Worship AVL January-February 2020 by Blank Canvas Publishing Ltd

AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST

Januaryâ&#x20AC;&#x201C;February 2020

ONE LAST SOUL SURVIVOR Iconic British festival bows out

EXPLORING DIGITAL LIBRARIES LED: THE 2020 VIEW

STREAMING IN MULTIPLE FORMATS Singapore: MICA (P) 068/06/2019 PPS 1644/05/2013(022954)

CONTENTS

January–February 2020

Issue 62

NEWS ALL-PURPOSE AVL Die Bron Church undergoes a complete installation

LEADER

CROSSING TO PLANT CITY Florida church opens new mobile campus

ATTENDING THANKSGIVING dBTechnologies arrives in ‘La La Land’

MARTINIKERK REVAMPED Syva steers Groningen church right

ADDED CLARITY Renkus-Heinz installed at new Colombian cathedral

CLEARER SOURCE First Baptist Dallas makes an investment

NEW COMMUNITY REVITALISED Vue provided in Vista

ICF MUNICH Growing audio needs met in Munich

VIBRANT ATMOSPHERE Singapore’s Church of Our Saviour adds new lighting

BRIDGING THE GAP Calvary Chapel Old Bridge builds new connections

LAKESIDE RENOVATION Grace City Church equipped with Adamson

CRC BRANCHES OUT South African church constructs 6,000-seat venue

IMPROVING INTELLIGIBILITY The latest upgrade at Gothenburg Cathedral

SPECIAL REPORT Gwanda International Gospel Festival

PROJECTS GRACE AOG Revisiting Singapore’s Grace Assembly of God church

HOPE CITY CHURCH Milwaukie church adopts permanent home

GREEN ACRES BAPTIST Casey Hawkins outlines an HD upgrade

PAROISSE NOTRE DAME DE LA TENDRESSE Renovation in Ivory Coast

COVER: SOUL SURVIVOR 360° audio employed for festival’s final outing

KNOWHOW GOING DIGITAL (PART ONE) Gordon Moore plans for a digital upgrade

MULTIPLE STREAMS Nate Anderson answers our questions

TEMPORARY LIGHTING John Black offers simple solutions

MAINTENANCE Frank Wells outlines how to use a multimeter

The end of one year and start of another provides a good opportunity to reflect on what has worked well over the past 12 months and what could do with changing – or updating – in the months to follow. Here at Worship AVL, we’ve considered some of the biggest trends of late and sought to tackle many of them in this first issue of 2020. Streaming continues to dominate the video landscape, as more of you adopt technology to reach wider audiences. Recognising this, we’ve questioned Nate Anderson from Living As One about how to stream content in multiple formats and resolutions (find his answers on p.38), while Imagen CEO Charlie Horrell explains the need, and uses, for a digital library on p.48. The lighting world shifts even further into LED territory. This has been the case for a while but, on p.50, Elation’s Bob Mentele examines the latest developments and trends to provide a view of LED lighting going into 2020. We’ve also seen a growing trend in churches establishing satellite campuses, quite often starting with mobile venues. With this in mind, John Black offers simple solutions for lighting in temporary locations (p.40), while Samson’s Sean Meagher gives the lowdown on portable loudspeaker systems (p.46). And ‘digital’ may have been the buzz word for quite some time now, yet many houses of worship are still transitioning. This issue, Gordon Moore takes us through the planning involved as his church upgraded to an all-digital sound setup on p.36. There’s a whole lot more to find in the pages that follow, so I’ll let you get to it. Wishing you all a happy new year and a successful 2020!

James Cooke Editor

Telephone: +44 (0)1892 676280

Email: jcooke@worshipavl.com MEET THE TEAM

TECHNOLOGY PORTABLE LOUDSPEAKER SYSTEMS Sean Meagher discusses various uses

DIGTIAL LIBRARIES Charlie Horrell hangs virtual shelves

LED: THE 2020 VIEW Bob Mentele provides an update on LED

BUYING GUIDE How to choose the right amplifier

PRODUCTS Equipment launches and updates

THE TECH VIEW Todd Brushwyler talks professional work and Family Life

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COVER: Soul Survivor Festival - Iimage courtesy of Isaac Scott, Big Blond Bear CIRCULATION: circulation@worshipavl.com PRINTER: Times Printers Singapore PUBLISHED BY:

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@WorshipAVLMagazine January–February 2020 WORSHIP AVL 3

NEWS

AVL solutions for all purposes at Die Bron Church SOUTH AFRICA

Stage Audio Works has completed the installation of audio, video and lighting solutions for Die Bron Church and Theatre in Cape Town. It also partnered with Gearworx for this project. ‘Die Bron Church required a complete solution, covering AV, audio and lighting,’ said Jerome Gideon from Stage Audio Works. ‘The client wanted the best solution for their budget and to make operation as easy as possible. They also wanted to make sure that no matter where you were seated within the venue, you could hear every spoken word clearly.’ Stage Audio Works designed an audio solution that consisted of a main PA with eight d&b audiotechnik 10AL line array cabinets which

are powered by 10D and 30D amplifiers. A pair of 18S-SUBs and B22 subwoofers were also installed. On the stage, Sennheiser ew 500 wireless microphones were used with Sennheiser ew 300 in-ear monitors and dBTechnologies Flexsys FM12 wedges. The setup also included a Yamaha QL5 digital mixing console and Rio3224 stagebox. By the main entrance, five Audac ATE06 loudspeakers were installed, as well as a Pre220 preamplifier powered by a CAP224 amplifier. For the AV part of the project, Stage Audio Works chose a Christie DHD850_GS projector as the main output, with Atlona 4K/UHD HDBaseT distribution amplifiers.

4 WORSHIP AVL January–February 2020

For lighting, 12 Acme Stage PAR MP300z lights were supplied, alongside a pair of XA-400 moving heads and nine LDR Profiles. ‘The biggest challenge was that the system would need to be easy to operate, as there are multiple users,’ Gideon added. ‘The site is also used as a multipurpose venue. It is used for church on Sundays and then theatrical productions, wedding functions and special events on request throughout the week. We offer complete AVL and structural solutions, so we were able to accommodate these needs. We have partnered with the right companies that offer products that can talk to each other and exist within the same

ecosystem, making the complete solution “symbiotic” and easy to operate.’ Rhona Kieswetter, senior leader at Die Bron Church, commented: ‘From the beginning of working with Stage Audio Works, their professionalism came through in every contact with them. Their attention to detail was of a high standard and their prices very competitive. Their constant availability was appreciated, and nothing was too much for them to attend to. We found them very helpful with a great work ethic and after-sales service. www.diebron.co.za www.stageaudioworks.com

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NEWS

Crossing to Plant City USA rolling carts to ensure portability. A Yamaha CL1 compact digital mixing console was provided for front of house, which can also be removed for storage inside a rolling case. The CL1 gives the church 48 mono and eight stereo mixable channels alongside 16 channel

The Crossing Church in Tampa, Florida recently opened its third campus. The new mobile sanctuary is based in Plant City, 25 miles east of Tampa, and has been equipped with a Meyer Sound speaker system and Yamaha control courtesy of faithbased systems integrator MABE. The Crossing Church shares its Plant City location with MadZone

Jump House, a kids’ activity centre. Equipment such as screens, projectors, lighting and the PA have all been permanently installed. However, almost everything is portable so that it can be stowed away when it’s not in use. MABE paired Meyer Sound Ultra-X42 point source speakers with 750-LFC subs on MCF-750

faders and two master faders for control. Acoustic panels were also placed around the room to help with intelligibility. www.mabepro.com www.meyersound.com www.wearecrossing.com

The Yamaha CL1 at front of house

Lighting up Bayside Community Church USA The Bayside Community Church’s Bayside West Bradenton branch has relocated to a permanent venue that has been equipped with ADJ and Elation Professional products by Crown Design Group. After previously installing ADJ lighting equipment in other Bayside Community Church campuses, 120 ADJ fixtures were chosen for the facility and spread across the main sanctuary as well as the youth and kids’ halls. Front lighting in the main auditorium is covered by eight of ADJ’s Encore FR150Z fixtures that feature a 130W warm white LED engine and an 8-inch Fresnel lens. Crown Design Group also installed 18 Encore Profile 1000 Color LED-powered ellipsoidal fixtures at the front of the stage which create a manual zoom range of 12–30°. The Visi BSW 300 was selected for the rig’s main moving light, which is powered by a 300W white light LED engine. These parts of the rig are augmented by 12 Elation Professional SIXPAR 200 high-output LED par fixtures, eight CUEPIX Blinder WW2 warm white stage blinders and four FUZE WASH

Z350 quad colour COB LED moving head fixtures. The installation also included eight ACL 360 BAR moving fixtures to add mid-air beam effects. For the kids’ space, Crown Design supplied and installed a floor-standing Global Truss

6 WORSHIP AVL January–February 2020

America F34 quad trussing structure that features a front archway illuminated with ADJ’s 5P HEX LED PAR fixtures. ADJ’s 3D vision panels were chosen to create a backdrop to the stage. A total of 27 panels were set up in a trapezoidal configuration and illuminated by RGB LEDs. The moving heads include Vizi Hex Wash7 and Focus Spot One fixtures. Each Vizi Hex Wash7 consists of seven 15W six-in-one LEDs and offers a motorised zoom for a beam angle between 5° and 55°. The Focus Spot One is a compact, LED-powered moving

head with a motorised focus and replaceable gobos. The kids’ space also includes ADJ’s Saber Spot RGBW compact mixing pinspots that are grouped together into clusters of four, creating mid-air, ACL-style beam effects as well as four Penta Pix units and two Elation ACL 360 BARs. The Encore Profile 1000 Color fixtures provide the room with stage washing and are paired with Encore FR50Z Frensels. The final set up was in the youth room which combines Encore Profile 1000 Color ellipsoidals and FR150Z Fresnels. The ADJ 5P HEX fixtures make up the stage set and provide additional stage colour washing. Eight ADJ Saber Spot RGBWs create mid-air beam effects and are grouped into two clusters of four on the outside vertical trusses with four Vizi Q Wash7s on top of the four largest vertical trusses. Four Elation Professional E Spot III moving head fixtures are also positioned on the stage. www.adj.com www.crowndesigngroup.org www.elationlighting.com www.mybayside.church

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NEWS director, Rick Chavez. ‘I believe Morris Integration measured it at 4FC (foot-candles), which was as low as any building they'd ever done. We were literally using a control panel from a 35-year-old construction crane to control the dimmer switch for our house lighting.’ When Morris Integration’s lighting designer, Paul Holst, first arrived from the company’s home base in Nashville, Tennessee, he declared that ‘the house lighting was essential to create consistent quality throughout the church’. The foundation of the design was dynamic and consistent house lighting. In addition, a major aspect to Morris Integration’s design was to deliver unlimited colour control throughout the entire room. This led to the installation of 16 Ovation H-605FC house lights from Chauvet Professional. The RGBA-Lime LED fixtures have been deployed throughout the sanctuary, providing USAof light and the flexibility an even field to fill the room with white light or any The Ark Encounter in Kentucky colour. This ability is used to help is a full-sizethe model of Noah’sduring ark based immerse congregation on the dimensions given thelighting Bible. services and events, within key Its Answers Center, that changes planned outatobuilding coincide with was completed 2019,a has had a particular pointsinduring sermon. 70 feet xwe 22first feet, 4mmthe pixel pitch it ‘When visited church, NanoLumens LEDvery display installed by became apparent quickly that we Clearwing Integration which needed to Systems address the house lighting displays a digital backdrop across of the room,’ recalls Holst. ‘We tookthe entire presentation an FC reading of thestage. room with the ‘The Answers Center veryonly houselights at full, and has they awere large wide,’ said gettingstage 4FC.’atAn80 FCfeet reading measures Mike Jonas, project manager for from the illuminance cast on a surface Clearwing Systems a one-candela sourceIntegration. a foot away.‘AA videowall the ability to candela isgives a unitthem of luminous intensity. use wall asdid a backdrop ‘Thethe H-605FC a great jobwithout of needing actual drops flyspace. bringing the house lightorlevels to In this case, videowall really a much higherapoint, all the whilewas the only solution asthan the desired being more efficient the old result could notcontinues. be practically fixtures,’ Holst ‘Now, the accomplished with projectors. congregation can finally read their In addition, the videowall Bibles at church. We had toalso bring the serves as masking for the upstage house lighting up to this level before

craft, while at the same time being ministered to.’ In addition to the lighting upgrade, congregants are also now able to read the text on the screens from the new projectors. ‘Shiloh's old projectors were just that: old, tired and costly to maintain,’ says Chavez. ‘It was time to move into the laser projection era to save time, money and hassle. Shiloh also added a third projector for a middle screen that hadn't been used in several years.’ A Panasonic PT-RZ870BU was set up by the Morris Integration team to cover the centre screen, which is used mostly for lyrics, while a pair of PT-RZ970BU DLP projectors deliver image magnification to screens on both sides of the stage, allowing congregants in the farthest corners of the sanctuary to see clearly what is happening onstage. Morris Integration also assisted in upgrading the church’s older Panasonic SD cameras to two new Panasonic Px280 1080p HD cameras Troy Choi for a greater image quality when Berendo Street Baptist Church using image magnification and live in Koreatown, I proposed streaming. Thewhere camera operators some ideas, they liked what they and video producer at Shiloh are heardusing and aloved the results. Word now two-channel Clear-Com spread about howtogood the system intercom system communicate sounded, and pretty soon I was A more effectively during services. gettingVideo queries from other churches Ross Carbonite switcher was all around California.offering part of the Southern video installation, ‘Solid over Sound a small control theSolutions live videoisand leaving company, but we’re on the move,’ room for future expansion. Choi added.the ‘With dBTechnologies, Following upgrades to the we’ve been provide our lighting and able videotosystems, the clients with serious performance congregation at Shiloh Church can and sonic quality at prices theypastor can now read their Bibles, see the afford. That’s been a major factor and view the projector screens. Gone in our and isthe propelling are thegrowth dark days; future isus bright. at a steady rate into corporate and www.chauvetprofessional.com other markets as well.’

dBTechnologies attends Thanksgiving USA

we turned our attention to the stage lighting. It may not be as exciting as stage lighting, but the house lighting was essential to creating consistent quality throughout the church. With the H-605FC, the church has unlimited colour control of the entire room.’ Senior pastor Javier Ramos was notably impressed by the unlimited colour control bestowed upon Shiloh Church, as well as the house lighting in general. ‘It is like the lights were turned on and I was seeing things I had never seen,’ he says. ‘I have not seen so many faces in a long time.’ When stage lighting was addressed, Morris Integration designed a system capable of producing a wide range crossover. hadThe seen other of dynamic We looks. goal was NanoLumens displays and were to not only keep the congregation impressed with thebut image engaged in-house, alsoquality, look along with the warranty.’ good on camera for those watching The home. first piece that it showed from Shiloh Church live on the display a 30-minute film streams its was services via its own called account websiteNew andBeginnings, social mediaanchannels of theas wife of oneand of Noah’s sons. such YouTube Facebook. A It has also usedcomprising as a digital10 system wasbeen installed canvas forWash presenters, Rogue R2 fixtures,forsixshowing Rogue educational andR1 forFX-B promoting R1 Washes, videos six Rogue and new exhibits MK1 and events. six Maverick Spot units, eight Ovation F-265WW and four Ovation www.arkencounter.com FD-105WW Fresnels, and 14 Ovation www.nanolumens.com E-260WW ellipsoidals. These fixtures, www.clearwing.com all from Chauvet Professional, feature

NanoLumens encounters the Ark

Solid Sound Solutions has upgraded the loudspeakers in Thanksgiving Church in Buena Park, California. The installation included 12 dBTechnologies VIO L208 loudspeakers that were flown on each Pulse side, VIO 218 subwoofers adjustable Width Modulation to andflickering two Ingenia IG1T stand-ins for avoid on camera. front-fills withR2 two Ingeniaover IG4Ts ‘We used the Washes thefor side-fills. stage to create a nice colour wash Solid Soundteam,’ Solutions’ founder, for the worship explains Holst. Troy Choi, is renowned working ‘The Mavericks were also for used asthe a monitor engineer for the rock over stage to create breakup band Toto and as We a primary and beam patterns. placedmix the La Land in Concert. R1engineer Washes for andLaFX-Bs on uprights ‘Beyond whatout I’vebetween been doing that we spread the with Toto and thefor Lamore La Land project, worship team beam effects it added seems dimension. I’ve gained The a reputation and Ovation of sortsellipsoidals lately for mywere workused with E-260WW in Greater LA,’ said forchurches front lighting the worship team, Choi. never purposely out while the‘I Ovation F-265WWset Fresnels to gain kind ofarecognition. were usedthis to create nice even front It allofstarted laststage year for at the wash the lower speaking, with the FD-105WWs providing backlighting.’ Chavez has already seen plenty of benefits as a result of the new install. ‘The new lighting rig gives Shiloh the flexibility to program the worship segment per song and even per chorus or bridge,’ he explains. ‘The worship team is happy now and so is the congregation, since they are able to enjoy the enhanced stage lighting. That also helps greatly with the look on the side screens and allows Shiloh to host special events that can be programmed accordingly. Lastly, it opens the door for volunteers to learn a new

www.experiencemorris.com pro-av.panasonic.net www.dbtechnologies.com www.shilohchurch.com

1/4 horizontal ·

STAGING · ACOUSTICS · RIGGING

8 WORSHIP AVL January–February 2020

July–August 2019 WORSHIP AVL 33

NEWS FREE WITH ALL R E D RANGE INTER FAC E S bx_console Focusrite SC plug-in

Martinikerk’s revamped audio system NETHERLANDS Martinikerk (Martini Church) in Groningen has been a place of worship since the year 1000. In 1975, the Martinikerk Foundation was created to look after the church as well as keeping it a place of worship. Its latest project included the installation of a Syva audio system from L-Acoustics. Due to the amount of complaints from the previous digitally steerable arrays as well as the use of more multimedia content from the University of Groningen, requests were made for a better sound system. ‘Additional systems were rented in, but most of the time they didn’t solve the problem,’ explained Jan Ten Kampe from AV-i audiovisueel adviesbureau, who designed the new system. ‘The university in particular demanded an adequate sound system for their events and, because of the issues at Martinikerk, were thinking about choosing another location. This was when I was approached to look at this challenging project.’ When Kampe and his team started the project, L-Acoustics was in the process of introducing Syva. With the help of L-Acoustics application engineer Gert Wiersema and loudspeaker manufacturer and distributor, Audiobizz, a system of four Syva cabinets was used for a couple of major events within the church. This was shortly followed by the permanent installation, which also included a digital controller with a dual 8x8 matrix installed to handle different settings for signal routing, EQ and delay, and was carried out

by dB audiovisueel Groningen. ‘The system is pretty simple,’ said Kampe. ‘Just a pair of Syva as the front of house system and a pair used as a delayed system, and just one LA4X to power them all.’

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L-Acoustics Syva cabinets have been installed ‘The organ of the Martinikerk is rather imposing. It’s very well known and attracts organ lovers from around the world,’ added Jan Haak, manager of Martinikerk. ‘On weekdays, the church is open to the public and we now often hear comments from the visitors about how beautiful the organ sounds. In fact, they are listening to a recording of the organ played over the Syva system. The fact that they can’t tell the difference is proof to us that Syva is doing exactly what we want it to.’

Need to add a headphone distribution system? – Add one or more RedNet AM2 stereo headphone and line output units to any Red interface via a Dante Audio-over-IP network and provide headphone mixes anywhere your facility requires with a single ethernet cable connection. Need to record a vocal or instrument in another location within your facility? – Add a RedNet X2P 2x2 interface to your Dante Audio-over-IP network and get two remotely controllable mic preamps for mic, line or instrument level inputs, with independent level control of headphone and line outputs. Record high quality audio from anywhere in your facility via a network audio connection.

