What the monitors mean

How loud the room is right now, as people hear it: the measurement mic's level, A-weighted (the ear's own balance, light on bass) on a Slow one-second meter.

It's the number to mix by. Its colour compares it with the target for what's playing — the recalled scene's, or the event's window with none — so ease the mix back toward that band when it drifts.

The loudest dBA Slow moment since the session started (Max SPL A-Slow), the SOP's governed loudness figure.

In target is the plan and a short peak excursion is fine; excessive is what gets reviewed after the service. It starts over with each service (or Reset peaks), so it never reads as the whole day.

Exposure: the A-weighted energy average (LAeq) over the loudest ten minutes this session, the SOP's safety headline.

It's how much sound people actually take in, so a loud ten minutes counts for more than one loud moment; every 3 dB louder halves the safe listening time (NIOSH). It passes at the event's limit or under, and while a service is live the bar under it fills with the day's safe dose.

The room's C-weighted level minus its A-weighted level: how much low end the A-weighting leaves out.

High means bass-heavy: it tires older listeners and is the usual reason for “too loud” while the meter reads safe, so trim the low end (subs, kick, bass) rather than the whole mix. Low means thin. It doesn't depend on calibration, so it's trustworthy even when dBA isn't.

Audio monitoring's one-word answer to “is the room where it should be?”: the Auditorium's dBA Slow now against the target for what's playing.

Quiet means little is playing, which is fine. Under or Above means bring the mix toward the target; Excessive means turn it down now; No meter means the measurement feed is off. It's always the Auditorium's, whichever place is picked.

Whether a service is being recorded: Start service begins one, LIVE shows it's running, and clicking LIVE ends it.

Starting clears the peaks so they're this service's, opens the complaint log and fills the dose bar under Leq. Ending a service of 20 minutes or more saves its Peak, Leq and C − A to the service log, pass or fail.

The room's dBA Slow second by second over the range picked (the last minute up to this whole service), with the same mic's full-band level as the dimmer line.

It shows the trend one number can't: a set creeping up, or a talk sitting under its target. The gap between the two lines is the bass (C − A).

The shaded band on Loudness over time: the loudness target for what's playing — the recalled scene's (worship, speaking, music or video) under the event, or the event's SOP window with no scene.

Keep the bright line inside it. The scene targets are set per event (Settings › Events); a place picked in the header is held to its own target instead.

How the room's sound spreads across frequency: the measurement mic's level in each band from 31 Hz to 16 kHz, in dB SPL and unweighted.

It shows which part of the sound is building up — boom, mud, harshness — so a fix goes where the problem is. Explain graph reads it against tonight's thresholds.

Five regions under the spectrum — Low, Low-mid, Harsh, Sibilance and Air — each held to the event's “getting hot” and “too much” levels.

Amber or red points at the part of the sound to look at first. A greyed band is mostly the room, so leave its EQ alone.

Live is the spectrum now (about a quarter-second average), Average is the energy mean since the scene started, and Peak hold is the most each band has reached since the peaks were reset.

Judge tone on Average, since Live jumps with every note; Peak hold catches the one moment that rang out.

How much of what the mic hears at each frequency is the PA itself, rather than the room's reverb, the congregation or the air handling, from 0 to 1.

Below 0.5 a band is mostly room: EQ can't fix it, and cutting it only takes it out of the PA. EQ only the bands with good coherence.

The PA and room's own response: the mic against what the PA is fed (Main L/R), lined up by the measured delay, as level and phase per band.

It shows what the speakers and the room do to the mix whatever's playing; a hump or dip that stays is what system EQ is for. Trust it only where coherence is good.

How loud it is at the other places the sound goes — the stream, the building, an overflow room — each against its own target.

Each line's unit says where it reads from: dBFS from a console meter, ≈ dBA from a meter mapped by one SPL reading, dBA from a measurement mic there. A line that stays off target says so under the list.

Decibels below the console's digital maximum, read straight off a bus or channel meter: 0 is the top, so −18 is 18 dB under clipping.

It says how hot a feed is, not how loud a room is. Keep a stream or recording feed inside its target and well clear of 0.

An estimate of the level in that room: a console meter shifted by one reading taken there with a handheld SPL meter.

It follows the console feed, so it's only as good as that one reading. Take it again if that room's amps or speakers change.

Sound measured by a mic at that place, A-weighted like the Auditorium's own number.

It's the real level there. Check its calibration against a handheld meter now and then.

A console input used as that place's mic: its broadband level, not A-weighted, so it reads higher than dBA when there's bass.

Compare it with its own target, not with the room's dBA. With the mic on the measurement feed instead it reads true dBA.

Whether the app is talking to the sound board and, while it is, whether the stage boxes, cards and clock it depends on are healthy.

Green: reads and changes reach the board. Amber or red: what the app shows may be out of date, and the pill's menu says why — Reconnect, or check the link it names.

How many of the wireless receivers set up the app is connected to, coloured by the worst of those links and the mics on them.

A receiver off the network shows no battery or RF for its mics. Amber or red: the pill's menu lists the mic that needs attention.

How strong the radio signal from a mic's transmitter is at its receiver: stable, flopping (unstable) or dropout.

Flopping warns a dropout may be coming: check distance, a body blocking the pack, or interference (rescan for a clear frequency). Dropout is silence on that mic.

A wireless mic's charge left, from its transmitter: exact for a Shure rechargeable, otherwise from its bars.

Swap it at the warning, before the next set starts; at the alert, swap it now.

Every connection that's switched on — the console, the receivers, the measurement feed, Planning Center and the rest — rolled into one line.

“All systems connected” is the goal. A count of issues opens the list, with what's wrong and a way to its settings.

The channel's equaliser: its low cut and its bands, each lifting or cutting a range of frequencies, and the curve they add up to.

Small cuts (2–4 dB) make room for other sounds; a big boost usually means the mic, its placement or its gain wants looking at.