Question:

How to design a new sound system for a church with a $10,000 AUD budget?

I am in charge of the sound and livestreaming for a church that requires a new sound system. I have to replace everything except the amps, speakers and stage box, which are old but functional. I need a mixer, 3 handheld wired mics, 2 gooseneck lectern mics without on/off switches, and an instrumental/condenser mic for the piano or the pipe organ. What are the best options for each component and how can I ensure compatibility with the existing equipment? Any advice or recommendations would be greatly appreciated.

Answer:

Designing a sound system for a church can be a challenging task, especially when you have a limited budget and a lot of requirements. In this article, we will explore some of the best options for each component of the sound system, as well as some tips on how to ensure compatibility and optimal performance.

Mixer

The mixer is the heart of the sound system, as it allows you to control the levels, EQ, effects, and routing of the audio signals from the microphones and instruments. A good mixer should have enough channels, inputs, outputs, and features to accommodate your needs. For a church with a $10,000 AUD budget, we recommend the Behringer X32 digital mixer, which costs around $3,000 AUD and offers 32 channels, 16 XLR outputs, 6 aux inputs, 6 aux outputs, 8 DCA groups, 8 mute groups, 16 buses, 4-band parametric EQ, 40-bit floating-point processing, 32-bit effects, USB recording and playback, remote control via iPad or Android devices, and more. The Behringer X32 is a versatile and powerful mixer that can handle any live sound situation.

Microphones

The microphones are the devices that capture the sound from the sources, such as the vocals, the piano, or the pipe organ. The quality and suitability of the microphones depend on the type, the polar pattern, the frequency response, the sensitivity, and the durability. For a church with a $10,000 AUD budget, we recommend the following microphones:

• Handheld wired mics: These are the microphones that are used for the singers, the speakers, or the choir. They are usually dynamic microphones, which are rugged, reliable, and resistant to feedback. A good handheld wired mic should have a cardioid polar pattern, which rejects sound from the sides and the rear, and a smooth and balanced frequency response, which captures the natural tone of the voice. For a church with a $10,000 AUD budget, we recommend the Shure SM58 dynamic microphone, which costs around $150 AUD and is the industry standard for live vocals. The Shure SM58 has a cardioid polar pattern, a frequency response of 50 Hz to 15 kHz, a sensitivity of -54.5 dBV/Pa, and a built-in pop filter and shock mount. The Shure SM58 is a durable and dependable microphone that delivers clear and consistent sound.
• Gooseneck lectern mics: These are the microphones that are mounted on the lecterns, where the pastors or the leaders deliver their sermons or announcements. They are usually condenser microphones, which are sensitive, accurate, and require phantom power. A good gooseneck lectern mic should have a supercardioid polar pattern, which rejects sound from the sides and the rear, and a narrow and focused frequency response, which captures the speech intelligibility. For a church with a $10,000 AUD budget, we recommend the Audio-Technica PRO49QL condenser microphone, which costs around $200 AUD and is designed for podium applications. The Audio-Technica PRO49QL has a supercardioid polar pattern, a frequency response of 70 Hz to 16 kHz, a sensitivity of -37 dBV/Pa, and a quick-mount XLR connector. The Audio-Technica PRO49QL is a flexible and discreet microphone that delivers natural and articulate sound.
• Instrumental/condenser mic: This is the microphone that is used for the piano or the pipe organ, which are the main instruments in the church. They are usually condenser microphones, which are sensitive, accurate, and require phantom power. A good instrumental/condenser mic should have a cardioid polar pattern, which rejects sound from the sides and the rear, and a wide and flat frequency response, which captures the full range of the instrument. For a church with a $10,000 AUD budget, we recommend the Rode NT5 condenser microphone, which costs around $300 AUD and is designed for instrument recording. The Rode NT5 has a cardioid polar pattern, a frequency response of 20 Hz to 20 kHz, a sensitivity of -38 dBV/Pa, and a gold-plated XLR connector. The Rode NT5 is a compact and versatile microphone that delivers detailed and transparent sound.

Compatibility and Performance

To ensure compatibility and performance of the new sound system, you need to consider the following factors:

• Impedance: This is the measure of the resistance of the electrical signal in the circuit. The impedance of the microphones, the mixer, and the speakers should match, or else the signal will be distorted or attenuated. The standard impedance for professional audio equipment is 600 ohms, which means that the microphones, the mixer, and the speakers should have an impedance of 600 ohms or less. The Behringer X32, the Shure SM58, the Audio-Technica PRO49QL, and the Rode NT5 all have an impedance of 600 ohms or less, so they are compatible with each other and with the existing speakers.
• Cables: These are the wires that connect the microphones, the mixer, and the speakers. The cables should be of good quality, shielded, and balanced, to prevent noise, interference, and signal loss. The standard cables for professional audio equipment are XLR cables, which have three pins and a circular connector. The Behringer X32, the Shure SM58, the Audio-Technica PRO49QL, and the Rode NT5 all have XLR connectors, so they can be connected with XLR cables. The existing stage box should also have XLR inputs and outputs, to connect the microphones and the speakers with the mixer.
• Placement: This is the position and orientation of the microphones, the mixer, and the speakers. The placement should be optimal, to achieve the best sound quality, coverage, and feedback control. The general guidelines for placement are:
• Microphones: The microphones should be placed close to the sound source, to capture the direct sound and avoid the ambient noise. The microphones should also be angled away from the speakers, to avoid feedback. The handheld wired mics should be held about 2 inches from the mouth, with the grille pointing towards the mouth. The gooseneck lectern mics should be mounted about 12 inches from the mouth, with the capsule pointing towards the mouth. The instrumental/condenser mic should be placed about 6 inches from the piano or the pipe organ, with the capsule pointing towards the soundboard or the pipes.
• Mixer: The mixer should be placed in a central and elevated location, to have a clear view and access to the stage and the audience. The mixer should also be away from any sources of noise, interference, or vibration, such as fans, lights, or generators. The mixer should be connected to a reliable power source, with a surge protector and a ground lift, to prevent electrical problems.
• Speakers: The speakers should be placed in a way that covers the entire audience area, without any gaps or overlaps. The speakers should also be angled downwards, to avoid reflections from the ceiling or the walls. The speakers should be connected to the appropriate amps, with the correct impedance and power rating, to prevent damage or distortion.

Conclusion

Designing

a new sound system for a church with a $10,000 AUD budget is not an easy task, but it is not impossible either. By choosing the right components, ensuring compatibility, and optimizing placement, you can achieve a sound system that meets your needs and expectations. We hope that this article has given you some useful information and guidance on how to design a new sound system for your church. If you have any questions or feedback, please feel free to contact us. Thank you for reading and good luck with your project!

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