How to buy a sound system
for your church
and not get blistered!
By Ellis Guy
Download the PDF Version!
Understand what you are buying.
The number one reason so many sound systems sound terrible or the
owners struggle every service with them, is because buyers do not understand
what they are buying. There are far too many people trying to buy what
they don’t understand and too many sellers ready to fill the orders.
If you ask for a square tire, someone will sell you one. The trick
is knowing what to ask for.
You do not want sound equipment. You want good sound (whatever that
means to the buyer and what the salesperson thought the buyer meant).
Good equipment and good sound aren’t the same thing. Good sound does
not come with the purchase of “good” equipment. Good sound comes from
a deliberate system design that fits your acoustic space and application.
“Every year thousands of ¼ inch drill bits are sold. But people
didn’t want a ¼ inch drill bit, they wanted a ¼ inch
hole” – paraphrased from Zig Ziglar. I can’t say it any better.
It’s the sound or type of sound (important clue here) you are trying
to buy. Not the equipment. The equipment is chosen by someone that
decided this list of equipment will give you the type of sound you
want in your building.
Here’s what you’ve got to think about:
- What is “good sound”? Don’t assume everybody is on the same page
here. They AREN’T!
- Who is deciding the list of equipment and what are they basing their
decisions on? Does the “system designer” understand your definition
of “good sound”? Does that person understand the art of sound, have
years of live sound experience, or just a computer geek crunching out
quotes all day?
- How are you going to measure the “good sound”? Who is going to be
the judge to decide if the contract has been fulfilled – not that the
equipment was installed, but did the installation give you the good
sound you wanted. Do you understand terms like %ALCONS or RASTI? Do
you know what makes speech clear from a sound system? Then, how are
you going to evaluate your purchase? (You will learn a simple way using
your own ears without any fancy test equipment at the end of this article!)
“Good sound” means different things to different people.
Know what your definition of good sound is. A DJ thinks good sound
is solid bass and crisp highs to fill a room at high volumes. A rock
n roll band wants sound as loud as you can get it. A music store might
think whatever brand they sell will give you “good sound.” Heck, it
sounds good to them! A convention center or auditorium needs clear
sound at every seat to sell tickets and attract major events.
What’s your definition? How do you communicate what you hear in your
head as the “good sound” you want to buy, to the prospective sound
contractors? If you say you want “good sound”, that opens up a wide
field of subjective opinion based upon each contractor’s experience
or lack thereof, yours included. You will be comparing apples with
skateboards (yeah-you’re not even in the same mineral and vegetable
group!), and if you don’t know what you’re looking for, you won’t know
it if you heard it. Big mess, huh.
What you need.
Let’s start saying the right words here: it’s not “sound system”,
it’s “speech reinforcement system”. That’s really what you need. Too
many churches own nothing more than big home stereos. Big speakers,
amps, big mixer, and lots of power. A CD sounds great. But the choir
sounds like a mass roar. No clarity at all. Just one big jumbled sound
particularly if you have a live band. It’s hard to hear anything but
echo in the back seats, but the front seats hurt your ears.
A system should be designed for speech clarity at every seat. That’s
what all of our sound engineering math is based on – clear speech.
Focus on getting clear speech at every seat and the music will take
care of itself.
We judge sound clarity against our experience in casual conversation.
We are generally talking to each other within about a three foot distance
of the other person. Speech is clear and easy to understand. A speech
reinforcement system is designed to make the person standing 100 feet
away sound exactly like they are standing within three feet of you.
That’s the whole point. That’s the entire objective of speech reinforcement
systems and designers like myself – to acoustically move the talker
or singer to within three feet of where you are seated, not a simple
big home stereo to impress the neighbors.
To acoustically move the talker or singer to within three feet of
you consists requires two components: an increase in volume while retaining
clear speech. Increasing the volume is where 99% of novice sound contractors
and buyers focus. Let’s turn up the volume by installing what amounts
to a big home stereo. Oh, it looks impressive all right. And, a CD
will rattle the front door of the church. But the speech transmission
is not there, was never considered, nobody cared, wasn’t designed into
the system, and frankly most don’t understand it. Then they wonder
why they have so much trouble with feedback, the mass roar on stage,
they can never hear the drama in productions, can’t get an even sound
mix, and have never heard the children’s choir. About the only thing
the system is good for is playing sound tracks!
