Worship AVL January–February 2018

Issue 51 January–February 2018

While compiling the coverage of a number of houses of worship for this issue of WAVL, it was heartening to see a focus on acoustics along with the installation and optimisation of loudspeaker systems. It’s well known that in older HOWs, or in newer facilities built in a traditional style, hard surfaces and soaring ceilings create sonic spoken word and the clarity of music. HOWs often Focusing sound just where it needs to go is a valid approach, but there are limits on its effectiveness.

In a sonically hostile environment, using acoustic treatment to even somewhat loudspeaker system design, installation and signal processing. New materials with aesthetically sensitive looks are being used successfully even in historic facilities where it is unacceptable to alter the overall appearance of a sanctuary. The optimum time to address HOW sound issues acoustically is before, or

SHOW REPORT

KNOWHOW

WAVL will

Future issues will focus on streaming and loudspeakers. In this issue, KnowHOW, Technology and our Buying Guide features all address various aspects of performance technology applications and gear. Let us know what you think of the approach. MEET THE TEAM

Golden projection

is installed in Gallery 2 to drive the 15-minute video that combines animation, archival footage and voiceover narration to relay how the shrine came into being.

In Gallery 3, four D12WU-H projectors have been paired with 72 of Christie’s Ultra Series FHD552-X LCD panels to deliver content concerning the Golden Temple’s ongoing activities in immersive fashion. This showcase has been titled A Day at Darbar Sahib Gallery 4 makes use of holographic projection for Bani Guru-Guru hai Baani. This uses four D12WU-H

INDIA: The Golden Temple in Amritsar serves as a focal location for Sikhism. Pilgrims journey from far and wide to visit the temple, which is thought by many to be the religion’s holiest shrine. To offer those pilgrims the chance to better appreciate the history and ethos of Sikhism, work began in late 2015 on the Golden Temple Plaza Basement, which is now open to visitors. The basement is divided into four galleries that each utilise technology to present the rich heritage and history of the religion.

Following its work at the Virasat-eKhalsa museum of Sikhism and other large-scale projects of this nature across India, Designhabit was enlisted to design the four galleries. The New Delhi-based design company once again called for a solution comprising Christie projection, display and

image processing solutions that were installed and commissioned in the Golden Temple Plaza Basement by the manufacturer’s Indian partner, Pan Intellecom.

‘We are of the view that theatrical storytelling works best in highlighting the history and ethos of Sikhism in a dynamic and thought-provoking manner,’ explains Amardeep Behl, managing director of Designhabit.

‘And through this process, visitors are able to appreciate the rich heritage of Sikhism and establish an emotional connection through the multimedia showcase in all four galleries. We have carefully integrated the various Christie solutions into each gallery and complemented them with meticulously designed animations, voiceover narrations and composed music to create an emotional impact and

immersive experience.’

The projectors have been used for a variety of applications. In Gallery 1, a pyramid projection titled Jyot mein Jyot utilises 10 Christie WU12K-M projectors positioned around the base of the 10-sided inverted glass pyramid. A Christie Pandora’s Box drives content highlighting the 10 Sikh gurus and their teachings.

The History of Golden Temple is presented in Gallery 2, which sees a 270° projection powered by 10 Christie D12WU-H projectors that are installed on the ceiling around the gallery. Another Pandora’s Box

projectors to highlight the teachings of Guru Granth Sahib. This is once again driven by a Pandora’s Box.

‘Feedback from visitors has been positive, with many impressed by the performance of the Christie solutions,’ reports Harbir Singh, managing director of Pan Intellecom. ‘The visuals have added emotional depth and dimension in telling the story of Sikhism and the history of the Golden Temple.’

www.christiedigital.com

www.designhabit.com

www.goldentempleamritsar.org

www.panintellecom.com

University City Church inherits EAW solution

USA: A growing congregation recently led the University City Church (UCC) in North Carolina to move to a larger home. Its new sanctuary came in the form of a venue that was previously occupied by another local church and, as part of the building purchase, UCC inherited the EAW (Eastern Acoustic Works) KF Series line array sound reinforcement system already installed in the building.

To get the most out of the EAW system, church management turned to systems integrator Audio Video Concepts & Design (AVCD) for advice and consultation.

The system was formed from 18

A pair of SB730s topped off each array. Allan Conner, HOW director at AVCD, approached EAW to determine

the best use of this setup and what improvements might be made. This led to the installation of an additional three SB1000 subs beneath the stage

as well as six JF80 loudspeakers along the lip of the stage for frontrecommended a UX8800 digital signal processor for additional optimisation of the system.

‘We dug deep into the needs of the ministry and took into consideration their budget and best product for the job,’ says Mr Conner. ‘UCC had a

Once we beefed up the low end and recommissioned the system, everyone was extremely pleased.’

www.avpro.tv

www.eaw.com

www.universitycitychurch.tv

Gallery 2 presents The History of Golden Temple in 270 projection

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Change of plans at Maria Magdalena

Room matching at historic New England Church

SWEDEN: Maria Magdalena Church is one of the largest churches in Stockholm, featuring an extremely long nave. It recently underwent a complete renovation project, inside and out. The renovations included the upgrade of Maria Magdalena’s sound system. SoundCop Consulting was originally

and install an audio solution in 2013 and picked out a suitable system. However, in 2014, the consultancy was introduced to d&b audiotechnik’s xC-Series column loudspeakers at a demo held by the manufacturer’s local partner, Arva Trading, at the nearby Stefanskyrkan Church.

‘We were totally blown away by how good it sounded at the demo,’ says Jacob Julin, co-owner of SoundCop Consulting, discussing the xC-Series. ‘So, we went back and changed

passive column speaker that we have seen that actually sounds like a proper PA system. The sound stays coherent and warm, rather than like it’s coming

the case with the sound setup in a church.’

The SoundCop team went back to the drawing board, planning a system comprising a combination of six 24C and 18 16C columns from the xC-Series, eight 4S loudspeakers from the xS-Series and two B4-Subs. Power

the setup and is installed with the d&b plug-in for the integration of the 10D

we’ve done with the d&b xC-Series in Sweden; there have been some smaller churches but nothing on this scale,’ notes Natanael Lyckelind, sales and support AV/pro audio, at Arva Trading. ‘A lot of choirs come to perform at Maria Magdalena Church and, when they see how well the in-house setup works, they prefer to use that instead.’

www.arva.se

www.dbaudio.com

www.soundcop.se

www.svenskakyrkan.se/ mariamagdalena

USA: The First Church of Christ’s sanctuary, the brick Meetinghouse, is the oldest building of its type in New England and its services were attended by George Washington in 1781. In 2016, the church installed a Bose Professional RoomMatch

coverage throughout the room are mount loudspeakers, powered by A RoomMatch Utility RMU206 loudspeaker was also installed for monitoring. A Bose ControlSpace ESP-880 processor drives the entire system.

Utility sound system to clear up speech intelligibility issues in the Meetinghouse. So impressed were the church leaders that they recently turned to Bose again as they set about converting an upstairs area in the Marsh Building, which is used to hold parish meetings, into a multi-purpose, contemporary worship space. Both installations were carried out by Adtech Systems. The Marsh Building’s main PA setup comprises a three-speaker array of Bose F1 Model 812 loudspeakers with a pair of RoomMatch RMS215 subwoofers, powered by a PowerMatch PM8500N

‘In the new room upstairs in the Marsh Building, the challenge was a very small space with very high ceilings,’ recalls Stephan Kolpinski, director of sales at Adtech Systems. ‘The architecture didn’t lend itself to acoustical treatments, so we had to rely on the high directionality and tightly focused pattern control of the F1 speakers.’

www.adtechsystems.com pro.bose.com

www.firstchurch.org

Accommodating sound and aesthetics

USA: While the First Baptist Church of Ashland moved to its current sanctuary 50 years ago, several wings have been added, including a new sanctuary and fellowship hall to accommodate its growing congregation. Recently, the church leaders determined that a new sound reinforcement system was needed to improve intelligibility and musical impact, and called upon A/V systems integrator RTW Media to design and install a solution that would not come at the expense of the building’s aesthetics.

‘The church leaders are working with consultant Arrabon to broaden First Baptist’s appeal and to diversify its congregation, and David Bailey, Arrabon president, recommended that they speak with us about a new

sound reinforcement system,’ reveals Walsh Hinnant, account manager at RTW Media. ‘Danley became the obvious choice as their loudspeakers

fewer boxes.’

The Danley system installed comprises two SH-69s on each side of the stage with a pair of TH-212

subwoofers, while four SH-Micros PA and subs are powered by three onboard DSP and the SH-Micros are driven by a DNA 5k4c.

huge space with just a handful of unobtrusive boxes was simply awesome,’ adds Mr Hinnant. ‘We were able to completely eliminate

points. And it’s highly intelligible. You can understand every word that’s spoken and really feel the depth of the music.’

www.danleysoundlabs.com

www.firstbaptistashland.com

www.rtwav.com

Upstairs in the Marsh Building

George Washington attended services in the Meetinghouse

Reacting to feedback

USA: The First United Methodist Church of Lake Wales has been in its current home since 1949. Over the decades, the sanctuary, which seats 300 to 400 in a cathedral-style space, has suffered from inadequate sound. when local systems integrator Mabe designed and installed a new sound system.

‘Feedback was a big problem with the old system,’ says Richard Vaughan, lead engineer at Mabe. ‘They could hardly turn the speaker up without getting feedback. The ceiling was not a problem. The major wall in front of the balcony that runs the entire width of the rear of the sanctuary. We put parabolic diffusor panels on the back wall, and the rear sides of the diffusors have absorptive properties. The sound booth is in the the back.’

For sound reinforcement, Mabe installed a pair of Renkus-Heinz Iconyx IC16-RN digitally steerable line arrays on columns to the left and right of the stage. ‘The arrays are lower than I wanted to put them,’ Mr Vaughan admits. ‘The bottoms are 1.4m off the ground. Because of an ornate piece on the column, we were not able to mount the arrays higher and make

it look right. The only way we could make this work was with Renkus-Heinz steerable column arrays, which let us raise the acoustic centre of the beams high enough to shoot over the top of the front row and cover all the way to the back of the room, without blowing out the front row.’

Another challenge was presented by the podium mic located 1.5m behind the speakers. ‘My concern was getting enough gain before feedback for the podium mic because the column array was really close,’ says Mr Vaughan.

‘The IC16-RN worked really well. There’s enough rear rejection off the

Tallyman keeps things simple at Lutheran Church

USA: With many modern HOWs choosing to delegate the running of their audiovisual systems to volunteers, ensuring said equipment can be operated by those without complex knowledge is a must. Fully aware of this need, the Lutheran Church of Hope in Iowa acquired a TSL TallyMan to provide broadcast system control as part of a recent A/V overhaul.

‘We were looking to put in place a system that would allow us to stream to our multiple locations at the push of a button, while keeping the process simple and manageable for all our volunteers,’ recalls Jim Sheppard, the church’s chief systems engineer.

The Lutheran Church of Hope has a large congregation of 20,000 spanning six campuses and delivers

its message in a variety of ways. Each week, multiple sermons are streamed directly to all the satellite campuses from the technical core of the church’s infrastructure, which is located at the West Des Moines broadcast campus.

Mr Sheppard selected the TallyMan

system to interface with a wide range of equipment from different manufacturers that encompasses routers and switches, as well as multiple audio and video monitors and multiviewers. His team plans to create a customisable user interface

back of the loudspeaker, and enough column control, that we were able to get plenty of gain before feedback.’

A pair of CF12S-5R subwoofers are located on the ground, below the IC16RN arrays. For added reinforcement under the balcony, Mr Vaughan deployed two Renkus-Heinz TRX62H point-source speakers. Meanwhile, a pair of TRX81 point-source cabinets serve as stage monitors for the choir. ‘With the old system, the choir couldn’t understand what the pastor said and they couldn’t hear the piano well,’ notes Mr Vaughan. ‘Now they can hear clearly.’

Next door to the main sanctuary is with a pair of TRX82 speakers. The remainder of the installation work comprised a QSC Q-Sys Core 110f DSP that distributes the audio signals and Renkus-Heinz’ Rhaon II software that handles speaker processing. Also installed were 70V ceiling speakers to cover the lobby, nursery and cry room, with wall controls. The Mabe team supplied a system for the hearing impaired, wireless microphones and a Yamaha digital console.

www.fumc-lw.org

www.mabepro.com

www.renkus-heinz.com

for each position, with the engineering team able to automate and simplify complex operations into simple push button control for the volunteer teams.

‘We were looking for a control system that would help us coordinate all our critical components to ensure that our volunteer operators are aware of and can easily instruct all the relevant systems at pertinent times throughout the production,’ Mr Sheppard concludes. ‘From the operator’s perspective, it makes it look the same even if the back end is different. That’s why we didn’t want to use a proprietary tally system.’

www.tslproducts.com

Lutheran Church

UK: Mosque Al-Saifee, referred to as Hingeston Mosque by local residents, has recently opened its doors in Birmingham’s Jewellery Quarter. A series of events was held to welcome the community following what was a long-term development and construction project. Among the guests was Peter Rutherford of systems integrator Direct Audio Visual, who had been tasked with designing the A/V solutions.

‘We came late to the project – the

Mr Rutherford reveals. ‘The mosque had a requirement for networkable video –they wanted to be able to move display

Mosque Al-Saifee opens with Visionary Solutions

Amsterdam, and I was very impressed with it,’ the systems integrator explains. ‘So although this was quite a challenging project with a short timescale, we decided to jump in with Visionary Solutions.’

Cat-5 cabling, which had been installed two years previously, while also

Mr Rutherford.

(But

screens around to suit different events.’

Mr Rutherford and his team worked with Visionary Solutions and its British distributor, CUK, to develop a networked video system based on the manufacturer’s PacketAV technology.

‘I had seen the Visionary Solutions PacketAV technology at the ISE show in

Not only would the mosque’s display screens provide IMAG for Mosque Al-Saifee’s own services, captured by a pair of HD cameras, but they would also be used for receiving satellite television services and a feed from the main mosque in India. ‘We needed something that was capable of using the existing

‘We are using three PacketAV E4000 encoders and, at the moment, eight D4000 decoders, though not all of them are currently deployed,’ he continues. ‘There are four screens in use, plus another four that can be deployed as necessary anywhere throughout the site. They can be patched into whichever mosque can quickly and easily transmit to any Cat-5 point throughout the site.’ With the mosque open and the system installed, Mosque Al-Saifee’s own team is now operating the setup. ‘This is one of their biggest festival seasons and they’re using the system on their own,’ Mr Rutherford notes. ‘It’s no problem because the Visionary Solutions technology is so simple, it’s literally drag your source and drop.’

www.cuk-audio.com www.directaudiovisual.co.uk www.vsicam.com

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SOUTH AFRICA: Christian Revival Church (CRC) hosted its annual Dreamweek Explosion conference across both its Bloemfontein and Pretoria campuses this year. Ahead of the event, which drew more than 14,000 worshippers each day, the church extended the main auditorium at Bloemfontein, while boosting the A/V and lighting setup at both sites.

Feeding the 50,000

USA: Church of the Highlands attracts an average Sunday attendance of 40,000 worshippers to its 16 campuses across the state of Alabama. In addition, approximately 10,000 watch live streams of the mega church’s services each and every week.

The church relies on a video

from its main Grants Mill campus in Birmingham, while also recording

of different camera shots and graphics. In total, between 30 and 35 Ki Pro Racks and Ki Pro Ultra recorders are used as the primary recording devices for all services, providing each campus with the ability to playback a pre-recorded service.

Mr Firesheets and his team also use two AJA FS1 framesyncs and an FS2 to embed multiple audio channels from the broadcast

air conditioning was installed and a 24m wide stage was constructed. The DWR team set up Prolyte H40V trussing above the stage and equipped

inventory while also supplying 18 new Robe Spiiders, six Pointes and 28 LED PARcans. In addition, an 8Port Node was added to CRC’s MA Lighting control setup.

services at all of its other sites.

Justin Firesheets, production director at Church of the Highlands, has worked closely with systems integrator Clark to build the infrastructure needed to manage such a large-scale live production for broadcast. He works with a team comprising both staff and volunteers at each location, as well as a team on site at Grants Mill.

CRC enjoys a longstanding relationship with DWR Distribution, having relied upon the distributor to install audiovisual and lighting equipment across many of its facilities. It was the trust built up through this reliability that brought the church to DWR to complete these upgrades with a tight deadline ahead of Dreamweek Explosion.

‘It’s always an honour to work at CRC,’ said Robert Izzett, who led the DWR team for this project. ‘Although we faced many challenges, delayed shipping and port congestion, thanks to the great team made up of both CRC Media and the DWR install crew, we just managed to pull it off.’

The 5,000-seat main auditorium in Bloemfontein was altered to accommodate an additional 1,200 people. The ceiling was removed, new

A 3.9mm Absen LED screen comprising 144 panels was built to form an 8m x 4.5m backdrop on stage. This was joined by a pair of side screens formed from 70 Absen LED panels, with further screens positioned around the stage on custom brackets designed and built by DWR’s Rob Young and Keith Pugin.

In Pretoria, a 90m curved Prolyte truss was erected above the centre of the auditorium, holding 48 Robe LEDBeam150s and 18 LED PARcans. The rest of the setup was designed to mirror that at Bloemfontein with 70 Absen 3.9mm panels installed on

Node added to the MA Lighting system.

www.crc.org.za

www.dwrdistribution.co.za

Weekend services at the broadcast campus are typically shot using three Sony HDC-2400 studio cameras on tripods with another on a jib to the left of the sanctuary. A Canon XF205 perched on a 4.5m dolly is located opposite the jib,

the front of the stage provides notes or lyrics to the speaker, while a 55inch touchscreen monitor displays presentation content. A pair of 7.3m

projection and a 450-panel 3.47mm LED wall serves as a backdrop.

