Mastering the Art of Dynamic Concert Lighting: A Guide to Rocking the Stage with Busking and Cue Stacks


Approaching concert lighting production for busking a concert requires a combination of preparation, flexibility, and creativity. The following is one of the approaches I will often take, which is presented in a vendor agnostic approach – this can be accomplished on a GrandMA, Hog or ETC Eos platform, among many others:

  1. Cue Stacks for Each Song:
    • Establishing a short 3-5 cue stack for each song provides a structured framework while allowing for spontaneity. This structure typically includes:
      • Base Look: Setting up a foundational lighting environment using fixtures with transitionable attributes like wash lights. This serves as the starting point for the song’s lighting atmosphere. Including a move-while-dark setup ensures seamless transitions between cues.
      • Build: Creating dynamic intensity and movement to build energy throughout the song.
      • Breakdown/Ending Look: Transitioning to a different lighting scheme to match the mood of the song’s breakdown or conclusion.
      • Final Transition/Hold/Ending Look: Concluding the song with a clear transition, stopping all effects, and resetting lighting parameters for the next song.
    • While these cues aren’t necessarily tied to specific songs, they provide a template that can be adjusted and reused as needed.
  2. Manual Control and Flexibility:
    • Manual adjustment of lighting cues allows for real-time adaptation to the performance. Once a desired “verse” or build look is manually crafted, it can be saved or updated within the cue stack for future use.
    • Utilizing submasters presets/palettes enables quick access to various lighting configurations, including full looks, colors, patterns, positions, and timing options. This facilitates seamless transitions between different lighting scenes during the performance.
  3. Simplicity and Consistency:
    • Emphasizing simplicity in the lighting palette ensures clarity and effectiveness. Limiting the palette to a manageable number of colors, gobos, and focus positions streamlines operation and enhances visual coherence.
    • Employing a core set of fixture groups and effects helps maintain consistency and coherence throughout the concert. This allows for efficient manipulation of lighting elements without overwhelming complexity.
  4. Adaptation to Venue and Audience:
    • Flexibility is key when busking a rock concert, as each performance environment and audience may differ. Lighting cues should be adaptable to varying stage sizes, audience dynamics, and performer preferences.
    • Preparing for contingencies such as equipment malfunctions or unexpected changes in the performance schedule ensures a smooth execution of the lighting production.

In summary, successful concert lighting production for busking a rock concert requires a balanced approach that combines structured cue stacks, manual control, simplicity, and adaptability. By carefully crafting lighting cues, utilizing presets, and maintaining flexibility, lighting designers can enhance the live concert experience and support the performers’ artistic vision.

A Pragmatic Perspective on the Role of a Dedicated Broadcast Audio Mix Engineers in Churches

In the current landscape of church technology, the buzz often revolves around the importance of having a dedicated broadcast audio mix engineer, particularly due to the rise of online streaming brought about by the COVID-19 pandemic. While countless YouTube videos suggest that churches of all sizes churches should invest in this aspect of their audio setup, the reality is that not every church necessarily needs it. And just because it is something that is technically accessable, for most, it can be a resource-intensive endeavor, both in terms of volunteer commitment and financial expenses. Moreover, the subtle improvements in audio quality achieved through a dedicated broadcast mix may go unnoticed by the average congregant or church leadership, especially when the online viewership isn’t substantial. Therefore, it’s crucial to consider the concept of “bang for your buck” and the actual impact on your congregation.

Interestingly, some churches have successfully opted for a simpler approach even those churches with online audiences exceeding 1000 live viewers per weekend. They merely take a feed from their house console matrix send, and surprisingly, the result often sounds better than many churches equipped with dedicated broadcast mix setups.

So, here’s a thought to ponder: rather than channeling resources into a dedicated broadcast audio mix engineer, consider investing that budget into developing your front-of-house team and musicians. This strategy offers several advantages. First, it maximizes the value of your financial investment, as it directly enhances the worship experience for the congregation present in the physical church space. Additionally, it nurtures a pool of tech-savvy individuals within your audio team, which can be a significant asset in various aspects of church technology. This approach is a win-win situation, benefiting both the immediate in-person audience and potential online viewers.

In the world of live concerts, the approach to audio mixing has evolved significantly over the past two decades. Engineers have focused on achieving great sound directly from the mixing console, ensuring that everything needing adjustment for the room is handled at the system/PA tuning level or through acoustic treatment. In 2023, there’s no reason why your board mix shouldn’t be broadcast-ready from the outset. The exception might involve minor adjustments like adding some house microphones or additional reverb. However, even these can be easily accomplished using a matrix bus within your existing setup. Therefore, the emphasis should be on refining your core audio capabilities rather than overextending resources into a dedicated broadcast mix engineer role.