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January–February 2020 WORSHIP AVL 9

NEWS

Added clarity at Santo Eccehomo Cathedral COLOMBIA attaining intelligibility, which was the main concern of all the project’s stakeholders.’ Schallertech installed RenkusHeinz Iconyx Gen5 IC32-RN digitally steerable speakers as well as IC8-RN line array loudspeakers for either side of the altar. For the audience area, two of the speakers were angled out 45° horizontally, while the other two remained on the axis. Two RenkusHeinz PN212S-RD dual 12-inch subwoofers were also installed in order to supply the low frequencies for the music. The cathedral system consisted of microphones and Since opening its doors in 2017, Santo Eccehomo Cathedral has welcomed over 4,000 people looking to worship within Valledupar. As a new structure, the cathedral was designed to include appropriate technology, a job that was entrusted to Bogotábased design/build firm, Schallertech, which chose a sound system from Renkus-Heinz. ‘Catholic churches in Colombia clearly show the influence of the country’s time as a Spanish colony, but there have not been many large churches built in recent generations,’ said Freddy Sampayo, Schallertech’s CTO. ‘Despite being an example of modernity that breaks with the colonial tradition, Santo Eccehomo still presents the same acoustic challenges as the ancient temples.’

The main priority for this project was making sure that the spoken word could be heard, even with an accompanying choir or band. Sampayo commented: ‘We use Renkus-Heinz products when we have challenging spaces and, since acoustic conditioning was not part of the project, the RenkusHeinz products were essential for

analogue mixers, with the speakers connected to Renkus-Heinz’s Rhaon software, which enabled monitoring, DSP control as well as real-time adjustments. ‘The Iconyx series products were chosen both because their digitally steerable array technology ensured good intelligibility and because of their low-profile appearance,’ Sampayo explained. ‘Having a line array hanging over the altar was something that no one would even consider because of the aesthetics of the place.’ Sampayo concluded that the project was a success. ‘The system is fully operational, and the archdiocese is very happy with it. Priests from other churches were amazed by the results and now are asking for consultations on how to improve the sound in their parishes.’ www.renkus-heinz.com www.schallertech.com

Vanguard reaches The Summit USA The Summit Church, a Southern Baptist multi-site church with 11 campuses around Raleigh and Durham in North Carolina, recently installed three videowalls at its Brier Creek campus, which serves as its main sanctuary and broadcast location. DP Design was hired to design and install the new solution, which ultimately comprises 240 Rhodium Series P4 LED video cabinets from Vanguard LED Displays. DP Design’s CEO, David Price, oversaw the system design and installation. ‘The Summit Church is a contemporary house of worship,’ he explained. ‘They offer a worship style that incorporates a blend of some traditional worship practices with

a mostly contemporary style that is both casual in nature and very inviting. As the Brier Creek campus is the main worship location, we wanted to make sure the new video

10 WORSHIP AVL January–February 2020

display system was clear and vibrant to fully engage the congregation.’ The new video setup features an ultra-wide wall display in the centre of the stage, formed from 112 P4

cabinets, in a 14x8 configuration. This is flanked by a pair of screens to the left and right of the stage, each made up from 64 P4 units in an 8x8 panel setup. ‘The three videowalls enhance the worship experience by displaying graphics and lyrics on the centre screen, while the two side panels primarily serve as image magnification of the worship team,’ said Price. ‘When the Brier Creek campus is a playback campus – meaning the message is being delivered live from another location – all three displays act as video playback walls.’ www.dpdesign.us www.summitchurch.com www.vanguardled.com

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First Baptist Dallas invests in clearer source more approach will allow devices typically rely lens uponor anreaches leavesgranular the projector you to zero on thepotentially likely trouble Ethernet connection, a screen at ainparticular distance. much faster than if interchangeable you quickly ruling systems. The benefit If youout areolder using an replace components withoutisrhyme of using Ethernet, of course, lens projector, all manufacturers or reason. flexibility afforded the network’s specify the lumen by output based on This approach can further higher bandwidth. The data the standard lens. Ifbe you aresent using applied from everything to dead via MSC can lens include all manner of a long throw or ultrawide lens, microphones (always the as performance parameters, then the quality of thecheck lenssuch becomes batteries first) to groundUp loop hum lighting desk submaster and increasingly significant. toplayback 20% – a trulywith requires own settings. ofproblem light canthat be lost a pooritslens, write-up, as ground is not the MSC-compatible soAllyou could pay forloop adevices 7,000-lumen only source hum. and instruments are to lumens projector andofonly getable 5,600 communicate on your screen.with each other Be prepared for trouble and computers programmed to understand the messages as Congregants and venue Another way tothe avoid trouble is they all follow same, standard to andthe beneeds MSC specification, using MSC Theexpect age ofit’s thecoming congregation prepared with options. Command Set.backup This means each to be considered on several levels. System breakdowns can be from quickly product transmits anbenefit identical Aging congregations USA avoided during events message for thecritical same MSC event, IMAG and clearer words/images, –while suchas as holiday pageants or such hitting a particular cue. younger generations expect live performances – has byengagement. keeping As all MSC-compatible musical First Baptist Dallas a high-quality video and additional cables, instruments feature a built-in MIDI congregation of overbatteries, 14,000 Even in a medium-sized housepower supplies and microphones on hand. interface, they are able toatfollow members across 12 worship of worship, many will look the Adding anscreen extra power amp the any number of MIDI-over-Ethernet facilities. Its lead audio projection even ifengineer, they to can rack is also an upgrade protocols. Brad has recently invested see Roberts, the stage oraffordable front of house area. even small-are orhouses medium-sized messages assigned to infor aMSC ofthe microphones from DPA. Inset some traditional church orchose worship venue the cues that device is seeking able Roberts the 6066 Core of worship, theaaesthetics are to to insurewithin against worst-case manage thea show controller’s Subminiature Microphone important, soHeadset having features on the scenario. list. These are transmitted tocue provide atoclear sound for Robert projector allow large amounts of from thethe controller’s MIDI Jeffress, lead pastor ofoutput the or lens shift, geometry correction Partner for success automatically during theone show, as church. He correction has become ofthe the keystone will allow commanded by either the user or ‘I first US users ofinstalled this microphone. projector to be discreetly, Finally, the biggest step you can the internally timed chose to upgrade the lead pastor’s whilecontroller’s still meeting the needs of the take in ensuring your6066 worship venue sequences. microphone to DPA’s because projection.

Roberts. ‘The 6066 is completely hidden from close-up HD camera shots and its non-reflective boom further improves the aesthetic, as it does not catch undesirable stage light.’ Roberts also invested in 4061 Omnidirectional Microphones for the acoustic pianos and violins, with RME’s Fireface UC audio and MIDI interface a 4098 Supercardioid Gooseneck Canon’s XEED 4K600STZ projector Microphone at the podium and Other show control options 4066 While USITT developed DMX512 Omnidirectional Headset in thelighting 1980s,which theand Entertainment Microphones arefans, regularly High gain screens help with with rigs the There are,but of course, otherangles. Services Technology Association used during presentations, contrast, also viewing noise canand easily build but, with the entertainment control alternatives (ESTA) over thecontent standard in in Many houses of worship make type oftook music and used available withofwhich youtheir can main build a 1998. After ESTA revised ANSI (the the mistake viewing contemporary houses of it, worship, show control system. likely American National Standards Institute projection screen fromYou thewill point of this is less of an issue. be familiar or at least have – which established ANSI lumens view of the with, PC operator or vision Live music at Manley Baptist inlayout Tennessee installed heard of, some of them. Forthe example, as arecently measurement forAshly’s light output Costs and maintenance mixer. Instead, think about Pema integrated DSP amplifier technology you may havecongregation seen theand letters of projectors) accepted DMX512 in of the whole and DMX check appear in this 2004. Today, Professional Lighting Work out howthe many hours a week on that thetogether sightlines and magazine image quality remains andwhere running is toInstitute partner previously. The United States and Sound (PLASA) • Committed manufacturers average theAssociation projector will be used are goodup from everyone sits. with an integrator and manufacturer forWhether Theatre Technology’s (USITT) manages standard, following live technical support a yearprovide andthe check this against theits the operating noise a that provides troubleshooting DMX512-A is often regarded as the merging with 2011. both forESTA end-users and the warranty length of in your projector projector makes has an impact really standard lighting options and support. Youfor don’t need current manufacturers, That means that toAlthough seeintegrator. if itseveral meets your needs. A even dependsindustry on the installation position. control systems. worksthe asout aprojector control to sit there aloneIt working a most which produce lighting control the system installer needs to laser ifof will offer longer life with less In some environments, method communicating digital problem with only your between search consoles, pitched for DMX get involved, they too to willbecome maintenance but will demand ahave may need to be installed underengine a consoles and entertainment as guide. ahigher show control standard for all that AV are support from the people initial This is baptisms and investment. drama productions. oflighting itsaimpressively small capsule balcony, so it is quite close to a lighting fixtures,of dimmers and effects elements, network limitations and powering system. reflected by thethe warranty, which The 4018VL Vocal Microphone and redesigned headset. For such small number the congregation. such asbe fogangenerators and is• Live can come inthe a few lack ofManufacturers speed the idea are also is typically five yearsthat for amic laser used when ameant handheld is was anmachines solution, sound If unobtrusive so,support noise may issue. When strobes. different forms: never considered. beginning to rethink modelwidely and only three for athe lampneeded. quality is impeccable,’ explained installing many projectors along

1/2PAGE 1/2PAGE HORIZONTAL HORIZONTAL

12 WORSHIP AVL January–February 2020

Otherproduct contenders on in the audio end design many oflaser based device. For this reason, of the their spectrum for Audinate’s the HOWif the models aresolutions alsoinclude a better option Dante andwill CobraNet. The change latter is is the market. One major projector be installed somewhere older the two,tohaving around the integration of been web servers that isof difficult access. since the mid-1990s. It and islike considered within devices. means ‘DPA’s sound is naturalThis solid, For basic maintenance, first commercially successful a third remotely sothe I don’t have tofilter, EQcan as much, which hoovering theparty dusting the lens digital audio solution. connect to a system andUsing check has been reallynetwork helpful,’ and housing, houses ofRoberts worship can asave mix ‘With of hardware and software to things from the side added. 25 ofitsoftware professional money byyears doing themselves. manage, CobraNet stilllive enjoys before they out to a your audio experience in the and When it comes to head more complex large base to this day facility. This isto asee huge boon to recording worlds, it’s safe to say I’ve tasks,installation always look what extra and isthe licensed several proonsite audio as it adds toI’ve the listened to isaend-user lot oftomicrophones. support offered, such as manufacturers. potential of over a quick fix. been using for a decade. support orDPA a next-day loan unit. If you Dante another term that youtomay •are A is partnership with the I knew when I brought theand brand investing the time resources well becompany familiar with browsing that from integrated your First Baptist everyone would to install athat projection system, then these pages. When itwith comes to audio means you always hear theasystem difference and I was right. build relationship awill local networking, is largely considered have local support team. I ended up swapping outintegrator one of our company oraitsystems for to be theMake heavyweight champion. Taking sure you are keeping previous mics with and I plan didn’t support. They canDPA, help you for its name from of the in touch with your tell The the vocalists, musicians ananyone. installation thatabbreviation offerstrusted you room phrase Digital Audio Network Through integrator throughout and team allpartner ended up noticing to audio expand as your needs change. Ethernet, ityear isquality aabout propriety solution anymore potential that thethe audio was Recommendation for distributing uncompressed, changes to your system or any pristine and sounded very natural. multichannel, low-latency digital audio issues that you notice. Early ‘With previous microphones, I’ve Laser projectors definitelygoes via an detection Ethernet network. ofare problems struggled to eliminate ambient bleeda worth considering. As well being Whatever systems and standards toproblem avoiding any bigger but, withlong DPA,way that isas solved. capable of high brightness, they you choose tocame use, it is vitalBaptist to also issues. When I initially to First have a long lifespan retooled which means ensure everything you are Dallas, wethat completely how less adopting is able to requirements communicate. youmaintenance partner with the right weIf miked things. It’s a big space and generally total cost of Some solutions mayto be manufacturers and integrators, and I brought in lower DPA getbetter a better ownership. Single-chip DLP projectors suited to a particular entertainment you’re assured a helping broadcast audio and front ofhand house areThere’s prone colour breakup so, aspect. Forto it may make when things do go awry. if if mix. aexample, reason why IAnd, keep you combine plan to project video content, sense to employ Dante network you that–awith appropriate going back DPA the sound quality then lookand for 3-Chip or you’re LCOS for audio. However, you’re looking a levelifDLP head, isplanning unbeatable.’ technology. for a to solution to control the whole sure be ready when things do www.dpamicrophones.com show, MSCget could be a simpler, yet eventually problematic for your www.firstdallas.org www.canon.com all-encompassing, option. HOW venue.

352-(&76 PROJECTS KnowHOW PROJECTS TECHNOLOGY NEWS NEWS

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New Community revitalised Broadcasting better quality Tabernacle of in Glory powers Flexible sound forChurch Sarangsaem Church Thomasville First Baptist across San four days of Jose celebration finds the right touch

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A return to The Decibells Experience adds Thump to CSI Sawday Church

1/2 1/2 ISLAND ISLAND

18 WORSHIP WORSHIPAVL AVLNovemberâ&#x20AC;&#x201C;December Septemberâ&#x20AC;&#x201C;October 2019 6 2019

Septemberâ&#x20AC;&#x201C;October 2018 WORSHIP AVL 41 January-February 2017 29 51 Julyâ&#x20AC;&#x201C;August 25 Januaryâ&#x20AC;&#x201C;February Septemberâ&#x20AC;&#x201C;October 21 July-August Marchâ&#x20AC;&#x201C;April Januaryâ&#x20AC;&#x201C;February 2020WORSHIP WORSHIPAVL AVL 47 13 Mayâ&#x20AC;&#x201C;June 2019 15

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ICF Munich meets growing audio needs GERMANY ICF (International Christian Fellowship) Munich is a nondenominational free church. As well as hosting regular Sunday services, it also stages a variety of live events with up to 800 attendees. A large number of microphones and I/Os are required for these events, so, to meet growing audio needs, the church recently invested in an Allen & Heath dLive system comprising an S5000 surface with a DM48 MixRack and two DX168 expanders for additional inputs and outputs. ‘When we decided on a dLive, it was very important to us to have a straightforward, well-structured system,’ said Marc Deisen, ICF Munich’s head of audio. ‘Many of our technicians are volunteers and have very little trouble working with dLive, especially as we already had an iLive console in use. Above all, we quickly learned to appreciate the I/O patching matrix, which is very clear and easy to use for everyone.’ A Dante card is also used as part

to expand with the DX stageboxes is vital, as well as convenient. ‘Now we have enough processing power for more than 50 channels plus effects, all in a modern and reliable system,’ he continued. ‘The Dyn8’s multiband compressor is unbeatable for all forms of signal processing and the DEEP plug-ins, from the valve preamp emulation through the 16T to the Opto compressor, surprise us again and again with their warm sound.’ www.allen-heath.com www.icf-muenchen.de

Marc Deisen at the S5000 surface of the new setup for multitrack recording, connecting wireless microphone receivers and the PA. ‘A special feature of the ICF building is the stage concept with a 360° central platform,’ Deisen noted. ‘Our goal is to keep the cable routes short and to have as few cables as possible leading through the audience to the desk, so the ability

Life Church streams with Vitec USA Vitec’s MGW Ace Encoder and Decoder have been installed at Life Church and its four satellite campuses in Memphis, Tennessee. The church wanted a streaming platform that could live stream its services from its main campus to its satellite locations. ‘The two most important things for us when we were looking for a streaming platform were reliability and performance,’ said Brian Pitre, Life Church’s creative director. ‘Vitec, without a doubt, delivers on both. It’s been more than a year, and we have not had a single issue. That’s a testament of Vitec’s absolutely flawless technology.’ The Ace Encoder features Vitec’s next-generation Nevc (H.265) compression, while the Ace Decoder is capable of 4K FPGA architecture which provides live streaming on both public and private networks. When they are used together, the set becomes an end-to-end streaming solution that transmits synchronised video and playback. Renewed Vision ProVideoServer was also installed, which provides

a four-channel HD video server to enhance the Vitec system with recording, playback and time-slip capabilities. The combination allows Life Church to broadcast with embedded timecodes and multichannel audio, including the delay at each satellite campus at any time.

14 WORSHIP AVL January–February 2020

‘The latest advances in technology have allowed Life Church to expand their reach, but they needed a high-quality and reliable streaming solution to build a truly connected community,’ said Mark Robison, broadcast solutions specialist at Vitec. ‘With Vitec’s scalable streaming solutions, now staff or volunteers don’t have to worry

about glitches disrupting the service or relying on previously recorded services to fill the slot. They can enjoy an error-free, distraction-free environment where they can home in on one live message that is shared with the entire Life Church family.’ www.thelifechurch.com www.vitec.com

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Creating a vibrant Sound Planning, immersive lighting atmosphere for Church of Our Saviour USA

SINGAPORE Total Solution Marketing, a local distributor in Singapore, has recently supplied Ayrton MagicBlade-FX and Mistral spot luminaries to the Church of Our Saviour. Ron Chiam, technical director of the church, said: ‘Because we only have a small space, we needed fixtures that were small and compact, but at the same time powerful enough to create a vibrant atmosphere. It was the first time we had heard about Ayrton, but St Malachy Church in Detroit has invested in a colour rendering LED lighting system featuring fixtures by Chauvet Professional. This was created and installed by Nathan Cole, a system engineer from Sound Planning Communications. ‘Colour and lighting have always been critical elements to the Catholic mass even before lighting fixtures were invented,’ said St Malachy’s LD, Dave Corbat. ‘This parish takes a proactive role in reaching out to worshippers. This led to the idea of introducing colour ful lighting to create an immersive environment in the sanctuar y.’ The installation consisted of four Rogue R2 Wash fixtures for the main lighting pipe and two of the same fixtures that were set up on the ground near the altar. For uplighting, a selection of Colordash Batten-Quad 12 linear

wash fixtures were set up on the ground. Corbat added: ‘The combination of the Rogue R2 Washes and Colordash Batten-Quad 12s gives us unparalleled flexibility in what we can do with the lighting in our space. We are able to get creative with our lighting design and use it in a way that enhances the liturgical experience for our congregation. As moving fixtures with the ability to create a wide range of colours, the Rogues greatly expand our capability to suppor t ser vices. We are using these moving wash fixtures to highlight areas during liturgy as well as to project colours onto our ceiling so we can better reflect the mood of the liturgical season.’ www.chauvetprofessional.com www.saintmalachychurch.org www.soundplanning.net

soon realised that these were the fixtures to go for in the space that we had. They are used during moments of worship and are also used to create 3D-like lighting for our camera crew, so that they can capture what is on and off stage with ease.’ Four MagicBlade-FXs were set up on flybars in a V-shape, while two Mistrals were placed on the floor on top of the boxes to help project colours

and patterns. Two other Mistrals were hung out on side bars. ‘One of the moments where these lights stand out is when you can blend two gobos together to create some sort of texture, without it looking like a messy array that distracts the congregation,’ Chiam added. ‘Instead, each gobo is blended with another in different rotations to create a certain type of mood that makes it special and unique. The prism and gobos work well in the Mistral, and the MagicBlade FX’s tightness of beam and the ability

to have different colours on each pixel is great. These fixtures are straightforward and easy to use so my volunteers got the hang of them in less than an hour and, using an MA dot2 lighting desk, they were able to program the most alluring displays.’ www.ayrton.eu www.coos.org.sg www.tsm-int.com

FUMC upgrades with Danley USA After several complaints from the staff, musicians and congregants at The First United Methodist Church (FUMC) in Midland, Texas about the line array’s ‘indistinct sound’, the church decided to upgrade its sound system with products from Danley. This was designed and installed by Danley representative, Anderson Sales and Marketing, which worked with Romeo Music. The upgrade included the new eight-channel

16 WORSHIP AVL January–February 2020

Danley DNA 10k8 Pro amplifier with integrated DSP and presets. A Danley SBH20LF column-form point source box was installed with Danley TH-mini subwoofers on the peak of the ceiling alongside a single Danley SHB20, while five small Nano loudspeakers supplement the main system with two SH-Mini loudspeakers. www.andersonsalesandmarketing.com www.danleysoundlabs.com www.firstmethodistmidland.com

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Bridging the gap

USA The Calvary Chapel Old Bridge in New Jersey has recently upgraded its main sanctuary, café and lobby spaces with a sound system consisting of audio wall plates from

Attero Tech. These were installed by CCI Solutions. ‘Throughout the week, the church holds small events in the café that might require only a

single microphone and a laptop or smartphone,’ explained Todd Gathany, CCI Solutions project leader and director of design and engineering. ‘The idea was to enable them to come in and plug a dynamic microphone and any other equipment they needed into a local panel right there in the café or go wireless and use Bluetooth from a phone.’ CCI Solutions installed an Attero Tech unD6IO-BT Dante-networked audio wall plate including Bluetooth connectivity, RCA and 1⁄8-inch mini jacks. An Attero Tech unD3IO wall plate provides an XLR mic/line input with an XLR mic/line output, a stereo pair of RCA inputs including an 1⁄8-inch mini jack for input and another mini jack for output. The panels send the input signals as well as receiving output signals via Dante to a Symetrix Radius 12x8 EX

DSP to perform routing and signal processing for the system. The Radius EX processor is controlled from a Symetrix ARC-2e menu-driven, remote-control wall panel in the café to provide volume changes and source selection between the Attero Tech panel and the signal from the sanctuary, which is the default source of the café’s sound system. ‘Attero Tech is a product we look to when we build out a robust Dante presence on a campus,’ Gathany added. ‘It’s a nice product we can drop anywhere on the network and quickly integrate. It’s always reliable and does what it’s supposed to, and the Symetrix integration is pretty seamless.’ www.atterotech.com www.ccob.org www.systems.ccisolutions.com

Lakeside renovation USA The recent renovation at Grace City Church’s Lakeside Campus in Lakeland, Florida saw the installation of new audio, video and lighting systems by AV integrator MABE. This included an Adamson Systems Engineering IS-Series loudspeaker setup in the main 792-seat auditorium. ‘We had many discussions on which line array would offer the performance and warmth that Grace City was looking for,’ said Steve Griner, lead account manager with MABE. ‘Our conclusion was Adamson’s IS-Series, which provides plenty of volume and impact while maintaining a smooth sound at higher SPLs with no harshness.’ Chase Wagner, Grace City’s creative arts pastor, explained that the church wanted every seat in the auditorium to receive the same audio experience. ‘We also wanted a warm-sounding speaker that didn’t need to be run at an overly loud volume to still sound huge,’ he added. The setup comprises main left and right arrays of eight IS10 two-way cabinets, behind which are four flown IS119 subwoofers per side. A trio of IS10p point source cabinets

18 WORSHIP AVL January–February 2020

are hung as left-, centre- and right-fills, while an additional seven PC5 compact coaxial loudspeakers serve as front-fills. Based locally in Lakeland, MABE specialises in faith-based audiovisual production and installation projects.

