This question comes up often in church AVL forums, and it’s one I hear frequently. Here’s the part some find irritating about my usual response: the definitive answer is… It depends! But don’t worry—I do have some concrete guidelines (yes, actual numbers!) I’ll share once we cover the variables that should shape your team’s acceptable SPL (Sound Pressure Level) range.
In a previous article, I emphasized the importance of developing and implementing a clear mix philosophy for your worship and tech ministry. While your maximum SPL is just one component of your overall mix (I highly recommend you read Does Your Church Have A Mix Philosophy?), today we’ll focus specifically on volume—how loud should it be in your worship environment?
Understanding the Challenge
There’s a reason simply assigning a maximum SPL number often doesn’t solve the problem. Sometimes, even with a great mix, the volume is just too loud. But more often, the real issue is frequency management.
Electric guitars, loud cymbals, and open hi-hats often emphasize frequencies between 1.5kHz–4kHz, creating a harsh, fatiguing mix. Excessive sibilance (harsh “S” and “T” sounds) typically fall between 4kHz–8kHz, causing listener fatigue over time. Boxiness and nasal “honk” reside between 300Hz–800Hz, resulting in a muddy or congested sound. Even excessive sub energy (120Hz and below) can negatively affect your mix and make your congregation uncomfortable.
For listeners unfamiliar with audio spectrum specifics, these imbalances just feel like the mix is “too loud”—even if the actual SPL reading is within established acceptable limits.
I’ve seen churches fall into this trap often. Complaints about loudness pile up, leadership mandates progressively lower max SPL levels, and eventually, the mix becomes lifeless and uninspiring. Is this leadership’s misunderstanding? No, it’s the engineer’s failure to properly manage the mix.
In essence, a mix measuring 85dB SPL can still feel harsh and overwhelming if frequencies aren’t managed properly, whereas a well-balanced 94dB mix might feel smooth, engaging, and powerful.
Frequency Management
We’ve identified frequency imbalance as the culprit—so how do we manage it effectively? One highly respected FOH engineer openly talks about his willingness to “take an axe” to certain frequencies, using a 31-band graphic equalizer on his main outputs to completely eliminate wide swaths of problematic frequencies. I admire his work, but for those of us without his industry “clout” (or courage?), I recommend a more measured approach.
Recently, while discussing this issue with a friend, he mentioned someone once telling him, “You have to love every frequency.” I appreciate that sentiment, but I’d adjust it slightly: “You should respect every frequency.” Every frequency has its purpose and place—just not all of them, all the time.
You might be tempted to build your mix first and then address problematic frequencies at the master output using a graphic or parametric EQ. While this approach can be effective, keep in mind that the more extreme your adjustments on the master EQ, the more likely you’ll find yourself making equally dramatic EQ changes on individual channels to compensate. For example, if you’ve already cut 900Hz through 1.2kHz by 8dB on your output EQ, you may end up boosting those exact frequencies again on specific channels, essentially undoing your initial corrections.
In most cases—unless leadership specifically requests it, or there’s an obvious issue—I prefer not to alter the PA tuning, which is essentially what you’re doing when adjusting the equalization on the main outputs or accessing the DSP. Instead, I focus primarily on each channel’s individual EQ and dynamics processing.
If your system includes Virtual Sound Check (VSC) and you have the time, it’s an invaluable tool for deeply fine-tuning each channel—whether instruments or vocals. However, be cautious: a common trap for young engineers is tweaking sources extensively while in solo mode. Soloing can help pinpoint exact issues with a source, but adjustments made in isolation don’t always translate well in the full mix. In fact, the ideal settings for a channel within the context of a mix can sound strange or even counterintuitive when soloed. Remember, everything must work cohesively together, serving the song as a whole, rather than sounding perfect individually.
The takeaway here? Be strategic and thoughtful in your EQ approach—aim for balance and clarity from the source up.
Let’s be honest though: sometimes we’re not working with the best sources. I know I pick on electric guitarists a lot, but unfortunately their instruments tend to live right in the center of those potentially offending mid-range frequencies. And we don’t always have time to directly collaborate with musicians to achieve exactly what we need at FOH. With the Sunday morning countdown always looming, sometimes you just have to tame those frequencies, either through careful parametric EQ, multiband compression, or some combination—and just mix.