At the core of this production setup is a range of AJA hardware. This includes two Ki Pro Ultras used to capture the programme feed at Grants Mill. Six Ki Pro Rack recorders facilitate ISO capture

campus. Several Kumo SDI routers distribute feeds from the various campuses to stream to each other allow for long cable runs and the manufacturer’s ROI region-ofinterest scan converts to scale output from computers into its graphics system. Completing the AJA inventory are Mini-Converters that handle signal conversion from SDI to HDMI and vice-versa.

services every Sunday plus smaller events throughout the week, and all of those are captured on some combination of Ki Pro Rack/Ultra units,’ explains Mr Firesheets. ‘The FS products are really great for handling signal conversion when we have to manipulate frame rate or format – or really any unexpected needs in production. We rely really heavily on the MiniConverters for a variety of things, and we feed the Kumo router into our main broadcast router to push content externally.’

www.aja.com

www.churchoftheh

Dreamweek Explosion

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Open Union turns to a solution it can rely on

MALAYSIA: Open Union Church is a Korean Ministry Church that serves a community in Malaysia. It recently relocated from its original home, to a larger facility in Kuala Lumpur. The new Open Union Church sanctuary is 370m and seats up to 500 people. Having installed Harman solutions at its previous sanctuary, the decision was made to stick with the brand for the Malaysian distributor for Harman, Mahajak Trio Electronics was contacted

These were installed by local systems

‘The church had been using Harman

Professional products since their inception, and this carried through at the new building,’ says Ramesh

reliability and performance of our solutions impressed the church management when it was time for

them to upgrade.’

subwoofers were installed either side

Series speakers are used as delays.

The words spoken by the pastor are multichannel wireless microphone

Soundcraft Si Performer 3 digital monitors were also deployed.

‘I am very happy with the Harman systems,’ notes Open Union Church’s provide intelligibility and great coverage. We were already using Harman system will perform equally well in our new space.’

www.accaservices.com.my

www.harman.com

www.mahajaktrio.com

www.openunionch.com

Hillsong makes a switch Sungeun Church goes digital

KOREA: Sungeun Church’s main chapel in Uijeongbu recently underwent a digital upgrade of

solutions for the church’s sound setup.

WORLD: Hillsong Church’s weekly worldwide attendance is fast approaching 100,000 worshippers.

continents and each year it stages

arenas in major cities around the globe. It was when working with video production company Custom Media Solutions to produce the video content for its conferences that Hillsong was video switcher. This was used for camera cuts.

switcher was so versatile, we needed only half the outboard gear that we normally would use to run the conference,’ recalls Luke Irvine of Hillsong’s production team. ‘The

our outboard gear used, as were the

could be used with an additional switcher panel. This allowed us to switch the camera cut on one panel, while screen switching on another panel – all still within the one switcher frame.’

video switchers at its weekly services

to a growing number of campuses

also used at all of Hillsong’s annual Hillsong and Colour Conferences. us to save money on systems, while

needs, helping us to make our systems function as we need them to.’

www.custommediaonline.com

www.for-a.com

www.hillsong.com

The new system required the ability to manage live sound reinforcement for services and other events, as well as multitrack recording for streaming content online and personal monitoring for church musicians. The solution came in the form of a ME personal monitoring system. is installed in a control room. The

to keep track of monitor levels and room acoustics in the chapel.

‘The ME system’s setup functions and channel grouping is very easy and simple to use, and the sound

quality is superb, so the players are

layer function, you can assign fader strips as you want. I also really like

and there are four different EQ models in the library.’

www.allen-heath.com

One of the JBL line arrays

A/V manager Jongmin Lee uses the Qu-Pad iPad app

Sungeun Church’s control room

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High End LEDs at Church of Our Saviour

SINGAPORE: Nestled within the Anglican Diocese, Church of Our Saviour was initially established during the 1950s as a mission. Today, it boasts a congregation of 4,500 and calls home a former cinema that it has renovated to become a sanctuary. The lighting rig at the church featured 15-year-old tungsten-based moving head spots which were becoming hard to maintain. So senior technical executive, Jon Hemsley, opted to have them replaced with LED luminaires, calling on the services of the church’s long-term lighting provider, Total Solution Marketing (TSM).

In addition to the reduced maintenance that LED solutions offer, Church of Our Saviour also

Another requirement that the church put to TSM was a need for warm white light capabilities to light up faces and key light positions for video capture as well as for the congregation in attendance.

well with pleasing results both to the naked eye and on camera,’ saturation is also fantastic. But the biggest impact is behind the

Beam steering in Brig

SWITZERLAND: Sacred Heart

Catholic Church in the Alpine town of Brig recently underwent an audio upgrade. The church’s sound system is primarily used for speech reinforcement during services, as well as music reinforcement during special events, including an electric piano and CD/video playback.

Stefan Margelisch of local systems integration company Black Cow was brought in to design and install a new system. He worked closely with Meyer Sound Design Services and the manufacturer’s Swiss distributor, Tonspur, to deliver a CAL column array loudspeaker system with digital beam steering technology.

‘I absolutely could not compromise on speech quality,’ says Mr Margelisch. ‘But as I had used CAL on a previous installation, I was also aware that the music quality was much better than with other beam steering columns. The accuracy of prediction is critically important when using this technology and no other company can offer the level of expertise available from Meyer Sound. I could also rely on responsive support from Tonspur.’

seating plane. Two MM-4XP cabinets complete the loudspeaker setup with one installed in the entryway, the other in Sacred Heart’s Chapel of Our Lady. Sennheiser MZH3042 gooseneck microphones with ME36 capsules and an ew100 wireless system were integrated at the start of the signal chain, as well as a Denon DN700C CD player. A Symetrix Prism 16x16 automixer and DSP unit was also deployed, as was an Ampetronic inductive loop assisted listening the system.

In addition, a new system was installed for visual reinforcement, comprising a 7,000 lumen Panasonic projector with a 3m AV Stumpl screen. Barix Instreamer audio encoders facilitate audio streaming.

‘Taking into consideration the church’s needs, we recommended High End Systems, as other than the warm white light, it also has framing shutters that allow shaping of the face light coverage areas while masking curtain spill,’ explains Kartik Keyan, sales executive at TSM. Having considered various proposals from other integrators and manufacturers, a demonstration of the SolaSpots conducted by TSM made Mr Hemsley’s mind up.

an output of 20,000 lumens using just a 400W LED engine,’ says Mr Hemsley. ‘Key features include the lens defog system, which is essential always operates at its optimum.’

required regular lamp replacement. This operating cost has been greatly reduced and we now only lighting design requires re-rigging. We were previously running quite close to the available capacity of our electrical supply. This upgrade allowed us to free up a lot of power supply circuits for special event lighting.

‘Of course I must add that we were impressed by how

and the guys from TSM were,’ he concludes. ‘They also provided the necessary training to help us get the best out of the SolaSpot.’

www.coos.org.sg

www.highend.com

www.tsm-int.com

A pair of CAL 64 loudspeakers has been suspended from the roof in the front corners of the sanctuary. Their beam steering functionality has been used to tilt sound downward and shape

‘We have noticed an overall improvement in sound reproduction and intelligibility throughout the sacristan at Sacred Heart. ‘The pastors are very pleased with the reaction of the congregation. Also, with fewer loudspeakers compared to the old system, and the exact colour match of the new columns, the visual aesthetics are dramatically improved.’

www.blackcow.ch

www.meyersound.com

www.tonspur.ch

Church of Our Saviour’s Jon Hemsley and Anders Teo

Sacred Heart Catholic Church

CAL 64 loudspeakers have been installed in the front corners of the sanctuary

MCC welcomes Syva

USA: Mountain Christian Church (MCC) recently opened its fourth campus, serving the community in Abingdon, Maryland. The church turned to Mankin Media Systems to design a sound reinforcement solution for its new 600-seat sanctuary, which presented a potential problem with a low ceiling of just 4m. The systems integrator found a solution in L-Acoustics’ new Syva colinear loudspeaker system, which had yet to be part of a permanent install in North America or within a house of worship worldwide.

‘We explored multiple loudspeaker design approaches for this space and

They either compromised the height of the room or created too much potential variation,’ reveals Tim Corder from Mankin. ‘The Syva system really result blends into the space without compromising quality.’

L-Acoustics’ Soundvision 3D acoustic modelling software enabled Mankin to place a Syva enclosure on each of the structural columns framing the left and right sides of the stage, with two

Syva Low enclosures below each one. Two additional Syvas provide delay coverage and three X12 enclosures

and process the entire system.

‘It enabled us to tuck the lighting up into the ceiling structure without being blocked by speakers and facilitated raising our screen heights to help with message visibility,’ adds MCC’s technical arts pastor, Bob Rufenacht. ‘Syva ultimately gave us a less costly solution requiring fewer speakers than other systems we had considered.’

www.l-acoustics.com

www.mankinmedia.com

www.mountaincc.org

resulted in a lower ceiling than anticipated for the new church building. This meant that the Genesis team had to adjust accordingly. ‘We initially planned to install Vue Audiotechnik’s al-4 subcompact line array, because we knew the beryllium high frequency would provide plenty of headroom and

ceiling was lowered, it would be too disruptive visually.’

Neabsco Baptist had deemed Vue’s beryllium HF tech a must-have feature. Therefore, Vue’s h-Class System was

USA: Neabsco Baptist Church has relied heavily on music since its inception in the late 19th century. The church recently expanded to a new 500-seat sanctuary in its home state of Virginia and updating to a stateof-the-art sound system was high on the list of requirements presented to

which approached Genesis Technology to design a solution.

‘This church wanted to add some contemporary music into their services,’ remembers Michael Yoo, senior system engineer at Genesis Technology. ‘We needed to accommodate a full band, including bass, drums, guitars, as well as three keyboards and a Leslie organ.’

A last-minute budgetary concern

With approval to go ahead, four h-12w cabinets were installed, minus their usually built-in VueDrive, leaving the enclosures set up passively. Instead, a pair of V-4 VueDrive systems provide power and processing.

To ensure coverage throughout the seating area, two of the h-12w while the other two were deployed as delays halfway down the church. ‘Coverage was pretty much spot-on with little more than basic visual aiming,’ Mr Yoo concludes. www.genes

This marked the first HOW installation for Syva

New audio distribution at Willow Creek

USA: The main campus at Willow Creek Community Church in South Barrington, Illinois, has a footprint of almost 75,000m2, serving a large proportion of the church’s 26,000 weekly congregants. This large sanctuary recently underwent an A/V upgrade that included the setup of a Dante network, the installation of Yamaha FOH, monitor and broadcast consoles, Cisco network switches,

A pair of RedNet PCIeR Cards serve the FOH and monitor consoles as VSC interfaces, with an additional one used as a troubleshooting test device, and two RedNet A16R 16-channel analogue I/O interfaces provide local I/O for the recording studio and two RedNet A8R 8-channel analogue I/O interfaces are used for guest consoles and d3 audio monitoring. The recording studio’s local mic inputs and

and Meyer Sound Milo and M2D systems. Distributing the audio across the network are Focusrite RedNet Dante-enabled audio interfaces.

‘We updated our video systems last year, and it was important we upgrade the audio to keep up,’ reveals the church’s audio systems engineer, Matt Wentz. ‘Dante was clearly the right solution as far as networking such a big campus, and we were running into some conversion issues here and there. After doing extensive research, I acquired a RedNet 6 interface, and the rest came together.’

In total, six RedNet HD32R 32-channel HD Dante network bridges were installed for the church’s recording studio and another for track playback at FOH.

the video recording studio are served by three RedNet MP8R eight-channel mic pre and A/D converters and a RedNet D16R 16-channel AES3 I/O is used for guest consoles. A RedNet D64R 64-channel MADI bridge and RedNet 6 MADI bridge interface between MADI video router I/Os. A RedNet 3 32-channel digital I/O interface is used for a d3 Media Server and a RedNet AM2 is employed as a local troubleshooting headphone amp.

‘We have three huge services each week that are held in our 7,200-seat auditorium, as well as visiting artists and a massive annual conference, which gets broadcast to hundreds of thousands of people around the world,’ says Mr Wentz. ‘We’ve been able to put this system to work for all

get clean audio from one point to another with the RedNet units is why we went with RedNet and Dante. There’s not a lot of room for error in what we do and RedNet adds an extra level of reliability. It’s enhanced and

degree.’

www.focusrite.com

www.willowcreek.org

Matt Wentz

Sound in a new light

When Singapore’s Church of St Alphonsus undertook expansion, unobtrusive Richard Lawn

NAMED AFTER ST ALPHONSUS MARY

Liguori – who founded the Catholic Order, the Congregation of the Most Holy Redeemer in Naples in 1732 –Singapore’s Church of St Alphonsus is a Redemptorist missionary house of worship. Coming from Australia in 1934, the Redemptorists initially established a chapel at 339 Thomson Road. In 1950, the foundations of a new chapel were laid down at the present site of 300 Thomson Road, close to the Newton Hawker Centre. Named Novena, after ‘nine’ in Latin, architects Swan and Maclaren created what’s become a famous local landmark and cornerstone of the community.

For six decades, Novena served as an island of calm whilst the local area underwent huge transformations. Popular with both Catholics and non-Catholics, the church was busy on any given day, catering to diverse population groups with Filipino and Mandarin services alongside English for its multi-national worshippers. Its 10 hourly services each Saturday were characterised by hundreds

having to spill out across the courtyard owing to the limited interior space. Despite the discomfort of being exposed to the Singaporean heat, humidity and rain, Novena welcomed some 20,000 worshippers each Saturday alone.

With the advent of the new millennium, an upgrade was timely as the church was bursting at the seams. The church committee led by Father Paul Lim requested additional A/V equipment to be installed following the creation of covered peripheral wings with extra seating.

the balconies outside the main body were isolated from the altar and sanctuary with restrictive views. As such, the audio system was upgraded with JBL Control 28 loudspeakers to enhance intelligibility of the spoken word services in these newly created zones. Coverage of the Shure SLX wireless microphone system was also extended by adding UA830 wideband UHF in-line antenna

antenna. Furthermore, Panasonic TV

screens were suspended from the low ceilings to enhance the worship experience.

The church’s vision

By 2009, the Redemptorists concluded that although the existing church needed to be preserved, it could no longer be deemed adequate for the future. The committee agreed that a new church would need to be built providing them with an opportunity to preach the gospel anew. Financing of the upgrade works was ensured when a main benefactor stepped in to cover the majority of the project’s costs.

Having successfully hurdled the

daunting obstacle appeared in the form of the Urban Redevelopment Authority (URA). Plans to upgrade the church stalled after the possibility of conserving it was raised by the authorities. Although the green light was eventually granted in 2011, including the replacement of the leaking roof, the URA declared that

Novena’s challenging acoustics were addressed

A pair of Fohhn LFI-220 cabinets serve the upper rear balcony

the façade of the existing church, including its distinctive triple arc front pediment, could not be altered. A waiver did, however, allow the new sanctuary to abut the existing church, ensuring that the old and new structures could differentiate themselves in character.

cgnArchitects Pte Ltd was appointed to create a new church that would integrate the extensive wish list made by those who had served with the church over its 60-year existence. The actual architectural design for the new church was inspired by the classical and Gothic periods to include limestone-clad columns, towering pillars, high arches, 22 Italian-crafted stained-glass windows, high internal and a new shrine. The pillars’ structures were inspired by the palm

trees of King Solomon’s new temple in the Bible as they point towards Heaven. Additionally, the façade of the Our Mother of Perpetual Help Shrine incorporates a sanctuary with an overhead dome accommodating additional worshippers with tiered seating and – most crucially – air conditioning.

Furthermore, a grotto on the west side, and a new tower using the existing bronze bells on the east side, were drawn into the blueprints. Covering 3,600m2 the submitted design incorporated a 24-hour prayer garden, a three-storey Pastoral Centre with an auditorium for seating up to 192 people, meeting

rooms, two basement car parks, a canteen/kitchen, and new driveways, drop-off points, passenger ramps and stairways.

Incorporating audio and architecture

In addition to the comfortable seats and air conditioning, cgnA emphasised the requirement for an intelligible audio system that would enhance the sermons and readings for the regular congregants and not distract from the architectural aesthetics. ‘One of the main considerations listed for the new sanctuary was the provision for clear intelligible speech,’ explained cgnA director, Chee Ghit Chay. ‘However, nobody wants to see black boxes suspended from the ceiling or hanging from walls.’

Spoken word remains the overriding requirement when communicating to the masses during traditional

by a Fohhn beam steering solution

Novena Church adds elegance to Singapore’s skyline

Two Fohhn LFI-450 column speakers blend into the rising stone column

Catholic services, although cgnA also stipulated the importance of enhancing the musical services at Christmas and Easter. Working closely with the electrical engineering contractor, Jerevin Industrial Pte Ltd, acoustic consultants Acoustic & Environmental Solutions Pte Ltd was contracted to provide Reverberation Time (RT) calculations to allow system analysis and design by AFMG Technologies’ EASE software. Having calculated the reverberation times and suitable speaker placements, demonstrations were held with a preference towards utilising a columnar beam steering solution.

Ultimately, Control Logic Systems Pte Ltd’s (Fohhn Audio’s exclusive distributor for the ASEAN region)

proposal to integrate a Fohhn Audio Linea Focus speaker system accrued the highest score by the church committee judges. Having concluded its audio preference in advance of templates and electrical diagrams could be forwarded to the general building contractor. As such, cabling conduits and speaker recesses were created within the rising columns that would allow L-R LFI-450 speaker cabinets to blend into the stone courtesy of a

speaker demonstrations were unanimous in their decision to install the Linea Focus column speakers,’ recalls Ms Ghit. ‘One of the main benefactors – a serious audiophile with a very musical ear – was astounded by the quality and the even dispersion characteristics that this system created. From my perspective, I was delighted as their slim, elegant housings blended unobtrusively within the rising pillars.’

Jerevin was called upon to install the Fohhn loudspeaker system. Measuring 4.5m in height, each LFI-450 chassis and DSP-based signal control. Whilst

the vertical sound inclination angle can be adjusted between ±40°, the vertical beam width can be adjusted in 0.1° steps from 0° to 90° using proprietary Fohhn Audio Soft V5.1 software. Employing ‘two-beam technology’, the speakers can generate two separate dispersion patterns in their vertical range, used by the Church of St Alphonsus for simultaneous and focused coverage of the main downstairs sanctuary and the uppertier seating area. The acoustic centres of both beams can be set anywhere

from 0% at the bottom of the column to 100% at the top, ensuring that the speaker can overcome the harsh acoustic conditions that include the stone surfaces, glazed windows and domed roof. The integration of Fohhn’s ‘side lobe free technology’ uses an algorithm that is said to suppress unwanted side lobes within the beam, reportedly providing more directional audio with improved speech intelligibility.