‘MABE has worked closely with us at every step of the process of our Lakeside Campus buildout and renovation,’ added Wagner. ‘From dreaming up ideas to final execution, the MABE staff were only ever a phone call away. Our team and theirs knew Adamson was the right choice for us and, even after the install, MABE staff have been standing by for any questions or troubleshooting.’ www.adamsonsystems.com www.gracecity.com www.mabepro.com

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CRC Church branches out SOUTH AFRICA The culmination of a 10-month project, a new 6,000-seat church in Fourways has been constructed by CRC Church to host its expanding congregation after its original site, the Barnyard Theatre in Rivonia, had reached full capacity. DWR Distribution was enlisted to help fit out the new space with AV and lighting equipment, installing a grandMA3 compact lighting console, 64 Robe lighting fixtures, an Absen DWP3.9mm screen, Prolyte trussing, an L-Acoustics Kara sound system and a DiGiCo SD12 audio console. DWR was responsible for the full technical supply, including power distribution, but excluding the house lighting and cameras. The CRC Church is led by Pastor At Boshoff and already has two branches in Bloemfontein, a large auditorium in Pretoria and 90 satellite meeting points where services are broadcast each week. While the CRC buildings are similar to each other, they are not exactly the same. Having supplied the previous locations, DWR came up

with a solution to meet the technical needs of the Fourways branch. While the church will ultimately seat 6,000 people, the system has been set out in phases and a basic infrastructure has been put in place for future growth. The wedged-shaped auditorium has steeply raked seating leading down to the main stage, where the focus is a large, high-resolution screen comprising 336 panels of Absen DWR P3.9mm. A half-circle H40 Prolyte Truss is positioned

above the audience and close to the stage, with additional B100RV and S52SV ground truss supporting the Absen screen. ‘The B100 truss allows for four tons of loading, which helps provide loading capacity in the roof for lighting and audio,’ explained DWR’s Robert Izzett, who led the project. ‘Ten Prolyft Aetos 1,000kg motors provide safe lifting of equipment.’ The stage wash is provided by 24 Robin Tarrantulas, a multipurpose LED beam, wash and effects fixture,

24 Robin ParFect 150s, a static LED source ACL beam, and 36 F1 high-power RGB PAR Blacks. Twelve Robin Pointes and four Robin CycFX8s create additional beams and sweeping movement effects. The lighting system is run on an MA Lighting grandMA3 compact console, which offers volunteers using the desk the full system benefits of the grandMA3 system in a smaller and lightweight format. The new audio setup at CRC sees an SD12 positioned at front of house, an SD9 at monitors and an SD9 for broadcast, complete with SD-Rack. An L-Acoustics Kara System provides reinforcement throughout the auditorium. ‘The end result was awesome with CRC Johannesburg instantly recognisable as a “CRC Church” but filled with new technology,’ Izzett concluded. ‘Our thanks extend to Pastor At and the CRC team for trusting DWR to pull off this amazing project.’ www.church.crc.org.za www.dwrdistribution.co.za

Improving intelligibility at Gothenburg Cathedral SWEDEN Gothenburg Cathedral in Sweden has undergone several restorations and renovations since its opening in 1815. The latest project to have taken place consisted of an upgrade to the sound system, which included VXL 1 speakers

by Yamaha, specified by Ljud & Sakerhet. ‘The main need was to improve the intelligibility and provide more even sound in the main part of the cathedral and the side chapel, as well as enhancing monitoring for the

20 WORSHIP AVL January–February 2020

choir,’ said Sten Ranwald from Ljud & Sakerhet. For this upgrade, Yamaha VXL1-24 loudspeakers were installed in the main part of the cathedral, alongside a pair of VXL1-16s for the side chapel. These were powered by PX3 and PX5 amplifiers. The mixing console was also upgraded to the Yamaha TF1 which can integrate with the main system. During important events, the sound can be mixed via the installed system and a moveable PA which includes a pair of Yamaha MSR400 speakers for house or monitor sound. The cathedral had previously been equipped with Yamaha gear 11 years go, including an LS9 digital mixing console, DME24N digital mixing engine and ICP1 surfacemount controller. ‘Choosing Yamaha products for the upgrade was easy,’ added Ranwald. ‘The VXL series loudspeakers have the perfect aesthetics and we

Yamaha VXL1 speakers have been discreetly installed knew that they would make a great improvement to the sound. They fitted seamlessly into the existing system, which was important because the DME24N still does everything that the cathedral needs, minimising the upgrade costs. With its power and the ICP1’s ease of use, it means the cathedral does not need a dedicated sound engineer for regular services.’ www.svenskakyrkan.se www.yamahaproaudio.com

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NEWS: SPECIAL REPORT

Gwanda International Gospel Festival The fifth edition of the GIGF was held in October 2019 at the Phelandaba Stadium. Tatenda Gaylord Rushwaya from Events Evolution discusses the AVL setup deployed

THE MOST RECENT GWANDA International Gospel Festival (GIGF) was held in the city of Gwanda in Zimbabwe on 4 and 5 October 2019 and was attended by over 20,000 people. The festival is bankrolled by South Africa-based businessman Justice Maphosa through his company Big Time Strategic Group. The latest edition was headlined by Shongwe & the Khuphuka Saved Group and Sipho Makhabane – both from South Africa – along with performances from Denzel the Pianist, also from South Africa, and South Africa-based Zimbabwean artist Takesure Zamar. Local acts Vocal Ex, Mathias Mhere, Indosakusa: The Morning Star, Mkhululi Bhebhe, Joyful Praise, Hybrid Sounds and Harvest Music Super Choir rounded out the line-up. At Events Evolution, we were hired to provide the sound, lighting, AV, stage and power solutions for the second year in a row. For sound, the main PA we used was TW Audio, with Endelani Kachepa serving as FOH engineer and systems technician. We used 15 Vera36 boxes (12 80° and three 120° units) per hang for even and smooth coverage, with two T24N speakers for front-fill. We also deployed 20 S33 and six BSX subwoofers in a combination of cardioid and end-fire configurations, while the delay tower had two hangs of six Vera36 boxes. The PA setup was driven by five tour racks and two system racks, all with Lab.gruppen PLM 12K44 amplifiers for

the mid/highs and PLM 20K44 for the subs. FOH control was from an Allen & Heath dLive C3500 with Dante and Waves option cards. Monitor world was managed by monitor engineer Tendai Madewu, who was running nine C15 wedges – eight onstage and one cue wedge – and a pair of T24N speakers for side-fill duties. A dLive C2500 was deployed as control for monitors, while an Allen & Heath ME-1 personal mixing system was used onstage for the band and Shure PSM1000 in-ear monitors for lead singers. Monitor amplification was from a Lab.gruppen system rack with PLM 12K44 amps. Audio signals

22 WORSHIP AVL January–February 2020

were split between FOH and monitors via Dante. Events Evolution’s Blessing Bero was the event’s lighting designer, putting together the lighting and stage designs, which included Chauvet Professional Maverick (Mk2) Spots, R1 Beams, Intimidator Hybrid 140SR moving heads, R2 Washes, Chauvet DJ SlimPAR Tri 12 USB/IRC fixtures, EVE E-100Z profiles and EVE E-50Z Fresnel fixtures. Chauvet Hurricane Haze 4D and Le Maitre MVS haze machines were used to add visual effects to the lighting rig and an Avolites Arena console was deployed to offer programming and control of

the rig via Chauvet Net-X II ArtNet adapters. Avolites Arena was used for the event because it has plenty of faders and playback with digital legends. Finally, my role for the GIGF was as the visual designer. We deployed 220 Gloshine P3.9 LED panels. The two main side screens were in portrait orientation, measuring 4.5m x 5m. They were used for the live camera feed and displaying adverts. The centre LED wall was in landscape configuration and measured 12.5m x 4m. This was used to run motion graphics and the playback of pre-recorded videos, as well as Bible verses. All the content was being run using an Avolites AI Media Server RX4 and Titan Mobile console. The event went so well this year, especially compared to our first time working the GIGF last year, because we have acquired more equipment during the last 12 months. We had new power generators onsite, so we had uninterrupted power from day one and we also had a new video mixer from Blackmagic Design. All I can say is that this year’s GIGF was truly a success and an improvement on 2018. www.eventsevo.co.za

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PROJECTS

Graceful return Richard Lawn revisits Grace Assembly of God church in Singapore

The Aoto MXC4 LED wall was aligned with the existing features THIRTEEN YEARS HAVE PASSED since Worship Audio Asia was launched as a dedicated publication to educate AV technicians operating in Asia Pacific houses of worship. In that inaugural 2006 issue, the magazine reported on the newly constructed Grace Assembly of God church in Singapore’s Bukit Batok district. Blessed with a budget to upgrade the AV equipment in 2019, Grace@BukitBatok (GII) – as it is affectionately known – opened its doors to Worship AVL to evaluate if any equipment had stood the test of time. The previous audio setup within the sanctuary of the multi-level facility selected for the church’s contemporary services comprised a Meyer Sound M1D line array, Digidesign Venue digital console and Aviom monitor mixers. For the upgrade, project lead for AVL James Chang and head of audio Christopher Soh invited HOW AV consultant Robert Soo (Cogent Acoustics) to provide recommendations. ‘As the interior is acoustically well treated, a retrofit was not required,’ comments Robert. ‘And, with a limited budget, some of the original equipment, which was starting to fade and in need of replacement, would also need to be maintained for a little longer.’ A shortlist of systems integrators was invited to tender for the project, while Concept Systems Technologies (CST) was selected to carry out the integration of the AV technology. The church committee assessed several audio systems in live music, speech

and playback modes. Ultimately, an L-Acoustics’ Kiva II WST line source system was rated with the highest score. ‘The committee was not only impressed by the power, quality and the coverage of the dual 6.5-inch modules, they were also won over by its compact footprint,’ recalls Robert. ‘It makes you appreciate how far line array technology has developed over the years.’ The L-R 10 per side Kiva II modules are augmented by four SB18i single 18-inch subwoofers providing LF extension to 32Hz (±3Hz) as a centre cardioid cluster. Powered by four LA4X amplified controllers, the loudspeaker system is completed with the addition of eight free-standing XT5 coaxial front cabinets on the steps leading to the stage. Contrasting with the previous dedicated processor required for all loudspeaker management settings, the LA4X’s integral DSP filtering provides crossover functions and system EQ in addition to ample headroom power for the entire Kiva II, SB18i and XT5 speaker setup. Having created simulations and analysis on the proprietary Soundvision software, L-Acoustics applications engineer Chung Wah Khiew worked closely with CST project manager John Tan to execute the final positioning. ‘We only had two weeks to complete the upgraded AV works in the sanctuary and naturally we had to suspend our activities to allow the weekend services to run uninterrupted,’ comments Tan. ‘It was not as straightforward as it first

24 WORSHIP AVL January–February 2020

The Kiva II arrays are augmented by SB18i subwoofers

seemed. The L-R Kiva II arrays had to be suspended on new mounting points as they were between 250–300mm away from the original M1D points. Furthermore, the final positioning of the SB18i units was critical as the front and rear pairs had to be precisely distanced from one another and they had to be fixed out of the sightlines of the LED screen. As a result, the front pair have been installed at a higher point to ensure there is no obstruction.’ Prior to the upgrade, Yamaha supplied a flagship PM10 digital console for FOH and monitoring requirements. Operating within the Dante network domain, the PM10 can record services through Logic Pro on a PC, while MP3 or WAV files can also be downloaded for further postproduction editing. Still in good working order and providing familiarity of use for the musicians, the Aviom A-16II personal monitor mixers maintain their presence onstage, while the shielded percussionist was never going to sacrifice his trusted Audix D2, D6 and i5 microphones. The original Panasonic projector and motorised screen were earmarked for replacement with an HD LED videowall. The Grace Assembly committee was invited to a demonstration of an Aoto LED 2.5mm pixel pitch display at CST’s showroom. ‘The quality and the reliability of the high-resolution display definitely made a good impression,’ comments CST MD, Gerald Fong. ‘The assurance of the JCDecaux global partnership and the support that the Aoto brand provides also proved to be a major factor in the sale.’ ‘The original MXC3 design stipulated a larger-format display, but we had to decrease this in order to allow free movement from back of house

L-Acoustics XT5 coaxials serve as discreet front-fills

KnowHOW

PROJECTS KnowHOW

Setting up a basic lighting grid

In conclusion inserted into the pre-existing Yamaha variation in humanscreens facial features, quite long. An example would be if inserted partition on the M7CL console. such as side the height of the the nose or the shadow created under the nose Shalom to minimise audio If you search for a definition of These arethe justsame three lower facial floor lighting Sharing as the the depth of inset eyes. extends to the top lip. Alternatively, spillage leaking from oneTherefore, room to the the butterfly lighting technique on techniques that you easily take sanctuary below, thecan Love Room for when positioned at exactly 90° from if the light source is too low, the other during separate events. Google, pretty much every definition advantage of Praise when photographing children and youth room share the light source, thedemo shadowing shadows may be so short that there Following the Aoto at the and CST will say something with regards to subjects a single sourceHall. or similar AVusing upgrades aslight the Agape highlighting subject to is little shadowing at all, which can facility, Fongwill andvary Tan from also showcased the butterfly-shaped shadow that natural lighting. In effect, all that you The video element includes Datavideo subject. The coaxial goal of loudspeakers split lighting isto result in your photo looking flat and their Norton is created just under the subject’s are doingswitchers is adjusting direction of SE-650 andthe Panasonic to create two equalselect halves, so that two-dimensional. Grace Assembly’s committee. nose. This is because there really is a the light source and the positioning PT-EZ590 projectors. Providing ease of is where impressed, the placement of therooms light If the shadows produced from the Suitably the other butterfly-shaped shadow created when light source are too strong and you of the subject andoff camera control powering on and for thetovolunteers, source need to beaadjusted are nowmay furnished with combination using this technique. In this situation, or manipulate the highlighting Furman CN-3600 sequencersand have accordingly. are unable to adjust the light source of i12 and i10 ceiling-mounted the light source is positioned above shadowing on theadded subject’s face. been universally to all the Once Split lighting is a great tool forHall to be lower, you can use a reflector speakers, for which the Agape and directly behind the camera. you have mastered thesePre-existing techniques, room equipment racks. creating images. There are under the subject’s head, tilted back is furtherdramatic augmented by i118B subs. The result is that both sides of the you can addsuch additional sources equipment as thelight Midas PRO2 numerous in mainstream up towards the face to fill in the ‘The limitedexamples room height ensured that A Yamaha Rivage PM10 console IF YOU’VE TAKEN THE TIME TO at FOHstrong shadows. This will take some face are evenly lit and shadows or experiment alternative console in thewith chapel continues to media photography use of split the subwoofers had of to the be positioned look at lighting positions in a ontocreated thethe stage,’ comments Robert. are just under the nose, arrangements of these elements to serve the church’s requirements until received an L-Acoustics lighting, suchtoasthe headshots music experimentation with theupgrade angle to almost flush ceiling soofthat variety ofsometimes facilities, you mayWhen have The 480mm x 480mm tiles have chin and brow. come up budget with other creative lighting the next is approved. courtesythe of L-R ARCS Wide (inner) and artists for advertising materials. achieve correct balance. they would not block the sightlinesSplit of noticed several despite been arranged eightcorrectly, units the light sourceinsimilarities isan placed techniques for your projects. ARCS providing lighting not aForeign technique thatinyou JohnFocus Black(outer) servesspeakers as the theatre manager for is Seoul School the venues looking completely (3.84m) high xproduces 14 units (6.72m) wide this technique the fewest Finally, these techniques can also 45° and 15° horizontal dispersion, would use of a guest Seoul, South Korea. Holding a degree in Theatre Design, hespeaker providesmaking Technique 3: split technical production support and design in three state-of-the-art different architecturally. This is configuration. The original inputs shadows. be used as basic techniques for facial respectively. Rear delays have been a presentation at your house of performance venues oncoaxials. campus 40 major and but it may lighting for your video projects. If you third andform final technique we for over because lighting including Panasonic PTZpositions HE130 Butterflythese lighting is also referred to as The added in the of X12 worship on aconcerts serious topic, productions a year facial in height the lighting areas of sound, video andwhen staging. will looktoatthe regarding were first have considered in relation cameras beenasretained, butused the ‘glamour style’ it is often are shooting on location or don’t have ‘Owing restricted of the be alighting, technique used promoting John especially enjoys sharing his passion for entertainment technology is split lighting. As theare to thehas stage andKramer lightingreceivers, design CST added in glamour photography. The downside techniques access to a full lighting rig, these ceiling, the point source cabinets a special music or drama event, for withalludes high school students each year through his student production team, term to, atosituation theories as toand how effectively transmitters converters to ensure of this technique is to that it doesn’t techniques will help you consider the fixed horizontally maximiseusing theirsplit example. Crusader Live!, students the opportunity to finding learn and with lighting divides thegiving subject’s face illuminate presenters or scenery on compatibility of theupHD/SDI and HDMI allow you to cover any blemishes balancing of shadows and highlights energy on the congregation and away If you are thatwork the shadowed professional-level technologies in a demanding production environment. into halves, one that is it. Depending on the architecture of signals along the single mode,though fibreor unflattering facial features, to helpBlack, createtheatre depth and prevent your fromtwo the equal hard surfaces.’ half of the face is too dark for what John manager well lit to (orthe highlighted) andthe one that is you are looking for, you can use a the finalcare lighting opticauditorium, transport. these can be taken of inpositions the subjects appearing flat and twoPrior AV upgrade, church for Seoulfrom Foreign School shadowed. thistoisthe relatively may beand determined by process. ‘best fit Above the retouching sanctuary, the Love editing dimensional. opted to addAchieving full glazing lateral reflector opposite the light source to simple just make the surechapel that the light Room, Room, Hall about One ofPraise the things to Agape be careful I hope that this brief overview has wall that– separates from reflect light back onto the subject’s source positioned at approximately possible’some to lighting design theories, and Shalom arebutterfly used fortechnique smaller when using the provided helpful tips for you as Shalom.is‘While the windows can be face. The shadowed half will still be 90° to the choosing positions that workAsasI always best ceremonies, weddings, is to make sure that therehearsals light source you approach facial lighting. opened up subject. providing the audience darker than the highlighted side, but The Agape Hall has been upgraded with a Norton coaxial speaker system You Shalom may be next wondering whyaI view use of as possible given the constraints or and practices. is notchoir positioned tooThe highcommon or too low. say, lighting is a creative endeavour, from door with this can help the camera capture the term It goes Having opted forroom a partial limitations of itself. of is these rooms too placed If4m-high the lightceiling source positioned so feel free to the experiment toAV getupgrade the stage,‘approximately’. the addition of glass has some features but at lower the L-Rfacial Panasonic PT-VW590 video without that there is a wide ofPerhaps the church’s infrastructure, youyou are approaching an restrictions on whatcreated AV technology high, the shadows will be specific look are seeking. the created saying an acoustic problem,’ adds intensity the highlighted side. projectionthan screens,’ says Robert. resultant transformation reflects well auditorium renovation, conversion or could be applied. The chapel has Robert. At his insistence, the church Monitoring is provided by Norton on the original designs by new build and you havecreated been tasked Audio NF8 speakers, while Dynacord Laudlooking Architects with afterand theAcviron lightingAcoustic rig, L3600FD amplifiers power the whole Consultants. may not be including the It placement of fashion, lighting system. but the changes highlight AV positions and what shouldhow be included Controlled by an ETC SmartFade technology whether networking, in the house– plot. Thisit’s article lays controller, a combination of 12 loudspeaker design or lighting HD video out some of the basic design Martin Rush PAR 1 washes and transmission – rapidly progresses theories, as well as providing some PAR 2 Fresnels were included as part overwhen a relatively short period time. tips approaching such aofproject of the CST makeover. ‘Again, the so that an effective Projection, line arrayand andflexible digital basic limited open ceiling space created lighting can be achieved. consolegrid technology has indeed come a headache for CST in terms of a long way. placement as there are few locations without ducting.’ Dante connectivity Zoning your stage www.cogentacoustics.com to the sanctuary has been created www.concept-systems.com.sg Before beginning to think about the with the addition of a Rio3224-D2 www.graceaog.org fixtures or the placement of them, stagerack and MY16-AUD2 card Fig. Robbsystem Hall Theatre – lighting areasARCS Wide speakers The 1 audio with L-R L-Acoustics Technique 2: butterfly