Designing a system for speech transmission is where the art and mastery
is in sound system engineering. You generally don’t get that with a
“free quote”. It takes hours and sometimes days to visit your church,
see and hear what you are doing, talk to your staff to understand your
long term goals, do acoustic testing, and gather other need to know
info before a quality design can begin. Just running back to the shop
and generating a list of equipment based around a brand name or “hope
they can afford this so we can get the job” mindset, is a sure way
you are about to throw away thousands of dollars and waste years struggling
with sound problems. Again, design the system for speech transmission
first and the music will take care of itself. It will not work the
other way!
Since the majority of what you do is speech related, you need the
same high quality speech clarity that business convention centers and
auditoriums require. They hire the best acoustic engineers to design
their buildings and sound systems (the building is part of the sound
system) because the sound must be excellent to attract paying patrons.
There’s big money at stake here. They can’t afford to mess this up.
They don’t “get bids” from various “contractors”, then try to “pick
one out”. They have one person design the acoustics of the building
and sound system, and then let installers bid the cost of installing
it. Anybody can install sound equipment, but the right design is where
the good sound begins.
Getting three “bids” from the local sound guys is really getting three
different designs. You can make that four different designs if a layperson
is trying to pick “the lucky quote or bid” because the layperson is
using their knowledge of sound to judge the three bids.
It has nothing to do with the brand or price. It has to do with performance.
Performance DOES NOT mean how loud you can play a CD! It means you
can clearly hear every word that is spoken or sung by a 4 year old
wearing a lapel mic regardless of where you are sitting. It is impossible
for a layperson to look at several “bids” or actually several different
designs from different contractors with various levels of experience,
and “know” this is the one we need to get maximum articulation or speech
transmission at every seat.
Picking a system by price alone is just like buying a pair of slacks
the same way. You try on the slacks first to see if they fit, THEN
we look at the price. It’s remarkable to me that so many buyers think
that price somehow is related to the “right size” when it comes to
buying a sound system. Price and performance are as far apart as we
are to the nearest star! Likewise, just because the shoes are NIKE
have nothing to do with the fit on your feet.
The problem is, you have no way to “check the size” or how the system
sounds or covers your seating area until AFTER, the system is installed.
You can’t “give it back” either. It’s yours. “Well, the salesman said
this, was dressed nice, had pictures, blah, blah, blah, blah, yatta,
yatta, yatta.” So what. You still don’t know how the system will sound
in your building.
Here are the key points:
1) The key to great sound is the speaker system design. NOT amplifiers,
mixers, microphones and lots of power. Yes, those parts are important,
but not as important as the speaker system design. It is the speaker
system’s responsibility to cover the seating with clear, articulate
sound. Put the money there first and work the problem backwards to
the mixer, microphones, etc. The rest will take care of itself.
2) Forget about name brands and focus on results. Who cares who makes
the speaker as long as the speaker can focus clear sound into the
seating area? Of course, some do sound better than others. But since
a large portion of the population is tone deaf anyway, the most important
thing to shoot for is overall clarity of speech. Let the audiophiles
debate to the nth degree about the nuances of sound quality. If you
can afford the best on the planet great, but you don’t need to spend
more than necessary to get the basic job done. What results are you
after? Clear articulate speech at every seat. Always remember that.
3) “I have no clue how to tell a contractor what good sound is”. OK,
here’s how you say it.
“We want the sound to cover our seating area with plus or minus 3
db 2khz band limited pink noise with no more than a 5% loss of Alcons”.
That will get the system designed for clear speech. That definition
will also immediately separate the box hangers and equipment salesmen
from the people that really know what they are doing. The real sound
guys will run back to the truck and bring in some test equipment and
start asking you a pile of questions. The others will turn white as
a sheet and leave. Add more horsepower if you have a strong music ministry
like sub bass and the power to push it. You will need lots of headroom
in the system too. But get the system designed for speech first and
the rest will be much easier.
4) Don’t test the sound system with just a sound track. Any big home
stereo can do that, and you aren’t interested in a big home stereo.
Forget about trying it with a front line vocal group and a live band
too. Of course, you can do that later, but what you want is clear speech
with acoustic gain to spare. Put a 4 year old on the stage with a lapel
mic. See how loud you can turn up the system before feedback. Walk
around the room as the kid recites a script. Can you understand every
word spoken regardless of where you are listening from? Good! That’s
good sound! Can’t get the mic loud enough without feedback? You aren’t
done yet. Rip the system out and start over. You will certainly have
the wrong speaker system design.
