In the last decade, using multitracks to supplement the worship band has shifted from something only large churches utilized, to something most contemporary churches now use. Wedges have been swapped out for in-ear monitors so that a click and guide can be heard by the band, and not the audience or congregation, and instead of hand motions from the worship leader, the band follows a recording with a lady’s voice telling them about transitions and the name of the next song. Tracks have changed the sound quality and workflow for a large percentage of churches, and that’s a net positive, but there are challenges.
Now that tracks are commonplace on Sunday, the challenge isn’t how to add tracks to your weekend mix, but how to do it well.
This article aims to help discuss a couple of different ways to mix multitracks on Sundays.
The Two-track System
The two-track system is pretty basic and it’s how most churches start using multitracks. The simple concept is that the entire song mix comes on one channel and the click/guide comes on the other channel.
The “pros” to this model are that it’s extremely simple, it only takes up two channels, and the hardware is fairly cheap. All that is needed is a device to play the tracks is an iPod with an ⅛-inch cable and a couple direct boxes to get those signals to the mixing console.
The challenge to this setup is there is very little control. What if you only need to add some vocal tracks, or what if the only thing missing from your band that week is keys? With the two-track system it’s all or nothing. It’s not ideal. However, for churches using this tech for the first time, it’s the most foolproof.
Multi-Output Analog Systems
This one of the most common methods for churches who have been using the two-track system for a while and want an upgrade. This method sends anywhere from 4-10 tracks to the console from the playback device through a USB audio interface and then to the audio console. The interface takes a digital (USB) output from the source device and splits it out to a number of analog outputs that are connected to your console via XLR or ¼-in connectors.
The beauty of this is that websites like multitracks.com actually tells the end user what interfaces work well with their software. It does require additional hardware to give access and separate feeds to the additional tracks. You will need to determine the number of inputs and outputs you need on your USB audio interface. Cost can range from $200 to $1,000 depending on the feature set.
The “pro’s” are that this is approach is still fairly simple to execute. Even though there is an additional piece of hardware, if the end user buys what’s recommended it typically is “plug and play”.
Secondly, because of the additional outputs, there is significantly more control over the mix. From the earlier example, you can just add individual tracks needed to help with vocals or to cover that missing keyboard player etc., while muting the bass, drums and guitar tracks if you have those musicians live and in-person. Also, multitrack apps typically allow the end user to choose what tracks go to what outputs, so your set-up can be customized to whatever the sound person wants on the console.
The challenges are that an interface and the related cabling will take up more space in your already cramped mix position, and the cost will be greater because there is extra hardware.
Also, some of the situations will require a computer as the source instead of an iPad. So there may be the added cost of computer if needed.
Another challenge worth mentioning is that this method uses analog inputs. So the more tracks used, the more inputs used. This might be tough for churches with limited inputs on the console.
Multitracking through Dante
This configuration offers the most flexibility. Dante is a digital audio protocol that allows audio travel through an IT network. It bypasses the analog XLR or ¼-inch inputs on your console. For example, if one song needs 20 inputs or tracks on the console and the next song needs three, that’s completely possible because each song can have a different configuration over the network.
This can be important because the more individual control the engineer has, the more professional and natural the mix can sound. This scenario allows the sound person to customize the mix at the highest level. This customization, and the additional tracks made available, allows the tracks to blend with the live musicians without sounding “hokey” or fake.
The benefits are obvious. The song will sound higher quality and more natural in the room. The difference in this amount of control is stunning.
An isolated network through a managed switch is a “best practice” to make sure the tracks play consistently.
However, the challenges to this are vast. First, this is digital audio approach requires 1) an understanding of how the operate the user interface on the multitrack software on the source device, 2) a moderate understanding of how IP networks work, 3) basic knowledge of how the Dante protocol works, and 4) knowledge of how to access and patch or route digital inputs on your mixing console. Of course, this doesn’t take into account the additional artistic element needed to add in the tracks in a subtle and complementary way. Another challenge is that there are some initial costs for Dante licensing, and an additional network for the church.
An isolated network through a managed switch is a “best practice” to make sure the tracks play consistently. If that’s not done, then when the network gets bogged down with Wifi signals etc during church, things could go wrong quickly.
Regardless of how you choose to utilize multitracks, they are a great resource for a church that does contemporary worship. If the church you are serving is looking to upgrade how tracks are running, there are some great options to make the worship experience higher quality. Regardless of how the tracks run, there is always troubleshooting and that’s okay. We are not looking for perfection but to worship God with excellence.