John Black discusses some of the basic lighting design theories for creating a flexible lighting grid MEET THE AUTHOR

lighting

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40 WORSHIP AVL AV March–April 2019

January–February 2019 2020 WORSHIP AVL 41 25 September–October

PROJECTS

Remodelling in progress

A new Hope

When Hope City Church took on its first permanent venue and initiated a complete remodelling, Tone Proper AV designed and installed the AVL solutions. James Cooke finds out more MILWAUKIE’S HOPE CITY CHURCH has been up and running for half a decade, finding temporary venues to host its services as a mobile church. For more than 75 years, meanwhile, Milwaukie Christian Church had been a staple of the local community and, for the last 44 of those years, Russ Isom had led the flock as its pastor. As Isom approached retirement, he had developed a friendship with Hope City’s lead pastor, Brian Becker, which ultimately led to Hope City Church absorbing Milwaukie Christian Church’s ministry and taking on its sanctuary as a permanent home. Although the church would have a new name under the Hope City Church banner, the building was also in need of an update. Hope City chose to remodel the entire building, stripping it back to its studs. Having worked with Tone Proper AV in the past, the church hired the systems integration company to design and install new sound, lighting and video equipment. ‘When you get a building down to the studs, it’s a fantastic time to upgrade the AVL systems,’ says Tone Proper AV owner, Nick Moon. ‘The building was pretty much gutted and, since they were previously a mobile church, we had to provide everything as all of their existing equipment was portable, such as speakers on sticks that don’t look so good in a permanent building.’ Tone Proper AV found a permanent solution for sound reinforcement at Hope City Church in the form of three Fulcrum Acoustic FH15 fullrange speakers, which have been flown above the stage in an L-C-R configuration.

The Midas PRO2C digital mixing console ‘The FH15 is the newer horn-loaded coaxial model,’ says Moon. ‘We knew that a line array was really not justified in the space due to a throw of only 10–12m. A point source solution was the best option and Fulcrum makes some of the best point source boxes available. After producing some EASE models, we came up with a solid design using the FH15.’ Supplementing the FH15s are two CS121 subwoofers, one placed on each side of the stage for lowend reinforcement, as well as five of Fulcrum’s low-profile Profile S speakers, which serve as fills. ‘The CS121 is a cardioid passive subwoofer,’ Moon explains. ‘It’s a 21-inch model and, with two of them in a room that size, they provide pretty substantial headroom.’ Driving the loudspeaker setup are four Powersoft Quattrocanali 4804 power amplifiers, while a Midas PRO2C digital mixing console with DL251 stagebox handles mixing duties at front of house.

26 WORSHIP AVL January–February 2020

When it came to selecting microphones, Moon and his team supplied four JTS UF-20 handheld wireless microphone systems. ‘JTS is an OEM [original equipment manufacturer] supplier that provides wireless technology to other manufacturers in their products,’ explains Moon. ‘Selecting their own brand for this project made sense, as you get the same system you’d get with other brands at a fraction of the cost.’ An RF Venue combiner was also installed, along with an RF Spotlight antenna. ‘The RF Spotlight is a floor pad antenna that we built into the stage.’ For foldback, Tone Proper AV kept to the wireless theme, providing Shure PSM 900 in-ear monitoring systems. House lighting is courtesy of Elation Colour Pendant 110W RGBW wash luminaires with E-Fly transceivers. Stage lighting, meanwhile, is provided by fixtures from Chauvet Professional. This includes four Rogue R2 Wash moving heads and a pair of Maverick MK2 Profiles, as well as eight

EVE F50Z LED Fresnels from Chauvet DJ as key lights. ‘And then there’s the videowall,’ says Moon, highlighting the 4.9m x 2.7m, 2.9mm pixel-pitch screen that adorns the wall at the back of the stage. ‘The manufacturer we chose, LedaxTech, came in to install it. The product is really slick without the need for any fancy rigging. The LedaxTech solution is basically an LED panel on a small frame with four high-power magnets. You just need to build steel-like channelling into the wall and then the magnets snap onto this and onto the back of the videowall. So, why pay US$100,000 or more for rigging when you don’t need to? All that rigging hardware is great for touring purposes but, for most churches, the videowall is a permanent installation and its layout never changes. This system is much cheaper.’ Designing and installing audio, visual and lighting solutions during the early stages of building construction, or in this case a remodelling, does have its advantages, particularly as it allows architects and contracting firms to make considerations for AV and lighting elements. However, it does also present its own set of challenges. ‘It’s always more challenging than just coming in and installing AVL systems to a new building,’ Moon explains. ‘You’re working in an active construction zone and having to wear hard hats and filling out safety reports. We had to coordinate alongside the contractor on everything. Then there are scheduling conflicts – we had a scissor lift onsite to install some equipment but the contractor needed

PROJECTS KnowHOW Be sure that all of your kit is up to the same standards, such as resolution, so that your content is consistent. And always have backups available where possible so that if something does malfunction, you can act fast to fix the problem when it’s showtime.

CDNs When it comes to choosing a method of delivery, do a bit of research and look into what best suits your needs. Facebook and YouTube provide a good, free service for live streaming that is easy for viewers to find and play back. Both are easily accessible on just about all devices a congregant to fit thetocarpet, of youthe falls is likely have, so andone provide behind schedule that the other to can added benefit of so allowing viewers keep theirs. But, when followtoyour account. If yoursomeone house falls behind, it means for of worship already hasdelays a Facebook everyone else down the social line and page, streaming on the media results periods of time where site willinmean those who like thewe’re sitting on see gearthe andvideo waiting page will poptoupinstall in their it. We Depending actually hadonsome the gear feed. their of settings, ready weeks early because some several followers on Facebook may we thought werenotifications going in much even receivewepush on earlier than we We had to wait their phones to did. let them know you’re for everybody else to finish their work going live. and then, looking becausefor ofsomething the delays,a If you’re we hadprofessional four days towithout put it allthe in, littleonly more which wasofaFacebook lot less time than we it branding or YouTube, planned could befor. worth subscribing to a paid

service. Benefits of this include the ability to easily stream directly via your house of worship’s website and technical support. They also promise reliable, good-quality streams, with added security and marketing services for your money. It should be noted that YouTube and Facebook videos can be embedded onto a website once the stream has ended and they become video-on-demand content, and it is possible to embed live content, although this can be rather tricky.

Promotion With all the planning, preparation and hard work that goes into the technical side of producing a live stream, it can be easy to forget to let your audience know that they’ll be able to watch. This is a common facing Installation of oneproblem of the Elation Colour Pendant lights live streamers of house all kinds. It can be

a little disheartening to put in all the is much like trying to draw in new work, only for nobody to tune in to your congregants to the house of worship inaugural stream, but, thankfully, when or attendance for a special event. You houses of worship decide to begin have a full licence to get creative in streaming video content, they have a coming up with how to market it. built-in audience ready to broadcast to. Put up posters on the notice board Have fun and keep in the foyer and ask the worship learning leader to let the congregation know The entire process is a creative that services can be watched online, endeavour, so have fun with it as well as how and where, or if there and that sense of enjoyment will is any other upcoming live content. stream through to your audience. Remind followers on the house of worship’s social media pages, posting While you can do your best to avoid errors, mistakes are bound to frequent status updates to let people happen – it’s par t of what makes know when a live stream is coming live content so exciting. Just be up. And word of mouth is a powerful The new and improved Hope City Church sure to learn from your mistakes advertising tool – get congregants and always look for new ways to talking and ask them to share on treatment throughout the room. At the improve. social media.we Promoting ‘Thankfully, had builta alive lotstream of same time, the general contractor, the infrastructure ahead of time for York Curtis, was overseeing a whole the videowall and installed a Motion lot more. Labs power distribution system that ‘Hope City Church took that building ensured everything had power where and just refreshed it completely,’ it was needed. Everything was preconcludes Moon. ‘It has a new wired and, as we were very well preelectrical system and all the kids’ prepared, we were able to complete rooms have been outfitted with TVs our work.’ and other new equipment. The whole When all was said and done, Tone building has had a fresh coat of paint Proper AV had supplied the entire and new carpets throughout. It looks AVL setup, including the videowall, really terrific.’ house and stage lighting, and the sound system, including speakers, www.hopecitypdx.com wireless microphones, IEMs and FOH console, as well as providing acoustic www.toneproperav.com

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PROJECTS

Green Acres broadcasting over horizons Green Acres Baptist Church’s director of video engineering, Casey Hawkins, discusses the church’s broadcast setup and recent upgrade to HD

GREEN ACRES BAPTIST CHURCH IN Tyler, Texas has over 16,000 members and has been a pioneer in church television production since the 1980s when church member and tech guru, the late Joe Smith, along with then Pastor Paul W Powell and other church leaders, recognised the power of technology when it came to broadcasting the gospel. We originally mastered on 1-inch videotape and tube cameras, ¼-inch reel-to-reel audio machines and VHS video and cassette audio tape were standard delivery methods for those who wanted to experience a service via media. Today, that legacy is alive and well, since many staff members and volunteers in our Broadcast Ministry hail from that era. Several volunteers and ministry leaders have been serving the Broadcast Ministry for over 30 years. We have 11 fulltime and two part-time staff who manage video, audio, lighting and the websites. The facilities supported by the Broadcast Ministry include a 3,400seat Worship Center, 2,000-seat CrossWalk conference centre, Lighthouse administration and classroom building, the One-Ten

Student Center, Family Life Center, chapel (formerly the main sanctuary), Adult Education Building and our South Campus, most of which are connected via fibre. We also have a retreat centre located on Lake Tyler and an outdoor recreation centre called The ROC, but those two locations require only minimal technical support. We live stream our Resonate services on Sundays, which is the band-driven worship that takes place at CrossWalk. For this live stream, we use Vimeo Livestream as the CDN and the Livestream Encoder, with a Blackmagic Atem 2 M/E switcher and a collection of eight cameras, including graphics and playback sources. With the Atem switcher, we are able to provide different switched outputs for the live stream and the IMAG products, using one M/E for each. The Resonate service is not televised. In the broadcast suite of the Worship Center, where we operate our cable channel, we live stream the channel’s programme feed to our Roku channel 24/7 using an AJA Helo encoder and CDN services by MediaFusion. MediaFusion provides us with the HLS link that we need to

28 WORSHIP AVL January–February 2020

add the stream to our Roku channel. We do not live stream our traditional Celebration service in the Worship Center at this time due to its regularly televised status. We’ve discussed options for adding live streaming to the Celebration service and also broadcasting the Resonate service and even Wednesday Evening Bible Study with the pastor, as well as student events, but, for now, our existing setup is meeting the needs of our audience and our workflow as we grow.

Casey Hawkins

Our local OTA broadcast is on KLTV, our ABC affiliate in Tyler and Longview. We record our traditional Celebration service from the Worship Center and provide them with an MPEG2 file that they air on Sunday mornings at 10am and on Thursday mornings at midnight. We postproduce this from recordings we make using six AJA Ki Pro HD solid state recorders and two Ross Carbonite video switchers (one for IMAG and one for broadcast) along with eight Sony HD cameras we

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CoreLab. CoreLab. the the thechurch.’ church.’ church.’ recommendation. recommendation. recommendation. Gyeongsan Gyeongsan Gyeongsan Central Central Central H.264 H.264 H.264 video video video recorder recorder recorder suitable suitable suitable for for forHOW HOW HOWwork venues venues venues scenarios scenarios scenarios with with with multiple multiple multiple sources sources sources that that that of of ProPresenter ProPresenter in in the theto broadcast broadcast technical questions questions about about master master and and can handle high high SPLs, SPLs, making making ‘The ‘The ‘TheLR14B LR14B LR14Bline line linearray array arraybass bass bassmodules modules modules technical were were wereaaavery very verygood good goodcombination,’ combination,’ combination,’ very very verycan well well wellhandle together together together to to to the the thebenefit benefit benefit of of of Yeongnam Yeongnam Yeongnam University University University to to back back backup up up his his his require require require live live liveline line line cut cut cut to to to be be be distributed distributed distributed paired paired with with with third-party third-party third-party software, software, software, like like like graphic graphic graphic overlays overlays overlays to to tobe be befed fed fedinto into into suite suite for foraaagraphics graphics and and video video playback playback paired control control switchers, switchers, and and what whatto was was them them more more suited suited to toable loud loud sounds sounds concerns concerns concerns were were wereunnecessary.’ unnecessary.’ unnecessary.’ CoreLab, CoreLab, CoreLab, so so so the the thethree three three companies companies companies and and andCoreLab CoreLab CoreLab –––were were were able able to to work work work Chunma Chunma Chunma Arts Arts Arts Center Center Center at at at the the the nearby nearby nearby via via via streaming streaming streaming platforms, platforms, there there is isin now now vMix vMix or or orWirecast, Wirecast, Wirecast, these these thesedevices devices devices allow allow allow aa asystem,’ livestream livestream livestream to to tothe the the user’s user’s user’s delivery delivery deliveryour purposes. purposes. 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Guide Guide Guide on on oncomprises p52 p52 p52in in inits the the the May–June May–June May–June 2019 2019 2019 not COMPANDER: COMPANDER: improves the signalsignalnot not manufacture manufacture its own own server server so of of charge to to us us improves and and all of of the our our original original We We are glad glad we we chose chose the the route route had not not aaasmall small small hall. hall. hall.So, So, So, we we wedecided decided decided to togo go go in ultimately ultimately ultimately comprises comprises flown flown flown left left leftso and and and several several several companies. companies. companies. ‘Ecosystem ‘Ecosystem ‘Ecosystem had had its its itscharge age, age, age,reaching reaching reaching its its itsall limits limits limits in in intrying trying trying Invest Invest Investis in in inprovided a aa‘It good good good camera camera camera and and and take take take reflections reflections reflections from from fromto stained-glass stained-glass stained-glass issue. issue. issue. DAW: DAW: the thestage abbreviation abbreviation of of Digital DigitalItItItis to-noise to-noise ratio ratio by by compressing compressing a a we we bought bought athe 360 360 Systems server, server, content content is provided to to our our viewers viewers as as CROSSOVER: CROSSOVER: aaSystems device device that that creates creates we we did did because, because, ifif teamwork we we have have any any from from from the the the stage stage to to the the theentrance. entrance. entrance. is is to to to provide provide provideathe the new new new system, system, system, which which which also also also the the the result result resultof of of teamwork teamwork between between between distributor. distributor. distributor. ‘It ‘It had had had started started started showing showing showing The The TheHH HH HHTNi-4030 TNi-4030 TNi-4030cabinet cabinet cabinetis isisan an anultra-compact ultra-compact ultra-compactfull full fullrange range rangeloudspeaker loudspeaker loudspeaker the the thetime time time to to tothe analyse analyse analyse all all allKorean the the theonto features. features. features. windows. windows. windows. 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July–August July–August July–August 2019 2019 WORSHIP WORSHIP AVL AV AV AV 49 AVL 49 49 November–December November–December 2019 WORSHIP 47 47 January–February January–February 2020 2020 AVL 29 29 35 35 35

PROJECTS

The Worship Center control room Utah Scientific Utah-100/UDS 10 10x10 HD-SDI router for all cable channel routing. We have the NVerzion NFinity server for playback of our local spot insertions and for our hour-long weekly broadcast programme, Discover Life. We use a 3m satellite dish and a WellAV UMH-160 C-band receiver to receive The Walk television network and two DataVideo NVD 25 IP video decoders to receive Spirit TV programming. We incorporate two IP decoders because they stream multiple bitrate services, so we use one for a high bitrate primary and a medium bitrate as a backup. We air these two remote programming sources most of the day and insert our Discover Life programme several times, usually with a break every half-hour to an hour. For our forward distribution, we have an AJA FS-1 frame sync that feeds the Roku streaming encoder and the ASI encoder for the cable headend. We use the Radiant VL-4500 ASI encoder and the MaxCom MX/HD-SDI-3G-ASI transmitter and receiver for the fibre link to the cable headend. It was necessary to add an ASI encoder, since the cable headend requires that flavour. We decided to keep that encoder in our racks and send ASI through the MaxCom and over the fibre network to them instead of locating the ASI encoder at the headend and sending HD-SDI. We chose to manage that encoder so we wouldn’t have to call the cable headend engineer to resolve any potential issues. All of our equipment was replaced during this upgrade process. We’ve experienced tremendous improvements on multiple levels. Our power consumption has been reduced, we freed up considerable rack space and the equipment is

quieter in operation. The video quality is a drastic improvement, as is expected when upgrading to HD. We have also been able to do less transcoding in-house. KLTV and Vimeo take our MPEG2 encoded files but, before the upgrade, we had to export our cable channel broadcast content as an MXF file for the old 360 server, which no other distribution outlet needed. Now we just output the one MPEG2 file from Adobe Premiere Pro and Media Encoder and that goes to KLTV, Vimeo and our NFinity playback server for the cable channel. When we upgraded the NVerzion systems, we added routing, troubleshooting, monitoring and quality control capabilities that we did not have before. We previously had no effective way to monitor audio levels or isolate a source to troubleshoot signal or quality issues without taking it to air. We didn’t have an off-air monitor to monitor the channel through the cable system within master control. All we were able to monitor was our programme output, which was on a 4:3 tube monitor in the racks (which we kept, just for fun). Because our old master control system and transmission were analogue and SD-SDI, and our actual facility is HD-SDI at 1080i, we had countless converters and