Harsh frequencies from electric guitars, open hi-hats, and crash or ride cymbals are some of the biggest offenders. And let’s face it, no one has ever said, “I really could have gotten to the throne if the worship band had sounded more like the Foo Fighters.” When you’re struggling with these problematic instruments, and there’s no time for finesse, don’t be afraid to just turn ’em down. Always remember to keep the main thing the main thing: vocals, vocals, vocals!
Earplugs Really?
A trend I often see in churches is providing a huge box of disposable earplugs at entrances for congregants who feel the volume is too loud. Now, let me be clear—I understand that some individuals are naturally sensitive to amplified music. But if your church consistently requires mass ear protection, you’re either not mixing very well or you’re being inconsiderate to a significant portion of your congregation.
If large numbers of attendees need earplugs every week, it’s probably time to rethink your mix.
Tools That Help (and some that don’t)
The Problem With Phone Apps
Let’s get this out of the way: the dB/SPL app on your phone is not very helpful. Even worse? The app on a random person in the crowd’s phone.
The problem with phone-based SPL meters is that they are wildly inconsistent between devices, microphone types, and software calibration. I’ve placed two phones side by side running the same SPL app, and they gave completely different readings.
Even worse, I’ve been in churches where multiple congregants monitored SPL on their phones and “reported” on their perception of the worship volume. This is a very bad idea and should be discouraged.
If your church leadership reacts seriously to unsolicited volume complaints based on random phone apps from random congregants, they’re unintentionally setting your audio team up for failure.
The Next Level: Handheld SPL Meters
The next step up—the ubiquitous, cheap handheld dB meter—is at least getting closer to reality.
A handheld meter is far more reliable than a phone app and provides a consistent baseline for tracking volume levels week to week. While not perfect, it’s a much better reference tool for FOH engineers.
If you must rely on a handheld meter, pick one device and stick with it every week. Even if it’s not 100% accurate, using the same meter prevents fluctuating, inconsistent volume decisions from week to week.
The Industry Standard Tool: Smaart System by Rational Acoustics
For serious SPL and frequency response monitoring, one of the best solutions is a Smaart System by Rational Acoustics.
This real-time analyzer (RTA) provides accurate SPL metering and detailed frequency response logging, allowing engineers to spot problem areas and make informed mixing decisions rather than just reacting to perceived loudness.
If your church is serious about setting, tracking, and optimizing its volume levels, a properly calibrated SPL metering system like Smaart is the best way to go.
And now, what we’ve all been waiting for…
SPL Guidelines for Different Worship Styles
Disclaimer: These are starting points, not rigid rules. Every church has unique acoustics, sound systems, and worship culture. Experiment and adjust based on your congregation’s needs. Establish your mix philosophy first, then make your max SPL one component of it. Also if you are going to use published guidelines as a starting point then make sure you have a reliable accurate form of measurement otherwise these, or anyone else’s suggestions will be useless.
Traditional Worship (Hymns, Choir, Acoustic Instruments)
Recommended SPL: 72–82dB (A-weighted)
Goal: Clarity and natural dynamics without overwhelming vocals or acoustics.
One caveat here. I have a friend who is a TD for a large traditional Baptist church. The bulk of the congregation are seniors and largely hearing impaired to one degree or another. So this guideline does not work for them and they routinely run SPLs of over 90 dB.
Contemporary Worship (Full Band, Moderate Energy)
Recommended SPL: 80–92dB (A-weighted)
Goal: Energy and engagement while allowing congregational participation.
Common Pitfall: Harsh midrange (1.5kHz–4kHz) making the mix feel louder than it is.
High-Energy/Concert-Style Worship (Large Band, Sub-heavy Mix)
Recommended SPL: 90–102dB (A-weighted)
Goal: A powerful, immersive experience while still maintaining clarity.
Common Pitfall: Excessive low end (50–100Hz) overpowering the mix.
Mix Big, Not Loud
Mixing live worship is challenging enough without creating unnecessary hurdles. You’re not chasing numbers; you’re chasing connection. The ultimate goal is crafting a mix so engaging that no one even thinks about checking the SPL meter. If your congregation can worship freely without reaching for earplugs—and if your mix is clear, balanced, and, above all, has great vocals—then you’re nailing it, regardless of what the meter reads. People might not notice every subtle EQ tweak, but they’ll absolutely notice when it just feels right. So mix intentionally, pay attention to how the room responds (not just the PA), keep the energy high without letting harsh frequencies dominate, and always follow the most important rule: don’t forget to listen.
I’d love to hear about your challenges and successes in finding the sweet spot for SPL at your church. Drop me a note at rcochran@worshipfacility.com.