Balancing Spontaneity and Structure: Effective Worship Leadership

I have experienced a wide range of approaches to worship leadership within various church settings, and I believe that the issue raised: worship leaders who follow the Holy Spirit without giving their team direction – is less about a conflict between playing as written and embracing the Spirit and more about effective leadership and the overarching philosophy of congregational worship.

To address this challenge, it’s crucial to revisit the fundamental question of what worship means to your congregation and how it should be facilitated.

Often, the disconnect doesn’t stem from a lack of sincerity or purpose but rather from the worship leader’s experience and ability to guide the congregation during these spontaneous moments of worship. I’ve been in situations where we “sang in the spirit a new song,” and the experience varied from seamless and engaging to confusing and disjointed. This discrepancy can largely be attributed to the quality of leadership and how well the worship leader empowers the congregation to actively participate.

Singing off script can be a beautiful and spiritually enriching experience, but it must be done in a way that ensures everyone can follow along and engage meaningfully. This calls for intentional efforts in training, development, and leadership. Let me illustrate this with an example from my current church, which typically follows a more structured approach to worship.

Recently, we had a guest worship leader known for her spontaneous style. The team was comprised of the vocalist and two of her musicians, with the balance of the team being our regular weekend worship team.What made it work exceptionally well was the thoughtful preparation she put into it. Before the service, she communicated her intended direction through hand gestures to the worship team. Her guitarist, who had a microphone for musical direction (MD), provided verbal cues and guidance to our regular musicians, as he could anticipate her changes effectively. The lyric operator, who could see and hear these cues, also played a vital role in navigating the song.

However, this fluidity wasn’t haphazard; it relied on everyone knowing their parts and the song inside out. For instance, the lyric operator had to be intimately familiar with the song to anticipate transitions and changes. The worship leader often provided verbal cues, such as the first word before a downbeat, signaling a shift in the song.

This example demonstrates how intentional efforts and teamwork can create an excellent worship service that seamlessly blends spontaneity and structure. It emphasizes that allowing the Spirit to lead doesn’t mean forsaking all guidance. Instead, it involves surrounding the worship experience with a supportive framework for musicians, technicians, and the congregation.

Going with the flow during worship can be a beautiful expression of faith, but it should never come at the cost of leaving your team and congregation bewildered. Without this supportive structure, it can easily become more of a performance rather than a shared spiritual journey, ultimately doing a disservice to all involved. Thus, striking the right balance between spontaneity and structure is essential for a truly enriching worship experience.

Balancing Act: Two approaches to Equalization in Professional Audio

When I first learned professional audio in the 80s and 90s, while the technology existed to cut and/or boost certain frequencies, the prevailing approach of all of my mentors was to cut only, infact there was several graphic equalizers and parametric equalizers that were cut only. However throughout the 90s we were boosting and cutting with equal frequency (no pun intended).

Fast forward to 2020’s and beyond and after a long hiatus from professional audio I’m seeing once again a big resugance of cut-only approaches to equalization. Social media is filled with images that are exclusively cut only. What jumps out at me is that it is squashed extensively, leaving on a few key frequencies still making it through the aggressive cuts. This is a perfect example of where possibly a single boost would undo the extensive cutting.

Here are some of the approaches reflect different schools of thought on how to shape and enhance the audio signal.

Cut-Only Philosophy:

  • Less is More: The cut-only philosophy emphasizes that it’s generally better to remove or attenuate unwanted frequencies rather than boosting others. This approach aims to maintain a clean and uncluttered audio signal.
  • Minimizing Phase Issues: By cutting frequencies, you’re less likely to introduce phase issues or phase cancellation that can occur when boosting multiple bands, especially in complex mix scenarios.
  • Surgical Precision: Cut-only equalization allows for surgical precision in addressing specific problems in the audio, such as eliminating resonant frequencies, reducing noise, or cleaning up muddy or boomy sounds.
  • Prevention of Clipping: When boosting, there’s a higher risk of signal clipping, especially if the input signal is already hot. Cutting frequencies can prevent this issue and preserve headroom.
  • Tonal Balance Preservation: This approach often focuses on preserving the original tonal balance of the audio source, making it a preferred choice for mastering engineers or those working on critical listening applications.

