump 00:32:54.019 --> 00:32:57.779 it up on the faders, you know what I mean? So 00:32:57.779 --> 00:32:59.819 they're trying to compensate with the faders. 00:33:00.160 --> 00:33:02.660 But what you're saying here is that you have 00:33:02.660 --> 00:33:06.769 a problem not with the fader that's If the signal 00:33:06.769 --> 00:33:10.049 itself is on a lower gain level, then that needs 00:33:10.049 --> 00:33:13.829 to be adjusted first according to the input signal 00:33:13.829 --> 00:33:16.769 that's coming. Because it really does, it's why 00:33:16.769 --> 00:33:19.930 it's so important that we have rehearsals and 00:33:19.930 --> 00:33:22.809 things like that. So then we can understand how 00:33:22.809 --> 00:33:26.410 much gain we need to put into the microphone 00:33:26.410 --> 00:33:29.849 in order for it to adjust it to the right level 00:33:29.849 --> 00:33:34.269 for the musicians who are playing. and kind of 00:33:34.269 --> 00:33:38.109 like why I always stress when we have musicians 00:33:38.109 --> 00:33:41.190 come on guys let's do a sound check before we 00:33:41.190 --> 00:33:43.730 you know before you go on stage because You know, 00:33:43.730 --> 00:33:45.529 unless we are getting you up there and checking 00:33:45.529 --> 00:33:48.109 you, checking you, um, we're going to have problems 00:33:48.109 --> 00:33:51.569 in the gain stage. And, and so, um, for all the 00:33:51.569 --> 00:33:53.329 musicians who are out there listening, don't 00:33:53.329 --> 00:33:55.930 feel like it's a waste of time or something for 00:33:55.930 --> 00:33:58.450 you. When the audio technician tells you to go 00:33:58.450 --> 00:34:01.809 up there and, and do a sound check, because it's 00:34:01.809 --> 00:34:04.509 going to help you guys to be heard, um, much 00:34:04.509 --> 00:34:07.269 more clearer. And it's, it's going to help the 00:34:07.269 --> 00:34:09.809 experience for everyone to be much better. If 00:34:09.809 --> 00:34:12.090 we set the gain stage at the correct and the 00:34:12.090 -->

00:34:15.250 very beginning. when we do rehearsals. So that's, 00:34:15.250 --> 00:34:18.210 I guess, in essence, why we have those sound 00:34:18.210 --> 00:34:23.070 checks, isn't it? Yep. I think that's another 00:34:23.070 --> 00:34:27.710 thing I was going to say, is that you need to 00:34:27.710 --> 00:34:31.070 show up for sound. You can't just show up for 00:34:31.070 --> 00:34:36.190 video and the live stream, because the gospel 00:34:36.190 --> 00:34:39.510 is meant to be heard. You don't watch the gospel, 00:34:39.510 --> 00:34:44.360 you listen, you hear the gospel. And one thing 00:34:44.360 --> 00:34:46.500 I was thinking about when I was preparing for 00:34:46.500 --> 00:34:50.480 this podcast is that deaf people might actually 00:34:50.480 --> 00:34:54.539 have a better experience with the resources that 00:34:54.539 --> 00:35:00.699 they have because we actually have video in our 00:35:00.699 --> 00:35:03.980 church down so pat. We have it down pat. We have 00:35:03.980 --> 00:35:07.539 our exposure set correctly. And so those who 00:35:07.539 --> 00:35:10.639 might not be able to hear might be actually at 00:35:10.639 --> 00:35:12.440 an advantage when it comes to our live streams 00:35:12.440 --> 00:35:15.539 because they have the assisted, they have the 00:35:15.539 --> 00:35:17.880 ministries which cater towards them and have 00:35:17.880 --> 00:35:22.059 been worked towards a level where it's very understandable 00:35:22.059 --> 00:35:25.500 and you can get the message