Serving as delays in the middle of the nave, a pair of LFI-220 cabinets have been recessed into the pillars further into the main seating area, whilst another pair serve the upper balcony seats. The combined Linea Focus systems are networked together enabling monitoring and real-time control from a PC. Capable of operating within a frequency range of 60Hz to 17kHz, the LFI-450 models are supplemented in the low frequencies with additional Fohhn gear – three AS-31 subwoofers in cardioid mode, further two AS-22 models added in the centre of the church. Finally, the priests

courtesy of discreetly placed Fohhn

LX-60 and LX-10 monitor speakers, table. Further LX-60 passive column speakers have been installed within the main foyer, creating an ambiance for worshippers when arriving and departing.

The worship area located between the old sanctuary and the new church is equipped with three Linea Focus LFI120 models. The lower frequencies are boosted with the addition of two AS-22 compact 12-inch subwoofers powered that also drive the AS-22 subwoofers in the centre of the main nave. The partitions of this transitional area can be opened when the main sanctuary needs to be enlarged to cater for larger numbers of worshippers. As such, the smaller LFI-120 speakers have been time aligned with the larger LFI-450 models.

Sound in a new light

Having acoustically treated the high vaulted ceiling beneath the dampened. ‘It sounds more like an auditorium than a sanctuary,’ exclaims CLS Pte Ltd MD, David Seow. ‘When the acoustic consultant measured the RT, it was an average of 1.9s. You would normally expect this to be 5s or 6s.’

As the wraps came off the stainedglass windows following an extensive cleaning operation, the Fohhn column speakers were cast in a new light as the day progressed. ‘The morning light was very different to the evening light,’ explains Mr Seow. ‘Although we had a real challenge to precisely match the RAL of the speaker housing to the limestone column due to natural and man-made colours, you could still detect slight differences throughout the day.’

Although a 64-channel Yamaha QL5 digital console, an extensive array of DPA podiums and the Shure wireless microphone system can be called upon for the rare charismatic services, it is the Fohhn speakers that are relied upon up to 10 times a day for the scriptures, readings and prayers. It’s a far cry from the car park service that overspill crowds would amass in the sun and the rain, straining to hear what the pastor was saying. Now they can all be seated comfortably, unaware that the unobtrusive Linea Focus system is accurately delivering the Word like never before.

www.cgnarchitects.com

www.clspl.com

www.novenachurch.com

The priests and the choir monitor themselves from discreetly installed LX60 and LX10 models

Three Fohhn AS30 subwoofers suspended in cardioid mode

Novena also underwent exterior renovation

professional audio engineering

MAKING TOUR-GRADE FEATURES AND PERFORMANCE MORE ACCESSIBLE THAN EVER

Advanced DSP with FIR-Drive and Multi-Amplifier Remote Control (MARC) software enables configuration and control of up to eight amplifiers

Powerful, linear amplifier design and sophisticated protection circuitry for flawless, safe and reliable operation — ensuring constant 2 ohm stability

Fixed installation version includes low- and high-impedance outputs, remote GPIO control and standby power mode for up to a 90% reduction in power consumption

Novena – beyond beam steering

of the Novena

is that it has a large footprint and we could customise the number of inputs and outputs,’ says Mr Bosco. ‘It’s easier than working with a smaller model, and we’ve been able to lock the faders and just allow certain users to operate it. The church doesn’t have a full-time audio engineer so it’s all on presets and it can be turned on on the days it’s needed.’

Just two presets have been provided on the console, one for weekdays and one for weekends. ‘On week days, we use fewer microphones, and the choir, keyboard and organ are all switched off. There are only three microphones in use for the altar. We have created this setting to minimise the number of open mics to prevent any feedback. At the weekend, it’s full blown – the outdoor speakers are on, as are the choir and wireless mics. If someone was to touch all the faders accidentally and change everything, it can be reset really easily by pressing either the weekday or the weekend button.

‘We have created six different zones, and operators just have to select

THE TENDER FOR THE OVERALL system integration works and other areas of the A/V system at Novena was awarded to AV Associates. Company director Hubert Bosco has a long history with the HOW, having upgraded the existing church more than 15 years ago. AV Associates was tasked with integrating the A/V systems across the entire site, incorporating both the old church and new structures.

Mr Bosco admits to initial misgivings when he heard about plans for the new church. ‘I was a bit concerned about the high ceilings,’ he says. ‘I’d been to London and seen some Gothic architecture and noticed there was a lot of echo and reverberation, and suddenly Singapore wanted to build this church. My main concern was for the acoustics. We really felt we needed an acoustic consultant.’

Mr Bosco was able to recommend Acoustic & Environmental Solutions’ Dr Kenny Yap to the client. Dr

Yap carried out RT prediction and installed a perforated metal layer backed with Rockwool in the airspace above the ceiling, which functions as a broadband absorber for the hall below.

This treatment, working in conjunction

hall to 2.1s when unoccupied and 1.6s when full. ‘We are very pleased with the acoustics,’ says Mr Bosco. ‘It has created an optimum environment for the sound system to reproduce speech and music of high intelligibility.’

Seven half-hour services, the Novena Sessions, are held every 90 minutes on Saturdays, attracting 2,000 people each, with 1,500 in the church itself and the remainder in the overspill areas. Four masses are held on a Sunday and, during the quieter weekday services, there are a further three daily masses. This being a Catholic church, the services are very simple and traditional, consisting mainly of speech with some organ and keyboard music and a choir. A 64-channel Yamaha QL5 has been installed to handle the different audio requirements of the weekly services.

‘The reason we proposed this mixer

Building a classic Gothic church, while avoiding classic acoustic issues and incorporating modern technology, were among the challenges faced during the development

facility. Caroline Moss has the details

Samsung video panels flank the altar

DPA’s 4098 in place as the altar mic

Bose 402 speakers discreetly placed at the church’s entrance

Integration firm AV Associates’ company director Herbert Bosco at the Yamaha QL5 console in the A/V control centre

The existing church

The choir’s view, including Shure KSM137 overheads

each zone they want to activate on a touchscreen on the console,’ he continues.

‘Church systems are often operated by volunteers from the parish who are not usually trained in A/V, so they can’t be sophisticated. Apart from the two settings on the consoles, there is also a one-switch power management system, so the power for the whole church can be turned on instantly. We are using the Dan Dugan automatic microphone mixing that is built into the Yamaha console and this will give additional help to the operators.’

Three DPA 4098 podium mics have been installed for the lectern, altar and presider to enhance speech intelligibility, with Shure KSM137 overhead condenser mics for the choir. A Shure Axient digital wireless mic system is also in use, with two handheld mics initially, although there are plans to upgrade the total to four. Six wireless antennas with inthe church.

Two videowalls, each consisting of nine 55-inch Samsung 1.7mm bezel video panels, have been mounted at either side of the altar to project the mass and hymn lyrics, while four Marshall CV620 HD broadcast cameras have been installed inside the church to relay proceedings onto the screens, and also to Samsung TV screens outdoors, in the auditorium and in the canteen.

The outdoor areas that are often used for overspill have been installed with Bose speakers, as have three classrooms, a 200-seat auditorium and a canteen. One of the walls of the old church has been removed so it now abuts the new church along one side, its pews facing into the new sanctuary.

A total of 16 Bose DS 100F ceiling speakers and two Bose DS 100SE speakers powered by Powersoft

installed outdoors, with eight Bose 402s powered by four Quattrocanali

amps together with a Symetrix Prism DSP covering the outdoor plaza area.

four Bose DS 100SE speakers, a Lab.gruppen E10:4 amp and a Symetrix Jupiter DSP.

Six Bose DS 100Fs and two 3 Series II Acoustimass module subwoofers have been installed in each classroom to facilitate all types of musical activities. They are driven by three Lab.gruppen E10:4 amps with Symetrix Prism DSP. Symetrix ARC-3 wall panels have also been installed in each classroom to control the volume/mute and room combining options.

The auditorium has been installed with four Bose F1 speakers, a further Symetrix Jupiter DSP and a Yamaha TF3 digital mixing console.

Church archivist Jerome Pang was closely involved in the installation process, giving client feedback as the project progressed. ‘I teach singing myself – I’m a cantor and I’m in a choir, so sound is very important to me,’ he explains. ‘The acoustic treatment in the ceiling has helped tremendously with the sound quality in the church. One of our top priorities was to get that corrected and then the system we installed

would sound as good as possible. ‘We wanted to provide a fully integrated system. This church is open to people of all faiths and religions, and, during the Novena services on Saturdays, it gets very crowded. The new system caters to the larger crowds, and we can now also control the sound by turning on and off the zones as we need them. Flexibility is very important. For example, we wanted the ability to have a concert or an orchestra playing, which would usually take place in the sanctuary, so we’ve provided extra mic points there.

‘It’s a massive leap forward for the church and a very good showcase for other churches – it’s set a new benchmark. It’s a well-integrated package and people can watch a live feed, wherever they are, even in the

auditoria, the classrooms and the canteen at the back, and hear the service.’

Not only is Novena able to accommodate more congregation members, it is also attracting an increasing amount of people overall. ‘The church has been under development for three years and people want to come and see what’s been done here,’ says Mr Bosco. ‘The place was closed down while work was going on, and a reduced number of Novena Sessions were held in another church. Now, even when this church is very packed, people standing outside in the walkways are still able to see and hear what’s happening inside the church. Everyone can follow the services closely, no matter how crowded it is.’

During Novena’s soft opening phase, Mr Bosco was attending daily masses from 6.00am before handing over to a sacristan, who has received full training on the system.

The new A/V equipment has been put through its paces from day one. ‘Already we are getting mega crowds here,’ says Father Simon Pereira, who’s been at Novena for 40 years. ‘The new technology is important for the vibrancy of the church. We’ve really seen a growth and we have to sustain it, keep the crowds coming, otherwise this will be a shopping centre in 25 years’ time.’ Singaporeans seeking to worship at the altar of a classically constructed Gothic church rather than a temple to consumerism need not worry; the iconic new Novena church has been built not only for today but for future generations of worshippers.

www.avassociates.com

Church archivist Jerome Pang provided insights from the congregation’s perspective during the installation

Fohhn column speaker Bose DS 100SE mounted outdoors

The centre pulpit is fitted with a DPA 4098 mic

Rules of engagement

and lighting upgrade, but engaging with those who watch online helped steer it. James Cooke tunes in

ENGAGING WITH

CONGREGANTS

IS key for houses of worship. Achieving and maintaining engagement to ensure the message reaches its intended audience is often the reason we see audio, video and lighting systems installed in HOWs around the world. Contemporary services, interspersed with lighting effects, reinforced praise music and pre-recorded video packages, are much more likely to pique the interests of today’s young worshipper than the traditional services of yesteryear. In addition, with many churches expanding with satellite campuses, which deliver local music, announcements and ministry, in addition to centralised teaching provided from a main campus, these technologies become even more of a factor in ensuring engagement.

Another challenge faced by houses of worship in days gone by was keeping those members of a congregation involved who might not be able to always attend a service in person. A/V technology has provided an opportunity in this area too. Historically, such opportunity came via broadcast for houses of worship with large enough budgets, and now, via the internet and streaming technology, which is accessible to almost everyone.

One church to have taken full advantage of A/V technology and its Church in North Carolina, USA. The church records each of its services, complies and uploads the videos to its website, ordered by date and categorised by series. In addition, the social platforms, such as Facebook and Vimeo, and as video podcasts to download from iTunes.

ensure continued engagement with its modern worshippers and, as such, the upload of sermons is not enough. The latest play the Chapel Hill, North Carolinian house of worship has made on this mission is to produce a series of professional-quality videos titled Playbook: How to Win in Life. The

David Cutcliffe, head football coach at the nearby Duke University, as well as coach Larry Fedora and women’s basketball team head coach Sylvia Hatchell from the University of North Carolina, also in Chapel Hill. The videos draw on sporting principles that can be applied to spiritual fundamentals, such as rebounding from defeat, and how to prepare for success. The Playbook series provides a new and dynamic way for the church to reach and engage with its young followers, something different from the usual sermons.

up residence at a new home with a satellite campus in North Carolina’s famed Research Triangle, between Chapel Hill and Durham. In keeping with its ongoing mission objective, the new sanctuary resembles a contemporary conference hall with fanned seating rippling back from a curved stage. As part of the move, the church contracted design and build specialist

houses of worship, education and live productions, to conceive and install new A/V and lighting systems.

‘This church is fully contemporary in style, but its leaders also wanted an immersive environment with a sense

president, Doug Hood.

‘This is a very forward-looking church and video is an important part of its outreach,’ adds Adam Henderson,

The CSD team employed a rig

and key lighting are 12 Chauvet Professional Ovation F-165WW Fresnels and 16 Ovation E-260WWs with 26° lenses installed on a downstage truss. These are joined by 16 Colordash Par-Quad 7 luminaires on each truss that serve as truss warmers. ‘The truss warmers provide a sense of height to the room without full lighting,’ explains Mr Henderson. ‘The wash lighting from the Ovation Fresnels is balanced, natural and warm. That is very important in stage wall wash lighting as well as stage front serve as wash and key lighting, as well

In addition, 16 Chauvet Colordash arranged along the front of the stage

CSD Group designed and installed the A/V setup at Grace Church’s Chapel Hill satellite campus

The satellite campus keeps congregants engaged with captivating videos

Praise bands perform live for those in attendance

for colourful, low-angle foot lighting with 12 Elation ELED TW Strips. Completing the lighting rig are eight Martin Professional Rush MH 2 ‘When you look at a well-lit stage, you connect to the people on it.’

compact POV cameras, a Panasonic of communication between those Com internal communications system

the back of the room, a custom centre

the centre screen is from Draper.

in-ear monitors for instrumentalists.

at front of house. On stage, monitors

signage in common areas throughout campus on Chapel Hill, as well as those small role in ensuring the church’s message reaches its followers.

www.chauvetprofessional.com

www.csdus.com

www.gracelife.com

The lighting rig combines Chauvet, Elation and Martin Professional fixtures

Clarity, definition and an ‘in-your-face sound’

MUSIC IS AN INTEGRAL PART OF worship at Freie Christengemeinde Bremen (fcb), both for its traditional service and for the sophisticated production involved in its contemporary service – services that are held sequentially each Sunday morning. The contemporary services unsurprisingly place the most demand upon, and sanctuary’s technical infrastructure. Between 8 and 12 live musicians perform for each service, requiring a total instrument channel count of 20 to 24 sources between drums, percussion, bass guitar, keyboards, electric and acoustic guitars, violins, loops and more. Ten channels of a Shure QLX-D wireless microphone system are deployed for vocals, with variously with KSM9, Beta87 and SM58 capsules. Those sources, additional vocal tracks, plus playback of audio from video sources and music playback, plus headset mics for spoken word mean that the 44-fader control surface, Soundcraft Vi600 console is given a workout each Sunday. The console was installed last year, along with a KLANG:technologies IEM mixing system. Scheduled next was the upgrade of a conventional speaker setup, with a cabinets. That system, says Dirk Meier, head of audio production for fcb, ‘was 13 years old and not satisfying today’s requirements any longer’.

The church has a main sanctuary with an 8m height and a total length of 30m, 23.5m of which is utilised for congregational seating (with capacity for 1,100 worshippers) and the remaining 6.5m being devoted to the stage depth. The room is 40m wide, with a stage width of 20m. The stage

The walls are concrete and, in addition to the carpeting, sound treatment includes a high-frequency absorber on the rear concrete walls. The goals of the PA upgrade, says Mr Meier, were to provide ‘even coverage of all seats, including full integration of the balcony

with the same sound character and a

An ‘adequate SPL for contemporary worship concerts’ was an additional goal, along with an ‘in-your-face sound,

After a shoot-out with another leading line array system, fcb decided to install a line array from Adamson Systems Engineering. The main hangs comprise 10 Adamson IS7 cabinets and two of the Canadian manufacturer’s IS118 subs per side, the latter cabinets

a 2-way, full-range cabinet containing two ND7-LM8 low-mid drivers and an NH3-16 1.4-inch exit compression driver. Its ‘optimised’ waveguide is cited as producing a slightly curved wavefront with a nominal dispersion pattern of 100° x 12.5° (HxV). The companion IS118 is front-loaded with a ‘light-weight, long-excursion’ 18-inch ND18-S Kevlar neodymium driver. A single Adamson Point 12 loudspeaker Concentric 8 loudspeakers provide further back on each side of the

sanctuary and delayed for timealignment with the main arrays. The 2-way Point 12 pairs a 12-inch Kevlar neodymium woofer with a 1.4-inch exit while the Point 8 scales down with an 8-inch low-mid driver and a 1-inch exit driver. Adamson’s Point Concentric 8 is a compact, passive coaxial loudspeaker, housing a single 8-inch

producing a 100° conical dispersion. There are four additional Adamson E119 ground-stacked ‘infra-subs’. The E119 is loaded with a 19-inch SD19 Kevlar neodymium driver employing a dual 5-inch voice coil. Driving the Adamson loudspeakers are Dantenetworked Lab.gruppen D-Series

Lake system processing algorithms (four D120:4L, one D80:4L, one D40:4L).

Mr Meier lauds Adamson Systems – particularly Jochen Sommer, Adamson’s director of European operations – for its ‘great support during the process of system design, installation, tuning, measurement and alignment’. Most satisfying for fcb is the sonic improvement brought by the new sound system.

‘The Adamson IS7 lifted our sound to the next level,’ concludes Mr Meier. ‘The positive feedback from our audience is unanimous.’

www.adamsonsystems.com

www.fcbremen.de

After a monitor system upgrade, Bremen, Germany’s fcb church has also installed a new PA system and shared the details with WAVL’s Frank Wells

The fcb sanctuary has a capacity of 1,100 worshippers

Ten Adamson IS7 cabinets hang below two IS118 subs on each side of the stage

The AVL operations centre

Enhancing sound and aesthetics

The system designer shares with WAVL how Singapore’s Church

FOUNDED IN 1960, AFTER THE parish’s beginnings on a site that then held a small bungalow, two wooden structures and a shack on Singapore’s Upper Thomson Road, the Church of the Holy Spirit held masses both in the bungalow and on the premises of The Little Sisters of the Poor for its larger Sunday services. In 1964, the church opened the doors to a new home. The design by one of Singapore’s well-known architects, Alfred Wong, included an iconic bricked-wall façade, high-ceiling interiors and accordionstyled timber doors. Thirty-six years later, in 2000, ground breaking began on a total rebuild to better serve the growing number of parishioners. The new rebuilt church building, presbytery and columbarium opened in 2002. With seating for over 1,500 worshippers, the sanctuary at the Church of the Holy Spirit is used for daily morning and evening masses. On weekends, masses start on Saturday evenings and there are four masses on Sunday mornings, as well as a Sunday evening mass. The church also adds services as needed to accommodate the celebrations that populate the Catholic calendar, including additional services for the capacity crowds on holy days such as Good Friday and Easter Sunday.