Permitting Cutting and Adding Philosophy:

  • Creative Control: The approach of permitting both cutting and adding provides more creative control over the audio signal. It allows sound engineers to emphasize specific frequencies and shape the overall tonal character to their liking.
  • Tonal Shaping: This method is commonly used in mixing where the goal is to sculpt and shape the sound to fit within the context of a mix. Boosting certain frequencies can make elements of a mix stand out or add character.
  • Enhancement: When working with recorded instruments or vocals, boosting can help bring out the inherent qualities of the source and make it more prominent in the mix.
  • Compensation for Mic and Room Issues: In live sound or recording scenarios where you can’t control the environment completely, boosting can help compensate for microphone limitations or room acoustics issues.
  • Musical Creativity: For creative or artistic purposes, sound engineers may use boosting to create unique textures and tonalities, which can be essential in genres like electronic music or experimental sound design.

Ultimately, the choice between these philosophies depends on the context and goals of the audio engineer or producer. In some situations, a combination of both approaches may be used to achieve the desired results. Additionally, the quality of the EQ hardware or software being used can influence the success of either approach, as some equalizers are better suited for cutting, while others excel at boosting. Experienced professionals often develop their own techniques and preferences based on their specific needs and the type of audio they work with.

BMD ATEM Video Issue [Solved]

A local church just purchased a few PTZ Optic Cameras to expand their current two camera setup. When connecting them via SDI to the ATEM Video Switcher there was no video.

This is a common issue encountered when integrating new camera equipment with a video switcher. For example, the very popular BlackMagic Designs range of ATEM switchers that accommodate HDMI, SDI, or both connection types, requires that all video inputs must share matching resolution and frame rates.

In this particular scenario, the ATEM switcher had been configured for a standard setting in the United States: 1080p at 59.94 frames per second. However, the problem lay in the fact that the new PTZ Optic Cameras were outputting a different resolution. While most settings can be adjusted through the software or web interface, the video output settings are actually controlled by a physical dial switch located on the back of the camera.

Consulting the camera’s manual, we identified the correct switch position for 1080p at 59.94 frames per second. We then powered down the camera, adjusted the switch to the correct position, and powered the camera back on. Within a short span of time, the camera appeared in the multiview output of the ATEM switcher.

Ensuring Fire Safety During Contempoary Church Services

Every week, churches inquire about how to prevent fire alarms from being triggered during contemporary services. The topic of haze generates considerable discussion in church tech circles, with varying opinions on whether it has a place in a church setting that isn’t a concert. Instead of debating the appropriateness of using haze, this article focuses on addressing a practical question: how to avoid fire alarms going off when you decide to use haze. Regrettably, a significant number of responses suggest disabling or putting the fire alarm in test mode as a solution, which is not advisable.

First, you should probably think of it this way:

The biggest reason to have the fire alarm in the first place is when your building is fully occupied during services, to disable them fundamentally violates this.


To tackle the issue of preventing a theatrical haze machine from triggering fire alarms during a church service, it is essential to take a proactive and responsible approach. Here are some steps to consider:

  • Consult with HVAC and Fire Alarm Experts: Collaborate with professionals from your HVAC and fire alarm company who can assess your specific environment and systems to provide tailored solutions. Every location may present unique requirements and challenges, making their expertise invaluable. This could involve adjustments to air circulation and the selection of appropriate sensors to ensure life safety in case of malfunctions or real fire emergencies.
  • Compliance with Safety Regulations: Ensure that any modifications or adjustments made to your HVAC system or fire alarm system comply with local safety regulations and codes. Adhering to these standards is crucial not only for the safety of your congregation but also for the legality of your actions. This often necessitates coordination with the local fire marshal.
  • Avoid Disabling the Fire Alarm: It is imperative never to disable the fire alarm system, especially when the building is occupied by the public or congregation. Disabling a life safety system is not only perilous but also illegal. Engaging in such actions could result in severe consequences, including felony charges if someone is harmed due to a disabled fire alarm system.
  • Explore Alternative Haze Solutions: Investigate alternative methods for achieving a haze effect that is less likely to trigger the fire alarm. This might entail adjusting the type or quantity of haze produced, changing the machine’s positioning, or using a different machine that uses a distinct haze fluid to achieve the desired effect.
  • Consider Public Perception: Take into account the potential impact on public perception and your church’s reputation. Imagine the scenario where news outlets report that the fire alarm was intentionally disabled for theatrical effect. Such a situation could lead to significant backlash and tarnish the church’s image. Prioritizing safety over temporary effects is essential.