30 WORSHIP AVL January–February 2020

scalers to make HD-SDI into SDI and SDI into analogue or component, and vice-versa. We’ve removed dozens of those elements in the air-chain during this upgrade. We still perform some transcoding because Spirit TV is native 720p and The Walk is native SD 480i but, at the switching and forward distribution level, everything is now 1080i. We stream the cable channel at 720p to lessen the bandwidth payload. The AJA Helo encoder handles that transcode for now. But we can easily perform the 720p transcode at the AJA FS-1 and lessen the load on the AJA Helo encoder. With every update to Helo, options become more numerous and it becomes better. We added a feed from our production router so we can take any of our backbone production sources that are managed by our Harris Platinum 64x64 HD-SDI routing system to air. With this interexchange, we can go live to air on Sunday mornings if required. We also have the capability to send sources back to the Harris router from our Utah master control router if we need to send it around campus, place it on a better monitor or scope, or include in a production as an element. We added a QC station with video and audio monitoring capabilities,

which is fed from the Utah master control router. This allows us to troubleshoot all sources from within the router, as a ‘last-mile’ monitoring point before it is taken to air. In addition, we added a Decimator DMON-6S multi-viewer so we can monitor all of our sources simultaneously, including our streaming confidence decoder, with audio meters at all times. Each input of the Decimator is fed from the Utah master control router using an output, so we’re monitoring each source from within the router. Plus, it allows us to change the inputs of the multi-viewer with a simple router switch instead of re-cabling or patching anything. The NControl has control of output one from the switcher, which is our on-air output. The other nine outputs assist our distribution, troubleshooting and monitoring efforts. We can easily upgrade to the Utah 20x20 model if needed. We also included a larger monitor for confirming the cable off-air, so we know our signal is reaching the cable headend and that there are no problems downstream from our fibre transmitter. In the end, it was worth it. While it was a long process and many hours of work and training from vendors, it was well worth the investment of time and money. It is so much simpler and efficient now and no doubt our viewers appreciate the improvements. We believe we are well equipped to deliver God’s message for many years to come. Special thanks to Kelli Vazquez and Tibby Wright for their contributions to this article. www.gabc.org www.nverzion.com

PROJECTS

Inza Bamba and Paroisse Notre Dame de la Tendresse priest Père Bernard

Sound consecration Paroisse Notre Dame de la Tendresse has undergone an audio upgrade courtesy of Protech Distribution. James Cooke reports IVORY COAST IS EXTREMELY MIXED when it comes to religion. Regular readers may recall the feature in our July–August 2019 issue, covering an audio upgrade at Mosquée de la Riviéra Golf, which cited almost half of the country’s population as identifying as Muslim. Yet, Christianity is followed by almost as many, if not more, people than practise Islam. It depends on which poll you choose to believe, although it certainly appears to be a close call. Christianity in Ivory Coast is made up of Catholic, Methodist and Evangelist faiths, along with followers of the Harrist Church and Celestial Church of Christ, as well as other, smaller denominations. One church in Ivory Coast that enjoys a sizeable and enthusiastic congregation is Paroisse Notre Dame de la Tendresse (translation: Parish of Our Lady of Tenderness), an Apostolic church in Abidjan. The church was established during the mid-2000s and has grown due to parishioners and pastors who are active in the local community. Following continued growth, the

church recently underwent a major renovation and the updated building was consecrated at the end of May 2019. Protech Distribution, renowned for its previous installation projects throughout Ivory Coast, was called upon to design and install the sound setup. ‘The church was established 15 years ago,’ says Inza Bamba, managing director of Protech Distribution. ‘The old sound system that they’d had was not living up to their expectations. It was too loud in certain parts of the sanctuary and not loud enough in the middle. And speech was not always intelligible.’ Protech Distribution drew from the list of manufacturers it represents as a distributor in the region to design a new sound system to meet the church’s needs. ‘The priest wanted a sound system that was not too loud and that provided intelligibility throughout the sanctuary,’ Bamba recalls. The main sound system is formed from HX-7W and HX-7B compact array speakers from TOA Electronics. Four units of the HX-7W were installed with

32 WORSHIP AVL January–February 2020

a white finish, while three HX-7Bs were delivered in black. ‘TOA’s HX-7 series was chosen for its affordability and performance,’ confirms Bamba. ‘Two arrays of two HX-7Ws were flown on each side of the church at 4.5m high.’ The HX-7B speaker arrays, meanwhile, were hung around the outside of the building. Completing the sound setup are a pair of FB-150W subwoofers for low-end reinforcement, as well as an M-9000M2 digital matrix mixer, DA-550F and DA-250D digital amplifiers and a DP-K1 processor, all from TOA. Dynacord L2800FD and C1300FD power amplifiers were also supplied. Protech Distribution supplemented this setup with TOA’s D-001T and T-001T dual mic/line input and output modules, a D-921E microphone line input module and D-971M line output module. At the start of the signal chain, eight SM58 vocal microphones with A58WS windshields and four SM57 instrument mics with A2WS locking windshields from Shure were supplied along with a pair of Trantec S4.10HD-EB wireless microphone

systems. ‘The Shure SM57s are for use by the priest,’ explains Bamba. ‘The SM58s are for the choir.’ A portable speaker system comprising five Electro-Voice ZLX-12P powered speakers and two TOA BS-1030 bass-reflex speakers was also delivered to provide added reinforcement when needed. ‘We had an issue with feedback during the installation,’ reflects Bamba. ‘However, we solved this by using an NTi Audio XL2 sound level meter and acoustic analyser to EQ the system.’ The refreshed Paroisse Notre Dame de la Tendresse has been consecrated and is once again hosting regular services and special events. Only now, speech and song are intelligible throughout the sanctuary. ‘The client is more than happy,’ concludes Bamba. ‘The church has a very good and robust system and they got it at an affordable price.’ www.paroissendt.com www.protech-distribution.com www.toasa.co.za

PROJECTS

Images courtesy of Isaac Stott, Big Blond Bear

Soul Survivor’s last summer Soul Survivor has been a big name in the world of Christianity, with the summer festival being its most popular event of the year. Becky Abel reports on the setup for 2019’s edition SOUL SURVIVOR IS A CHRISTIAN charity centred in Watford, England. Since 1993, it has been creating events, from conferences to festivals, all celebrating Christianity with fun talks and popular worship sessions. In addition to its many events targeted at young Christians, the charity has also established the Soul Survivor Watford Church. The summer festival, which took place three times over three weeks, was its most popular event each year. British AV production supplier SFL had been supplying the event since 2003 and managing director Tom Jeffery had been working on it since 1996. During 2018’s Soul Survivor summer festival, Jeffery felt that audience members became disconnected from what was happening on the main stage. ‘It was fine if you were in the middle of the tent, but if you were on the edges you had people coming in and out and you could feel a little disconnected because you were so far away from the stage,’ he explains. ‘We wanted to come up with something that could help everyone connect better with what was going on onstage, and that was where the idea of 360° sound came in.’

‘Quite early on during the planning phases for 2019, we began investigating the possibility of using d&b Soundscape in the big top – about six or so months before,’ comments Harvey Appleton, project manager of SFL. ‘It was a bit of a step-by-step process to explore the possibility with the client further, as well as working with the tent company to see how we could make the rigging work, let alone sourcing all the gear needed – so quite an extensive planning process.’ Subsequently, a d&b Soundscape system was employed in 2019 inside the big top with a KLANG:fabrik 3D personal monitor mixing system. Based on an audio system processor (the DS100 Signal Engine) and two software modules (d&b En-Scene and d&b En-Space), d&b’s Soundscape facilitates the configuration of 360° audio. The main stage’s PA consisted of nine hangs: five hangs of d&b E5s with eight boxes in each hang; two hangs of V7Ps that were placed in the corners; and an additional two hangs of six Y10Ps. ‘For front-fill we had five boxes, so we could still do some Soundscape positioning, even for the people at the

34 WORSHIP AVL January–February 2020

The main stage’s PA consisted of nine d&b hangs front,’ says Jeffery. ‘On the side of the screens there were probably 250–400 people so, even with the fills, we made sure we’d got more than one box to account for that.’ The ring around the tent consisted of 28 T10 loudspeaker boxes and V-SUBs for the subwoofers. The radial array was pushed back and placed under the stage with the main speakers installed in the conference area. ‘On events like this, it’s really important because when people come forward for prayer and ministry, you don’t want

to be pummelling everyone at the back or front while music is playing,’ explains Jeffery. ‘That’s another reason for using surround sound – we can introduce the keyboard and violin from around the venue, which means we keep the level lower.’ The main stage wasn’t the only place that SFL was put to work as the festival also included several areas for conferences and seminars that required sound reinforcement. ‘There were a number of other venues around the site where SFL deployed either

PROJECTS PROJECTS d&b d&bororL-Acoustics,’ L-Acoustics,’notes notesJeffery. Jeffery. ‘These ‘Theseincluded includedaa3,000-capacity 3,000-capacitylatelatenight nightworship worshipvenue, venue,where wherethe thesame same band bandthat thatperformed performedononthe themain main stage stageininthe thebig bigtop topalso alsoplayed. played.Here, Here, L-Acoustics L-AcousticsKiva Kivaand andX12 X12wedges wedgeswith with LA8 LA8and andLAX4 LAX4amplified amplifiedcontrollers controllers were wereused usedand andaavolunteer volunteeroperated operated the thesystem systemwith withSFL SFLproviding providingthem them with withsupport.’ support.’ Meanwhile, Meanwhile,the theCommissioned Commissionedand and Devoted Devotedareas areaswere werealso alsoequipped equipped with withL-Acoustics. L-Acoustics.‘We ‘Wealso alsoput putplasma plasma screens screensand andaacouple coupleofofloudspeakers loudspeakers ininthe thechildren’s children’sareas areasand andShuffle Shuffle and andShake, Shake,which whichare arepopular popularwith withthe the teenagers,’ teenagers,’Jeffery Jefferyadds. adds. Another Anotherspace, space,Café CaféUno, Uno,served served multiple multiplefunctions. functions.ItItwas wasaavenue venuefor for jazz jazzbands bandsininthe theevening, evening,while whileininthe the mornings morningsitithosted hostedseminars. seminars.InInthe the afternoons, afternoons,ititwas wasused usedasasaageneral general hangout hangoutarea. area.‘Here, ‘Here,SFL SFLsupplied supplied sound, sound,lighting lightingand andvideo,’ video,’recalls recalls Jeffery. Jeffery.‘Through ‘ThroughCongo CongoBlue, Blue,part partofof SFL SFLGroup, Group,we wealso alsobuilt builtthe thecustom custom screen screensurrounds surroundsthat thatfitfitininwith withthe the theme themeofofthe thespace.’ space.’ ‘There ‘Therewere wereaafew fewhighlights highlightsfor forme me from fromaatechnical technicalpoint pointofofview,’ view,’says says Appleton. Appleton.‘Seeing ‘Seeingpeople peopleengaged engagedininaa 10,000-capacity 10,000-capacitytent tentfrom fromthe thefront fronttoto the thevery veryback backwas wasawesome awesomeand andthe the ability abilitytotoproperly properlycreate createananimmersiveimmersivesounding soundingmix mixfor forthe thefirst firsttime timewas was

been beenaapart partofofititfor forthe thelast last20 20years. years. Some Somethings thingsyou youdodobecause becausethey’re they’reaa good goodbusiness businessproposition propositionand andsome some things thingsyou youdodobecause becauseyou youcare careabout about them themand andthis thisisisone oneofofthose. those.But But itithas hasbeen been27 27years yearsand andMike Mikewho who runs runsititisisnow now60, 60,sosothey theyfelt feltititwas was time timetotomake makespace spacefor forother otherevents. events. IfIfyou youwere wererunning runningaayouth youthministry, ministry, you youdidn’t didn’tset setananevent eventupuplike likethis thisinin August Augustbecause becauseSoul SoulSurvivor Survivorwas was going goingon. on.This Thiswasn’t wasn’tjust justaafestival festivalinin the thegeneral generalway wayyou youthink thinkofofit.’ it.’ www.sfl.live www.sfl.live www.soulsurvivor.com www.soulsurvivor.com

The Theview viewfrom fromFOH, FOH,behind behindaaMidas MidasProX ProX revolutionary. revolutionary.ItItreminds remindsme meofofthe the sound soundofofananorgan organininaacathedral cathedral– –itit seems seemstotoenvelop envelopyou youwith withsound soundfrom from everywhere everywhereand anddraw drawyou youin.in.People People were werealso alsocommenting commentingononhow howthey’ve they’ve never neverheard heardthe thebig bigtop topsound soundsoso good good– –aatestament testamenttotothe theSoundscape Soundscape system systemwe weput putin.in.One Oneofofmy myhighlights highlights was wasworking workingwith withaamoving movingstructure: structure: the thebig bigtop top– –ititconstantly constantlythrew threwusus curveballs, curveballs,from fromuneven unevenground, ground,toto queen queenpoles polesaround aroundthe thesides sidesmoving moving tototemperature temperatureswings swingsfrom from15° 15°upuptoto 38°C.’ 38°C.’ Sadly, Sadly,2019 2019was wasthe thefinal finalyear yearthat that Soul SoulSurvivor’s Survivor’ssummer summerfestival festivalran. ran. ‘I’m ‘I’msad sadthat thatthis thiswas wasthe thelast lastSoul Soul Survivor,’ Survivor,’concludes concludesJeffery. Jeffery.‘I‘Ihave have

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KnowHOW

Ones and zeros – going fully digital (part one) Gordon Moore explains the planning involved in a fully digital upgrade WHEN I FIRST JOINED MY CHURCH, over 20 years ago, the sanctuary was an acoustical nightmare coupled with a sound system disaster. The room itself was very nearly a perfect echo chamber with no acoustical treatment and the sound system was a very simple consumer-level mixer/ amplifier hooked up to low-cost music system speakers with a very low-end wireless microphone. Intelligibility was impossibly poor, and the overall sound was a severe distraction from the worship experience. As discussed in my last column, we treated the acoustical problems and replaced the system with an engineered automatic mixer solution. We selected an automatic mixer because, at the time, the church was strictly liturgical with no band, just a strong choir that needed no amplification. Four professional wireless microphones were installed, three bodypacks and one handheld. About six years later, a band and a more contemporary-style service was introduced, which called for another upgrade – this time to a manual mixing console. We kept the same speaker cluster (which was designed for the eventuality of a band). A sound booth in the acoustical field was built. This required training technicians to mix live, developing a projections team and adding more professional wireless microphones. The automatic mixer was replaced with an analogue Yamaha MG series and floor monitors were brought in for the band. Nearly three miles of audio cabling was installed to lead the sound booth from the stage area. In 2012, we upgraded a third time. This upgrade brought in-ear monitors, more channels of wireless and multiple floor pockets leading to a 56-in x 20-out matrixing mixer system under the stage that routed the stage audio back to the sound booth via Dante. The Yamaha mixer was replaced with a PreSonus mixer using a Dante breakout box to allow it to receive Dante signals. The Aviom in-ears, however, were still tied to the PreSonus via analogue cables and the booth was still mostly analogue for all support gear.

automixer. This stack services seven floor pockets around the stage. This last upgrade allowed us to pull 56 analogue cables out of the sound booth and replace them with just four Cat-6 cables. We eliminated multiple stages of A/D or D/A conversions and reduced the latency in the entire system dramatically. Another positive: we did this last upgrade in just three days and never lifted a soldering iron!

Planning a system upgrade The contemporary analogue installation in 2006 Seven years later – summer 2019 – after zero failures on the Dante network in spite of lightning strikes and power outages, we upgraded for the fourth time to a full-on Dante installation. We upgraded the mixer to a Yamaha TF3 with the Dante NY-64 card installed. We upgraded the Aviom in-ear system to their Dante-based headend. We added eight channels of Lectrosonics DSQD digital wireless microphones, plus two M2T Duet transmitters for

The full Dante configuration in 2019

36 WORSHIP AVL January–February 2020

wireless IEM – all Dante enabled. The existing six channels of digital hybrid wireless were put on the Dante network with an eight-in, eight-out line-level Dante breakout box. We re-wired every rack and the sound booth. The under-stage headend features 56 channels of input and 20 channels of output using Lectrosonics Aspen mixers that are all placed on the Dante network via a 32x32 Lectrosonics Dante SPNDNT

If you are planning a major upgrade such as this, the devil is in the details. We planned for six months prior to ordering any gear. How do you go about doing this? Step one: Document your existing system in great detail. Your existing system must be drawn up in a complete document showing all cabling as it currently stands. This critical step is important because you want to make sure your new system offers the capabilities you already have, plus any new capabilities you want to add. You can’t do this if

KnowHOW you don’t write it all down and double check everything. If you haven’t documented your cabling, you will miss the chance to clean it up (make it better and neater in the rack), to refine and improve your signal paths, and to have the necessary documentation you will need when you rebuild it all. So, your planning starts with drawing your system as it is today. After documenting your cabling routes, you need to document your signal routes. What is the difference? Signal routes will take into account which signal goes from what source to what destination and how. Is it being routed through the matrix in your mixer? Or is it being routed via a patch bay (analogue or digital). Cable routing is the actual cable diagram. In an analogue system, the cables will typically match the signal routing (one or two signals per cable). In a digital system, one cable may carry thousands of signals routing to many different destinations. While you are doing this, take some time and label all your existing cables and terminations – it will be very helpful later. Finally, document which devices will be used in the new setup and which will be eliminated. Step two: Document your new system requirements. This is your chance to carefully assess what functions and capabilities you want to keep and what you would like to eliminate. At first, your document will reflect only the signal routing requirements. How many inputs? How many outputs? What signals at each input and what signals at each output. Once you have the ins and outs decided, then you can determine the routing that happens internally in your new digital system and where (in which component). Step three: Compare the before and after. This is the step where you must challenge every assumption in your system design. Do not get caught up in the ‘we have always done it this way’ mode of thinking. That might prevent you from making the right decision for future growth and improved workflow. An example: in our old system, if the worship leader decided to move the band from the left side of the stage to the right, we would re-route our signals to the mixer by changing the Dante system routing using Dante controller. This would take some time, typically an afternoon, to re-route everything to the new configuration. We almost went that route in the new system, but then discovered we could route all our

Detail of the sound booth with analogue and digital combined Dante sources into the Lectrosonics DSP Aspen stack via the Aspen software, then re-route/mix them to any other Dante bus without touching the Dante network at all. The software allowed for fast re-routing. With the new system, we can now re-route the entire stage to any input on the Yamaha mixer. If we move the drums from FP1-2 (floor pocket 1, input 2) to FP3-8 (floor pocket 3, input 8), we can still have the signal show up on the Yamaha’s input 2 and make the routing change in less than a minute. Going fully digital means rethinking your way of viewing the system. In the old system we had separate lines for the Aviom mixes from the mixer to the Aviom headend. In the new digital system, the direct outputs are simply the Lectrosonics preamps routed direct to the Aviom via Dante. We even pick off the house mix sent to the amplifiers for FOH for the last channel on the Aviom so the musicians can hear the house mix if they want. Step four: Get rid of duplicate gear. When you go fully digital, your mixer will come with signal processing, including limiting, compression and equalisation. I know many sound guys who love their preamps, their tube compressors and their old White EQs. If the new digital gear has those capabilities, use them. Retire the old gear. Let it go. Donate to a smaller church that needs help! But do not overly complicate your new system with redundant functions. We pulled a lot of gear with this upgrade and gave it all away. We kept the amplifiers, the speakers, the Aviom personal mixers, six channels of wireless and the computer audio interfaces. We eliminated the earlier mixer, the Aviom analogue head, two IFB transmitters, seven channels of old wireless, some old computer interfaces and a lot of cabling. The document outlining your new system must be complete. In a fully digital system, you will be dealing with matrices of inputs to outputs. Having these carefully documented in a spreadsheet – both electronic and hard copies – will help you avoid routing conflicts.

Step five: Tear down. Schedule your implementation carefully. Try to estimate the time it will take for each stage. For example, we used the first afternoon to tear down the sound booth. This involved removing everything from the booth with all the contents in four piles – Keep, Discard, Donate, Recycle. As the gear was removed, we placed it in its correct pile. Then we cleaned and

PDF format. We threw out all paper manuals. Day two was dedicated to the amplifier rack. Complete teardown, cable check, dust removal, cleaning and vacuuming. Then we reinstalled according to the new plan. Day three was the under-stage rack (which required the fewest changes) for two hours and then two hours for programming and set up of the completed system. A helpful tip: take your estimated time for each stage and add 33% more time. If you think it will take three hours for a particular stage, schedule four hours. This type of work rarely goes according to plan. If you do complete within three hours, you have a spare hour for the next phase that doesn’t go smoothly. This helps avoid the late-at-night, 3am panic work the night before a critical service.