5) How much should a system cost? How much you got? I can literally
spend as much as you can come up with. The question is how much do
you need to spend? That can only be determined by some acoustic tests,
asking you a pile of questions, and attending one of your services
so I can hear what you are doing. If you want a ball park idea, figure
about $100 to $125 per seat in your building, including the choir.
Again, this figure will be way too much for some places and pitifully
too little for some others. It’s a ball park idea, not a hard figure.
It’s akin to pricing an air conditioning system. If your building
requires 40 tons to cool it, it will take 40 tons regardless of what
you wish it would cost. You can use Trane, Carrier, or whatever make
you want, it will still take 40 tons. If you only have enough cash
to buy 20 tons, you are going to be hot during the summer. Neither
can you get a little of it now and add on. Well, you can, but you are
going to be hot until you get up to the 40 tons of cooling required
to cool that space.
A heating and air purchase never starts out with “Well, we’re willing
to put $3,500 in it. See what we can get”. Sound is consistently bought
with that mindset, but is grossly incorrect. You have a certain size
building with acoustic problems built in. It will take whatever it
takes to fill that space with the type and quality of sound you need
for clear speech at every seat.
I’m often asked about getting a piece at a time when the price of
the system is way beyond what anyone had imagined. I’ve always wondered
where people came up with the imaginary number to start with. If a
building requires a certain amount of speakers and other equipment
to get the sound in that building they want, that’s what it takes.
There is no “start with this and add on”. I can’t install “a piece”
of a sound system and get the quality of sound you want. It’s the whole
thing. That’s like saying I can’t afford a car, let me buy a piece
along the way, while I drive it around. You aren’t driving anywhere
without the whole car. The tires are no good without the engine, transmission
and other stuff. Even if you had the minimum of the chassis, engine,
transmission, and the wheels, what kind of ride would that be! Better
to save up and buy the whole thing at once.
Too many times, I’ve seen churches try cut corners and buy “something
to get by” with. That is always a waste of money. If you can’t get
your message, your teaching, the choir special, and other speech related
ministry to the people seated in your building, what’s the point? Not
to mention the aggravation of struggling with feedback, can’t hear
anything, and poor sound quality, from service to service. That type
of sound system is no help at all but is a strangle hold on your best
efforts to grow your ministry. A business like a convention center
or major arena wouldn’t consider anything but what they really needed.
If their system wasn’t getting the job done, it won’t be in that building
long. They can’t afford poor sound. Doesn’t your church demand the
same? I’m sure of it.
6) There’s another key piece that too many people miss – the
sound tech. During a service or performance, the sound tech is the most important
person in the building. Wanna bet? Let me behind your console one Sunday
morning and I’ll prove it. I can make you fill the room and captivate
your audience or make you sound like a five dollar pocket radio. I
can give you the confidence to speak boldly or keep you on edge of
anxiety the entire time you’re talking wondering when the next squeal
is going to come. All the music directors reading this just jumped
up and hollered “AMEN!” It is absolutely imperative that you have the
best sound tech you can find. I highly suggest that you make it a paid
position so you can enforce some standards. You can’t fire volunteers.
Stop dancing on egg shells. The quality of sound directly affects every
ministry on the platform. If the person behind the mixer can’t cut
it, get some training for that person, or get someone else to do the
job. How long would you put up with a pianist that constantly struck
bad notes? I also suggest you go outside the church to find this person.
Someone that wants to tinker around learning to operate the system
isn’t good enough, unless they are dead serious about learning it.
People asked me how I learned to mix and how can they do what I did.
Simple. Find a rock band and travel on the road for 7 years playing
4 nights a week in every type of club or room you can imagine. Oh yeah,
learn to play an instrument while you’re at it. I haven’t had any takers
yet. Mixing sound is more art than a technical thing.
Learning to mix and develop an ear for music takes time and hours
of work. Most people don’t have time or aren’t willing to do what it
takes to learn how to mix. You’ve got to love it and have a knack for
it to do it. Twiddling a volume slider up and down once in a while
ain’t mixing sound. The mixing console is an instrument to be played
like a piano. Those knobs move for a reason. Again, it might be easier
to find someone outside the church that already has the skills you
need. Hire that person and let someone in your church learn from them
and later take over the position.