While not directly related to the question of haze, it is advisable to incorporate the following considerations into your overall procedures and plans:

  • Regular Maintenance: Ensure that both your HVAC and fire alarm systems receive regular maintenance and inspections to promptly identify and address any issues. Haze fluid can sometimes cause buildup that reduces the lifespan or effectiveness of HVAC or alarm equipment, necessitating more frequent preventative maintenance.
  • Emergency Procedures: Develop and communicate clear emergency procedures for situations where a fire alarm is activated during a service. Ensure that all staff and attendees are aware of these procedures, enabling them to react quickly and safely in the event of an emergency.

By working closely with professionals, adhering to safety regulations, and prioritizing the well-being of those attending your services, you can create a safe and enjoyable church experience with theatrical effects while minimizing the risk of a fire alarm disruption. Always remember that safety should be your utmost priority.

Copyright Laws and the Church

After reading recent (and often reoccurring) discussions concerning copyright law and its intersection with religious institutions, I realized that some individuals may have grown overly complacent regarding copyright regulations. It is undeniable that copyright laws can be intricate and multifaceted, and adhering to them correctly necessitates both time and financial resources. It is crucial to recognize that even though there are limited exemptions that religious institutions can employ for certain specific purposes, these exemptions do not provide blanket coverage. It is essential to understand that the Christian Copyright Licensing International (CCLI) license does not encompass every conceivable use.

I pose this question to you: What impact does a negative national headline have on our collective mission? Engaging in knowingly questionable copyright practices not only jeopardizes one’s personal reputation but also places the financial contributions of congregants and the broader church community at risk.

If you are unable to provide a clear answer regarding copyright compliance for every aspect of your in-person and online presence, it is imperative to pause and rectify this situation. If you require assistance in determining the appropriate licensing for your church’s activities, I encourage you to conduct some research independently and seek assistance when necessary. While social media can provide useful information, I often find people providing blatantly incorrect information.

For example, it is crucial not to contribute to the problem by arguing that a particular entity like XYZ would never take legal action against a church. Such statements do not legitimize copyright infringement. Furthermore, the fact that another church engages in similar practices does not necessarily make those practices ethically sound. Some prominent churches, including one beginning with “Flat,” often incorporate secular music into their services, and they likely obtain specific permissions and licenses for these performances because CCLI coverage does not extend to such uses. I can attest that a large church I was affiliated with, starting with the letter “B,” conducted a fundraiser that featured a diverse array of music, both sacred and secular. A close friend was explicitly tasked with managing the licensing for each piece of music involved. Therefore, it is evident that other churches are adhering to copyright regulations correctly. There is a legal avenue for almost any endeavor involving copyrighted material, but ignorance is not an excuse.

Numerous options for “royalty-free” music are readily available for your pre- and post-service activities, as well as for in-service video production. Consequently, there is no justification for appropriating and misusing copyrighted material in your church services. The licenses for such music are often reasonably priced or even free. While it is true that social media platforms may automatically issue copyright notices, providing them with your specific license documentation resolves any issues. I recently encountered this situation when I uploaded two pre-produced videos to YouTube. I received a copyright claim, but after disputing it and supplying the appropriate license documentation, the claim was fully released within less than 24 hours.

In conclusion, upholding copyright laws and compliance within our church is not only a legal obligation but also a moral responsibility. Neglecting these regulations can have far-reaching consequences, potentially damaging the reputation and financial stability of a church. It is vital for religious organizations to prioritize copyright compliance, seek appropriate licenses, and explore royalty-free alternatives to ensure they operate within the bounds of the law while fulfilling their mission.

While doing some follow-up research one website that did a fantastic job of addressing this issue for their denomination was the UCC – you can find their writeup complete with a realistic FAQ section at: https://www.ucc.org/copyright-compliance-basics-for-churches/

Rising the Tide

Last week, I had the opportunity to handle audio mixing duties at a Native American Family Camp, where we had a crowd of just over 120 people, and I was using a PreSonus console. The worship experience was truly remarkable, and the sound quality was quite decent. It was a departure from my preferred console, but if I were to be completely honest, considering all the various elements that contribute to the overall sound, I’m not entirely certain that it would have made a significant difference if we had used a touring-quality console.

When it comes to managing the technical aspects of our church’s audio setup, it’s essential to take a holistic approach and consider all the factors that play a role in shaping the sound. If you’re dealing with a room that lacks acoustic treatment, floor wedges, and a drummer who isn’t fully isolated, the console you use is just a small piece of the larger sound puzzle.