The original sound system for the new building proved less than adequate, shares Winston Ignatius Goh from The Sound Principles audio consultancy of Singapore. ‘They had a sound system put in then, which the congregation had to live with; it wasn’t a very good design – it was plagued with all sorts of problems. Acoustically, the church is well treated, but the sound system introduced a lot of anomalies –

Mr Goh brought the experience necessary for an audio overhaul, to address ‘the sound system and also the way it was being operated – the way they would control it. I specialise in churches, sound and audio-visual,’ he says, ‘understanding the requirements and coming up with the proper designs to suit and, more importantly, with something that is operationally easy to

use. They were looking for something new, to improve things, hence we went with a more streamlined look as well.’

A Nexo system from Yamaha was

all the options available, Yamaha is the one that gives us the most support,’ Mr Goh says, citing a local headquarters and a strong team at Yamaha with whom his consultancy has a successful ongoing relationship.

‘We got the Yamaha team in to take a look at the place and I gave them a brief of what was expected,’ he recalls.

‘I understand the Catholic churches very well, where we can put things and where we should stay out. We need to respect that this is a church; it is not a concert hall. The sanctuary has to remain clean as much as possible. Aside from microphones being in the sanctuary area, nothing else should be there. Furthermore, we should keep architecture as much as possible.’ simulation software was used by the Yamaha/Nexo team to develop the system design under the philosophy that ‘the optimum solution would be that every seat is a good seat,’ says Mr Goh. That support team included Darryl Tan, PA sales and marketing, and Aloysius Tang, technical marketing support engineer, both from Yamaha Music (Asia).

The main system is an L-R cluster of Nexo Geo M6 cabinets, which Mr Goh describes as ‘their little baby line array’. ‘It’s a baby,’ he says, ‘but it does cover the entire audio spectrum that we require here. Each left and right cluster has one set of six M6s facing the front and another one that covers the wing, because the layout of the church is very wide. Within each cluster, there’s also a Nexo PS10 that provides the monitoring required for the sanctuary area.’ The system is powered by two

with TD Controller processing. Previous experience with the array inspired array has also been used in the church of the Holy Cross and the Church of St Peter and Paul,’ Mr Goh explains. The choice of the Nexo array was says Mr Goh. ‘The previous system was actually much lower than this, and it obstructed the view of the stained glass. This has been a contentious problem for the last 15 years. Every time you walked into the middle aisle,

you didn’t see the full stained glass. You saw the two speakers sticking out. The size of the cluster now is probably a third of the previous system.’ The result is an unimpeded view of the stained-glass windows for the congregants.

That said, the positioning of the performance. ‘I’m never one to compromise on speaker positioning in place of aesthetics,’ Mr Goh elaborates. ‘It has to be where it has

sonic criteria. ‘Not only is it smaller,’ he explains, ‘because of the capability of the M6, we are able to spread the cluster further apart and higher so now it somewhat blends in with the ceiling.’

The main cluster covers everything below the seating area that’s outside the gallery, and the gallery itself. Underneath the gallery is a series of loudspeakers that are time-aligned with the main array. ‘It’s a very compact little speaker,’ says Mr Goh of the ID24i. ‘Everyone was a bit surprised by what you could get out of it.’ The church, he says, was familiar with the ID24 as a number of the

Yamaha/Nexo’s Aloysius Tang, left, and Darryl Tang, right, flank The Sound Principles’ Winston Goh

The church’s left Nexo Geo M6 cluster with arrays for the house and side-fill, and a rear-mounted PS10 for stage monitoring

loudspeakers are also used with a subwoofer in an upstairs lecture hall as its main sound system.

The main console is a Yamaha QL1, with no user access – it’s preset and out of reach. A Yamaha MTX3 matrix mixer is used to pipe in other instruments and mics as needed with

the main mics for choir and voice (Shure and Audio-Technica models) all input directly into the QL1. A Yamaha organ and Yamaha digital piano are the standard instruments used, though

instruments are added. Mr Goh says it’s easy for the volunteers to add in supplemental instruments.

When the system install was completed, The Sound Principles

pretty much a one-touch operation. The sacristan is the one that will turn on the sound system, and all he needs is one switch.’ The church’s A/V team is

more concerned with controlling slides and other visuals and there’s not a dedicated audio operator.

Video has been updated throughout the years; about three years ago, The Sound Principles provided manufacturer Mocom, coupled with about 18x gain, so you can use a much getting a very high output.’

here, and most of the congregation,’

with what they have. Certainly, they can hear a lot better than before. The Word of God has to be heard

clearly otherwise this is all pointless. In terms of operations, they are more streamlined now. It’s far easier for the user to operate the system – they means that it is far more predictable and reliable than before. It will sound the same today as it did yesterday and tomorrow. The consistency is extremely important here.’

Parish priest Father Richards Ambrose reinforces the church’s sound system. It’s very good and clear – a big improvement on what we had before. It’s important to have this level of clarity to get the message across to our congregation.’

www.holyspirit.sg

The new Nexo Geo M6 system provides fidelity and uniform coverage while not blocking the view of the stained-glass windows

Nexo ID24i loudspeakers serve as fills beneath the gallery

The choir’s view

Equipped for the journey

Thoughtful attention to detail characterises Journey Church’s technical infrastructure, enhancing worship and service to its members and its community. Frank Wells shares the church’s vision

FOURTEEN YEARS AGO, JOURNEY

Church launched with 16 people meeting in a home. That small group’s passion and drive has carried forward as the church family grew to over 1,900. Journey Church is one church meeting in two locations, both campuses located in Palm Beach County, Florida. Its Boynton/ Delray campus in Boynton Beach hosts weekly worship services and targeted ministries for men, women, young adults, youth and children, including community building ‘J-Group’ small group events. The Boynton/ Delray weekly worship services host up to 750 worshippers, including its ‘Journey Church uses its facilities for both worship and local events,’ shares the campus’ front-of-house engineer, Daniel East. ‘One seemingly unusual example is its participation in community outreach for the City of Boynton Beach’s annual “Pirate Fest”. It is a great opportunity to connect with area residents and government leaders, but with a goal to provide rather than request. Journey Church gives away bottled water, for example, in the part of Palm Beach

County where a single bottle might sell for US$3. The church sets up baby changing stations, also free of charge, at such events.

‘Further, the facilities are used for Cultivate – sort of a worship version of a “Rock School”-type training. The main campus in Lake Worth, hosts the Cultivate workshops and rehearsals, while the Boynton/Delray campus presents breakout focus groups for each instrument, vocals and tech volunteers to offer hands-on training and experience.

‘Of course, there are luncheons, weddings, funerals and other events, but, as Journey Church is nondenominational, they are not limited to church members and are sometimes families of other faiths.’

There are several AVL systems spread throughout the campus that include a full lobby EAW compact PA with powered sub and an Allen & Heath iLive 32 digital console, a Journey Students’ room and an additional meeting room, each with LED lighting rigs, two JBL PRX215SP portable 2-way powered loudspeakers and a PRX118SP sub. Further, there are children’s rooms for infants,

toddlers, elementary school age

connection to both the main sanctuary and their own local content.

Worship services at Journey Church are contemporary, with music a vital component. ‘At any given service,’ Mr East elaborates, ‘live musicians usually include three to four vocalists, two electric guitars, acoustic guitar, electric bass, keyboards, drums and some limited backing tracks via Ableton Live

that also cue lighting and, in some instances, lyric videos.’

The campus’ sanctuary seating space. The space is about 35.5m wide x 21m deep with a 9m ceiling height. Surface materials are wood and concrete. ‘Multiple acoustical treatments including 7.6cm-thick

Worship team members all use in-ear monitors

Canon Professional projectors are used to display lyric, video playback and IMAG images

LIghting and video control

Acoustic panels flown behind the Worxaudio loudspeakers help control array backfiring and reflection of sound from the video screens

The view from FOH during worship

Sennheiser EW500-G3 wireless mics are deployed for vocalists

Lead pastor Scott Baugh preaching at Journey Church

WFX 2017

Whereas traditional trade shows are focused on their exhibition, WFX attendees from houses of worship embrace the opportunity to learn from the assembled experts

THE WFX CONFERENCE & EXPO

2017, held at the Kay Bailey Hutchison Convention Center in Dallas, Texas, from 11 to 12 October, with a preconference on 10 October, stakes a claim as the largest event of its kind dedicated to church team training. The event migrates between markets, offering opportunities to new groups of local and regional attendees each year, while its draw of over 3,500 participants includes individuals from across the USA. WFX is a hybrid event with over 100 speakers for the 150-plus education sessions, along with over 250 exhibitors. The WFX educational programme’s attraction

schedule. In this way, WFX offers ample opportunity for deep demonstrations and other interaction with manufacturers alongside education.

The WFX formula is not static, but builds each year on the successes of past events. ‘Every year, we examine attendee feedback to see what worked,

what didn’t and what we can offer to continue to make WFX a valuable, refreshing experience for church teams,’ says Beth Vinton, programme manager for WFX. ‘We know many teams use WFX as their annual retreat, and we want to make sure we’re delivering what they need to get inspired and infuse their ministries with new ideas.’ Special features for 2017 included an off-site tech tour and night of worship at Dallas’ Covenant Church, alongside themed boot camps and sponsored workshops. Also popular was an in-the-round loudspeaker demo, with the audience in the centre as musical selections were played serially

and, at different demo times, portable speaker systems – 13 manufacturers participated at WFX 2017.

says Andrew Ng, director of marketing for streaming and video production specialists Teradek, while lauding the event in his next breath. ‘The quality of the people is always great – that’s the main thing about WFX, it’s always quality attendance. We like this show a lot.’

At lighting specialists Chauvet, global brand manager Caroline Chauvet says: ‘We’re not on the exhibition

education are key. It’s important to make sure that we give back to the community and we give them practical and actionable information for system building and gear application.’ WFX, she says, presents ‘the opportunity to embrace the community and bring in speakers, either technical directors or consultants or lighting designers, that are able to talk strategy’. Chauvet’s goal is to help attendees ‘realise their vision’, she concludes.

Brian Villa, technical sales manager for Vitec Video Innovations, says that looking for solutions and integrators who work in the HOW market, coming in and saying, “Hey, what technology’s connections, such as for linking a main and satellite campus, a Vitec speciality, drew the most interest, he says, along with HOW campus-wide content distribution.

audio technologies (see page 74 for a

it,’ he shares. He calls WFX a bit of a hybrid of other shows he’s attended, like AES, NAB and NAMM. ‘It’s a little more intimate,’ he says, noting that he was able to spend ample time with exhibitors. ‘There’s such a wide gamut of people in worship, from the volunteer world to the more

The sessions he’d attended, he furthered, covered top-end products, with content that was ‘accessible and pretty basic so far’, striving for balance between knowledgeable attendees like himself (a veteran

really liked the loudspeaker demo,’ he adds, offering the chance to hear a number of systems at once in the same environment.

2017 Dates: 11 – 12 November

2018 Dates: 13 – 15 November

Venue: Kay Bailey Hutchison Convention Center, Dallas, Texas

Contact: www.wfxevents.com

The busy WFX exhibition

Caroline Chauvet outside the Chauvet training room

Vitec’s Brian Villa answers questions at WFX

WFX includes numerous education sessions

WFX attendees learn about the Lawo digital console line

Teradek’s Andrew Ng

Michael Clute, Highland Park United Methodist Church producer/engineer, audio technologies and WFX attendee

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Lighting when ceilings are short

For such cases, John Black

WHETHER WORKING IN A HOUSE of worship, school theatre or other for ways to decrease costs often sanctuary or performance space. After all, vertical space is expensive and is theatre facilities – one of which has a truss out of the audience’s view.

MEET THE AUTHOR

provides technical production of-the-art performance venues on and productions a year in the areas his passion for entertainment production team, Crusader Live!, production environment.

situations.

Flexible lighting positions

While in most circumstances you that you should consider is where you all, the positions that you choose will

John Black, theatre manager for Seoul Foreign School

Having a good assortment of positions to allow for front, side and back/top lighting will serve you well, but, in cases of low ceilings, there are some additional things to consider.

Let’s look at washing the stage in colour. Colour washes are most often created using back/top lighting positions. In facilities with higher ceilings, these positions will often be masked with curtains or are so high that they are out of the congregation’s

a person on the stage. When ceilings are short, masking can

severely limit the area that can be lit and also make the ceiling appear even shorter than it really is. Additionally, the lighting

of the congregation be blindingly bright.

can be focused in a top light position, the less distracting and blinding the light will be. The pool of light will behave similarly to a back light position and be effective in pulling the presenter out from a background. Depending on the depth of the stage, the height of your ceiling

need one, two or several of these positions to be able to wash the entire stage.

Side lighting is useful in creating some unique lighting looks as well as providing additional angles for lighting that may be created by less than ideal front lighting. If your house of worship is used for any kind of drama or dance presentations, these positions will be very useful for sculpting actors and dancers. I would recommend having side lighting positions as deep as the stage, as well as some on the side of the auditorium seating area. One

can be particularly effective is when a standard projection screen and projector is used for imagery instead of LED or LCD display monitors. In situations with low ceilings, the angle for front lighting often results in light bleed onto projection surfaces unless the presenters are able to be in a space entirely removed from the projection area. When this is not possible, having side/side-front lighting positions can allow you to light the presenters with no bleed, or as little bleed onto the projection surface as possible.

Front lighting may be the most challenging position to deal with in situations where ceilings are short. For the reason just mentioned, front lighting can result in light bleed onto undesired surfaces on or around the stage depending on where the presenter is positioned. However, congregation sees on the stage. When ceilings are short, front lighting often results in light beams at very shallow angles, meaning that the bright glare of of those on stage. While there may be some situations where a presenter doesn’t want to see the audience, most often than not in the house of worship market, those on stage want to see and make eye contact with congregants

c Theatre Controls (ETC) Source 4WRD LED ellipsoidal fixture

Elation Professional DW Fresnel fixture

throughout a service. Therefore, having front lights pointed nearly horizontal into their eyes is less than ideal. To either be spread wide apart so that a presenter can look in between the light beams, or the front light position can be positioned close enough to the stage that the angle of the front light is as steep as comfortably possible. This often does not produce very good results as the lighting angles can produce unnatural facial shadows. Despite this, I have found that I will usually opt to place the front lights closer to the stage as getting the angle as steep as possible is what is most comfortable for the presenter. The low shadows that are often produced I will resolve by using footlights, lighting the in the lower shadows. Combining the high front lights and low footlights will usually solve my issues as a lighting technician while keeping presenters happy.

As with all lighting in any venue, using a combination of lighting positions is the best method for achieving natural, realistic lighting. It can be achieved in situations with low ceilings, but I have found that the consideration of eye comfort of those on stage, as well as congregants, takes a more prominent role in decision making.

Fixture features to consider

In addition to careful selection of lighting positions, it is also important to look carefully at the features of any be that some of the more common

and it is more important to invest in the right tools than it is to have the latest following features are some of the most common things that I look for in these situations.

working in a facility with low ceilings,

there would be very few reasons narrow beams. If I am considering most certainly look at Fresnel-style beam wash lights that in short-throw situations are some of my standards. If I am looking at an ellipsoidal-type

least a 36° lens. But, of course, it

facility. There are also quite a few LED strip-style lights available that use a number of light sources installed in a

an overall wide beam of light that can work well in these situations.

Another thing that I look for is what In low-ceiling situations, chances are

wash, or having to scroll through a palette of gels strung together, is indispensable. When working in spaces with low ceilings, chances are that you are also working with a relatively small space, so it is often better to specify a larger rig.

the lamps well under full intensity. Not only would the brightness be too much, but the heat produced by high wattage lamps would be uncomfortable. I personally would recommend going the

the market that are LED driven. Not brightness in a short-throw setting, but they will produce considerably less heat, besides the cost savings on your electricity bill as well.

Speaking of LEDs, I also look for

are very common in many settings today. I utilise large rigs of LED wash units in all three theatres that I

The last feature that I try to be for facilities with low ceilings is the Automated lights, LEDs and other additional processing parts will often have a number of fans installed to means that noise from equipment has a much shorter distance to travel more annoying than being in a space and hearing the whirring of dozens, or hundreds, of little fans competing with both the programme audio and with those talking around me. It is important, though not immediately obvious, to think about this as it can the space.

challenges, it is possible to create very effective and creative lighting in facilities with short ceilings. After all, there is no perfect facility (that I have come across anyway). With thousands of products on the market, ensure that you have the right tools for the job, a creative spirit and you will be able to achieve spectacular results.

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It didn’t matter how far back their seats were. Or how cavernous the hall was. All they heard – all they felt – was sound that was warm, intelligible and personal. With clear, precisely-controlled sound from Renkus-Heinz loudspeakers, their seats were the best in the house. To learn more or for a demo, visit www.renkus-heinz.com.

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It isn’t just about being heard, it’s about being understood.

Guitar tone on a quiet stage

YOU HAVE PUT IN A LOT OF HARD work and fundraising and the day has arrived to debut your new quiet stage. All musicians and worship leaders are getting new in-ear monitors, the drums have switched to an enclosure or electronic drums, and the on-stage has been gain-staged for maximum signal-to-noise ratio, equalised and everything is ready to go. Then the guitar players come up and ask:

them, you will be going in direct to the have a crisis.

I also play guitar in our church praise

more accurate description in my case).

right tone or sound for his guitar. There are thousands of effects pedals, hundreds of choices for strings and many dozens of pick-ups the electric guitar player can choose from. The

achieving the signature tone that each Santana, Stevie Ray Vaughn or Steven Vai simply from hearing the tone.

years before a guitarist is happy. I have burned through many different pedals and amps looking for the sound that I feel is right for me.

Now, your new quiet stage threatens those years of work and effort. Naturally, the guitarists will be unhappy. So, to avoid the crisis point this article, you must consider your musicians and seek a solution before this becomes a problem.

There are several workable solutions for retaining the tone of a guitar (including bass guitar) while taking your house mix off the stage and maintaining the clarity of your system.