When a good sound tech sits down behind a console, it’s a thing of
beauty to watch and listen. It’s almost magic. The choir directors
just jumped up again! You will hear sounds, depth, and clarity in your
music ministries you never knew were there. You will hear and feel
the choir build into a crescendo. You will hear and feel the warmth
of vocals. If you have a poor sound tech, all you will hear is feedback
and flat, dead sound. You see the choir working but the song has no
life. It just lays there.
An $85,000 Steinway piano is worthless in the hands of a beginner,
but a good pianist can make a cheap rental piano make music. You can
have the best sound system ever designed and a poor sound tech will
absolutely ruin it. The biggest struggle I face as a system designer
is wondering who is going to sit behind the mixer when I leave. That
person can ruin my best work and yours too.
When you buy a Cathedral Premium sound system, I require a minimum
of 8 hours of tech training. Require. There is no option. I will require
the techs to take a hearing test by an audiologist and I will do some
sound testing of my own to find out how they hear, if they are tone
deaf or not, and can feel music structure. Again, a requirement. I
can teach what the knobs do. I cannot teach the art of hearing. And
that’s the problem. The sound tech MUST have some ability to hear the
sound mix. If they have some, I can teach the rest. If they are tone
deaf, forget it. We need to find another person. That is not to be
cruel or hard, it’s just the facts. You wouldn’t dare hire me to direct
or produce your Christmas production. I have all kinds of talents and
abilities but that is not one of them. I wouldn’t know the first thing
about how to get it done. Blind people can’t drive cars. Tone deaf
or hard of hearing people can’t mix sound. That’s just the way it is.
Why is this listed in how to buy a system? Because you need to think
about who is going to operate the system. Don’t think for a second
if you buy the best system design that it will automatically sound
good. Forget it. Also forget the notion of a “set it and forget it”
sound system. Get the myth out of your skull too, that a digital recall
mixer will solve the problem. Two problems here. First, someone has
to set it the first time. Second, those programmed adjustments were
only good for that one instance. Sound changes every time. The weather
is different (yes it matters). People’s voices change from service
to service and all sorts of minute changes add up to the fact that
you need to constantly tweak the mix from service to service. You’ve
got to have a good sound tech. So, if you need training, who’s going
to provide it? This goes along with the next thing to look for.
Know who is going to design your system.
The mindsets of “system designers” you’re likely to encounter
The mindsets of various sound system equipment suppliers can be likened
to doctors. Some doctors are general practitioners. Some are specialized
in different areas. Which one you need depends upon your illness. Buyers
don’t realize a difference exists among sound system “experts” and
can easily choose the wrong person to do the job.
Church sound is a permanent installation requiring a different skill
set to design and install properly, than sound for touring groups,
theatres, clubs, recording studios, etc. You cannot mix the disciplines.
They do overlap, but they are not the same.
The designer must have experience working behind the mixing console
during live church events to understand what tools you need to work
with and understand the problems in sound for ministry.
The designer must have technical skills to understand the products
on the market, their capabilities, and how to interface them correctly,
plus know who makes the best product for your application and be brand
neutral.
An understanding of acoustics is required to know how sound will behave
in your sanctuary or multipurpose space. It is impossible to design
a system that will provide even, clear, and dynamic sound at every
seat without knowledge of acoustic principles.
Then there is practical installation experience and knowing how to
mechanically and safely hang hundreds of pounds of speakers overhead,
meet building codes, and electrical safety issues. It has to look great
too.
Finding this combination of talents in one person is difficult but
that’s what it takes for this type of work. You must know going in,
the qualifications of the prospective system designer you have chosen
to provide a bid. Not the salesperson, not the company, but the physical
person that is going to create the list of equipment. You wouldn’t
ask a foot doctor to meet you in the operating room next week for heart
surgery! Be careful of who you select to design your sound system.
Here are the most common mindsets in no particular order.
The music store
Most music stores offer sound equipment and generally a person is
in charge of that department. This environment is retail sales. A customer
walks in looking for something and it’s the salesman job to sell something.
Generally, music stores have only one or two lines of audio equipment
for sale and have a very narrow view of what is available in the audio
industry. Music stores are price sensitive meaning they stock products
that the average person can afford, not particularly the best product
for the job. There’s nothing wrong with that, just know what the situation
is. Musicians are the typical customer and bands need a PA system.
