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Technology for Worship:

It's what we do.

Welcome to Geartechs.com. We want to be your #1 source for pro audio, video, projection, and lighting equipment.

Our site offers the latest product reviews, how-to guides, news, and our blog to give you detailed insight and up-to-the-minute information that will help you discover exactly what you need.

   
Hand-picked Professional Audio Equipment.
Many dealers sell anything and everything. We sell what works. Get the right product every time at Geartechs.com.
   
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Need something new, but aren’t sure what? Do your research, ask a pro and buy the right equipment here.
   
Lighting & Musical Equipment
In addition to pro audio and video gear, we offer select lighting and musical products to enhance your worship experience.

The Sound Check Process

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by Mike Sessler, ChurchTechArts.org

The other day I was talking with Kevin Sanchez, and he asked me if I had ever written a post about our sound check procedure. I thought I had, but a quick search of the site turned up nothing. So here it is.

I’ve found the sound check to be one of the most important times of the entire weekend experience. It’s a short window in time that allows you to set the tone for the service, either for better or worse. A smooth, well-run sound check will put the musicians at ease and enable them to lead well. A rough one will elevate tension and put the service in jeopardy.

For me, the key to a successful soundcheck is all in the preparation. That means...

Read more: The Sound Check Process

 

CTA Classroom - Quick monitor tips

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by Mike Sessler, ChurchTechsArts.org

As I've had family in town all week, today's post is going to be simple and quick. I want to throw out three quick tips for helping get your monitor mixes dialed in faster and with a little less stress. The general assumption here is that you're mixing wedges from FOH, but the principles will apply to just about any situation.

Start with a Rough Mix

For some, this may seem obvious, but it makes a big difference. Back when I was mixing on analog consoles, we would typically zero out the board after every weekend. So when the band got there, they didn't hear themselves or anything else in the wedges. It took me a while, but I learned they found this disconcerting.

My initial fix to this problem was to put just each instrument in their wedge to start. That helped, but the more I played with it, the more I found that I could build a basic mix even before they got there that would end up reasonably close to what they wanted.

I started noting roughly where the gains were for each input, and set those appropriately. And I would dial up a rough mix just to get them started.

Read more: CTA Classroom - Quick monitor tips

   

CTA Classroom - Phantom of the Power

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by Mike Sessler, ChurchTechArts.org

Today we're going to continue our series on the electrical side of sound. Last time, we tackled ground loops; their cause and a few solutions. This time around, it's phantom power. Phantom power is one of those often misunderstood aspects of sound. It's one of those things that's really not that complicated once you get it, but up to that point it's a bit of a mystery. So today we take the mystery out of phantom power.

Why Use It?
The first question we need to ask is why use phantom power at all? Strictly speaking, we don't need to, as the only reason we need phantom power is to power condenser microphones. Take all the condensers off stage and you can shut off phantom power forever. But most of us like to use the occasional condenser mic or active DI, so phantom power is necessary. Some condenser mics and active DIs will run on a battery, but if you don't have to power something from a battery, you shouldn't (you know it's going to die at the most inopportune time). It should be noted that it is only condenser mics and active DIs that require phantom power; for all other sources, it's best to turn it off if you have the option to do so on a channel by channel basis.

Phantom power moving from the console to the mic, audio goes the other way. In basic concept, anyway.

What is it?

Read more: CTA Classroom - Phantom of the Power

   

10-year-old wows crowd at the NBA Finals - using a Heil PR35 microphone

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When 10-year-old Julia Dale was rehearsing the Star-Spangled Banner before Game 2 of the NBA Finals in Miami, her soaring rendition caught the ear of the man who would be directing the game later that night on ABC. She had done so well, he decided, that the performance would be carried live on the national broadcast.

Miss Dale's vocal sound was captured for the worldwide audience on a Heil PR35 vocal microphone.  The PR35 excels in overall warmth and sound quality, uniformity of its pickup pattern, and its ability to isolate the voice from nearby instruments and other sound sources. 

The young Miss Dale didn't disappoint when she got on basketball's biggest stage:
 

 
If you'd like more information about the Heil PR35, please give us a call. 
   

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What others say

The Countryman E6 mic you supplied arrived very promptly and has worked really well as a mic for preachers in our church. It sounds good and is almost invisible in use.

Rod Webster, Derbyshire, UK

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