across clearly. Whereas 00:35:25.500 --> 00:35:28.780 with audio, we don't have that much knowledge 00:35:28.780 --> 00:35:32.860 about it in our church overall, I'd say. We know 00:35:32.860 --> 00:35:35.199 so much about video, we know how to set exposure 00:35:35.199 --> 00:35:38.480 and all of that. But then when it comes to audio, 00:35:38.809 --> 00:35:42.730 we're trying to, let's put it into the video 00:35:42.730 --> 00:35:46.989 context where we either have it overexposed and 00:35:46.989 --> 00:35:51.289 then try to de -clip in the recording in like 00:35:51.289 --> 00:35:53.750 Lightroom, you try to bring the brightness down 00:35:53.750 --> 00:35:56.969 or you have it so dark that your blacks are clipped 00:35:56.969 --> 00:36:00.329 and you try to bring it up in Lightroom and it's 00:36:00.329 --> 00:36:03.929 not the same as if you set your exposure correctly. 00:36:03.969 --> 00:36:07.809 When you first capture it, when you first record 00:36:07.809 --> 00:36:11.739 it. And so it's so important to show up during 00:36:11.739 --> 00:36:16.300 the week if you can. You can go to your church 00:36:16.300 --> 00:36:20.559 and learn to use your mixer when there's no one 00:36:20.559 --> 00:36:24.039 around so you don't really get embarrassed about 00:36:24.039 --> 00:36:27.559 it. Like if there's feedback, you learn that 00:36:27.559 --> 00:36:30.019 setting too much gain gives you feedback or turning 00:36:30.019 --> 00:36:33.760 up the EQ like this

gives you feedback. And so 00:36:33.760 --> 00:36:40.300 in your free time, try to learn audio as well. 00:36:42.179 --> 00:36:47.000 I agree. I agree. And I really love talking to 00:36:47.000 --> 00:36:50.639 you about this, by the way. For me, it's a bit 00:36:50.639 --> 00:36:55.739 of a hobby of mine. What other tips? Where else 00:36:55.739 --> 00:36:58.440 should we go with this? Is there any other areas 00:36:58.440 --> 00:37:00.860 that you would like to explore? I think besides 00:37:00.860 --> 00:37:04.510 learning gain staging, Musicians can go a long 00:37:04.510 --> 00:37:08.150 way, like the audio team can go a long way with 00:37:08.150 --> 00:37:11.750 learning what the basic tools on the mixer do. 00:37:12.409 --> 00:37:15.309 Like learning that you should set a high pass 00:37:15.309 --> 00:37:19.630 around 120 Hz to cut off the aircon rumble in 00:37:19.630 --> 00:37:24.250 the room or cut off the handling noise of the 00:37:24.250 --> 00:37:29.650 mics. Learning that cutting a bit around 500 00:37:29.650 --> 00:37:33.670 to 800 Hz Makes people have more clarity in their 00:37:33.670 --> 00:37:36.630 voice or if they they sound harsh you should 00:37:36.630 --> 00:37:40.289 cut around like two to three kilohertz Simple 00:37:40.289 --> 00:37:44.469 basic tips like this where they might not be 00:37:44.469 --> 00:37:47.889 able to hear it at first Over time you will learn 00:37:47.889 --> 00:37:52.670 to hear it Just knowing that mixing with numbers 00:37:52.670 --> 00:37:58.329 at first more like preset settings just knowing 00:37:58.329 --> 00:38:02.789 that Doing this, a bit of this, will benefit 00:38:02.789 --> 00:38:07.329 the sound. Learning that if you set a compressor 00:38:07.329 --> 00:38:10.610 threshold below so that the gain reduction is 00:38:10.610 --> 00:38:14.929 a certain amount will prevent my livestream viewers' 00:38:15.269 --> 00:38:17.090 ears from getting destroyed when someone yells 00:38:17.090 --> 00:38:23.809 into a mic or when music gets too loud it automatically 00:38:23.809 --> 00:38:29.309 ducks it for you. Just learning the basics. learning 00:38:29.309 --> 00:38:33.730 at least how to use your equipment and really 00:38:33.730 --> 00:38:36.670 putting in the time and effort to learning it 00:38:36.670 --> 00:38:39.929 outside of church so that you can bring your 00:38:39.929 --> 00:38:45.369 best effort and you can serve the gospel and 00:38:45.369 --> 00:38:49.590 serve the message that our church has in the 00:38:49.590 --> 00:38:52.230 best way possible. What's your plans for the 00:38:52.230 --> 00:38:55.710 next five years, Andrew? Like, do you have any... 00:38:56.079 --> 00:39:00.360 Any projects that you're working on to help musicians 00:39:00.360 --> 00:39:03.820 and churches to improve their sound? Yeah, something 00:39:03.820 --> 00:39:06.639 that I've been thinking about for the past couple 00:39:06.639 --> 00:39:12.460 of months is how local church musicians are very, 00:39:12.460 --> 00:39:16.000 very talented, but they do not necessarily have 00:39:16.000 --> 00:39:20.639 the platform to record and release music. And 00:39:20.639 --> 00:39:23.599 that's something that with Mana House, one of 00:39:23.599 --> 00:39:26.559 your previous guests, they... created this space 00:39:26.559 --> 00:39:29.659 where musicians can come in for free, record, 00:39:30.500 --> 00:39:33.179 and if they don't have a mix engineer they can 00:39:33.179 --> 00:39:38.199 mix for them as well. And so my idea is to create 00:39:38.199 --> 00:39:41.719 a global network of Adventist music creatives, 00:39:42.139 --> 00:39:45.719 writers, producers, engineers, both mixing and 00:39:45.719 --> 00:39:51.079 mastering, to create support for these musicians. 00:39:51.519 --> 00:39:54.340 to be able to release their music if they don't 00:39:54.340 --> 00:39:58.599 have the financial means to. And I also want 00:39:58.599 --> 00:40:01.780 this network to provide consulting for churches 00:40:01.780 --> 00:40:05.000 so that eventually musicians can just go to their 00:40:05.000 --> 00:40:09.519 local church to record a song. I want to create 00:40:09.519 --> 00:40:14.519 this network of audio engineers who could consult 00:40:14.519 --> 00:40:19.360 with what gear is needed. I think it would be 00:40:19.360 --> 00:40:22.619 good to have end -to -end audio integration with 00:40:22.619 --> 00:40:27.119 this network of audio engineers and people in 00:40:27.119 --> 00:40:29.400 the church who might be structural engineers, 00:40:29.519 --> 00:40:33.900 who might be audio engineers in that they treat 00:40:33.900 --> 00:40:37.599 acoustics for the room. The sound would sound 00:40:37.599 --> 00:40:39.599 good in the room because it's been integrated 00:40:39.599 --> 00:40:43.239 properly and the team knows how to mix. And then 00:40:43.239 --> 00:40:46.719 after church, maybe during AY, the church musicians 00:40:46.719 --> 00:40:50.079 could go and use the same equipment to record 00:40:50.079 --> 00:40:53.079 music that they want to share. And all in all, 00:40:53.179 --> 00:40:56.500 it would be a big step forward, I think, for 00:40:56.500 --> 00:41:00.440 our church to getting our message out there in 00:41:00.440 --> 00:41:03.639 both spoken word and song. I love the concept 00:41:03.639 --> 00:41:07.039 that you just explained. If people wanted to 00:41:07.039 --> 00:41:09.179 get involved, how could they get in touch with 00:41:09.179 --> 00:41:14.760 you? I'm on Instagram at Andrew CMGY, and I also 00:41:14.760 --> 00:41:20.659 recently started a church audio account at Church 00:41:20.659 --> 00:41:26.940 Audio Asia, where I have this more unique insight 00:41:26.940 --> 00:41:29.820 into churches in Thailand and the Philippines, 00:41:30.260 --> 00:41:32.940 and I know more of the challenges that we face 00:41:32.940 --> 00:41:36.090 here. I want to start out by focusing on our 00:41:36.090 --> 00:41:38.750 churches here in Southeast