BMD ATEM Mini Audio Issues

**HELP** I just started using restream for our livestreams. For our sound I’m running stereo from one of the mic lines of the Atem mini to two quarter inch with xlr female adapters into two lines on the X-32. The sound comes out really boxed in and I’m getting a big hum. I plan a buying a a Hum iliminator but idk that it will solve the boxed in sound. Anyone know what can solve this issue?

Blog prompt post from Facebook

The ATEM is expecting a stereo input (TRS stereo) — but a LOT of cable adapters out there adapt to balanced audio. What you describe makes me think of this sort of cabling issue.

Both cable setups are valid and have a purpose, but they are not compatible with each other. And that would be my first guess.

I’d start with making sure that your 1/8 to 1/4 cable ends up with just a TS (two conductors) on the 1/4″ cables. Perhaps use a multi-meter to verify that the tip of the 1/8″ goes to the tip of only one of the 1/4″ and that the ring goes to the tip of the other 1/4″ and that the sleeve goes to the sleeve of both 1/4″ connectors. In no case should your 1/4″ connectors have three conductors/contact points (TRS). If so that could be your problem right there.

Then on your XLR to 1/4″ again make sure that only pin 1 & 2 of the XLR are connected to the 1/4″ — sometimes pin 3 is also connected which can cause issues. Again the 1/4 connector should only be TS (not TRS)

At the end of the day you should be able use your meter and confirm tht pin 1 of both XLRs only go to the sleeve of the 1/8″ connector, and then only pin 2 of each XLR goes exclusively to only either the tip or ring of the 1/8″ connector. No other pins should go anywhere else. If they do, then it is a wiring issue and is likely the culprit.

Parallax Video

Quick question about motorized camera sliders, Is 4ft enough length to tell from 30ft away that the camera is moving? We are looking for a wide shot from the back in worship for a moivng panoramic shot for livestream. We are looking at a motorized 4ft slider.

Blog prompt from a Facebook group post

It “might” depending on both the look you’re going for. If you’re just sliding then 4 feet is not enough for just about anything except some close-up, small subject work. However, if you’re looking to do a panoramic shot (slide while panning outward), that would work in the back of the room with a short slider, but I don’t see that done during worship much… More often you’ll see a parallax setup (slide and then pan keeping a specific subject in frame) where the effect is mostly either a close foreground or background element giving the sense of motion…

For a foreground to be noticeable (eg raised hands in the congregation) you’ll want something that is several people wide (more than 4 feet) – that is where churches are going for 20 ft or longer track. Sometimes the length of the entire back row.

For a background to be noticeable it will need to be a multiple of the distance between the camera, the subject, and the background. So in other words, if you shoot from 30 feet away, and the background behind the subject is 10 feet away, parallax from the back of the room will look like the background moved about 1 foot. (in other words, not noticable) Conversely, if you did a shot closer to the stage, so you’re 10 feet from the subject, and the background (side stage lighting rig) is 30 feet behind them, now that 4-foot slider will get you closer to 12 feet of background movement. That will be noticeable.

The calculation for parallax is approximately…
background distance moved = slider length x (distance from subject to background / distance from camera to subject).
[4 ft slider x (30 ft to background / 10 ft to camera) == 12 feet background movement]

Conversely, if you go the other way around:
4 ft slider x (10 ft to background / 30 ft to camera) == 16 inches of background shift/movement.

Foreground movement (Raised hands in front of the camera)– will be somewhere less than 4 feet of movement. So you might be able to shoot through and catch perhaps a bit more than one person before you’re out of track. And while the further they are from the camera you’ll see more people, your effective distance traveled will be even less.

The technical question to ask is where does the subject sit relative to the camera, foreground objects (audience), and background objects (lights, set pieces), how your depth of field fits into the equation, and how long do you plan to stay on that shot?

It should be simple enough to simulate this with a handheld camera and then mark off 4 feet. See if you can get an interesting shot this way.

In taking a look at a recent service of yours online (Deeper Wk 1 9-4-22)… my thoughts are that a 4-foot slider wouldn’t give enough effect from the back of the room on a wide shot. But you might get more bang for your buck out of that rig by using it up near the front of the stage on the sides where there were several “static” looking shots — swapping out a static shot for a motorized one would be an improvement, as well as if you have a shortage of volunteers having one or two robotic rigs so you can have a single person operator more than one camera. But for your wide establishing shot from the back, a simple PTZ would be sufficient if you couldn’t spring for a longer 20+ ft track. You can place it either center or off to one rear corner of the room. Depending on your room and setup either could give you some interesting wide shots, that will definitely give the feeling of a lot more motion, and a 4 ft track would add significantly to that effect.