A while back, a friend approached me after I finished mixing FOH at a large church. He said, “I loved your mix today. When you mix, I can hear everything on stage!” I thanked him for the compliment, but in my mind, I was thinking, Well, today you could hear everything on stage. He wasn’t wrong, but I don’t think he realized what a unicorn that day actually was.
The musicians were locked in. Every part was solid. The drummer and bass player fit in the pocket like an iPhone in skinny jeans. The singers blended well and stayed on pitch. The mix didn’t have to compensate—it just had to let the music shine. A great group of singers and players always makes the job easier. Sometimes you gotta quit while you’re ahead, but as we like to say in church world, next Sunday is always coming. And the odds of having two of these days in a row? Pretty low.
One of the most liberating lessons in mixing—and one that often shocks young engineers—is this: you don’t have to hear everything all the time. In fact, if you’re mixing in church (FOH or broadcast), this is especially true. As an audio engineer, ask yourself this question: Is my mission to recreate a studio recording (only louder), or is it to create an environment where the congregation can engage in worship?
It’s not a trick question. Unless you’re mixing for a tribute band, the answer should be clear. Not only is it impossible to replicate a professionally recorded album live, but it’s also not even desirable.
What Matters Most
When I worked in the recording industry, we’d spend weeks layering instruments in the studio. Guitars, keyboards, percussion—dozens of tracks would be stacked, some of which never even made it into the final mix. Other elements were mixed so low they only existed as subtle ear-candy—little flourishes you’d only notice on high-end headphones or a very revealing hi-fi system.
When I mix live, I mentally categorize music into three layers of priority:
- The Foundation: Drums, bass, rhythm guitars, keys—these elements create the structure.
- The Heart: Vocals, lead lines, and musical themes—these carry the song’s message and emotion.
- The Ear-Candy: Subtle layers—vocal delays, instrumental textures, and random flourishes that enhance but don’t define the song.
A common mistake among newer engineers is treating everything as equal. That’s a fast track to a cluttered, even cacophonous mix. The key to a dynamic mix isn’t making sure every element is heard—it’s knowing what deserves prominence and what should sit in the background or in some cases eliminated altogether.
More Isn’t Always Better
This concept gets even trickier when using multi-tracks or a similar professional service. If you’ve worked with pre-recorded tracks, you know they can be loaded with layers—far more than a typical volunteer band or engineer can replicate live. Some churches try to compensate by turning everything up. The result? A wall of sound where nothing stands out. I did a deep dive on curating tracks in these two previous articles: The Ethics of Pre-recorded Tracks in Worship and Are You Controlling Your Tracks or Are They Controlling You?
The solution? Leave some things out.
I’ve worked on large productions that included a full worship band—drums, aux percussion, bass, two electric guitars, two acoustic guitars, Hammond organ, grand piano, keyboards, a 10-piece string section, a 60-member choir, and 10 frontline singers. Sounds fun right? It is great fun but as my good friend (whom I’ve quoted many times) says, “If everything is big, then nothing is big.”
Think of it like this: Standing at the rim of the Grand Canyon, you take in the vast landscape—the depth, the shadows, the color variations—it’s breathtaking. But stand at the bottom of the canyon, staring up at the side of a cliff, and you lose all perspective. The same is true for mixing. You don’t need to force every instrument to the front. The “Wall of Sound” is almost never as cool as some people think it is.
A Lesson from a Worship Leader
At a church I mix at often, one of the worship leaders plays second acoustic. They’ll be the first to admit their main focus is leading worship, not showcasing guitar skills. One Sunday, after I mixed FOH, she walked up and said, “Hey Ron, we’ve had a few complaints today…”
Of course, that got my attention.
“Some people said they could actually hear my guitar today.”
We got a good laugh. On this particular day, that acoustic was adding something meaningful to the mix. Other weeks? It might fade into the background. And that’s okay.
What Makes This Song Great?
There are lots of versions of “What Makes This Song Great?” on YouTube and social media. Well-established recording engineers and producers will analyze a popular song, often presenting raw tracks from the original recording and sharing their thoughts on what makes a song great. Chord structure, lead vocals, vocal arrangements, interesting time signatures, and great instrumental performances are always on top of the list. Notably, ear-candy parts are almost never mentioned.
Applying this same filter to our mixes can help us stay focused on what truly matters in a song. Find what makes the song great, highlight that, and remove distractions that take away from it.
The Little Things Are Just for You
I don’t want to take the fun out of mixing. When I mix broadcast, I put a lot of effort into dialing in what I think is the perfect stereo delay for each song. Do any of my friends text me and say, “Hey, I loved the dotted-eighth/sixteenth stereo delay on the vocal during the opener today”? Nope. Never. Not once.
Do I think it added depth and dimension to the mix? Absolutely. Would the average listener notice if it wasn’t there? Maybe, maybe not. So, in reality, that “awesome” delay was just ear-candy—for me….. and maybe for the occasional audio nerd hunting for sonic Easter eggs.
Does that mean I stop caring? No. But I recognize that some things are just for me. They enhance the mix, but they aren’t critical to the worship experience.
Serving the Congregation, Not the Console or the Ego
I’m all for refining great guitar tones, dialing in EQ, and compressing vocals just right. But at the end of the day, the goal isn’t just a great mix—it’s an effective one. And an effective mix is one that clears the path for people to engage in worship.
The road to a great mix runs through the congregation. Make room for the main thing. And remember—sometimes, that ear-candy is just for you.
Let me know how you approach a great mix at rcochran@worshipfacility.com. Until then, don’t forget to listen!