Asia that may not 00:41:38.750 --> 00:41:40.949 have the same support that churches in the West 00:41:40.949 --> 00:41:44.750 may have. There's a link in my bio on the audio 00:41:44.750 --> 00:41:48.650 account where people can book a 30 minute session 00:41:48.650 --> 00:41:51.110 just for a consultation or to see how we can 00:41:51.110 --> 00:41:53.550 work together. Yeah. And I'll also put that link 00:41:53.550 --> 00:41:55.349 down on the bottom of the description as well 00:41:55.349 --> 00:41:57.769 here. So if you would like to get in touch with 00:41:57.769 --> 00:42:01.230 Andrew to work on any projects in your local 00:42:01.230 --> 00:42:04.170 churches, it could be in Southeast Asia, right? 00:42:04.230 --> 00:42:07.130 It could be in the Pacific. Please reach out 00:42:07.130 --> 00:42:10.630 to him. I know that he would definitely be able 00:42:10.630 --> 00:42:13.170 to help you with any issues that you may be having 00:42:13.170 --> 00:42:17.969 in your audio. Yeah. Well, I have learned a lot 00:42:17.969 --> 00:42:22.909 from this episode. I regularly do the audio for 00:42:22.909 --> 00:42:25.090 my church as well, so it's really good to be 00:42:25.090 --> 00:42:29.590 able to hear some of these things, some of these 00:42:29.590 --> 00:42:32.960 tips and... tips and ways to optimize your church 00:42:32.960 --> 00:42:36.280 audio. Of course, this is not all conclusive. 00:42:37.219 --> 00:42:39.219 We couldn't give an exhaustive description of 00:42:39.219 --> 00:42:41.719 everything that could be done for your church. 00:42:41.920 --> 00:42:43.739 There are so many things that we could cover, 00:42:43.940 --> 00:42:45.820 but I hope that this is an encouragement for 00:42:45.820 --> 00:42:49.340 you to learn more about the audio side of things 00:42:49.340 --> 00:42:52.659 in your music ministry. So thanks a lot for coming 00:42:52.659 --> 00:42:54.800 on the podcast, Andrew. It's been nice to chat 00:42:54.800 --> 00:42:57.400 with you. It's been my pleasure. Yeah. And I 00:42:57.400 --> 00:42:59.619 look forward to doing this again one time. Yeah. 00:42:59.639 --> 00:43:02.139 Yeah, for sure. Maybe if you guys want Andrew 00:43:02.139 --> 00:43:04.940 to come back on the podcast, if you have any 00:43:04.940 --> 00:43:08.679 questions regarding audio, anything audio, I'm 00:43:08.679 --> 00:43:10.719 sure he'll be more than happy to answer them. 00:43:11.260 --> 00:43:14.059 So you guys can leave a comment on this podcast, 00:43:14.179 --> 00:43:16.260 or you can leave a comment on our social media 00:43:16.260 --> 00:43:19.659 and Instagram, where we post the reels and stuff 00:43:19.659 --> 00:43:23.159 like that for this episode. And we would love 00:43:23.159 --> 00:43:25.480 to hear back from you if you have any other questions 00:43:25.480 --> 00:43:27.860 regarding it, be able to get them on to answer 00:43:27.860 --> 00:43:31.079 them. We'll keep it there for now. And yeah, 00:43:31.119 --> 00:43:32.659 so thank you so much for coming on the podcast, 00:43:32.760 --> 00:43:35.539 Andrew. We'll see you next time on the Adventist 00:43:35.539 --> 00:43:36.300 Music Podcast.