The equipment is designed for portable use to cover an extremely broad
range of applications. It’s made to be thrown in the back of a truck,
hauled all over the country, easily setup, and make a loud noise. It
is not necessarily intended to provide the perfect sound coverage or
clarity, but to make decent sound for the money.
The local band guy
I run into this once in a while. “So and so sings in a quartet and
can get a sound system at cost and install it himself.”
This is the same thing as the music store or rock’n’roller. It will
be the same equipment the music store sells just bought somewhere at
the rock bottom price. Again, nothing wrong with that. We all are looking
for the best deal. But, remember, what you need is a person that knows
how to acoustically fit a sound system into a building. Any 16 year
old can buy some sound equipment and hook it up. That’s just no big
deal. But that is not a sound system. That is sound equipment. That
is a big home stereo.
The recording studio owner
“We know a guy that owns a recording studio and he says we need this.”
Recording is a completely different discipline than designing sound
for permanent install. Once in a while, I’ll get a call from someone
that wants me to set up a studio and design the acoustic space. I refer
those jobs to a studio designer because that’s not what I do. It’s
requires a different, though related, skill set. I understand the difference.
The recording engineer looks like a regular sound guy because he sits
behind a mixing console and twists knobs just like the live sound guy.
But the recording engineer is mixing sound for a boom box, tv, car,
or home stereo speaker. He does not have to think about feedback problems,
even sound coverage, or articulation issues in a live environment.
Typically, recording engineers aren’t good at sound system design though
they will understand the fundamentals of hooking up equipment.
The typical “sound contractor”
“Just tell me what so and so’s price is and we’ll beat it”
In my mind, the typical sound contractor is an equipment salesman
on wheels. There is some basic knowledge of clusters, side mounted
speakers, equalization, etc. But, more often than not, the game is
to get the sale instead of clear speech at every seat. Brands and prices
will be the topic of conversation more than a guarantee that the sound
will be articulate and clear at every seat. Computer generated coverage
maps are presented to “prove” the integrity of the design but buyers
don’t realize the computer can come up with the wrong answer depending
upon what data was entered. A sound system cannot be designed with
a computer system. I use the same software but I use it as a way to
check my design not as a replacement for my expertise. With all that
said, if you are looking for an install at the lowest price and aren’t
concerned about the best coverage, clearest sound, and the best fit
for your ministries, that’s fine. Again, know who you are dealing with.
The acoustical consultant
A good consultant may or may not know how to design a sound system
to fit an acoustical environment, but may only have expertise in solving
acoustic problems. Either way, they typically have excellent hearing,
technical expertise, and knows what they are doing. The consultant
may design a system, provide you with the specification package, help
you find someone to install it, and then follow up to make sure the
project turned out right. This is one of the best ways to buy a system.
Let someone that knows how to design for permanent install design your
system and then let several contractors bid the actual installation.
There will be engineering and other up front fees paid to the consultant
for acoustic analysis and design.
Acoustically engineered sound
This best describes what I do. I have a combination of several mindsets.
I am a certified electronics technician, have taught basic sound systems
at the local community college, have mixed sound for hundreds of live
productions, was a professional musician for 7 years, and have a formal
education around sound engineering and acoustics. I can operate as
a consultant or design / build. I do charge up front design fees for
most projects depending upon the time required, but the amount typically
goes toward the purchase if an installation agreement is initiated
within 90 days.
I’ve crawled around in ceilings and hung thousands of pounds of speakers.
I know how a good install should be done to protect your property and
keep the safety of your audience in mind. I know how to make it look
like it belongs there and not tacked on.
As a technician, I have serviced just about any name brand and type
of product you can name so I have a good understanding of the quality
of various brands of audio / video / and lighting equipment. I can
look across the landscape of manufacturers and pick the best product
for your application and price. Sometimes only one manufacturer has
the perfect product for the job and the price is the price. Sometimes
there’s no need to pay more for a product when another cheaper version
will do the same thing in this particular application. But, you can
only know that by having your hands on it.
As a musician, I know what the musicians, the choir, and the music
director wants to hear, not only in the audience, but what they hear
on stage. They must sound good to themselves to have any confidence
they sound good out front. Balancing the sound on stage with monitoring
systems and vocal to music mix is important. Years standing on stage
gave me that perspective most sound contractors don’t have.
As a live sound tech, I’ve mixed sound for every kind of production
you can think of. From outdoor talent shows to full orchestras with
live drama, I’ve done it all. I know the problems your sound techs
will face and how to design in solutions you will need to solve them.