Isolation – contain the amplifier and sound

MEET THE AUTHOR

Audio expert and industry veteran technical ministries at Rio Rancho

but isolated from the stage by an enclosure. This can be handled in a variety of ways.

If your stage area has a well-isolated can be placed in that room with a microphone to feed the PA. The room will need to be fairly well sealed, so performance space. The last thing distracting the congregation (when the embarrassing mistake I once made during a sermon).

If the room tends to bleed over into your worship space, consider extra insulation in the walls of that room, weather stripping on the door and acoustical treatments on the walls.

an isolation room.

The next solution is an on-stage

will depend on several factors. First, is the guitarist playing with a combo amp. In that case, the enclosure will

(Figure 1). A completely sealed unit will capture the heat and could lead to heat-induced failure and premature other components. Active ventilation with a motor-driven fan will assure a should be considered for tube-driven

lower heat signature and may be okay with a passively ventilated unit.

speaker cabinet, then only the speaker cabinet needs to be in the enclosure (Figure 2). This is a desirable setup because the player

will still have complete access to his controls. The enclosure can be completely sealed and will have only the speaker cabinet and the microphone inside. Better-quality enclosures will have bulkheadmounted connectors so the cabling is isolated as well.

This type of cabinet can also become woodworker in your church. Some guidelines should be followed. Allow enough room in the enclosure for the cabinet to be easily lifted in and out without being crowded. This is not a tightly. It is an acoustical isolation cabinet and the microphone that will also be placed inside.

The enclosure will need to be lined with acoustically absorbent material.

Be very cautious about your choice of materials here. The lining needs to be decorations and materials should be) to protect the congregation, the musician and the building. There

churches and these stories almost always end tragically. Ideally, you should be lining the cabinet with rock wool or acoustical foam that is rated mounted connectors for the speaker cable and the microphone cable.

While guitarists consider their amps part of their sound, guitar and bass amps contribute heavily to stage volumes. Gordon Moore offers advice on ways to keep everyone happy

Gordon Moore

Figure 1 – a fan ventilated amp isolation cabinet from Vocal Booth

Figure 2 – a fully sealed speaker cabinet isolator from Jet City Amplification

that will ruin the quiet stage concept. Some enclosures have see-through plexiglass sections and do not suppress the level much like a drum enclosure does. If your stage volume can tolerate some leakage, these can

Emulation – create a virtual amplifier

Another option – with a willing design now allows the guitarist processors that re-create the sound

One device can emulate dozens of for the worship leader.

Generally speaking, rack-mount units tend towards advanced

triggering and advanced preprogramming. Look for an XLR

signal to the mixer are an additional

neat stage with a rack-mounted player cannot take the unit home doing without or having an additional

very advanced, somewhat expensive systems.

connection to the mixing console

of rehearsal, pack it up and take it

sound options is huge and the player needs time alone with the unit to sort out new tones.

kick in and out through the emulators are single-function effects pedal that to the end of an effects pedal

tone they desire while retaining the operational characteristics of their I use. I have a good chorus pedal, a good compression pedal, a good

retain total control of the mix without thousands, of choices in effects pedals the selection.

act like an entire series of separate effect pedals and almost all include

old school and operates old school and I can plug directly into the mixer

If you are making the transition to to create a clean house sound, then include your players in the design.

solution that gives you, as the house mixer, complete control and clear their signature sound and to play

solutions will offer the pathway to a drama-free transition to the world of stage.

and mix well.

Figure 3 – Clearsonic Amppak line speaker cabinet and amp shield

Figure 4 – Kemper’s rack-mountable Profiling amplifier

Figure 5 – the Helix multi-effect and amp emulation pedal from Line 6

Figure 6 – a small, portable pedal board from Gator Cases’ G-Tour line

Figure 7 – Tech 21 introduced amp emulation in 1989 with the original SansAmp

Recording performance video: how to get started

Whether you’re shooting a worship leader, a band or a theatrical performance, James Cooke explores where to start when recording performance video

ON THE SURFACE, RECORDING

video of a performance seems relatively simple. If the video’s sole purpose is to serve as a record that

Bring in a camera, turn it on, aim it towards the subject and press record. Done.

However, if the video is intended for viewing, either live on IMAG screens demand on a website or YouTube channel, a single-camera setup just won’t cut it. If the camera remains stationary for the entire performance, your audience will grow restless and uninterested. Most 21st-century viewers are used to dynamic video that cuts between different cameras, offering a raft of angles to keep them engaged. Of course, if you’re feeling particularly active, you could attempt to add movement into your single-camera shoot by following the action as best as you can. Though the risk here is that while following one part of the performance, you might miss out on another. Running around with the camera can also be

a disorientating experience for those watching. Nobody wants a seasick congregation.

Cameras at the ready

So, we’ve established that you’ll ideally be operating a multi-camera setup. Plan the camera angles you wish to achieve. A good basic setup will include

of the entire stage or performance area. Not only does the long shot (or wide shot) provide a full view of the environment for those watching, but it also serves a practical function in that it can be cut to at any time during the performance. For example, when broadcasting live to IMAG screens or streaming online, should the director request that the other camera ops take up new positions, cutting to the move around without interrupting the being recorded for postproduction, the timecode sequences in which the rest of the cameras might have missed

Image courtesy of Church of the Highlands

something. As well as being a good backup, long shots of the entire venue are also great to cut-to for artistic purposes every so often.

Speaking of timecode, when recording for the edit suite in particular, make sure all cameras are matched up to the same timings. Best practice is to set all cameras to zero at the beginning of a shoot and to make sure the timecode on each begins counting at the same time. Timecode allows coordination between the recordings from each camera, allowing an editor

All they need to do in order to locate a

each camera feed.

As well as setting the timecode, you’ll need to make sure each of the cameras has been white balanced. This is fairly easy to do with most cameras and can be used to give the lighting and colouring on set a different look on screen. If the lighting team has done an excellent job of creating the right look and it’s looking good on screen, then set the white balance to the camera’s standard tungsten preset. However, if the performance space is looking colder than you’d like from behind the camera, then you can adjust the white balance by pointing the camera at a plain white surface (a sheet of paper is good enough) and selecting the white balance option on the menu. When this is selected, the camera essentially takes the colour and lighting of the plain background it faces as being ‘white’ and adapts everything else

accordingly. So, if you were to hold the sheet of paper below a cool, blue light when white balancing, all footage shot with that camera will appear warmer. Alternatively, if white balancing occurs in a warm, orange environment, all footage shot will take on a colder feel. Therefore, white balancing can have a huge effect on the video recorded from each camera; it is imperative that all cameras in use are white balanced to the same level before shooting. Should a mistake be made, postproduction can usually rectify the footage from an ‘out-of-balance’ camera feed, but this is no good for live streaming and IMAG applications, as cutting shots between cameras with white balance settings can prove particularly distracting for audience members.

with the camera equipment, you and your team will need to know where and how everyone will be positioned. In

that all-important long shot, will the other camera operators be hoisting their cameras up on their shoulders? Or will the cameras be mounted on tripods? Tripods provide stable and steady shots, whereas feeds from handheld cameras will have more of a raw quality to them that might better suit a lively praise band. It all depends

and comes down to artistic licence. Perhaps a blend of tripod-mounted and handheld cameras might work best, the steady shots causing the handhelds to seem more intense and interesting by comparison. Although, the layout of the venue might dictate what, where and how cameras are set up. Also, consider the major limitation imposed by using a tripod in that the position for the entire performance. The angles you want to capture provide another consideration to be prepared

you know the layout of the performance and where everyone will be to ensure you get the best shots. And remember not to break the 180° rule, so that the same left/right relationship is maintained throughout the

performance and audience members don’t become disorientated.

Something obvious to check –something so obvious it gets overlooked more than you’d think – is the batteries and power supplies. Make sure the cameras all have enough juice to get through the performance, as well as a back-up supply in case of an emergency. It’s not just cameras that rely on batteries though. Microphones and intercom systems may also be battery-powered, so make sure that they are fully charged too.

When it comes to sound capture, unless the live audience is particularly quiet, the microphones bundled with your camcorders are unlikely to be suitable. Even if they do capture the sounds on stage, it probably won’t be great quality. Microphone setup will depend on the type of performance taking place. Your house of worship may already be equipped with podium mics for the pastors. Perhaps there are even clip-on microphones as

It is advisable to record audio on separate channels where possible (see page 48 for more details on multitrack recording), as this will allow you to up the volume on certain feeds and lower others to remove any unwanted sounds. Shotgun microphones and close-miking are options to ensure that audio is only captured from desired sources. However, if you are limited on the number of mics available and hope to capture a number of performers with a single microphone, shotguns will be no good and you should opt for a more standard cardioid microphone placed at the minimum distance possible to pick up all the desired voices. Also, remember that the audience can be as much a part of the show as the performers. If you want to include their applause and adulation as part of the recording, don’t forget to point a mic (and a camera) at them too.

Practice makes perfect. That goes for everything in life, including video shoots. Musicians and actors rehearse, and, as such, so should the team unavailable to run through a full dress to stand on stage and pretend it’s the real deal. Either way, the opportunity to practise needs to be taken.

And, action!

You’ve planned, you’ve rehearsed, you’ve checked those batteries and double-checked just to make sure. The performers are taking to the stage and the curtain is lifting. One last thing to

part of the HOW’s inventory. Clip-ons a theatrical performance, whereas standard handheld microphones would be ideal for singers. If it’s a live band will come prepared with their own microphone kit covering their entire set of instruments. Make sure this is the case in advance though, because if the onus is on you, it might be time to begin researching kickdrum mics.

note is that during the shoot, don’t forget to capture some B-roll footage if appropriate to splice in and keep those cuts interesting. That includes shots of those applauding audience members.

When it comes to recording performance videos and what to do, you now hopefully have some idea, but what about the gear? Turn to page 52 to explore the technical setups that some houses of worship have employed for shooting performance video.

Image courtesy of CSD Group

Image courtesy of Church of the Highlands

Image of Grace Church courtesy of CSD Group (see page 24 for details of this setup)

Troubleshooting fundamentals

When

AS A

BROADCAST RADIO ENGINEER,

and later as a studio tech, the best troubleshooting aid in my arsenal was an in-depth understanding of the full that’s microphone to transmitter, the studio, it involved consoles with

of microphones, patchbays, tape machines and racks of outboard mic pres and processing gear, resulted in

large format studio console was aided by a huge block diagram of the was posted on the wall of the studio’s tape machine room and, when chasing problems, I stared at it enough that I could eventually see the core

recommend that you create a block diagram of your full systems – audio, video and lighting – to reference during

Figure 1 is a block diagram of a system is digitally networked, with analogue I/O used only at the connections to the transducers (microphones, headphones and

worth including details within a block that can aid in troubleshooting, such as control elements such as faders and

simply making sure that all devices powering up unpowered devices is not

The half-split method

During my electronics coursework, we were taught the ‘half-split’ method of

desired signals reaching the midpoint of the chain? If not, then the problem is

If there is signal present at the midpoint, then the problem is between

Once you’ve determined which half of a system is home to your problem, then you can split that half in half again, and again, until you narrow in on the

There are two fundamental forms of signal path problems – failure of some system component or connection and, HOW audio system, the console is in

The console is also the most likely place where something will go wrong also gives the operator feedback that

Where the console has input metering, signals making it all the way through through the various console channel stages, looking for any control settings that might be preventing an individual channel’s signal from reaching the should check to make sure the channel that doesn’t provide a solution, then the operator should make sure there

channel source is correctly assigned at the console input, be that via input

those stages appear to be set correctly, then processing (EQ and dynamics, insert sends and returns) can be bypassed and output assignments

signal is reaching the main PA but not

control up?

That didn’t solve the problem?

Fortunately, as most problems are

with a console control set incorrectly, troubleshooting becomes more problematic during a production, which is the reason all signal paths should be

If some signals are making it through the system, and not others, then the problem is not likely to be a digital

themselves and source connections

A working source of like type can be tested by temporarily moving a working source to the non-working channel, helping determine if there

Only change one thing at a time before

The best troubleshooting tool is knowledge; there’s no substitute for having a good working knowledge of

things go awry, a systematic approach to troubleshooting is far more effective than Frank Wells lays a foundation for troubleshooting

Portability pointers

What does a house of worship need to know about the technology behind portable lighting control systems?

James Ling

WE HAVE DEDICATED MANY PAGES in this magazine over the years to how to get the best out of permanently installed lighting systems. However, there are many houses of worship around the world where that guidance doesn’t apply. Some may only require temporary lighting systems for

permanent home need to set up and tear down their systems every week. In these cases, a portable solution can provide the optimum solution.

difference in lighting and controller products that have been designed for install versus portable use,’ says Ray Villasenor, product manager, controllers at Elation Professional. ‘The big differences in this situation will be on how the products are mounted and cabled. Using clamps that can quickly attach and be removed to a mounting pipe will save time and reduce the stress of setting up in a hurry.’

This being said, there are certain aspects that a HOW using portable lighting needs to consider. ‘Versatility is the primary consideration,’ notes GLP president, Mark Ravenhill. ‘If the system

is being moved from place to place, then it needs to be suited to the needs of the different locations, and with short set up times being likely, then getting is the main requirement.’

‘Since it’ll be taken in and out of a venue on a regular basis, the lighting control system should be compact and easy to set up and to operate,’ adds Luke Delwiche, ETC entertainment market manager. ‘The choice of control desk is crucial, particularly if there will

be multiple operators who all need to be able to walk up to the control desk, learn it quickly and bring up great lighting looks.’

‘Every situation is unique, but don’t fall into the trap of concentrating purely on size and weight for the perfect portable control solution,’ furthers Jon Hole, product manager, entertainment lighting controls at Eaton. ‘Although important, the very nature of a portable system suggests it’ll be used in a wide very little time to set up and program.

as, if not more, relevant.’

Going into more detail, Mr Hole houses of worship need to consider. ‘There are two aspects to speed – both the physical set up time, and then the time it takes to make changes

control system is rarely the smallest, based control solution is the most portable (smallest and lightest), but generally operation and live changes to consoles with physical, tactile elements such as faders, buttons and encoders. Environments might

relevant consideration. Then comes the aspect of reliability. Cables are going to be plugged and unplugged regularly, so quality connectors are vital. Temporary cable runs might not be as well protected, and so these must be both safe and protected. Power sources might not be as readily available, or as reliable, as you would want (what happens when someone plugs yet another hot water urn into the same ring main as your control

The ColorSource family from ETCEaton’s Alphapack 3

GLP’s Mark Ravenhill

GLP’s X4 atom

Elation’s Show Designer 1

console?). Lastly, products are going to be stored and transported in a huge range of conditions, and so products with a solid and reliable build quality are crucial, stored and transported in Even then, the inevitable happens, so don’t forget redundancy and spares of anything critical.’

There is also basic functionality that a house of worship should look for. ‘It’s advisable to choose a desk that’s easy to set up and to operate,’ reiterates range of colours. It sounds basic, but pink to sky blue without passing by

fact of life in today’s lighting industry, so it’s advisable to choose a desk that

functions are usually all a portable church will need,’ adds Mr Villasenor. ‘Be sure the controller can operate all ease. Avoid getting controllers that are designed for one type of light – these can usually be forced to work with other lights but end up not allowing the lights to be used to their full capacity,

to hours of frustration.’

portable lighting control solutions, Mr Hole breaks this down into three core

to control begins. ‘Data distribution – how do you get your signal

distribution. Basic distribution, such as DMX splitters, can be added for various reasons. They distribute the signal

the quantity of cable required, and Most DMX splitters also boost the DMX signal, allowing you to run longer

advanced distribution could include isn’t guaranteed to be as reliable as the cheapest copper cable. That said, wireless can be fantastic for power distribution – how do you with how to practically spread your

than ever.’

worship need to consider. ‘At the very and do so reliably,’ says Mr Ravenhill. ‘You don’t want to be left hanging with products that have a reputation specifying decision.’

Mr Ravenhill believes that this can be that you need, and keeping the focus on that core. ‘It’s not worth investing but it is often forgotten.’

www.eaton.com

www.elationlighting.com

www.etcconnect.com

www.glp.de

Jon Hole from Eaton

The FLX S24 from Eaton brand Zero88

Live multitrack recording: how to get started

Multitrack recording allows musicians to hear and perfect their performances, makes virtual soundchecks possible and allows mixes to be polished for on-demand playback.

James Cooke

Background

Multitrack recording (MTR) is nothing new, having been developed as a concept by Ross Snyder at Ampex during the 1950s. This was at the request of Les Paul, who wanted a recorder that could record and playback three tracks (or channels) of sound simultaneously. In regard to technology, multitrack recorders began with analogue tape devices that were limited in the number of tracks that could be recorded by the height of tape they could accommodate. Boundaries were pushed from eightto 16- to 24-track recorders, and pushed again as studios experimented with linking together multiple 24-track machines. An example of this experimentation is Toto’s fourth studio album, the aptly titled Toto IV,

which was recorded in 1982 on three synchronised 24-track devices that could potentially have recorded up to 69 audio tracks at once (with three reserved for time code).

However, with today’s digital hardware and software solutions, there is no need for such complexity in achieving a multitrack recording.

tracks can be recorded, although the reality is that hard drive space and interface capabilities will dictate the achievable channel count and recording time.

Definition

MTR is also known as ‘multitracking’, or simply ‘tracking’. It facilitates the recording of separate audio tracks that can be mixed down later,

Avid’s Pro Tools is a commonly used DAW that includes MTR functionality

JoeCo’s BBR64-MADI recorder, designed for live recording

typically to 2-channel stereo, with the option for mono or surround sound. Applications include the playback of individual instrument or performer recordings within an ensemble and provide the ability to re-record a track if necessary. Say, for instance, that the piano player hits a bum note; their part can be recorded again

mix with the rest of the band’s original performance. MTR can also be used for recording a redundant feed as a back-up in case of a system failure. Complex recordings, or recording of backing music for a drama performance, could be pre-recorded. MTR recordings can also be used for virtual soundchecks, for training sound engineers, for musicians to analyse their own performance and for system troubleshooting. Where recording typically differs in a house of worship from a recording studio is that HOWs tend to record audio from a live performance, similar to a concert. Therefore, whereas the band can start over should the

luxury is afforded when there is a full congregation watching and listening. While this may result in a cringe-

inducing moment on stage there

later on for the recording. While the singer could perform the entire song again once the congregants have

possibility that they could just sing the one line they made a mistake on. This is via a process known as punch in/ punch out. While this was possible to do back in the days of tape, it’s easier than ever to splice out the mistake from a recording and punch in the re-recorded audio. One potential issue that can arise when punching in and out is mic bleed. For example, did the rhythm guitarist’s mic capture the singer’s vocals, and therefore the mistake, too? If so, you can punch out the line on the vocalist’s track, but it’ll still be heard in the background. This is why many studio sessions will record each member of a band’s performance individually, or with individual musicians isolated acoustically, to avoid such spill. Again, this is a luxury not afforded when recording live performances. Additionally, via the process of overdubbing, new tracks can be added to an existing recording. While not always ideal, it’s another way in

which MTR has your back. Another for each track during mix-down.

