Jeff - Teacher Sound Coach - Sound Amazing LLC

Jeff - Teacher Sound Coach - Sound Amazing LLC I help elementary music and theater teachers gain total sound-system confidence so students are heard and parents rave about the sound.

12/29/2025

If your sound system is “loud but not clear”… don’t assume it’s you. Sometimes the EQ is fine and the speaker is broken — especially the high-frequency driver that makes words understandable. This school struggled for YEARS… and the moment they used different speakers, everyone suddenly could hear the show. 🎤👂 TechTheater

12/26/2025

Pick the show in 2026 that you’re deciding—right now—will sound amazing. Not “maybe.” Not “if I have time.” Decide.

Then do the thing that high performers do: They don’t just wish. They invest. They get a guide. They follow a plan.

You don’t need to become an audio nerd.
You need a simple process you can repeat… and even teach to students.

That’s exactly why I built the online course: Hear the Kids! — A Teacher’s Guide to Sound System Mastery.
Step-by-step. Teacher-friendly. Built for real school life. So you can stop guessing… and be truly confident with sound setup and operation during shows.

If you want my help making 2026 your best-sounding year, grab my course Hear the Kids! from the link in my bio.

12/26/2025

Wireless receivers need LINE OF SIGHT to the stage. If your receivers are tucked away in a concrete closet… behind a metal door… inside a metal rack…
your receiver is basically saying:
“Cool. I’m going to try to hear that tiny radio signal… from inside a bunker.” 😅
And what do you get?
Dropouts.

So do this instead:
✅ Place the receivers where their antennas can “see” the stage.
Now—there is one exception: If the receivers have to live in that concrete room… you can still make it work by adding an antenna distribution system with antennas can be out where the action is.
If you want more “save the show” fixes like this—wireless, feedback, mic placement, and a repeatable setup your students can run…
Follow for more tips to help you Hear the Kids. 🎤

12/24/2025

Here’s the “physics-friendly” plan—straight from the show choir experiment:

1) two edge-of-stage dynamics. My go-to in most situations is 2 Shure SM57s on mic stands…. They reject more of the sound coming from your main speakers than traditional hanging condenser choir mics. Space them about 15 feet apart. A little closer together is okay.

I like to position them higher than heads but aimed down a little. Occasionally in elementary schools, I’ll aim them straight back so kids without bodyworn mics can get near the edge of stage dynamics when they deliver lines.

2. Leave those mics out of the stage monitors and you’ll instantly double or triple volume before feedback.

3. Turn down the bass or lows on those mic channels so the back of the mics don’t hear bass from the back or bottom of your main speakers. When I say “turn down”, it doesn’t have to be all the way. Back to about 9:00 usually does the job. But use your ears. Turn down the bass k**b until the sound becomes thin and then back off a little.

4. And once you have the maximum volume without feedback. Ride the volume of the track during the performance so it never overpowers the singers.

That’s how you do a high school state competition AND an elementary school musical with a cast moving all over the stage.

There’s so much more I want to tell you to make sound fun instead of feared. Follow and click the link in my bio for a free checklist you can implement for your shows in minutes.

12/23/2025

One of the combos was clearly quieter than the other two. Everyone rated it last. The remaining options both had merits, but one was clearly louder.

I won’t keep you in suspense. The QUIETEST mics were the five condensers across the front of the stage. It seems like more mics would mean more volume but the opposite is true.

In second place, the shotgun mics. They sounded clear but singled out voices and just didn’t deliver the top volume.

The winner? Physics. Two dynamic mics, like the kind you probably have at your school, were the unanimous choice. They were what we used for the competition.

We’re not quite done though.
Next time: how this translates to elementary stages that are smaller.
Follow for Part 6 and be sure to download my free checklist that’ll show you how to do the same setup. The link is in my bio.

12/23/2025

Okay—here were the “fancy” setups:
Setup A: a pair of shotgun mics. My concern with shotguns is that also have small lobes of sensitivity off the back and 90 degrees off the side. I took great care to aim them so those rear and side lobes wouldn’t bite us.
Setup B: 5 spaced condenser mics across the front of the stage. I picked a high end model that’s known for rejecting sound a little better off the back.
Both looked impressive. Both are popular.
Then there was Setup C, my proposed setup: 2 dynamic mics spaced 15 feet apart (or 7 1/2 feet off center). It’s unusual. But it aligned with the inverse square law and also the 3:1 Rule so I was curious to see how it would line up against the “usual” ways.

All three setups were calibrated right to the edge of feedback with all the directors watching. I further had another director watch me throughout the switching so I didn’t touch anything but mute buttons.

The edge of the stage looked like a porcupine of mic stands when the host choir stepped on and their track began.

The judges had no idea which combination of mics they were hearing as I switched between them every 10 seconds or so. They made notes quickly and my heart was beating just watching them write.

What did they chose?
Follow to find out next time and hit the link in my bio to download the free checklist that’ll show you all the sound tricks I used to maximize volume without feedback.

12/22/2025

After I proposed a blind listening test to directors who couldn’t agree on how to mic a stage full of dancing singers - a show choir - they got back to me. They said, “you’re on!” So I dove into how to make it fair.

The rules:
1. Host school show choir performs stationary so movement doesn’t skew the results.
2. I instantly switch BETWEEN mic setups for an instant A/B comparison.
3. Directors WRITE comments—no discussion, no groupthink.
4. No choir mics in monitors, which I would never do anyway. Because the moment you put those mics in wedges… your volume-before-feedback collapses.

Tomorrow: the “fancy” setups everyone expected to win. Follow for Part 4. Also, grab the free checklist from the link in my bio because it’ll tell you how to duplicate the winning setup for your stage!

12/22/2025

My creative idea to resolve an impasse between competing show choir directors!

12/22/2025

What mixing a state high school show choir championship competition taught me that elementary director needs to hear:

A stage full of singers can be loud and clear… even without head mics when necessary.
But most mic setups people swear by? They’re fighting physics. Follow for the story and valuable lessons!

12/21/2025

12/21/2025

Get this one principle and it’ll solve multiple problems in your shows. 👇

High sounds are directional (like a flashlight).
Low sounds spread out more (like a beach ball)… even behind the speaker.

And here’s the sneaky part: microphones act similar. Most mics reject highs from the back pretty well… but lows can still get into the mic from the “plug side” (the back).

So if low end is blasting out of the back of your speakers… and your mic can still “hear” those lows from behind… you get the classic problem:
ringing / feedback… and suddenly you can’t get the kids loud enough.

✅ Quick fix:
Turn down the LOW / BASS on every mic channel.
You’ll usually get more volume before feedback and clearer voices fast.

Want more quick wins like this?
Grab my free checklist to help you Hear the Kids — link in my bio. 🎤

Address

Indian Land
Charlotte, NC
29707

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WHY SOUND AMAZING?

We’re out to radically raise the bar of audio quality in places that have traditionally settled for less than amazing results.

We’ve worn the shoes of soloist, director, choir member, instrumentalist, lead actor, booster, parent, audience, radio program director and engineer. We understand the hours you put into rehearsals, concerts, services, competitions and fund raising. We also cringe with you when the sound system rings and makes the audience jump in self defense.

Here’s what we think amazing means:


  • Foremost, it means having a committed and knowledgeable ally that never stops working on ways to make your events and recordings better. Sometimes this means deep research and experimentation to solve the sound puzzle your special situation requires. Other times it means emergency emailing your tracks because you forgot your CD for the Uptown Christmas Tree Lighting performance. The high value we place on “We’ve got your back!” is partly why our clients come back year after year.