2 Responses

  1. Duane Toole
    Duane Toole November 19, 2014 at 6:20 pm |

    After long, long, discussions about the “worship wars,” the familiar vs. unfamiliar, the old vs. new, the styles issues, the leadership of a band vs. a piano vs. an organ, and dozens – perhaps hundreds – of other conversations about singing, I have come to the opinion that acoustics in a room are a major deciding factor about whether someone – particularly a musical someone – sings.

    If one is in a “dead” space, one only hears the band or the organ or the piano, but not the other people. It seems like you are singing ALL ALONE, so you either sing very softly, or stop altogether.

    Acousticians at Klepper, Marshall, King and Associates once told me something that stuck: really good congregational singing demands that a hard, reflective surface is within 10 feet of every singer.

    Try it.

    1. Vern Sanders
      Vern Sanders November 20, 2014 at 1:24 pm |

      Acoustics are, in my opinion, a significant piece of the equation when it comes to hearing the human voice in any corporate gathering. It’s one of the reasons why I spend time on it in my eBook The Choir in Modern Worship. Another piece is the competence of the person at the audio console, and I’ve always made it a priority to communicate clearly and teach that person what I’m listening for, and why, when it comes to the sound of the human voice. In many instances, I will ask for the “choir mics” to be muted, in order to force the players to balance in a reasonable manner. It is one of the arguments for having a worship “producer” (in the theatrical sense) who has the ability to listen to the whole “sound”, and the authority to make decisions about what that sound is intended to do, and who it is intended to serve.

      Thanks for drawing attention to this Duane.