I know how to teach your sound techs how to get the most out of your
system.
The bottom line is, I’m a real sound man. I love great sound and I
know how to get it!
Choosing the right mindset
You can have anything from the lowest price “we installed it ourselves”
type of system to one that captivates your audience with even, clear,
articulate, and dynamic sound. It’s your money and frankly, sometimes
there just isn’t enough to get what you really need. I understand that.
We all had to start somewhere. Just keep in mind your objective when
you start asking for proposals, quotes, and system bids. If you have
a small budget, no need to bring in an acoustical engineer or other
top system designer. If you are sick and tired of sound problems and
you’ve been through the “local experts”, then you’re ready for a real
sound system solution. Call or email to set up an appointment.
How to find the person with the right mindset
One of the best ways to find out if someone knows anything about sound
is have them mix for you. Forget what the salesman said, get the designer
behind your mixing console. Have the sound system designer mix sound
for a Sunday morning service. If you can’t stomach that uncertainty,
then at least have a serious choir practice – that means most of them
show up for practice. The system designer should be able to get a better
sound than your sound techs (typically) or show some ability to hear
the mix. Think about it.
If a system designer can’t hear the mix, how in the world can they
design a sound system!
Before the prospective system designer gets there, purposely move
around the levels, low, mid, high controls on each channel from where
you normally have them. Don’t do anything else to play a joke or cause
wasted time, just un-tune your normal settings so the person will have
to actually find their way back to a good mix. I’ll take you up on
this challenge anytime. If the designer looks lost behind the console,
can’t explain what he / she is doing, or you can’t get a feel of this
person’s ability, look for another company. You are most likely dealing
with box hangers, equipment salesmen, and you will be buying another
version of what you already have. It’s not a big home stereo you want.
It’s clear speech at every seat. Again, they are not the same thing.
Train yourself to judge a sound system for speech clarity
Here’s the big piece of information you need the most. I’m going to
show you how to hear the most important tonal range of a sound system,
the part that ensures clear speech. But first, some basic science.
The English language is composed primarily of consonant sounds. When
we are having casual conversation a few feet apart from each other,
there is a certain type, quality, or tone range of sounds we make as
we speak. It is this type of sound that makes it easy for us to understand
the difference between heavy consonant sounds between words like “bean”
and “being”. Those words sound almost identical particularly if a person
speaks too fast or mumbles. Without this type or quality of sound I’m
referring to, anyone listening would have a hard time deciphering what
they thought you said: bean or being. Keep in mind, I’m only referring
to two simple words in this example. Every sentence you say is filled
with similar consonant sounds. The type of sound that makes it easy
for us to understand each other occurs naturally as we speak. We never
think about it.
Remember what the purpose of a sound system is: to acoustically move
the talker closer to the listener, so that the listener hears the same
sound quality heard during casual conversation.
There are two components the sound system must be able to transmit
to the listener: ample volume to be heard and this special type of
sound. Every system on the planet can get the volume. An alarming few
can transmit the special sound. That’s the problem. That’s the WHOLE
problem. That is why a system can be loud and not sound clear. This
is also the very reason that hard of hearing people constantly complain
they can’t hear though to most people it’s too loud. It’s not the loud
that missing! It’s the special type of sound that is not being transmitted
by the sound system. It’s also the same reason musicians, choir members,
and choir directors keep asking for more monitor, when the monitors
are already louder than the main speakers! You’ve got the volume. You
DON’T have the clear sound. Amazing isn’t it. Again, I’ll keep banging
in your head . . . . loud DOES NOT have anything to do with clear,
articulate sound.
There’s so much more than meets the eye about getting clean articulate
sound. This article described what the goal is. How to get it done
is very complex. It’s a blend of art, technology, experience, and expertise.
It’s NEVER as simple as buying some sound equipment.
“OK, so what’s this special secret “clear sound” thing?”
The best way is to hear it yourself. I offer a no obligation on site
demo (100 mile radius of Fayetteville, NC) that
lasts about 30 minutes. I teach you what to listen for, and then we
test
your existing
system
for articulation and coverage.
You
will never think the same way about sound systems again!
Or, you can order the CD version and conduct the tests yourself. Either
way, you need to hear the sound I’m referring to.
To get your test CD, send $35 to:
Cathedral Sound Test CD
6201 River Ridge Rd
Fayetteville, NC 28311
To
Home Page
|