Setup

Microphones are, of course, required for singers, speakers, musicians and any other performers. In a typical

setup, once vocals or instruments have been captured by the mics, the signals will be sent to a mixing console. It is to the mixing console that a multitrack recorder might be connected. Alternatively, some consoles combine mixing and recording functionality, negating the need for a separate recorder. These devices carry no fancy names; you’ll

24-track tape machines like this Studer A800 were once the standard for multitrack recording (photo courtesy of Universal Audio)

Tracks Live from Waves presents a more budget-conscious option

The TASCAM DP-32SD is a ‘Portastudio’, combining mixing abilities with 32 tracks for recording

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Recording

video: gear considerations

What equipment are houses of worship using to record performances? And why did they make these decisions?

HOPEFULLY BY NOW YOU WILL

have read James Cooke’s excellent piece on how houses of worship can get started with recording performance videos (if not, I urge you to turn to page 42 explores what kind of equipment you will need and how to get things set up

With that kind of information, many technical worship leaders will be ready

However, there is still one major issue will be right for your HOW? The answer to this question will be different for

As is often the case in this situation, the best option is to learn from the

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spoken to three churches from around the world to see what equipment they use and how this helps them to make

Cathedral of Faith

Based in the Californian city of San José, Cathedral of Faith is a church of multimedia arts to help convey its

‘Our approach to recording a performance is to help enhance the experience of those inside the auditorium and those watching online,’ explains Kurt Foreman, director of to help connect each person to the

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message we are sharing through all the visual and audio arts.’

In order to do this, Cathedral of Faith has opted for an HD signal chain. ‘We

SK HD 1000 Cameras utilising triax [triaxial cabling],’ furthers Mr Foreman. ‘The camera locations are three stationary cameras throughout the back of the auditorium with long throw lenses, and two handheld that are used on stage. We have two For-A HVS350 HS 1.5M/E Video Switchers. One switcher functions as the main switcher our video director uses to control what goes to our video recording, and the second switcher is used to drive our

IMAG, and is somewhat a secondary switcher because he utilises the director’s feed.

‘Our infrastructure is a Blackmagic Design router with 72 outputs/inputs that feeds locations throughout the campus as well as our video sources,’ he continues. ‘We record all the services in Pro-Res on our AJA KI

sweetened using Final Cut Pro and posted on our website, and other video outlets.’

At the other end of the signal chain, there are a variety of outputs. ‘We have two left and right Panasonic 12,000 lumen DLP projectors that

feed two large screens, and now use a PixelFlex LED wall (current says Mr Foreman. ‘This LED wall provides a variety of uses for worship backgrounds/lyrics, and sermon videos and point illustrations which helps bring the Gospel to life. Prior to the LED wall, we used a series of consumer TVs and built a videowall using ProPresenter/ProVideo Player. Although this worked well for us for several years, it required a lot of

graphic and video playback, but was

Arrayable Point Source

limited by not being able to take a live video source. Now, with the new LED wall, we have no seams in the videowall, the brightness we need, and it is simply a destination on our router that can take any kind of feed, live or recorded. This has greatly reduced the content creation and deployment time.’

While this covers the hardware in use, there are also some vital software components deployed at Cathedral of Faith. ‘We utilise ProPresenter and ProPresenter Video Pro for playback for all sermon points, lyrics and videos

Two handheld cameras are used on stage at Cathedral of Faith

AJA gear in the rack at Church of the Highlands

The new Coda Audio APS combines the userfriendliness of a point source with the perfect arrayability of a line array creating a unique category reinforcement system.

ONE for ALL

The most flexible solution for medium size applications

that we use in the service,’ says the director of operations. ‘We couldn’t do without this software.’

Discussing how it selected the equipment in its signal chain, Mr Foreman makes an important point.

‘Our goal at Cathedral of Faith is to utilise all of the arts to help people experience and connect with God in a personal way. Every piece of equipment is evaluated on what it can do to help us achieve this goal – to help provide meaningful moments while at the same time being a good steward.

‘Given the wide array and now more budget-friendly equipment that is available, it is important that a church and the equipment,’ he continues.

‘The most important part is not only functionality but thinking who is going to use it, a volunteer or a paid experience level of the person going to use it. I choose to keep it as simple as possible. Any new technology is evaluated for this essential reason – how it will help us reach people for Christ, and how it can help them connect with God in a personal way. They are tools to be used wisely.’

Rivers Church

Rivers Church is a fast-growing South African church with a congregation that exceeds 10,000 across its three sites. Its campus in the Sandton suburb of Johannesburg has put a lot of time and effort into upgrading its technical systems to ensure it delivers the best results for its parishioners.

Recording has been a focus for the church, and as such this forms an important part of its video system.

‘We record every service’s camera mix directly on to our SAN using Just:in, on card via a Sony EX30 as backup and on

Helliwell, worship and creative arts for the church. ‘During our morning services with our senior pastor we record for our TV programme using Just:in again with cards as backup.’

Going into more detail, the church relies on a large camera setup. ‘We have an eight camera setup, our main-follow cameras (two Panasonic HC3800s), four Panasonic HPX 250s capturing wide shots of the building and a pair of Sony EX3s capturing crowd reactions,’ explains Mr Helliwell.

‘Six of those cameras record directly

on to the server, with cards as backup. Our two main-follow cameras record on to Atomos (Samurai and Ninja) units as backup because they don’t have a card facility. Our two remaining cameras don’t need to be synced with the rest of the system because they only catch crowd shots so we just record on card. We run HD-SDI through our building with Cat-5 carrying signal over longer distances.

‘Audio is recorded at FOH independent of the video feed for backup purposes,’ he continues. ‘Multitrack audio is embedded via Q-Sys (Q-Lan protocol) and/or Dante (and sometimes via AES) into the camera feed each service. The main L-R mix is sent to the vision mixer and recorded for main mix purposes (also via Q-Lan).’

With regards to essential equipment required for recording services, Mr Helliwell believes that it really depends on the need and the current setup. ‘Easiest and most cost effective would be recording from your camera straight on to a card if you have a single camera setup,’ he states. ‘My thoughts if you have a camera mix that you’d like to record is to have an external recording device like a Samurai that immediately that you’re able to take out and use as soon as your recording is done. For churches with a more involved setup, live ingest enabling editors immediate

access to footage being captured. As mentioned we use Just:in but there are lots of great alternatives on the market.’

While this covers the here and now, Mr Helliwell knows what next steps he would like to take with the church’s video system. ‘What we’re possibly looking at as our next step is upgrading our mixing desk to an integrated console, bringing our visuals and camera setups together.’

Church of the Highlands

With 16 campuses and an average attendance of 40,000 in person every week, Alabama’s Church of the Highlands is a popular house of worship across the entire state. However, it is the 10,000 who watch live streams of the mega-church’s services that make the video element all the more important.

‘We want to be able to capture as many different options as possible, since there’s no way of knowing exactly what will happen during an event or what could be needed afterwards,’ begins Justin Firesheets, production director at Church of the Highlands. ‘So, it’s critical that we have multiple different options available.’

The recording system itself is based around equipment from AJA. ‘We use multiple different generations of AJA Ki-Pro decks to handle ISO captures and various master outputs (clean, certain GFX channels). We also capture on an iMac using Blackmagic Design Express software. We will soon be implementing Grass Valley K2 Summit hard drive recorders at several locations to replace some older recording devices.’

While all the equipment is important, the key piece of the signal chain for Mr Firesheets is one of its recent investments. ‘The new AJA Ki-Pro Ultra is something I could not do without,’ he reveals. ‘It will either capture one main input in 4K or up to four unique HD sources.’

While Church of the Highlands does not have any current plans to invest in more equipment at the moment, Mr Firesheets does have a word of advice for those who are looking to add to their signal chain. ‘Since it’s possible that a primary method could fail, having layers of backups is a critical level of investment.’

While no house of worship is identical, hopefully the experiences of others in a similar position will add some clarity to the technology choices you are making.

www.cathedraloffaith.org

www.churchofthehighlands.com

www.rivers.church

Justin Firesheets from Church of the Highlands

Rivers Church uses an eight camera setup

The view from FOH at Rivers Church

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Universal in-ear monitors

their praise team. WAVL overwhelming options

THE CONCEPT OF A QUIET WORSHIP stage has gradually taken hold in churches worldwide, especially where there are high-energy contemporary worship services. If you are a regular reader of Worship AVL, you are no doubt familiar with the quiet stage concept. In short, when loud guitars are used on stage along with stage monitor loudspeakers produce a wash of sound from the stage that interferes with the sound mixer’s ability to control what the worshippers hear and to control overall loudness. The alternative is to move towards personal in-ear monitors

with drum cages or electronic drums and guitar speaker containment boxes or amp emulators (see Gordon Moore’s article on taming onstage guitar amps

When houses of worship make the move to personal monitoring, many opt to purchase a quantity of universal and musicians. With headphones and IEMs (‘earbuds’ in consumer categories in electronic gear, HOWs have a staggering number of options to choose from. WAVL talked with

the options.

Marty Garcia, founder and CEO of Future Sonics, and the originator of personal monitoring earphones for professional use, says that IEM of the signal path” – the personal

monitors, also known as the speaker reference system. The personal monitors chosen will be the audio reference for all signals and equipment upstream. The audio reference is the proper way to start creating a great mix and/or troubleshoot any issues upstream.’

Performance criteria

‘Sound quality is the number one performance criterion for worship leaders and their teams,’ says Rick Muchow, a worship pastor and coach. ‘Other important factors

durability.’ Mr Muchow, who is also a worship arts professor at California Baptist University and a church in-ear monitor expert for Ultimate Ears Pro, elaborates. ‘Ease of use is important because most HOW teams are not technically trained and spend relatively little time using their IEMs. For example, if their IEMs don’t work, instead of taking time to use them pull them out and not use them. The

are not as important as easy-tounderstand directions on how to use them.’

‘Listening tests,’ Mr Garcia shares, comparing personal monitors via familiar music in the studio, computer, tablet or smartphone will help to make

your best personal monitoring audio reference choice. Listening for yourself is

‘Isolation is key for many larger worship venues,’ says Daniel East, president of the ECI Group, musicians and companies that serve the needs of musicians. ‘With more line arrays and larger bands on a given stage, isolation of -21dB or more helps reduce delay, competitive stage issues. Second, higher impedance offers more headroom and better

DANIEL EAST offers advice on monitor type selection and costs based on the user’s role. ‘For the houses of worship that we work

following is most often the case’.

Worship leader and/or MD: custom IEM

Bass players/drummers: custom IEM

Guitars/horns/pianists: generic IEM, US$100 to US$300

BGVs/digital keys: generic IEM, US$50 to US$100

generic IEM, US$100 to US$300

Daniel East – The ECI Group

Future Sonics universal G10 IEM with its ‘SofterWear’ optional sleeve

Marty Garcia – Future Sonics Ultimate Ear 900 IEMs

Kling & Freitag balances passion with precision for uncompromising audio quality and 'German engineering'.

We are driven by a desire to provide and technically guarantee music and sound as a genuine sound experience. This is what each product by Kling & Freitag stands for - or, as we say, 'Passion built in'

can sound harsh or distorted with several of the personal mixers in use.’

specs all state the same 20Hz to companies other than his own. He is an advocate of voice coil transducerused in Future Sonics gear. ‘Breathing drivers.’

stage has three or more open vocal sound of a live mic or vents. the glasses.’

Other design criteria

ears. ‘Having access to

offering church logos or colour options as faceplate examples.

In use

‘One appeal of universals is the investment.

Universal vs custom

All three of our experts agree that issues from the main loudspeakers.’

he opines that ‘the custom monitor offers a much superior performance notes that ‘some custom products can hits in the middle in terms of cost.

replacement tips is replacement tips are

preference – much like selecting the applies).’

Things to avoid

idea of vented universals or so-called

at churches would rather have clean replacement sleeves or customoptions than most manufacturers that

multiple users face the challenge someone else puts them in their ears Whether for shared use or individual

alcohol germicidal cleaning wipes and

From the perspective of his home consideration of the environment. devices.’

Not suited for stage use

a standard and essential for stage most critical listening environment required to use them.’ He offers narrow their choices – call or email in a critical listening mode and in the used for worship.

www.ecigroup.net

www.futuresonics.com

pro.ultimateears.com

Rick Muchow – California Baptist University

Future Sonics’ G10 IEMs with standard sleeves

A-ZCONTENTS

Single-handed production from Panasonic

The AV-HLC100 puts all of the necessary video production tools into the hands of a single user, boasts Panasonic

MANY BROADCAST manufacturers have set their sights on the smaller, multitasking broadcaster in recent months, and Panasonic is no different with its latest all-in-one solution. The AV-HLC100 Live Production Center combines a 1ME switcher, remote camera controller and audio mixer functions into a single solution that can be operated by a single person for applications such as live streaming. It therefore offers a simple upgrade path for HOWs with limited technical staff looking to expand their media footprint.

The HLC100 Center has been designed to work with Panasonic PTZ and systems cameras and can deploy and discover them automatically using IP video transport, although SDI

may be used as well. In addition, it is stated to work with all NDI-capable video sources. Compatible cameras include AW-HE130, AW-HE40 and AW-UE70 PTZ devices, as well as AK-UC3000 and AK-HC5000 studio camera systems and the AK-UB300 4K Box Camera with streaming outputs.

For remote camera control, pan, tilt, zoom and focus operations can be performed with one hand with the HLC100 using the large joystick. Output format support includes 1080/59.94p and 50p, and there is also a cross conversion function. Smooth transmission can be achieved since it is possible to mix embedded, line-input and mic-input audio and add it to the video.

In addition to NDI input/output IP

transmission, RTSP input and the RTMP network protocol are supported, enabling direct input of the IP video of Panasonic PTZ cameras and direct transmission to live streaming services such as Facebook or YouTube Live. Additional connectivity comes in the form of 3G-SDI (four video inputs, two video outputs) and an HDMI out for user interface.

The hardware panel is complemented with a software user interface that will enable Multiview monitoring, graphics overlay insertions, media players, audio mixers and more. According to Panasonic, the user interface focuses on ‘simplicity and quick and easy

operation of advanced settings’. For those simply seeking an upgrade to their switching capabilities rather than a complete all-in-one video control solution, the manufacturer has also announced its switchers line-up. The large-format model is 4K-ready and will support up to 72 inputs and 42 outputs.

www.panasonic.com

The AV-HS7300 switcher

Atlona targets HDR applications

ATLONA IS focusing on integrations and multi-channel audio digital and analogue stereo outputs, Starting with the audio converter, simultaneously passes through the 4:4:4 chroma sampling and supports it supports all video resolutions, and DTS formats – and colour spaces

connected to a display or another Integrated EDID management interface, third-party control systems

Ultimatte keying for AR

developed to correctly add tinted

HDR-H2H-44M 4x4 HDMI matrix switcher

users to set up, manage and monitor resolutions, audio formats and colour space formats encompassed in the

real-time compositing processors

elements into shots and features new algorithms and colour science, as well as edge handling, and greater colour separation and

analysing a scene and automatically without interfering with other the Ultimatte Smart Remote 4 touchscreen remote that connects connected to the same remote, which facilitates custom control

offers a new “realistic” layer

www.blackmagicdesign.com

The device can reportedly serve audio systems from a multi channel

can send CEC control independently to each output for controlling audio output is paired with each www.atlona.com

Control from a new Vantage point

IN AN effort to provide greater camera head, Vinten has developed as a companion for Vantage, the Vantage itself aims to provide

control at the same price point as Compact and lightweight, it also allows users to choose from their preferred various manufacturers, such as Canon and Sony, in addition to full-servo and

In other news, Vinten has partnered with Tecnopoint to produce www.vinten.com

Ultimatte Smart Remote 4

The Vantage robotic camera head

Ultimatte 12

For-A on an Odyssey for Insight

FOR-A PARTNERED with Uruguayan software developer Odyssey Development to produce the Insight4 multi-channel video server. Also referred to as the Insight Production Server, it is a 4-channel playout system. Insight includes a web interface facilitating control of the server from any browser. Assignable user groups and a range of security settings aim to

for large-scale productions in particular. Meanwhile, a relaxed security mode is

Broadcast Pix takes control

ACCOMMODATING THE newly released JVC’s KY-PZ100 PTZ network video production cameras, Broadcast Pix has expanded the robotic camera control in its integrated production switchers through serial and IP connections. Each system can reportedly control pan, tilt, zoom, focus, iris, gain and preset recall for up to 12 cameras.

According to the manufacturer, the cameras can be controlled using the joystick on any Broadcast Pix control panel. PixButtons, the company’s patented control buttons with LED displays, provide access to up to 100 preset positions to set the speed and range of PTZ camera movements. The cameras can also be controlled via touchscreen using the BPview adjustable multi-view and the Commander browser-based interface on a computer or mobile device.

Using PoE technology, a single cable powers the KY-PZ100 and delivers IP video and control to a Flint, Roadie or the company’s BPswitch system.

Meanwhile, Broadcast Pix has partnered with video editing software developer NewBlueFX to integrate the NewBlueNTX multilayer 3D motion graphics engine into its BPswitch range, which eagle-eyed readers of Worship AVL may recall was covered in the September–October 2017 edition. With NewBlueNTX built in, BPswitch users are able to produce resolutionindependent 3D text and graphics, as well as animated graphics.

NewBlueNTX features templates for titles, lower-thirds, scoreboards, crawls, rolls and bugs. It includes motion graphic animation presets for easy creation of what appear to be complex effects.

automatically updates the elements of multiple graphics when the user makes a single change. These graphics can then be selected and edited directly using BPswitch

on PixButtons control panel.

The NewBlueNTX graphics can also be shared across platforms accessible through BPswitch solutions.