Detail of the sound booth configuration in the digital realm

A detailed wiring diagram for analogue interfaces helps prevent errors vacuumed the entire booth so that we were starting out with a very clean work area. We had two computers, projectors and audio playback/ control. The playback/control computer has our recording software for the Yamaha TF3, Dante Controller, Adobe Audition and the library of manuals for the current equipment in

Next issue, I’ll be back with Part 2 – Digital factors to consider, commissioning and training. We will discuss routing considerations, networking issues and how to make your transition as smooth as possible. Until then, be blessed and mix well.

January–February 2020 WORSHIP AVL 37

KnowHOW

Newspring Church content streaming on multiple devices

Nate Anderson

Streaming in multiple formats and resolution Nate Anderson from Christian streaming solution specialist Living As One answers our questions What are the most common formats and resolutions? Today, some common HD video resolutions include 720p, 1080i and 1080p. The first number indicates the number of vertical pixels in a video frame, while the letter (i or p) indicates whether the signal is interlaced or progressive. The choice of resolution is based on desired video quality as well as the amount of bandwidth available to transmit the data. The process of interlacing breaks up a video frame into alternating fields; for instance, a 1080i signal is painted on the screen in two passes of 540 lines each. Originally designed as a way to transmit a high resolution at a lower bandwidth, interlaced video has an advantage

to a true progressive signal. Larger, Ultra HD resolutions such as 4K are becoming more popular, which are progressive only and benefit in both temporal and spatial resolution, but still require expensive infrastructure and high bandwidth.

What is bitrate and how does this have an impact?

of spatial resolution, but lacks in the ability to display smooth motion, or temporal resolution. Itâ&#x20AC;&#x2122;s worth noting that modern computer monitors

38 WORSHIP AVL Januaryâ&#x20AC;&#x201C;February 2020

consistently display video as whole video frames, so interlaced video is deinterlaced before playback but will still lack the smoothness compared

Bitrate describes the amount of data (or bits) that a signal is encoded at, generally measured per second. For example, a video signal can be saved to a file at a rate such as 5Mb/s (megabits per second). The bitrate of a file will have an impact on its overall quality and can differ depending on the efficiency of the codec compression format. While a higher bitrate will usually lead to a higher-quality file, it will also take

KnowHOW up more space and require more bandwidth for streaming, both for the streaming site and the end viewer.

How can I get the best quality? Overall video quality, while often subjective, differs depending on the output resolution of the gear or the recording bitrate/codec used. In regard to resolution, it is important to future-proof your video infrastructure by choosing gear that can output in

as high resolution as possible. Even though there can be some quality advantage to scaling up resolution (especially when mixed with other high-resolution sources), the scaler will simply be stretching the pixels to the output frame size, which will not take advantage of the full resolution, leading to a blurry or smudgy image. When working with recorded/archive video data, it is best to originally save with a low-loss, high-bitrate recording codec such as ProRes or use a highefficiency codec in order to preserve

depending on available bandwidth and network conditions. This prevents buffering for viewers by dynamically adjusting the overall quality (in bitrate and in frame size/resolution). ABS is critical in order to provide a smooth stream to viewers watching on a range of devices and slower connections. This process can either take place at the streaming site, with multiple versions uploaded to the cloud, or through a service that provides cloud transcoding, or converting from one to multiple qualities in the cloud.

as much of the original data (and quality) as possible.

How can I provide the best quality stream for viewers no matter their bandwidth? Often, a stream will be encoded at multiple bitrates (referred to as Adaptive Bitrate Streaming), which provides multiple qualities for the viewerâ&#x20AC;&#x2122;s system to choose from

What is the difference between on-premises and cloud transcoding/ scaling? Most streaming software provides upscaling and downscaling, whether for the initial output resolution or for ABS. However, converting video into multiple bitrates in the cloud (cloud transcoding) is becoming more popular and provides many advantages. By not sending multiple streams from the broadcast site, this can greatly reduce the cost and performance requirements of on-premises gear as well as conserving upload bandwidth. www.livingasone.com

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KnowHOW

Lighting rigs for temporary venues Preston Trail’s portable McKinney campus

John Black explores simple solutions to create a worship environment in a temporary space THOUGH I HAVEN’T PERSONALLY been a part of a mobile house of worship or one that rents facilities for weekly services, I know that many of these organisations exist. Particularly for smaller or new congregations, the cost of purchasing or building a dedicated facility in which to hold services can be prohibitive. These organisations may use one or several facilities, requiring that anything related to services be brought in, set up and then removed on a weekly basis. Chairs, staging, PA and lighting may be rented or owned by the organisation, in which case, this equipment needs to be stored during the week between services. Thankfully, lighting equipment and technology have become very mobile-friendly. With the proliferation

of energy-efficient, LED-source lighting fixtures and PC-based lighting controllers available on the market at nearly every price point, the ability to transform temporary venues into inviting, worshipful spaces through the use of lighting has never been easier. In this article, I’m going to dig into venue considerations, portable equipment and techniques that you can use if you find yourself needing to build and use a lighting rig in a temporary venue.

Why is lighting important? When holding services in a temporary venue that hasn’t been purposefully designed with worship in mind, the venue may not lend itself to

providing a meaningful experience to congregants. I have heard of HOWs that meet in movie theatres, abandoned malls, school cafeterias or even old warehouses. Each of these venues was initially designed and constructed with a specific purpose in mind, but they may not necessarily meet the needs of a worship service. For an organisation loading in and out of a temporary venue each week, time is a critical factor and, while there are decorative items that can be set up and used to change the physical appearance of a venue, lighting can be an efficient and effective way of enhancing a space. If you recall from previous articles in which I discussed the functions and controllable qualities of lighting, remember that the use of colour, texture, direction, movement and intensity can be used to create mood, visibility, focus and modelling. Therefore, through thoughtful and intentional lighting choices, the mood and appearance of an environment can completely change.

The venue

PC-based lighting control software, such as grandMA2 onPC, is ideal for temporary setups

40 WORSHIP AVL January–February 2020

Before planning any lighting for a temporary venue, I would recommend getting as much information as you can about the venue itself and work closely with others involved in the planning of the service. Find out where power is available around the

venue, how power is circuited, what the handling capacity of each circuit is, how tall the ceiling is, what lighting currently exists and could be used for a similar purpose, where the stage/presentation area will be, what obstructions, if any, exist, if there is any infrastructure available that could be used for lighting purposes such as ceiling hardware from which lights could hang, and what other technical elements, such as a PA system, will be needed. In addition to asking questions such as these, it would be helpful if you were able to visit and see the space in person – especially if you are considering moving into an unfamiliar, new venue. This will allow you to more fully understand the limitations (and possibilities) of the venue with regards to the lighting needs for your service.

LED all the way For temporary lighting rigs, I would highly recommend sticking with LED-source fixtures for a number of reasons. First, these fixtures are energy efficient – if a venue doesn’t have a dedicated power distribution system for event equipment, LED fixtures can simply be plugged into standard wall outlets and many of them allow you to daisy-chain power to multiple fixtures. It is important to know the handling capacity of the circuit to know how many fixtures

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KnowHOW you can daisy-chain onto a single circuit. But you may not need to consider alternative power sources (generators) or complicated power distribution systems if the rig comprises these low-consumption fixtures. Second, LED-source fixtures are often equipped with coloured LEDs (such as RGB, RGBW or RGBWA) and you can create a number of different moods and looks using the same fixture. Ultimately, this means you need fewer total fixtures in your rig. In my experience, PAR cans used to be workhorses in temporary lighting situations because they were rugged, lightweight and inexpensive. However, if you wanted a coloured beam of light, they needed to be coloured using colour media (a gel). If you wanted three colours to be used in a single event, that would require three fixtures, each with a different colour media installed. In contrast, colour-mixing LED fixtures can provide an infinite number of colours using a single fixture. Third, just as in the case of daisychaining power, most LED lighting fixtures also allow you to daisy-chain the control signal from fixture to fixture. This also simplifies cabling needs between the control console (whether a dedicated hardware control or a PC controller) and the fixtures because individual control cables are not needed. This, along with the ability to daisy-chain power, greatly reduces the total length (think storage volume and weight) of cabling needed. Finally, when considering the type of fixture for a temporary venue, I would recommend sticking with a wash-type fixture, especially if you are moving between different venues. Wash fixtures will allow you to achieve even spreads of light over large areas, particularly if the venue ceiling is short or, due to the limitations of the venue, the available lighting throw distance is short. You will have much more flexibility with a wash-type fixture than a spot-type fixture.

Singapore’s Redemption Hill Church congregates on the fifth level of the Furama City Centre Hotel console versions, though at a greatly reduced price point (not to mention smaller footprint in the venue and for storage). PC-based lighting control software isn’t new. It came about primarily as a means of creating and editing show files in an offline mode (not outputting control data). I personally have been using offline editors for years to amend show files in-between rehearsals or performances from the comfort of my home instead of added time in the venue with the console and rig. Eventually these systems allowed for ‘virtual’ control data to be sent to visualisers so that remote programming of complicated show files could be done more easily with visual representations of what was happening in the rig. Visualisers I

with options for you to customise a PC-based control system according to the size and needs of your rig. And, if something should happen to your computer, just swap it out and download the console software from the manufacturer again and you’re ready to go. This can be an invaluable way to train lighting volunteers as well, as they can access the offline software for free from most manufacturers.

No lighting pipes? When considering the placement of lighting fixtures, I would recommend looking back at some of my previous articles such as Setting up a basic lighting grid (Worship AVL, March–April 2019). For basic

front-light positions as well as at the back of a stage to provide some back lighting. A fast and effective solution is also to place fixtures on the floor. One way to enhance the mood in a room is to place fixtures on the floor along walls to provide some up-lighting on the surfaces. In combination with adjusting the colouring, this can be an effective way of establishing and enforcing a particular mood. When lighting the stage, take care to bear in mind the principles of lighting direction for modelling, especially if you video record or stream your services. You will want to make sure that you realistically light the speaker, especially incorporating backlight so that they appear three-dimensional rather than flat on camera.

Final words I hope that these have provided you with some basic thoughts and tips for approaching lighting in a mobile, temporary situation. What I didn’t mention is chances are likely that storage capabilities will factor heavily into all decisions. The advantage of LED-source fixtures and PC-based lighting controllers is that they provide a lot of benefits when dealing with limited storage. My final recommendation would be to not only consider equipment cases for their storage purposes, but also for how they can be used during services so that you don’t

Who needs a console? A combination of permanent and mobile equipment is used at Redemption Hill Depending on the scale of your rig and the programming needed for services, it may be worth a look at a PC-based lighting control solution. Many of the top-end console manufacturers (ETC, High End Systems, MA Lighting, among others) provide personal computer versions of their control systems, as well as control wings if tactile control is needed. These solutions function similarly, if not identically, to their full

have used include Cast Software’s wysiwyg and ESP Vision software products, which are valuable tools when programming shows without having the actual rig set up. The next natural step was to allow these systems to output real control data to lighting rigs for use either as backup systems in installations or as primary controllers. Methods of outputting data are typically scalable

42 WORSHIP AVL January–February 2020

lighting in temporary venues, the principles are the same as when lighting a purpose-built facility, though the positions and equipment used to place fixtures may not be ideal due to the nature of being in a temporary venue. For example, you may need to use temporary lighting trees to raise fixtures over the heads of congregants and prevent shadows. These can be used in

need additional equipment or furniture. For example, I often place lighting fixtures on equipment cases to add height and get them off the ground. I have also covered cases in material and used them as tables for programmes and other literature. Perhaps that is the most exciting aspect of being involved in a mobile organisation – being creative with less.

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MAINTENANCE

Using a multimeter For routine maintenance and for troubleshooting, one of a tech’s best friends can be a multimeter, shares Frank Wells circuits the battery and, while the large current reading can be used to tell if the battery is good, it also wastes battery life. A better method would be to place a current-limiting resistor in series with the battery and meter and getting reference measurements from known good and depleted batteries. The electrically handy could build a simple test jig with a battery holder and resistor, connect a multimeter with alligator clips and pop batteries in and out to test.

Resistance measurement

A MULTIMETER (OR VOM OR volt-ohmmeter) is an electrical measurement device used to test voltage, current and resistance, and a worthy addition to every house of worship’s tech team’s toolkit. Multimeters are easy to learn how to use and can be a great aid in troubleshooting wiring, electrical power and DC voltage power supply problems. While there are analogue multimeters with a needle meter display, a digital meter with a direct readout of measured value is simpler and recommended. Digital multimeters feature an LCD display of measured value. The selection of function is most commonly made with a dial switch. Within a given function, there are often a range of measurements that can be made, or ‘auto-ranging’ meters

An ‘old-school’ analogue multimeter

that simplify use. ‘Banana jacks’ are fitted for interface to probes (male banana plug on one end and a metal tip on the other) for extending the inputs to what’s being tested. Often, handy ‘alligator clip’ tip adaptors are provided for making hands-free measurement. Basic and adequate digital multimeters can be purchased for between US$20 and $50.

Voltage measurements A multimeter can measure the available voltage at a wall outlet simply by selecting an AC voltage mode on the meter and plugging the two probes into the hot and common of an outlet. No voltage? Run check the circuit breakers. Voltage measurements can also tell you if you have ‘brown-out’ issues (lower than expected voltage). I once had a client with a cassette tape copy system (yes, well before digital file swapping), and the decks were all dropping out of record seemingly randomly. Measuring the voltage where they were plugged in, we observed it dropping from 120VAC to 95VAC at the same time the decks stopped. We found that a worker had a space heater under her desk, plugged into the same circuit. Every time the heater kicked on, the voltage dropped at all the connected outlets. Voltage measurements can also be made of external power supplies

44 WORSHIP AVL January–February 2020

HOW techs won’t have a lot of use for measuring resistance in ohms, except for measuring the lack of resistance, or continuity. Microphone or other signal cables can be tested with an (‘wall warts’) simply by using the ohmmeter probes to touch the contacts just by on the output connector and touching reading the value of the the probe voltage. Similarly, batteries to, say, can be tested quickly with Pin 1 on one a multimeter. A new AA or end of a mic AAA will measure 1.5VDC or cable and the above. Measured voltage other probe to just below 1.5VDC can be Pin 1 on the other considered suspect or end and looking for only suitable for nona very low resistance critical use (put them (most multimeters have in the wall clock, a continuity test mode not the wireless that sounds an audible mic). A battery tone when a path has measuring 1.3VDC continuity, which saves or below would you having to look at the be considered display). Also measure spent. Rechargeable batteries will measure A Fluke digital multimeter from Pin 2 to Pin 2 and 3 to 3 to test those lower by their nature. wires. Then measure from each pin to Current measurements the others (1 to 2, 1 to 3, etc.) where a continuity ‘beep’ would indicate Measuring current is likely to be shorted or cross-wired connections. the least used function on a HOW’s Other types of connections can be multimeter. Current measurements similarly tested. A continuity test can are made in series, requiring tell if a fuse is blown or good. breaking a circuit and putting the For testing installed wiring where meter inline so the current being the ends are far apart, I would have measured flows through the meter. a helper place a resistor of 100–5,000Ω across two contacts For electrical power circuits, this is not safe and shouldn’t be attempted. of a connector and measure for that value on the other end of the cable. Current tests can be used in Continuity or resistance battery testing. I recommend measurements should never be against just touching the probes made on cables plugged into devices, of a multimeter across a battery in or on any device plugged into a wall. current mode. This effectively short

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TECHNOLOGY

Portable loudspeaker systems Sean Meagher of Samson Technologies defines portable loudspeaker systems, their uses and whether they can be used in place of permanent installations PORTABLE LOUDSPEAKERS ALLOW you to amplify your message wherever your event takes you. Typically, portable loudspeakers are active, meaning they have power amps built into the speaker as well as connections for microphones and line-level devices that are made to withstand the rigours of being set up and moved around. The category of portable loudspeakers can be expanded to not only mean speakers that are easy to transport, but those that are complete audio systems in a single unit. Battery-powered, allin-one single speaker solutions take this even further. These systems can be used in the sanctuary, recreation or multipurpose rooms and for outdoor events (without needing power cords). Portable loudspeakers, and especially all-in-one systems, allow worship facilities to be extremely flexible when it comes to providing audio support throughout their space. For smaller sanctuaries or congregations using shared

spaces, portable loudspeakers can easily be put on stands to provide coverage for a worship service. In classrooms and multipurpose rooms, small battery-powered speakers are an easy way to add sound reinforcement. You’ll find some battery-powered speakers, for example, that include Bluetooth audio for streaming music straight from a mobile device or the ability to add a wireless microphone so that everyone in the room can hear the speaker or instructor. There are quality speakers available from both portable and installation speaker brands; you do not need to sacrifice one for the other. Portable loudspeaker systems can be used in permanent and fixed setups, but there are some caveats. If you are using powered loudspeakers and plan to mount speakers to the wall, you need to have access to AC power in addition to running an audio signal. On the other hand, fixed installation speakers do not translate well to

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Sainte-Ode Catholic Church in Taiwan uses portable wireless speakers for its fixed permanent setup portable audio. Installation speakers are typically passive and require a separate amplifier to deliver the appropriate signal. Additionally, they often lack handles and are not designed to be transported. Users should look for qualities such as portability, functionality and durability. How will the speaker be used? If the speaker needs to be used in many locations, batterypowered solutions might be the best way to go, and are light enough

46 WORSHIP AVL January–February 2020

for anyone to transport. If portable products are handled with care, they can provide years of quality audio. Portable active loudspeakers usually include one or two mic and line inputs, while all-in-one systems can have a full featured mixer, which can reduce the amount of ancillary gear needed. Choosing the right system for your application at the time of purchase is a key factor in what you’ll need to put through it. Wireless is not a necessity, but it can simplify your setup. As an example, Samson’s Expedition systems all have the ability to easily add a wireless microphone directly, without needing a standalone receiver. As for power considerations, the room size and the type of content going through the system will decide how much power is needed. For the spoken word or light music, 60–75W is all that is needed for a mediumsized room. If you want to amplify a full band with a drum kit, you will need a few hundred watts per speaker. Portable PA systems were designed to fill the need of having easily transportable, high-quality audio. When deciding on a system, look at your application and see where the sweet spot of price, power and portability meets your needs. www.samsontech.com

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TECHNOLOGY

Digital libraries Charlie Horrell, CEO at Imagen, details how places of worship are sharing their growing digital libraries can catch up with sermons on demand. However, for more technically challenged organisations, storing and sharing their growing content libraries is proving difficult.

The challenges

Charlie Horrell, Imagen CEO IT’S BECOMING INCREASINGLY vital for places of worship to be tech-savvy and innovative in order to engage existing members, especially young people. Consequently, video and image assets are becoming an integral part of the global worship community, both to encourage greater participation and to expand and connect with others. This is leading many religious institutions to record and post videos on their websites or social media so that busy individuals

Capturing content is something some religious organisations have been doing for a long time. Consequently, they now have a significant back catalogue which means it can be difficult to find archive footage. With a growing library, pinpointing a certain clip that contains a particular message or sermon can be a difficult task. Yet, this content is valuable and can’t be recreated. Therefore, storing it safely and being able to access and share it easily is essential. Most religious institutions aren’t known for their technology. Rather, they often have ineffective systems in place to store and share content. So, how can places of worship overcome the challenges an extensive digital library presents?

48 WORSHIP AVL January–February 2020

The solution

Benefits

As these organisations continue to create new content on a more frequent basis, the size and scale of the problem they are dealing with in terms of the management and storage of content will grow in tandem. To alleviate this, these organisations must look to implement a more robust cloudbased solution that has the benefit of being able to scale as they accumulate more content and followers. This will ensure their digital assets are not only protected but can also be reused in the future. While this will require a small initial investment of time and money to implement, it is a low-risk, high-reward option which will allow religious entities to safely store, search and share content with their followers. This could be particularly helpful for those organisations that want to provide services that fit in with increasingly busy lives.