Third-party tools such as Adobe After Effects and Photoshop are also supported, meaning that users can import existing designs. Meanwhile, the graphics engine also works with the Broadcast Pix Rapid CG option to automatically update graphics displayed onscreen from databases, scoreboards, social media and RSS feeds.

New Rapid CG features that work exclusively for BPswitch and NewBlueNTX include multilayered playback of each channel, the ability to trigger multi-layered playback via Action Buttons, Adobe After Effects project import, multi-lingual support and a second licence for the software.

www.broadcastpix.com

pro.jvc.com

www.newbluefx.com

trusted environments. Different content can be made available to different user groups and video is streamed to web clients, displaying the actual content to allow users to visualise and control Insight from a single computer screen.

Insight supports up to four SD or HD channels, or single-channel 4K. It includes sub-clip editing functionality for the creation of multiple clips based on in-point and out-point. Files can be ingested and sent to network

included in a single playlist.

Switch Please

JUST ADD Power has released an app for PC and mobile devices that allows users to remotely switch within the manufacturer’s video matrices from any web browser. It is compatible with all of Just Add Power’s 2G and 3G systems following

Switch Please dynamically generates control options based on a given installation. It also features Image Pull functionality for live video previews, custom name sources and displays, show/hide displays and sources on the app interface.

www.justaddpower.com

When used alongside For-A’s Hanabi switchers, Insight provides a full production suite. The newest Hanabi family member – the HVS-490 3G/HD/ SD video switcher – inherits many of its traits from the HVS-2000 and HVS390HS, while adding 4K capabilities to the mix. The HVS-490 features MELite technology, which uses an optional HVS-49IO card and boosts the switcher’s two M/Es to offer six M/Es worth of performance. The switcher’s capabilities are further expanded with

the ability to assign FlexaKey or 2.5D DVE for compositing up to 12 keyers.

The FA-505 multichannel signal processor, which For-A has nicknamed ‘THE Processor’, is a frame synchroniser that enables video/inputs and the same number of outputs. The processor is 4K-ready and HDR compatible, as well as being compatible with 3G, SD-SDI and HD feeds.

www.for-a.com

www.odyssey.com.uy

NewBlueNTX

The Switch Please app is free for PCs and mobile devices

SONY HAS announced the third generation of its DWX Series digital

in response to growing demand for

Wireless Studio control software for Wireless Studio PC software and the transmission technologies that the

The XVS Series also supports conventional SDI interfaces as well

The switchers also provide a standard enhancements to its professional pro.sony.com

Grass Valley takes the hassle out of tracking

with integrated camera

The product is the result of a partnership manufacturer MoThe solution

optimised’ setup that removes the

GRASS VALLEY is claiming to have launched the

CSE-800 DWT-B03R

LDX Series Cameras

into the XCU in the control room www.grassvalley.com

NEW V1.2 can now discuss presented content www.barco.com A return to the blackboard with Clickshare

AJA updates on all fronts

AJA’S IO 4K capture and output device has gained support for

adjust the monitoring mix between

punch-in mic input; the ability to audition music or other audio while listening to playback from a timeline; and the ability to record

Mind Map? Aw, Snap!

voiceovers to timeline with low latency, full duplex audio punch-in

ALTINEX HAS made further revisions to its AVSnap system design promising a ‘wealth of additional features not found in any other software’. AVSnap is designed to facilitate a complete development sizes.

and easy to understand’.

equipped workstations or laptops. The device also features an daisy-chaining.

The Io family of products – as well as those in the manufacturer’s suite of audio tools to facilitate the recording of voiceovers. These include new audio controls to

for Adobe Premiere Pro CC and Avid Media Composer.

The software allows Adobe Premiere Pro CC users to review locations, and also makes it easier to record voiceovers into existing media directly on the timeline.

Adobe Creative Cloud users can

and PC workstations and laptops.

www.aja.com

Telestream sets a rendezvous

TELESTREAM HAS released version 8 of its Wirecast live streaming and production software with the addition of a new Rendezvous feature to assist in multi-site production. Wirecast Rendezvous supports multiple remote streams from any internet-connected device simultaneously. It works like a videoconferencing system, allowing users to broadcast live video feeds from anywhere.

‘The Rendezvous dashboard makes it easy to conduct panel interviews, talk shows and video conferencing, and utilise remote screen sharing,’ explained Tom Prehn, senior product manager at Telestream. ‘What used to be a challenging, complex process involving thirdparty video conferencing platforms,

complex audio and video routing, screen or baseband capture, can be accomplished natively within Wirecast in moments.’

Guests that join the Rendezvous session can be added to any shot in the Wirecast production. Remote

a platform for documentation collaboration during projects. It allows

manner’ with a process designed to be ‘quick and visually appealing’. which lets users select a starting

components to each other. This, the chart creation ‘visually appealing

system diagrams in a more intuitive manner. Rather than creating right horizontal lines, AVSnap users are now able to neatly reposition cable lines via a click, drag and drop approach.

AVSnap is Control Mode, which has been built to offer a full user interface and system control environment. This bestows upon designers the ability to access and operate various software’s integrated web server also delivers system control via a browser on the network.

www.altinex.com

www.avsnap.com

render engine, multi-view support for monitoring up to 17 live sources independently on external monitors, improved alpha and gamma levels, encoding, support for WASAPI, ASIO and other audio interfaces, and IP-based workgroups.

guests can share video, audio and screens with the host. Rendezvous is also developed to work with the Wirecast iOS camera and the Wirecast Go RTMP streaming app. Other highlights of Wirecast version 8 include a redesigned

On the hardware side, Telestream a portable live streaming production system. It facilitates plug-and-play streaming and comes pre-loaded with

Live Titler Complete software and local, baseband video output.

www.telestream.net

Illuminating the stars

THE MAVERICK MK Pyxis is said to ‘empower creativity’ with its beam and wash effects, wide zoom range, 360° continuous pan and tilt movement and aerial and pixelmapping effects. At the centre of the Pyxis is a single homogenous 60W angle. Surrounding this is an outer ring made up of nine 15W RGBW LEDs with a 7° to 45° zoom angle. and outer ring illuminance of 27,560 lux at 5m. A built-in virtual gobo wheel with background colours can be used to make the outer ring

appear as if it’s spinning. Built-in colour effects also add to the

The Maverick MK Pyxis works with DMX, W-DMX, SACN, Art-Net enabled for remote addressing and trouble shooting. It also converts TCP/IP signals to DMX for shorter data cable runs, and it includes a battery back-up touchscreen display with auto

orientation.

www.chauvetprofessional.com

A Chorus that moves

Elation has introduced the Artiste Dali moving head. It features a hybrid engine that combines a 300W LED source and 100W laser phosphor source for reportedly greater beam and spot effects. Features and effects include eFly wireless DMX, CMY+CTO variable colour mixing, colour wheel, rotating and static gobos, prisms, animation, zoom and frost.

Ayrton gets a spotlight

AYRTON HAS LED spotlight, Ghibli. With a compact and lightweight design, it has been created to handle large-scale arena applications with a 23,000-lumen output. An optional High CRI Mode can also be selected for applications

THE NEW LED batten luminaires from Elation Professional are designed to provide more manoeuvrable, adaptable lighting effects than their strip light peers. The series initially comprises two multi-purpose LED batten wash

and the 16-pixel bar Chorus Line 16 motorised zoom and 220° tilt axis movement.

RGBW LEDs with full pixel control. They are designed for use as visual effects, foot lights, wash lights and

cyc lights among other applications. A variety of saturated colours and pastel shades can be achieved via their RGBW colour mixing capabilities, while colour presets and macros are also included, as is an electronic strobe function, 16-bit dimming and variable dimming curves. Gamma correction and PWM frequency can be adjusted as per individual requirements, while control is offered by way of DMX 512-A with full RDM and Art-Net support, as well as the Kling-Net protocol.

Adding to the Artiste range, which began with Artiste DaVinci last year,

With regards to Artiste DaVinci, the lighting manufacturer has released a version in white. Artiste DaVinci

blend in aesthetically.

Finally, Dartz 360 is a full colourgobos and effects. A narrow-beam luminaire, it houses a single-source 50W RGB LED engine that produces a 3° beam for effects similar to a discharge lamp. It is capable of a continuous 360° pan and tilt movement, and creates gobos, dual prisms, frost and remote focus looks.

www.elationlighting.com

eLumen8 batten goes back on tour

THE ELUMEN8 Tour Batten TW

saving when compared with a similar batten that uses 75W

Tour Batten TW features 10x10W tuneable warm white LEDs with a variable colour temperature between

1,600K and 2,900K that can be set via the rear menu or DMX. When emulate a traditional halogen lamp

with an orange glow similar to a sunstrip.

www.prolight.co.uk

when an even higher light output is needed. Ghibli also features a 7:1 zoom with a beam spread

CMY colour mixing, variable CTO and a complete effect section that includes a pair of gobo wheels, a prism, an animation wheel, two frosts and a rotating framing system that facilitates a full wipe. Also new is the MiniPanelFX, which joins the French manufacturer’s FX-Zoom range. It has a zoom spread of 3.6° to

53° and houses four of Ayrton’s proprietary square lenses in a

beam and wash light. MiniPanelFX is designed to complement its siblings, the MagicPanel-FX and MagicBlade-FX, with its endless double rotation functionality.

www.ayrton.eu

Ayrton Ghibli

Ayrton MiniPanel-FX

Maverick Pyxis

eLumen8 Tour Batten TW

Gemini lights the way

modes: Correlated Colour Temperature (CCT) Mode, for bicolour (daylight-to-tungsten) with green adjustment; Colour Mode, offering hue saturation and intensity (HSI) control for full colour and saturation control; and Gel Mode, for adding a variety of gels. All three modes offer dimming from 100% to 0%, reportedly without any colour shift.

Gemini

THE LITEPANELS Gemini is a 2x1, RGB-WW soft panel that combines daylight, tungsten and red-green-blue LEDs. According to the manufacturer, 2x1 panels usually achieve white light by mixing red, green and blue, which can create colour spikes. However, Gemini is said to eliminate this problem by providing a daylightto-tungsten light foundation and colour adjustment with a 360° colour wheel.

Gemini produces true, fullspectrum white light and offers a choice of control options reportedly designed for any professional lighting application. There are three lighting

Gemini offers remote control through DMX (5-pin XLR or RJ-45), Wireless DMX (both using standard 512 protocol) or Bluetooth. The panels can be remotely controlled using the Litepanels SmartLite or SmartLite Director apps for Apple devices.

According to the manufacturer, tests have shown that Gemini delivers TLCI/CRI levels of 97 in daylight and 99 in tungsten. Gemini has an on-board power supply but can also run from battery power (3-pin XLR 28 VDC). Power can also be daisy-chained from other devices using an industry-standard powerCON connection.

www.litepanels.com

GLP HAS designed its new ‘complete versatility’ as it combines a traditional single tube element that delivers clear, bright white output with a full face of 1,440 RGB LEDs. Independent control of the single tube and LED elements is provided, operated individually or work together to create a wide range of effects. The tube and full-face sections are both reportedly able to run continuously to deliver high output blinder and wash light effects without reducing output or suffering thermal cut-outs. The manufacturer states that the combined solution can also operate as a ‘powerful strobe light’. Also new from GLP is the impression S350. Targeting the mid-range developed for near silent operation

system’. With a white LED engine as its foundation, impression S350 is described as ‘producing bright clarity in the projected beam’ and as facilitating smooth dimming and even

claimed to be ‘brighter than typical 700W discharge lamp sources’.

www.glp.de

The JDC1 combines a traditional single tube element with LEDs

GLP offers the best of the old and the new

GDS focuses on the décor

LIGHTING MANUFACTURER

GDS has drawn inspiration from its ArcSystem Pro range to develop a new line of general-purpose architectural lighting solutions.

The ArcSystem Decor range has been created to provide the same quality of light – the manufacturer assures that all lamps have a CRI of 90 or above – the same economic as its Pro counterpart. ArcSystem Decor is now available as a complete, standalone range and in options from single-cell to multi-cell, including one, two, four and eight cells. It also offers 100% to absolute zero dimming

using wired DMX or the wireless ArcMesh protocol.

In addition to the new Decor range, the British manufacturer has stated that innovations in lighting technology have also allowed it to revisit the design of its D1 singlechannel and D4 4-way drivers to produce a 48-way version in a rack mountable package.

The result is the D48 driver, which is compatible with all ArcSystem Pro Fixtures and makes use of Cat-5 cabling for distribution.

www.gds.uk.com

RCF extends its highs and lows

DESIGNED BY RCF to be used in combination with its TT+ 2-way touring systems, the TTS 15-A subwoofer is a compact, high-output module offering high power, portability and ease of handling. Incorporating a 15-inch woofer powered by a 1,100W RMS

and RDNet network capabilities, the weatherproof cabinet is equipped with a double M20 threaded pole mount for vertical or horizontal mounting together with two presets on the rear to enable deployment in cardioid mode. The RCF TTS 18-A II is an 18inch version powered by a 1,400W comprises a lightweight neodymium magnet, inside–outside copper voice coil, silicon double spiders and a water-resistant treated cone.

The Italian manufacturer has added three 2-way models to its TT+ range in the form of the TT 10-A, TT 20-CXA wedge monitor and upgraded TT 08-A (TT 08-A II). Powered by internal LF

modules that also provide full DSP and FiRPHASE processing functionality, the rear back panel of each model provides individual signal I/O, RDNet monitoring control connection and one EQ preset control. The TT 08-A II and TT 10-A speakers are 8- and 10-inch models, respectively, whilst the TT 20-CXA is a full-range symmetrical monitor housing dual 8-inch drivers with a 2.5-inch exit HF compression response together with a 90° x 60°

coverage pattern, the versatility of the monitor is extended by virtue of a steel pole mount promoting its use as a full-range FOH system. The compact,

with a textured polyurea coating. Following market feedback, the NX Series of modular active loudspeakers, consisting of a line array module, 2-way monitors and high-power subwoofers, has been further extended with the NX 32-A and NX 45-A 2-way enclosures. Housed in birch plywood, the polemountable cabinets are protected with a 2mm grille in front and

rigging. The larger-format RCF NX 45-A is a high-output, 2-way module designed for use in combination with the 8000 Series subwoofers. The NX 45-A woofer features a lightweight, 15-inch neodymium woofer and a

horn-loaded, 4-inch exit HF titanium compression driver, both of which are powered by an internal 1,400W section with full DSP. The crossover point is set at 700Hz, providing clarity and intelligibility in the vocal range.

within aluminium housing to aid heat dissipation, the NX 32-A offers full DSP capabilities including

coherent audio distribution without phase distortion. Away from speakers, RCF has recently launched the MZ 8060 digital audio matrix for installed and commercial applications. The product is described as the central management unit for the systems integrator and the complex systems developer, and reportedly boasts simple installation

and set up. It features an 8x6 matrix – eight universal mic/line inputs and six outputs. DSP includes parametric equalisers, compressors, gates, limiters, delays, duckers, priorities and two independent auto-mixer algorithms. An Automatic Level Control facility is also available; a probe connected to input 8 automatically adjusts the volume level according to the measured environmental noise. The device also accommodates 10 logic inputs (GPI) and six logic outputs (GPO). Two of these outputs are operated by a relay. A serial port can also be set to control the unit from a third-party system and it is possible to link two MZ 8060s in a 16-input, 12-output total access matrix.

Finally, RCF has also released a new systems named DPS 604X. It has four inputs and four outputs that could be

via a DIP switch on the rear panel allowing the selection of eight operational modes. It also has two

with cut-off frequencies ranging from 50Hz to 250Hz. The audio wiring uses Euroblock terminals.

www.rcf.it

ArcLamp B22 Candle

D48 driver

TTS-15-A

TTS-18-A

Chiayo reaches the Apex

APEX PRO is the latest addition to Chiayo’s extensive catalogue of portable wireless speakers. The multi-functional design incorporates a 2-way speaker comprising a 10-inch woofer and 1-inch HF compression driver powered by dual frequency range of 50Hz to 20kHz (±3dB) and maximum sensitivity of 110dB.

combo jack microphone connectors

RCA connectors are integrated into the rear panel. There is also an and a 6.3mm jack out for volume-

passive speaker. Wireless microphone operation for up to four diversity receivers supporting 100 selectable

which a scan and sync button facilitates channel set up. The enclosure includes a storage

compartment for accommodating a combination of handheld microphones and belt packs. The built-in Bluetooth receiver allows for can also be played directly from a computer via a USB cable.

digital limiter reportedly prevents output distortion. The switchable Voice Priority function automatically

bypass and volume control for wired and wireless mics.

Apex Pro measures in at 550mm x 360mm x 340mm (HxWxD). When

16kg unit can provide eight to 12 hours of operation from an eighthour charge.

www.chiayo.com

PX reaches the mid-highs

NEXT-PROAUDIO HAS introduced a mid-high

a portable loudspeaker designed for use as a installations in venues such auditoria and houses of worship.

medium/long-throw in a coaxial a frequency response bandwidth

over a 400Hz to 17kHz frequency range. The square enclosure can also be rotated for a 50º H x

allows for wider horizontal is required for hanging the system.

A 1.4-inch neodymium driver with a 3-inch voice coil and a constant-Q horn achieve the HF while the mid-range (150Hz to 1.25kHz) is delivered by a low power compression 12-inch driver loaded by a mid-range horn.

Unit facilitates the angling of the

top cabinet of a ground stack to be aimed at the audience. The box is also equipped with M8 threaded suspension points that make it

Vue gives big output to new Nano

VUE AUDIOTECHNIK is claiming

benchmark’ with its new e-Class range of loudspeakers. Debuting with Vue says the series offers Hi-Fi quality sound at professional output levels reaching

The e-352 Nano houses a 25mm Truextent beryllium dome tweeter which is claimed to offer extremely low distortion and an extended frequency response of 130Hz to

by a pair of 3.5-inch custom-designed cone transducers that combine a neodymium magnet structure with high-temperature voice coils optimised for heat

an integrated high-frequency V-shaped wire bumpers provide protection for the tweeter while

eliminating the diffractions. All three drivers are housed in a die-cast aluminium enclosure that

compatible with a wide range of installation methods.

retaining the same design and performance of its predecessor.

incorporates two long-excursion and high-power 18-inch drivers said to provide ultra-low frequencies at

output down to 24Hz (–10dB). the speaker is housed in a multilaminate birch plywood enclosure

is available in either a standard or on the front of the subwoofer.

www.next-proaudio.com

rigid and resonant free’ than typical compact plastic designs. The aluminium is corrosion and moisture outdoors and in harsh weather applications. The onboard passive crossover network is mated to DSP inside provides power and transducer protection for up to eight e-352s.

www.vueaudio.com

Apex Pro

The rear control panel

The e-352 Nano

Next-gen steering

WITH EIGHT years having passed since the release of Fohhn Audio’s original Linea Focus beam steering systems, the German manufacturer has provided an update with the next generation DLI-130 and DLI230 models. The new Linea Focus installations in environments such

acoustic conditions, provide new features and digital inputs, including AES/EBU and Fohhn Airea, as well as optional interfaces for Dante, Optocore or analogue inputs.