There are already a number of places of worship that are adopting a single digital solution to capitalise on their content catalogues and to cater to the growing demand for video content. This demand is evidenced by research that found that 31% of all millennials watch videos pertaining to faith online, a number that is set to grow in line with the expectation that by 2021, 82% of all consumer internet content will be video. One organisation that has recognised the importance of these trends is Christian Vision, which uses Imagen’s video management platform. Since implementing a cloud-based content platform, it has been able to share its collection of videos, both old and new, with its subscribers worldwide. Embracing this technology also presents an opportunity for religious bodies to digitise footage that may currently only exist on film or video and which is therefore easily lost, damaged or destroyed. This is

TECHNOLOGY The main option that is affected by something that American pastor Jack design would be the fixture colour. Hayford has recognised in digitising Most are available as almost simply 40 black his sermons spanning or white. can be custom years andSome making them available to painted byonline. the manufacturer if the public something is required. If the Adopting aunique cloud-based video portal moreoffers industrial lookinstitutions of the exposed also religious a lighting fixture desirable, growing numberisofnot digital capabilities. shrouds or covers canVision be offered For instance, Christian makes and of installed over thetechnology, fixture. The use speech-to-text other consideration is if exposed which enables large volumes of lighting fixtures are to acceptable. uncatalogued video be indexedIfand not, a recessed fixture or should be searched using natural specific considered. phrasing. It also makes it possible to generate automated transcriptions Entertainment fixtures from videos or audio, which can then be or even translated into asshared house lighting? other languages to reach an even Usingaudience. a fixture designed for wider A further function is houseable lighting is typically being to annotate videos with not recommended forsouse notes and information thatinextra enter tainment due information can applications be conveyed to the to the design of the connections viewer. for power data, physical as well as The need and to digitise assets mounting However, is an issuecapabilities. most of us can relate to some enter tainment lighting in our personal lives, with many of fixtures double up and do us likely can to have old photo albums get used as houseorlighting. PAR from our childhood video tapes fixtures are the mostfootage common that containing camcorder stored getshoeboxes placed inorthese in at thesystems back of aas they provide soft, even fields of cupboard. However, with so much light. Care should be taken when sentimental value often attached to using these most fixtures in are thiswilling fashion this content, of us forpay a couple of reasons. Mostwill PAR to for a cloud solution that fixtures fans to cool theallLEDs. allow us use to digitise and store

has dropped. Organisations like this would thereby benefit from engaging with and attracting followers in a new, more modern way that fits around individuals’ busy lives. As these organisations continue to amass new material on a weekly – if not daily – basis, those that fail to address the challenge of storing existing content will only see the

this in oneswitched place, giving usVintagelocations, in Edmond, addition toOklahoma several prison The content house lights on at Church in assurance of its long-term security. campuses, with more than 30,000 Those fansofcan be noisy, and For places worship, safeguarding people attending each weekend. they also room around content in need a digital library couldthe also An online video platform allows the fixture for Theytoare also not present theairflow. opportunity monetise church to realise the true potential approved recessed or revenue enclosed it and help for to open up new of its assets, stay connected to its applications. streams for these institutions. For congregation and enable people, One other issue using instance, they may with decide to set up no matter where they are based, to enter tainment lightstoforenable housethe subscription services become part of the wider Jack Hayford applications is the fact that they wider community to access particular community. are not or designed to be left on content allow broadcasters to buy Creating a digital content library constantly. The duty cycle of certain resources for films. using a cloud-based solution is a great enter tainment fixtures to Pastor Jack Hayford hasneeds also set way to do this, as it allows houses of be aconsidered restricted. up subscriptionand platform to allow worship to make good use of existing Specifically designed architectural people to sign up and gain access content, is futureproofed for new lights are produced for constant to sermons and resources from content and makes it easy to share power over 30applications. years, while providing an videos across social media and on option to donate to the church in the websites. In the UK, attendance at the Coastlife www.elationlighting.com process. The organisation has eight Church of Church, England’sVenice, SundayFlorida services

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Pastor Jack Hayford’s subscription platform, the Gateway Resource Library problem worsen. Yet, those that act and implement a new solution stand to benefit greatly from a more efficient system that not only grants peace of mind and ease of use but also the potential to create new revenue streams and attract new generations. www.imagen.io

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November–December January–February 2019 2020 WORSHIP AVL 53 49

TECHNOLOGY

LED: the 2020 view Elation Lighting’s Bob Mentele explores the growing list of advantages LED lighting boasts over tungsten

Bob Mentele AT THIS POINT IN ITS EXISTENCE, the overall benefits of LED lighting vs its tungsten predecessor are almost common knowledge. So much so that it’s getting harder to find anything other than an LED bulb to put in your table lamp at home. LED lighting is more efficient, requires less maintenance, emits less heat and offers more flexibility than tungsten. These features have carried over to, and immensely enhanced, the capabilities of our industry. Not too long ago, if you wanted to design a new lighting system for a worship or performance space, you had to have access to a large amount of electricity. For most moderate spaces, around a 300–400A service was

required just for the lighting system. That requirement can be quite expensive and, if the building is an existing space, sometimes it’s nearly impossible to have that vast amount of power run to the location where it’s required. With a new LED system, power requirements are reduced dramatically. Typically, no more than a 100A feed is required. That amount is almost commonplace in commercial spaces, so it is usually much easier to access. Smaller systems require much less. Another aspect you had to consider was the ability to have easy access to all of the lighting fixtures for regular lamp changes. Most entertainment lamps have less than a 1,000-hour life expectancy. New filament designs can offer more life, but it’s still vastly less than the typical 50,000-hour rating of an LED device. In some venues, lamp changes can be quite costly due to the need to rent a man lift or other access device to simply reach the lighting fixtures. It is also important to note that LED devices do generate heat, but nowhere near the amount that a tungsten fixture emits. Tungsten fixtures must have enough airflow around them to help with heat

dissipation, and to keep them from starting fires. Hanging them too close to curtains or other easily combustible material will cause issues. With all of the heat created from these lighting fixtures, more stress is also placed on the venue’s cooling system. With less heat generated from a new LED fixture, less money will be spent on the cooling costs of a space. Those figures are sometimes harder to quantify due to the number of variables in the equation, but the reduction in costs is noticeable. New advances in LED technology also help to give us more flexibility in our systems. Most new fixtures are capable of producing not only white light, but also vibrant colours. A tungsten fixture can be coloured with the use of filter material, but it can only use one filter at a time and placing a deeply saturated colour in a fixture can reduce the light output

Redemption to the Nations Church in Tennessee adopted an entirely LED-based lighting system

50 WORSHIP AVL January–February 2020

Elation’s Colour Pendant wash luminaire features 36 3W RGBW LEDs quite significantly. LED colour-changing fixtures do not require filters, so they do not have any reduction in the light output to produce a saturated colour. They can also change immediately to another saturated colour, reducing the number of fixtures that would be required to offer multiple colours in a space. As with almost any new technology, there are a few disadvantages of using LEDs vs tungsten lights. Some

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TECHNOLOGY LED fixtures do not dim the output evenly or smoothly. This is typically only an issue in entry-level or less expensive LED devices, because they use lower-quality drivers, which are electrical components that convert the 120V signal to the low-voltage DC signal that the LEDs require. LED devices are also more expensive than tungsten fixtures. This cost can be offset when you also factor in the additional cost of a dimming system and ongoing maintenance costs of tungsten. Another drawback is, unless specifically designed to do so, LED fixtures are not capable of connecting to a dimming system. If an existing venue would like to upgrade their fixtures to LED, the dimming devices need to be removed and replaced with power relays, or another constant power source. While an LED system may not require dimming, that doesn’t mean they do not require power management or control of the LED fixtures. Designing a power management system that allows you to turn your products on/off is a must and should be encouraged, as LED fixtures are truly electronic devices. Although light may not be coming out, if the fixtures are energised 24/7, it puts non-essential wear and tear on the internal electronics, so any LED system should be powered off when not in use. LED fixtures may also require that a venue replace their existing lighting control device if it is not designed to control them. They also need to have a control signal sent to each fixture, which can prove difficult in some venues. If running additional cables is an issue in a particular space, wireless options are available to make the transition easier. With all of these advantages and disadvantages, one might ask if LED can really replicate the quality of light that we are used to getting from tungsten fixtures. That really is a loaded question, as it depends on what is most important to you and your venue. If you need a flexible, colour-changing fixture to provide vibrant or subtle washes, then an LED fixture would be a great improvement. If you want a bright, high-quality white light that looks exactly like a tungsten fixture, then you may be quite surprised as well. Not too long ago, LED lights were not able to replicate a quality white light nearly as well as they can now. The quality of light is a measurable trait and we use the Colour Rendering Index (CRI) to do so. CRI is a measurement of light in relation to how it affects the appearance of colour. A CRI rating is represented

Cascade Hills Church in Columbus, Georgia by a number on a scale from 0–100, 100 being the best. For LED fixtures, a measurement of at least 85 is considered acceptable for most entertainment venues. Higher ratings are available for entertainment fixtures, but it shouldn’t be too much of a sticking point, unless the space has very high colour consistency concerns. LED bulbs that we use in our homes typically have a rating from 80–90. The higher the CRI, the more expensive an LED will cost, so that is why consumer LED bulbs have lower ratings, to keep costs down. As with any technology, advances are always being made. Although LEDs have been around for a while, they are constantly improving. Manufacturers are constantly designing new emitters that are brighter and have higher CRI ratings at a more affordable price. It might not be too long before we see a 100 CRI LED become readily available. One variable that may force the change from tungsten to LED is government regulations. The EU has been working on passing regulations that would ban the use of any tungsten or compact fluorescent lighting. Luckily, they removed entertainment lighting from the scope of the legislation through successful lobbying, showing the monetary impact it would have on small venues and artistic impact it could have on theatres or other performance areas. Although we dodged the bullet this time, there could be a time in the future when we are unable to persuade the politicians and are forced to change. Hopefully by that time, most venues will have already adopted LED and the prices will continue to drop,

52 WORSHIP AVL January–February 2020

making it easier for those that haven’t made the change yet. Another variable that may force a venue to change is the availability of replacement lamps. One of the largest manufacturers of the PAR lamp abruptly ended all production and recalled a large number of existing lamps due to longevity and safety concerns. The PAR fixture has been an industry staple for decades and its future has drastically changed, almost overnight. While replacement lamps can still be obtained, new sources will be hard to find, because the process to make the bulb and lens of the lamp is costly, and the machines to perform the work are scarce as well. Older incandescent fixtures sometimes require very unique lamps and, if demand for those products reduces enough, manufacturers will be forced to discontinue other models as well. While the cost to design a full LED system is still pretty high, one could look at the process in multiple ways. If the need arose to make a change, a venue might be able to transition in phases as budget becomes available. An option is to possibly do the lights above the stage first, because those are typically the fixtures that benefit the most from colour-changing LEDs. The next phase could be all of the front lighting. Or, one could upgrade the most used fixtures first, some front lights and top lights, and then circle back and change the less important devices. The best route would be to do the upgrade all at once. That would ensure that the fixtures you choose are still available, and that they all have the same features and are not upgraded in between the time you

buy them. When looking to install a completely new system, power control and lighting instruments, the cost between the dimming infrastructure and incandescent fixtures vs power relay devices and LED fixtures is getting closer every day. Incandescent fixtures are fairly inexpensive, but new dimming infrastructure is quite expensive, while power relay devices don’t cost much more than a standard breaker panel, but the LED fixtures are expensive. Add in the flexibility, maintenance costs and efficiency of LEDs and the cost difference can be negated very quickly. Because of the constant improvements in technology, reduction of cost to purchase and flexibility of LEDs over the standard incandescent technology, LEDs are quickly becoming the preferred method of lighting in a venue. Almost every entertainment lighting manufacturer’s product portfolio centres around the use of LEDs for the illumination source because of the numerous advantages that they offer. Some still offer a handful of incandescent options because LEDs are not quite bright enough for some applications, but that will change soon enough. For those venues that are slower to adapt, it is becoming quite difficult to find incandescent fixtures to replace aging inventory. There are only a couple of manufacturers left that offer older designs in tungsten models. We may soon see a time where replacement lamps are simply not manufactured anymore, and a change is forced on us. But, in this case, the future of change is very bright, colourchanging and energy efficient. www.elationlighting.com

BUYING GUIDE

Amplifiers AtlasIED’s DPA804 digital power amplifier

When it comes to choosing the right amplifiers to support HOWs, several factors need to be considered. Becky Abel learns more Matching equipment

PRODUCING CLEAR SOUND IS VITAL in houses of worship to ensure that your message reaches the congregation. While loudspeaker selection is of obvious importance in the delivery of audio, you still need to have the right amplifier to power them. Here are a few factors to research before choosing a new amplifier.

As a safe rule, it is better to choose an amp that is from the same brand as the speakers. Although amps and speakers are often compatible with one another, it’s best to check this before investing. Some amplifier brands are owned and developed by associated companies and can provide power to the speakers without causing damage. ‘Many speaker companies will specify certain amplifier and processing combinations to work best with their speakers, and additionally provide the required settings to achieve this,’ explains Hayes. Mike McCormick, senior regional sales manager at AtlasIED, backs up the point: ‘Our products are designed to optimise the performance capabilities of other relevant AtlasIED products. The amplifiers are engineered to take advantage of the full frequency response that our speakers offer, allowing you to get the best sound possible.’

The venue Before even looking into the speakers that you have, think about the house of worship itself. It may have the best equipment that money can buy, but a major factor that contributes to sound quality is the room it’s installed in. How big is the sanctuary? Does the system need to be transported before and after each service? With small spaces, not a lot of power is needed; however, confined spaces can create acoustic problems that affect sound quality. The bigger the venue, the more equipment is required to deliver sound reinforcement, and volume and projection should be taken into consideration. If more power is required, you may need more than one amplifier. If the sound system needs to be completely set up and pulled down before and after a service, a light, compact unit that is easy to configure is essential. ‘It’s worth considering the application that the amplifier will be used for,’ comments Waring Hayes, technical brand manager at MC2 Audio. ‘In an installation, for example, the necessity to work reliably over a wide range of mains voltages isn’t important, but an amplifier for touring would be much more useful if it was capable of worldwide operation and tolerant of mains fluctuations (such as operating on a festival site running from a generator alongside a load of lights).’

Power An important factor to consider is the power rating on both the amplifier

Headroom

The first MC2 Delta Series amplifiers installed in the Middle East and speakers. Each amp will have an RMS power rating which is the power it puts out. Wattage needs to be looked at as well, to see how much the speakers can handle. Ideally, choose an amp that delivers twice the power of a speaker’s power rating. For example, if a speaker’s rating is 350W, the amplifier needs to output 700W. It is better to overpower than to underpower. The more power created, the more control and less distortion there is. If a low-powered amp is plugged into a loudspeaker at a high volume, the loudspeaker can be damaged. However, if you have a high-powered amp, volume levels can

54 WORSHIP AVL January–February 2020

be higher without the amp struggling with its load. Hayes adds: ‘Consideration has to be given to connecting speakers in parallel – two of the aforementioned speakers will handle 1,000W between them and so the amplifier in this situation needs to be capable of providing a minimum of 1,500W. There is also the impedance to consider when running speakers in parallel as this reduces according to a simple mathematical relationship, but the power output of an amplifier is always specified for a given load impedance.’

Headroom is the term for the difference between the normal operating level of an amplifier and the maximum amount that an amplifier can pass without distortion. By using an amplifier with extra headroom, the speakers should produce a clean and undistorted signal. If there isn’t enough headroom, the gear will be frequently distorting the audio. There are many professional amplifiers that are equipped with additional headroom. In order for these to work at an optimal level, the amplifiers must be set up with a speaker or set of speakers with the same power rating.

Impedance Impedance is a measure of resistance and is an important factor to consider as it will determine the

BUYINGPRODUCTS GUIDE PRODUCTS

TECHNOLOGY

Audio vocab 101 Chauvet adds to Maverick series

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Becky Becky Abel Abel explores explores some some of of the the most most common common keywords keywords in in the the world world of of audio audio

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Get Get inspired inspired to to take take your your worship worship services services to to the the next next level! level! The The NAMM NAMM Show Show returns returns to to Southern Southern California, California,uniting uniting aa global global community community of of professionals professionals across across music, music,sound sound and and entertainment entertainment technology. technology.Make Make plans plans to to attend attend and and discover discover the the latest latest products, products,new new ideas ideas and and possiblities possiblities for for your your worship worship venue. venue. When When you’re you’re aa one-man-shop, one-man-shop,you you don’t don’t necessarily necessarily have have an an experience experience with with everything. everything.To To be be able able to to be be exposed exposed to to new new technologies technologies and and new new solutions solutions that’ll that’ll be be aa perfect perfect fit fit for for the the next next church church you’re you’re working working with, with, it’s it’s aa great great opportunity. opportunity.

January 16–19, 2020 Southern Southern California California

Trent Trent Perkins Perkins •• Owner/Founder Owner/Founder •• Whole Whole Hearted Hearted Productions Productions

Register Register and and book book hotels hotels starting starting August August 2019 2019 46 46 WORSHIP WORSHIP AVL AVL November–December November–December 2019 2019

namm.org/attend namm.org/attend

January–February January–February 2020 2020 WORSHIP AVL AVL 55 55 September–October September–October 2019 2019 WORSHIP 65 65

NEWPRODUCTS

PRODUCTS PRODUCTS

AV • LIGHTING • LIVE SOUND • INSTALLATION • BROADCAST • RECORDING AV • LIGHTING • LIVE SOUND • INSTALLATION • BROADCAST • RECORDING

A–ZCONTENTS A–ZCONTENTS

Allen & Heath bridges the gap Based Based on on the the company’s company’s XCVI XCVI FPGA FPGA engine, engine, Allen Allen & & Heath Heath has has revealed its 96kHz digital mixer with the launch of Avantis revealed its 96kHz digital mixer with the launch of Avantis BRIDGING THE gap between the SQ BRIDGING THE gap between the SQ and dLive formats, the standalone and dLive formats, the standalone 64-channel mixer comes with a 64-channel mixer comes with a 42 configurable bus configuration 42 configurable bus configuration with extensive I/O options and a with extensive I/O options and a dPack software upgrade package dPack software upgrade package providing access to optional dLive providing access to optional dLive processing. processing. Encased in a lightweight, Encased in a lightweight, yet strengthened, alloy shell yet strengthened, alloy shell and tubular frame, the Avantis and tubular frame, the Avantis control sur face focuses on two control sur face focuses on two Full HD touchscreens and their Full HD touchscreens and their corresponding rotary controls. corresponding rotary controls. With Continuity UI, engineers With Continuity UI, engineers can reportedly manage a can reportedly manage a

seamless flow between the physical seamless flow between the physical controls and the onscreen software, controls and the onscreen software, such as gains and pans on the such as gains and pans on the rotaries, then at the touch of a rotaries, then at the touch of a soft key switch to EQ or dynamics soft key switch to EQ or dynamics across the whole strip. The console across the whole strip. The console also provides a configurable also provides a configurable FastGrab tab on the right-hand FastGrab tab on the right-hand side of each screen, offering an side of each screen, offering an alternative route for accessing alternative route for accessing the control of aux sends, EQ, the control of aux sends, EQ, compressor and FX on a selected compressor and FX on a selected channel or spot channel. channel or spot channel. Operating within the Operating within the UK manufacturer’s UK manufacturer’s

Avantis with the GX4816 audio expander Avantis with the GX4816 audio expander

56 WORSHIP AVL January–February 2020 56 WORSHIP AVL January–February 2020

AJA AJA Alcons Audio Alcons Audio Allen & Heath Allen & Heath Altman Lighting Altman Lighting Audiocenter Audiocenter Audix/QSC Audix/QSC CEDAR Audio CEDAR Audio Christie Christie Coda Audio Coda Audio Datavideo Datavideo disguise disguise DPA DPA Dynacord Dynacord EAW EAW Eventide Eventide Focusrite Focusrite Grass Valley Grass Valley High End Systems High End Systems Just Add Power Just Add Power Lectrosonics Lectrosonics Magewell Magewell Neutrik Neutrik NewTek NewTek Optoma Optoma Panasonic Panasonic PixelFlex PixelFlex PR Lighting PR Lighting Prolights Prolights Robe Robe Robert juliat Robert juliat Roland Roland Ross Video Ross Video Rotolight Rotolight Sommer Cable Sommer Cable Sony Sony Vari-Lite Vari-Lite Williams AV Williams AV Zylight Zylight

Ever ything I/O ecosystem, Avantis Ever ything I/O ecosystem, Avantis can also be connected to a wider can also be connected to a wider range of audio expander hardware. range of audio expander hardware. Avantis can be paired with the Avantis can be paired with the existing 48-in/16-out GX4816 existing 48-in/16-out GX4816 audio expander, while it is also audio expander, while it is also compatible with other hardware compatible with other hardware such as the ME series of personal such as the ME series of personal mixers and IP remote controllers. mixers and IP remote controllers. For local I/O, Avantis is equipped For local I/O, Avantis is equipped with 12 XLR analogue inputs, with 12 XLR analogue inputs, 12 XLR analogue outputs plus 12 XLR analogue outputs plus