The Linea Focus DLI-130 and

DLI-230 line source units house

respectively and feature specially developed DSP technology. They can each be controlled and monitored remotely via Fohhn Audio Soft, which enables control of the vertical beam dispersion characteristics in real time.

The DLI-130 is equipped with eight 4-inch excursion drivers, while the DLI-230 possesses 16. Additional new features include password protected access control, data readout from an Auto Power Save functionality.

Go, Go Mic Mobile

SAMSON’S GO MIC Mobile is

Meanwhile, the inputs and outputs both offer DSP functions.

www.fohhn.com

Sennheiser focuses on mobile videography

SENNHEISER’S FOCUSMIC

Digital mini-shotgun microphone was developed for capturing high-quality, focused audio from the direction

content on an iPhone. It plugs directly into an iPhone Lightning port and is designed with a Sennheiser camera microphone capsule and Apogee

PureDigital preamp and A/D converter.

FocusMic Digital attaches to a variety of iPhone models, including the SE, X and 8 plus, via a metal grip that allows 270° mic rotation. The allmetal microphone casing and grip are said to be constructed to withstand life on the road. A ¼-inch thread for attaching to camera accessories such as tripods, table stands and handles is found on the grip. The mic is powered by the smartphone and a foam windshield is included. Parameters such as sensitivity and gain can be adjusted via mobile apps, including Apogee’s Maestro and MetaRecorder applications. The apps also enable the

overload protection function.

In other news, the German manufacturer has released the MMD 42-1 dynamic microphone head as an individual accessory with the omni-directional capsule previously featured on Sennheiser’s MD 42 reporter’s microphone and as a part of the AVX Combo Set. It is compatible with many of Sennheiser’s wireless microphone series, including the

Dante solutions from Radial

BUILT WITH a 14-gauge steel construction, DAN-TX and DANRX from Radial Engineering use 24-bit/96kHz converters to send and receive two channels of analogue audio from and to a digital, Dante-enabled network.

The DAN-TX includes ¼-inch, RCA and 3.5mm inputs with a single Ethernet output, for an easy interface with a CD/ DVD player, smartphone, tablet,

AVX, D1, SpeechLine Digital Wireless, evolution wireless, 2000, 6000 and 9000 systems, and is designed to minimise wind and pop noise. Finally, the Neumann brand is celebrating the 50th anniversary of its renowned U 87 professional studio microphone with the limited release of the U 87 Rhodium Edition. Only 500 units will be sold worldwide, each

www.sennheiser.com

wireless microphone system that connects directly to smartphones without the need for cumbersome adaptors or interfaces’. Designed for vlogging and live streaming, it captures HD audio when recording with a smartphone or DSLR camera.

Available as a handheld or lavalier with belt pack, Go Mic Mobile’s dual-channel receiver mounts onto the phone or camera, outputting and mixing digital audio on two separate channels. It plugs directly into iOS and Android devices using the respective Lightning and micro USB-C cables bundled. A shoe mount adapter facilitates DSLR camera or professional camcorder connection. The system’s rechargeable lithium-ion battery provides up to 13 hours of wireless transmission.

With a frequency range of 10Hz to 22kHz, and a bitrate of 48kHz, Go Mic Mobile is built to transmit uncompressed, low-latency audio and operates at up to 30m via the 2.4GHz frequency band. It also includes a switchable headphone/ line output with volume control for monitoring or connecting to an analogue input using the 3.5mm cable.

www.samsontech.com

instrument or professional audio source, according to the company. When used with mono instruments, the DAN-TX works as a thru connection for a stage amp, while the trim control reportedly provides ±10dB of gain. The box includes an

The DAN-RX is a 2-channel Dante receiver with dual XLR outputs that can connect to a mixing console,

route audio from FOH to the stage. A 3.5mm headphone output with level control is also provided. The DAN-RX connects to the network via a single Ethernet cable.

Power for each device can be supplied with a 15V adaptor (included) or via PoE, and both power sources can be used simultaneously for redundancy.

www.radialeng.com

DAN-TX

Fohhn’s Linea Focus DLI-130

Audio-Technica gets smart

AUDIO-TECHNICA’S ATDM-0604

Digital SmartMixer 6-channel automatic mixer has been designed for applications utilising multiple microphones or media inputs. Channels can be mixed automatically in gate or gain sharing mode, which the manufacturer states ensures output consistency across all inputs.

Users are able to adjust I/O and gain levels, set and recall presets, change

the ability to turn phantom power, the acoustic echo cancellation (AEC) on or off from the ATDM-0604’s front panel controls. The system’s control

and monitoring tools are all accessible via the front panel or a web remote interface using a PC, Mac, iOS or Android device.

The mixer includes four balanced microphone inputs, two balanced mic/line inputs and an unbalanced stereo input, in addition to two balanced and two unbalanced outputs. A network port on the rear panel serves Cat-5 or above connectivity, while a USB port is also featured. A/B Audio-Technica Link ports enable users to connect six ATDM-0604 mixers via Cat-5e for simultaneous use within an expanded setup.

In other news, Audio-Technica has also released a new shock mount for use with microphones from its 40 Series. Available in either black (AT8449a) or silver (AT8449a/SV), the solution is built with what the manufacturer describes as an improved rubber band architecture and a robust cradle design. While available for individual purchase, the AT8449a comes included with the AT4033a, AT4040, AT4050 and AT4050ST. The AT8449a/SV comes bundled with the AT4047/SV, AT4047MP and AT4080.

S-Series gets better connected

CONSOLES IN DiGiCo’s S-Series range have gained new connectivity options with the DMI-MIC Pre-Amp Card, which adds an extra eight mic inputs via a 25-way D-sub connection. This allows input of up to 40 microphones directly to

the same console, using identical preamps to those already in the console.

‘To take advantage of this and our other DMI card options, we

ATDM-0604 Digital SmartMixer

Meanwhile, Audio-Technica has collaborated with Audient to produce the AT2035-Studio ‘Essential Studio Kit’, a microphone/interface/ headphone bundle aimed at smallscale productions. The kit combines Audio-Technica’s AT2035 large diaphragm cardioid condenser mix and ATH-M40x studio monitor headphones with Audient’s iD4 Black USB audio interface.

www.audio-technica.com

This is what perfect sound looks like

are running a Get Connected programme,’ commented DiGiCo general manager, Austin Freshwater. DiGiCo dealers have full details of the programme.

www.digico.biz

The LR18 pro-ribbon line-array combines a superb directivity control and throw with a fully intuitive linear response with industry’s lowest distortion. The LR18 enables a 1:1 reproduction of the original sound source, due to Alcons’ multiple-patented pro-ribbon transducer technology.

But don’t take our word for it: The LR18 was recently tested in Germany. Read it on our website.

WyreStorm gets modular with HDBaseT and 4K

WYRESTORM’S LATEST HDBaseT solution, the H2C Series, has been designed for A/V projects requiring multi-source and multi-zone distribution of the latest HDCP 2.2 4K UHD with HDR video, as well as multi-source audio matrix switching. Integrators can choose from a 6-(MX0606-HDBT-H2C) or 8-way (MX-0808HDBT-H2C) PoH-ready matrix chassis built by WyreStorm to a customer’s

PoH transmission cards to meet the needs of a project.

Each card offers distinct video, audio and transmission capabilities including HDBaseT Class A transmission with mirrored HDMI output, HDBaseT Class-A transmission with S/PDIF ARC output, HDBaseT Class-A transmission with line-level audio breakout and HDBaseT Class-B transmission without Ethernet.

Additional features in the H2C Series include SmartEDID to remove

screens by dynamically reacting to source changes and outputting the highest resolution compatible with connected displays. H2C models also include an embedded WebUI

control via IR, RS-232 and IP Telnet

USB alternative to StudioLive 16.0.2

with support for third-party control systems.

Similar to the H2C series, WyreStorm has also launched the H2X series for larger installs,

formats. The H2X combines management of the latest 4K UHD with HDR and legacy video formats, including SmartTV functions and audio-on-demand products, while the integrated audio matrix with DSP

separate audio signals, including ARC, HDMI de-embed from video and separate line-level audio sources. Transmission card options include the TX-H2X-HDBT to add an HDBT input for remote source connection, while the TX-H2X-VDZ and TX-H2XADZ cards enable video and audio zone-expansion respectively to allow a dealer to skew the number of A/V inputs and outputs to suit the project. A more commercially focused TX-H2X-SDI card features an SDI input for sources, HDBT output with mirrored HDMI out and includes balanced audio output for sending balanced audio sources to audio zones.

www.wyrestorm.com

Uncompressed audio over iOS

THE SHUREPLUS Motiv Video app is free to download on iOS devices and enables users to record uncompressed audio for video. It offers functionality including gain control, EQ and compression, and is compatible with Shure’s Motiv line of products:

microphones, as well as the MVi digital audio interface.

The app also features on-screen metering, waveform and video controls that facilitate the integrated management of the visual display. Changes to the attached Motiv

device’s settings can be adjusted within ShurePlus Motiv Video, without the need to switch between the ShurePlus Motiv Recording app.

PRESONUS HAS followed up on digital mixer by releasing a more compact USB version. Designed for studio recording and live

portable alternative that retains the and provides the option for rack mounting.

processing, XMAX Class-A mic preamps and 24-bit, 48kHz Burr-Brown digital converters with

USB 2.0 interface that replaces the FireWire 400 recording and control interface of the larger model. This allows it to work with any Mac or Windows audio software supporting Core Audio or ASIO. The USB desk also includes four aux sends, while adjacent channels and aux busses can be stereo linked. The main bus takes the form of

Fat Channel processing section

handles the compressor, limiter, downward expander and 3-band, semi-parametric EQ available on each channel, all aux busses and a pair of onboard effects outputs. The latest PreSonus software suite is also installed.

Sticking with the USB theme is the AudioBox USB 96, an audio/MIDI interface that records up to 24-bit, 96kHz. It provides a pair of mic/ instrument inputs on the front panel and is also available as part of the AudioBox 96 Studio recording kit that includes the Studio One Artist software, Studio Magic plug-in suite, monitoring headphones and a large diaphragm condenser microphone. Also new is Quantum, a 26x32channel Thunderbolt 2 interface for use in recording. It has a directto-DAW signal path for low latency

and PreSonus’ recallable XMAX microphone preamps. Up to four Quantums can be stacked to add up to a 96x96 system if needed.

www.presonus.com

In other news, limited editions of Shure’s Super 55 – the 2009 recreation of the iconic Model 55 Unidyne microphone – has been

StudioLive 16.0.2 USB

MX-0808-HDBT-H2C

The Super 55-BLK Deluxe Vocal Microphone Pitch Black Edition

ShurePlus Motiv is compatible with the MV88 microphone

Earthworks gets up close

EARTHWORKS HAS released new microphones for drum miking, including the DM20 DrumMic for close miking toms and snare, as well as several multi-microphone kits.

The DM20 DrumMic is a cardioid condenser microphone designed for use in live performance and recording environments. Features include a cardioid polar pattern,

The manufacturer reports that the

right-angle microphone head allows the user to position

even with the most energetic drummer’. Each microphone comes with an RM1 RimMount for mounting the rim of a snare or toms. revamped its CloseMic Kits,

A small scale SSL

SOLID STATE Logic is aiming to into smaller spaces, with the S300. as a standalone product for smaller facilities.

The S300 comes in two versions: 16+1 faders and 32+1 faders. The console can connect to either a Engine and runs the same software as the larger S500 surface and TCR

There are up to eight Dialogue auto per path, including compressors, oversampled true peak limiters,

which package DM20 microphones with RM1 RimMounts, windscreens case. The CMK4 comes with four DM20 microphones and accessories, while the microphones and accessories. The DK7 DrumKit is a sevenmicrophone kit comprised of four DM20 microphones for toms and snare, two SR25 microphones for

SR20LS for kick drum.

earthworksaudio.com

reduction, signal generators, summing standard.

SSL’s System T S300

surface to a larger S500. Where processing engines are of different

to the manufacturer, settings from the larger device are never lost and

point during the show, even with audio passing.

www.solidstatelogic.com

7380 SAM sub takes flagship position

GENELEC HAS unveiled a new

distortion LF response, the compact including stereo, multi channel and large-scale immersive 3D setups,

Genelec’s 7380 SAM subwoofer

manufacturer’s GLM software for PC and Mac, which allows up to 40 networked, and provides features

While the 7380 was

Finnish manufacturer has launched

a Reference Level feature that lets

The unit itself stands at 685mm

mode, which includes standalone mode. Meanwhile, 7.1 channel XLR analogue inputs and is used with multi-channel audio and, with the addition of the optional either operation or for full 7.1 digital.

with access to GLM Cloud services

saving function, a microphone level checker and an indicator for used audio

www.genelec.com

The DK7

Highland Park United Methodist Church

WAVL gets the tech staff perspective on a 100-year-old church, with a thoroughly 21st-century infrastructure

FOUNDED INITIALLY AS THE University Church of Southern Methodist University in 1916, Methodist families in the Highland Park community of Dallas, Texas, brought their memberships to the church and the fellowship was renamed Highland Park United Methodist Church centres (including the cathedral completed in 1927, ‘steeped in gothic detail’), and three satellite locations, serve over 16,000 members.

‘We have a very forward-thinking church and they are constantly updating and improving the equipment,’ shares Michael Clute, HPUMC producer/engineer, audio technologies. The original 800seat sanctuary hosts traditional services and is anchored visually on

while the gear complement centres on an Avid Venue SC48 driving RenkusHeinz Iconyx arrays, with wired mics from Peluso and Audix, DPA headworn mics and Shure UHF-R wireless mics. A pair of Barco HDX W20 Flex projectors handle imaging, supported by portable 55-inch monitors in areas with sight-line limitations. Panasonic digital cameras (production and PTZ) are deployed, with a Vaddio controller/ switcher, while Telestream’s Wirecast handles video streaming.

HPUMC’s Cornerstone 1,000-seat venue draws some 2,500 weekly attendees for a contemporary worship experience, with a tech infrastructure including a Yamaha Nuage console, Waves and Universal Audio plugins, Genelec 8040B monitors and outboard preamps from Rascal,

API and Audient for HPUMC’s video mix and postproduction. At FOH is a Yamaha CL5 console, with BSS and Lab.gruppen DSP and amps driving Clair i208 and CS218 loudspeakers. Monitoring uses six Shure PSM 900 wireless IEM receivers and Digital Audio Labs LiveMix personal mixers. Mics include 6 channels of Shure ULX-D wireless with the complete Miktek line and a generous complement of Shure models, along with mics from Royer, Cascade, Heil, Audix, AKG, Earthworks, Sennheiser and DPA headset mics. Video gear includes a Ross Vision 2 switcher, with additional hardware and software from Blackmagic Design, Miranda, Clear-Com, Extron, Sony (cameras) and Wirecast. Projection is by Hitachi with Renewed Vision’s ProPresenter 6 managing content. MA Lighting’s grandMA2 console controls a blend of

The Munger Place satellite campus also hosts contemporary services with similar gear selections to Cornerstone, though substituting in an Avid Venue SC48 console and Aviom personal monitor mixers. The main campus, Cox Chapel, used for liturgy and sacrament, is an acoustic venue, built around BSS

and QSC gear with Shure wireless mics. A separate high-school (WOW) and middle-school (Thrive) venue utilises a Venue SC48 console, QSC and Bag End speakers and Shure wireless microphones.

‘The Grove is the newest satellite campus, opening this month,’ says Mr Clute, with a gear complement

are currently considering some replacement RF equipment with Shure Axient Systems for FCC compliance – Dallas is a very active RF area and, with nearly 100 wireless systems in the main campus, the multi-frequency and self-correcting RF is very attractive. We are also looking at lighting control options for standardisation of lighting control across multiple campuses. We’re constantly evaluating our production needs with an eye for multi-site compatibility and continuity.’

including a Midas M32 console, JBL Vertec line array loudspeakers, Shure UXL-D mics and a LiveMix monitor system. ‘A new Tolleson Family Center is being built to open by 2019,’ he continues, ‘adding a 500-seat worship centre, special needs facility, youth worship centre and athletic centre.’

Highlighting his favourite tools in the church’s systems, Mr Clute notes that ‘Renewed Vision’s ProPresenter 6 cue palette and enhanced stage display feature allows integrated operation of worship and sermon support media and automatic changing of stage display layouts which is invaluable.’

The Yamaha Nuage with Nuendo system, he says, is ‘a powerful and wonderful sounding system. Being able to switch from Nuendo to Pro Tools to Cubase with a single button is a treat.’ Mr Clute also lauds his Miktek microphone collection, Shure KSM8 capsules, new Roland RD2000 and VR-09-B keyboards as well as 2Box

the latter pair offering studio-quality sound with lowered stage SPL. Looking forward, Mr Clute says that HPUMC is ‘considering streaming appliances vs computers with specialised hardware and software

The HPUMC tech team includes audio, lighting, video and a director and producer, bolstered by 10 hourly positions on weekends. Grammywinning Nashville producers and engineers serve as sound engineers, including Mr Clute. The Cornerstone producer is a college professor and theatre professional, while a 35year veteran of some of the largest churches in Dallas serves as tech director and Dr Alan Raines from Baylor University heads the traditional music department.

The HPUMC tech team’s philosophy, shares Mr Clute, centres on ‘creating an atmosphere to enhance the passion and intensity of worship, while being seamless enough to be invisible to the experience. The staff and ministers provide a constant source of energy and support as we strive for excellence, while helping people become fully devoted followers of Jesus.’

www.hpumc.org

Michael Clute, HPUMC producer/ engineer, audio technologies

HPUMC’s main campus

Contemporary services are held in the Cornerstone venue

Yamaha’s Nuage system

HPUMC’s video production control room

HPUMC’s youth ministry’s FOH

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