HDR Image Analyzer 12G HDR Image Analyzer 12G LR18/120 LR18/120 Avantis Avantis AFS-500/AFS-700 AFS-500/AFS-700 WM-DSP series WM-DSP series Plug-in for DN4 and DN43 Plug-in for DN4 and DN43 DNS 8D DNS 8D Christie Eclipse Christie Eclipse N-APS/N-SUB N-APS/N-SUB BC-100/PTR-10/ITC-300 BC-100/PTR-10/ITC-300 r16 r16 2028 Vocal Microphone 2028 Vocal Microphone Sonicue Sonicue RSX208L RSX208L iOS music effects iOS music effects Scarlett 3rd generation Scarlett 3rd generation GV Stratus One GV Stratus One TurboRay/SolaWash 1000 TurboRay/SolaWash 1000 Instant Install app Instant Install app X firmware for Duet X firmware for Duet Ultra Stream SDI Ultra Stream SDI NA2-IO-DPRO NA2-IO-DPRO NDI version 4 NDI version 4 ZU606TSTe/ZU606Te ZU606TSTe/ZU606Te AW-UE4/AW-RP60 AW-UE4/AW-RP60 FlexUltra XT FlexUltra XT Aqua 580 BWS and Beam Aqua 580 BWS and Beam EclipsePARFC/EclipsePARTU EclipsePARFC/EclipsePARTU Esprite Esprite ZEP2/Maestro ZEP2/Maestro V-60HD v2.5/V-1HD v2.0 V-60HD v2.5/V-1HD v2.0 Gator-Toolbox/NWE-IP Gator-Toolbox/NWE-IP Titan X2 Titan X2 RJ45CFXL-P1/P8 RJ45CFXL-P1/P8 PXW-FX9/PXW-Z750 PXW-FX9/PXW-Z750 VL800 Series VL800 Series Annotation Pro Annotation Pro Go-Panel Go-Panel

63 63 57 57 56 56 69 69 57 57 58 58 58 58 64 64 57 57 66 66 60 60 58 58 60 60 57 57 58 58 60 60 63 63 69 69 62 62 59 59 63 63 62 62 62 62 64 64 67 67 64 64 68 68 68 68 67 67 67 67 60 60 62 62 68 68 59 59 66 66 69 69 64 64 69 69

AES (stereo in, two stereo out) AES (stereo in, two stereo out) connections. Expanding the scope connections. Expanding the scope for system integration, FOH/ for system integration, FOH/ monitor splits and multitrack monitor splits and multitrack recording, two additional I/O recording, two additional I/O por ts can be used for inser ting por ts can be used for inser ting any of the full range of current any of the full range of current dLive option cards including Dante dLive option cards including Dante (64 x 64 and 128 x 128), Waves, (64 x 64 and 128 x 128), Waves, gigaACE and MADI. gigaACE and MADI. The console is pre-loaded The console is pre-loaded with processing tools including with processing tools including compressors, EQs and 12-slot compressors, EQs and 12-slot RackExtra FX units. Upgrading to RackExtra FX units. Upgrading to dPack expands Avantis fur ther dPack expands Avantis fur ther with additional dLive with additional dLive processing including processing including the Dyn8 dynamics the Dyn8 dynamics engine (up to 16 engine (up to 16 instances), DEEP instances), DEEP Compressors and Compressors and the Dual-Stage Valve the Dual-Stage Valve preamp. Designed preamp. Designed for future-proofing for future-proofing investment, dPack investment, dPack purchasers will automatically purchasers will automatically receive all future DEEP and FX receive all future DEEP and FX updates at no extra charge. updates at no extra charge. www.allen-heath.com www.allen-heath.com

PRODUCTS

Audiocenter gets active THE ACTIVE WM-DSP series is the latest addition to Audiocenter’s product lineup and comes integrated with BrainCore technology which optimally analyses and processes the input signal, DSP module, Class-D amplifier and loudspeaker to achieve ‘smooth transitions between the LF and HF, excellent frequency response and audio reproduction, even at high levels of SPL’, according to the manufacturer. A customised pro driver

from Beyma is said to provide a clean and clear sound, while three different presets are available via a switch on the back panel: flat, vocal and drum. The angle is adjustable from 30° to 45° in 5° increments. The waveguide offers a coverage angle of 60° (20° up/40° down) x 60° to provide a symmetrical soundfield coverage for large- and medium-sized live events. The moulded heat sink and streamlined design is said to improve cooling and increase the reliability of the system. Two models are available: the WM210-DSP dual 10-inch active monitor speaker and the WM212-DSP dual 12-inch active monitor speaker. The series has been specially designed for HOWs. www.audiocenter.net

Coda gains a sibling THE N-APS is described by Coda Audio as the supercharged smaller sibling of the APS system and includes new patented technologies in an even smaller box. Whereas the APS arrayable point source was intended for small- and mediumsized venues, the N-APS has been designed for smaller venues and is said to provide an unobtrusive solution with a high power-to-weight ratio. The N-APS Instafit Magnetic Coupler sums the energy from all transducers to perform as a single source, without any phase destruction. The N-APS is phaselinear, which means there is no need to apply destructive processing when combining different elements in complex systems. Available in 60°, 90°, 120° or asymmetrical horizontal coverage, the N-APS also includes a Ring Diaphragm Curved wave driver to reduce distortion and allow more than one N-APS to work together as a single cabinet. Four aluminium shorting rings reportedly reduce induction variation, minimise intermodulation

distortion and reduce thermal compression. To complement the release of the N-APS, Coda has added the N-SUB, a compact 15-inch, high-output subwoofer weighing 28kg. It has a high power handling of 1,500W, a maximum SPL of 139dB (peak) and reaches lows of 30Hz. The sub comes with system integration with Linus DSP amplifiers and integrated one-pin rigging compatible with the N-APS for flyable or ground-stacked bass arrays. The N-SUB is equipped with a long-excursion, 15-inch, ultralow distortion driver and a 4-inch voice coil to reportedly ensure ultra linear excursion at a consistent magnetic force. Both products benefit from the manufacturer’s Dynamic Airflow Cooling technology. Aluminium vents are optimised to increase thermal capacity. The technology is also said to improve heat dissipation, increasing the power handling and the maximum sound pressure of the system. www.codaaudio.com

The Radius family

RSX208L speaker shows some logic EAW’S NEW RSX208L threeway, self-powered loudspeaker features OptiLogic, a technology developed to provide array selfdetection via on-board infrared sensors and accelerometers. This allows for almost instantaneous optimisation to reduce setup and tuning time. Part of the Radius family, the RSX208L is designed for a range of applications, including nightclubs, theatres and houses of worship. Also aimed at rental and production companies, it is compatible with the EAWmosaic

iOS app for managing system prediction, control and monitoring remotely from anywhere within the venue. The RSX208L has also been designed with EAW’s acoustical design and DSP abilities, such as Focusing and DynO, which aim to deliver a ‘pristine impulse response at all output levels’. Integrated Dante networking (with loop-through) is also included on all models, including an analogue redundancy capability. www.eaw.com

LR18 family grows

ALCONS HAS used its pro-ribbon technology for mid/high frequencies to create the LR18/120 three-way compact/mid-sized line source sound system and reportedly achieve 90% less distortion. This is said to enable the LR18/120 to provide an intuitive linear response, optimal intelligibility and noncompressed identical tonal balance at any SPL. Additional benefits include a 120° wide dispersion high sound quality and high dynamic SPL capabilities. The cylindrical wavefront for the 7-inch pro-ribbon transducer and the symmetrical component configuration reportedly produce a coherent pattern control in the vertical and horizontal planes. The pro-ribbon’s power handling is 1,500W and the RMS-to-peak power handling ratio is 1:15.

A horn-loaded 6.5-inch midrange transducer is coaxially mounted behind the HF driver, while the LF section consists of two reflexloaded 8-inch woofers with a 3-inch neodymium voice coil. System drive comes from two channels of the Sentinel amplified loudspeaker controller with LR18-specific drive processing and feedback for each array configuration. Presets include Alcons’ VHIR processing with phase-matching with any Alcons system. Signal Integrity Sensing pre-wiring is said to ensure dynamic cable/connector compensation between the LR18/120 and the manufacturer’s ALC to provide ‘a 1:1, undistorted natural sound reproduction, regardless of cable length and amplifier impedance load’. www.alconsaudio.com

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PRODUCTS

Vocal reproduction on a budget

Audix takes control MICROPHONE MANUFACTURER Audix Corporation has released a new control plug-in that allows users to integrate the Audix DN4 and DN43 Dante | AES67 microphone inter faces with the Q-Sys Ecosystem from QSC. Other features include eight microphone gain presets, a lowor high-pass filter, LED functions and the ability to monitor connection status from a Q-Sys user control inter face. Each of

the four channels on the Audix inter faces can be controlled independently, while audio from the inter faces will enter the Q-Sys Ecosystem natively (via AES67 or Q-Sys Software-based Dante licence). The plug-in is available to download through Asset Manager, a web-based repositor y accessible via Q-Sys Designer Software v7.1 or higher. www.audixusa.com

THE 2028 Vocal Microphone has been developed by DPA Microphones to capture all kinds of vocals for a wide range of applications, such as live stage performances and HOW events. It is designed to replicate the sound quality of the flagship 4018 VL handheld mic at a lower price point. Three versions are available: a wired XLR variant with handle, and two wireless mic configurations that are each compatible with some of the most widely used wireless microphone systems, including the SL1 adapter, compatible with Shure, Sony and Lectrosonics, and the SE2 adapter, which is compatible with Sennheiser. When used in live sound applications, the 2028 reportedly requires very little to no EQ to faithfully reproduce vocals. This transparency, DPA states, allows

engineers to shape the sound experience rather than spending their time covering up issues caused by artefacts. In addition, the 2028 includes a new fixed-position capsule, with a specially designed shock-mount and pop filter. A supercardioid polar pattern and uniform off-axis response reportedly gives the microphone a high gain before feedback, which is said to make it easier to handle bleed from instruments in close proximity. The outer grille and the inner pop filter can be detached and rinsed to combat wear and tear on the road. www.dpamicrophones.com

Eventide creates an effect EVENTIDE HAS released three iOS music creation and live performance effects apps for iPhone and iPad. Blackhole Revert is derived from the original hardware versions of Eventide’s flagship studio processors and the ‘Space’ pedal. At large sizes, the iOS version can be used on guitars, strings, vocals and pads, while at small sizes, it can add an ‘angelic’ sheen to vocals. UltraTap Delay has its origins in the classic H3000 and is described as a versatile, multi-tap delay effect capable of rhythmic delays, glitchy reverbs, comb-filtering and volume swells. Finally, MicroPitch is a fineresolution pitch shifter for subtle tone fattening.

MicroPitch The manufacturer has also released the 51st algorithm for its H9 Harmonizer pedal for guitar, bass and keyboard players. Harmadillo is a flexible harmonic

tremolo algorithm offering musicians a wide variety of LFO shapes, drive and tone, and three controls that respond to a user’s playing dynamics.

Moving onto apps and software, Eventide has released VSig 3.0, the public beta of its visual editor app which enables the creation of custom algorithms and presets for the H9000 Harmonizer. The public beta of updated Rose software is also available. Rose now includes an increased number of presets, MIDI clock receive and MIDI tap tempo, new tap tempo divisions and new detune effects in Envelope mode. www.eventide.com

CEDAR adds Dante IN DEVELOPMENT for more than two years, CEDAR Audio has unveiled its DNS 8D eight-channel dialogue noise suppressor that reportedly marries the best of the manufacturer’s DNS 8 Live and DNS 2 products but provides better control, both from the front panel and from any web browser that can access its remote-control software. Additional features include near-zero

latency, a four-pin 12VDC input and universal mains power. It has been designed for all live situations, including houses of worship. Along with the Dante interface and AES3 audio connections (DB25 using the AES59 pin-out), fail-safe

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AES3 audio bypass is implemented in the form of hardware relays and Dante’s redundant mode of operation is supported. Web-based remote control for laptops and tablets is available, along with an AES3 breakout cable offering a

DB25 connector at one end and four XLR (female) plus four XLR (male) at the other. This will allow users to connect the DNS 8D to equipment using the traditional XLR format. www.cedaraudio.com

PRODUCTS PRODUCTS

Lectrosonics Lectrosonics stays stays secure secure LECTROSONICS LECTROSONICSHAS HASintroduced introduced ‘X’‘X’firmware firmwareforforitsitsDuet DuetIEM/IFB IEM/IFB system systemwhich whichadds addsAES AES256-bit 256-bitCTR CTR encryption. encryption.Since Sinceanalogue analogueIFB IFBand and IEM IEMsystems systemscannot cannotbebeencrypted, encrypted, the thenew newfeature featurecreates createsa adata-secure data-secure version versionofofthe theDuet. Duet.The TheTrue TrueRandom Random Number NumberGenerator Generatorused usedforforkey key generation generationpasses passesallallNIST NISTSPSP800-22 800-22 statistical statisticaltests testsforforrandomness. randomness. Four Fourencryption encryptionkey keypolicies policiesare are available. available.The Theuniversal universalkey keypolicy policyisis said saidtotoprovide providethe themost mostconvenient convenient option optionand andisisthe thedefault defaultsetting settingonon Duet-X Duet-Xtransmitters transmittersand andreceivers. receivers.A A unique uniquekey keyisisnot notgenerated generatedforforeach each situation, situation,but butthe thebasic basicencryption encryption prevents preventssomeone someonewith witha ascanner scannerand and digital digitaldemodulator demodulatorfrom fromdecoding decoding

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shared sharedtransmitter-to-transmitter transmitter-to-transmitteroror receiver-to-transmitter. receiver-to-transmitter.This Thismakes makes it itpossible possibletotocontrol controlthe theuse useofofkey key material materialsufficiently sufficientlysosothat thatnonokey key material materialisisever everreused, reused,making making differential differentialattacks attacksimpossible. impossible.The The volatile volatilekey keypolicy policyisisavailable availableforforthe the highest highestlevel levelofofsecurity securityand andthe thekey keyisis www.lectrosonics.com www.lectrosonics.com

An An RJ45 RJ45 module module to to make make life life easier easier SOMMER SOMMERCABLE CABLEhas hasdeveloped developed a aGHMT-certified, GHMT-certified,one-size-fitsone-size-fitsall, all,Cat-6a Cat-6aRJ45 RJ45module. module.The The RJ45CFXL-P1/P8 RJ45CFXL-P1/P8isisdesigned designedtoto make makeinstallers’ installers’lives liveseasier easierwith with tool-free tool-freeassembly, assembly,while whileoffering offering full fullsupport supportforforPoE+ PoE+applications. applications.

with withalmost almostany anyCat Catcable, cable,the the manufacturer manufacturerclaims claimsthat thatit itisis further furtherenhanced enhancedwhen whenpaired paired with withthe theCPR-certified CPR-certifiedSC-Mercator SC-Mercator Cat.7/Cat.7a Cat.7/Cat.7anetwork networkcable. cable.

It Itfeatures featuresananIDC-female IDC-femaleconnector connector with withkeystone keystoneclip-in clip-incapability capability with witha ashort shortdepth depthdesign. design.The The module modulewas wasput putthrough throughthe theGHMT GHMT verification verificationprogramme programmetotoensure ensure it itmet metthe thehighest higheststandards standards ofofquality. quality.While Whileit itcan canbebeused used

www.sommercable.com www.sommercable.com

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January–February January–February2020 2020WORSHIP WORSHIPAVL AVL 59 59

PRODUCTS

Driving sound DESIGNED WITH time-saving features, the Sonicue sound system software from Dynacord addresses the entire sound system. It supports Dynacord TGX and IPX series amplifiers, as well as all amplifier models fitted with the RCM-28 Omneo network and DSP module. System designs can be produced

from scratch or based on imported files from loudspeaker prediction applications. Users can overview or

make adjustments while monitoring parameters from the sub menu bar without the need to close menus,

while frequently used functions can be pinned either temporarily or permanently. With practical features such as a zoomable, multi-layer workspace, Sonicue is available for Windows. Future releases will support OSX, Android, Linux and iOS. www.dynacord.com

Roland enhances V-series ROLAND HAS made several new firmware updates available for its professional video products. The v2.5 firmware for the V-60HD video switcher now enables primary parameter control of Panasonic PTZ cameras over LAN, eliminating the need for a dedicated camera controller. A v2.0 update for the V-1HD adds several new features to the HDMI video switcher, including the adjustment of more PiP parameters,

iPad, Mac and Windows Remote Control Software for the V-1HD. New features created by the development of the V-02HD v1.1 update include operation from the new iPad remote control app. Video inputs are reportedly easier to switch, audio can be mixed with virtual faders and up to eight custom scenes can be created using preset memories. simplified menu navigation and the inclusion of audio level meters within

Improving workflow DISGUISE HAS announced the software release of r16. Enhancements include a complete design overhaul to improve the execution and usability of the Cue List, more flexibility to work with external control systems and a multi-edit function to streamline workflows when working with groups of objects. The manufacturer reports that a total of 181 bug fixes and 121 improvements have been made.

Further updates include higher-quality content playback, including end-to-end 10-bit colour depth support for disguise’s latest flagship servers, the vx 4 and gx 2c, as well as support for wider colour gamuts such as Rec. 2020, plus a full HDR pipeline. The release also includes

long-requested support for image sequence playback allowing users to play TIFF, TGA and DPX file sequences in either 8 or 10 bit. Support for the new NotchLC codec has also been added, which reportedly achieves visually lossless quality without sacrificing performance. Projection workflows have also been overhauled. A single calibration workflow has been introduced, along with Mapping Matter integration which allows users to set up projectors in Mapping Matter and quickly import them into disguise, including projector data such as position, name, resolution and lumens. r16 also debuts new workflows for augmented reality, including support for a variety of camera tracking systems, which can be fed into the 3D stage as tracked objects and attached to virtual cameras. The manufacturer reports that this is the first step on the road to adding the full xR feature set, which will come in future releases. www.disguise.one

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the multi-view screen. Updates have also been created for the

proav.roland.com

USB-C comes to Scarlett

THE THIRD generation of Focusrite’s Scarlett range of USB audio interfaces has arrived, bringing with it upgraded microphone preamps, a new and interactive Quick Start tool and USB-C connectivity. Apart from the addition of the new USB Type-C port, the external layout of the device remains unchanged. The Scarlett series comprises six different models, each with a variety of inputs and outputs – Solo, 2i2, 4i4, 8i6, 18i8 or the rack-mountable 18i20. These inputs have been improved to offer more headroom, while the units also feature additional line-level inputs for flexible recording setups and balanced TRS outputs to eliminate speaker hum.

According to the manufacturer, 24-bit/192kHz converters promise clarity of recording, while the upgraded mic preamps can reproduce the Air effect of Focusrite’s original ISA mic preamp. The new units ship with a range of software tools, including Ableton Live, Pro Tools and First Focusrite Creative Pack. In other news, RedNet Control 2.4 has been released, a free software update that adds Dante Domain Manager (DDM) and AES67/AES70 compatibility. RedNet Control 2.4 recognises the four distinct levels of system access granted within DDM: Site Administrator, Domain Administrator, Operator and Guest. Also new is AES3 Kill Switch control for RedNet D16 and RedNet D16R and AES67 compatibility for RedNet X2P and RedNet AM2 Ultimo X interfaces. RedNet Control 2.4 can now run as a background application if needed, so MIDI control continues to function when the software window is closed. www.focusriteplc.com

PRODUCTS

Gator-Toolbox is a production lifesaver DEVELOPED BY Ross Video as a UHD signal conversion problem-solver, the Gator-Toolbox adapts ‘any-to-any’ HD, UHD and HDR signals in an openGear card with optional adaptive standards conver ter. Gator-Toolbox includes a set of tools that adapt UHD

NDI 4 arrives NDI HAS released its fourth generation of NDI technology for software-defined visual storytelling (SDVS) via IP-based video. NDI 4 can record almost unlimited NDI video channels, making IP-based, multi-camera editing accessible for the first time. Continuous recordings are readily available for editing and instant replay without stopping video capture. Time-stamped recordings are imported as synchronised files into Adobe Creative Cloud with full synchronisation in any video or audio format, including 4K UHD and above.

The tool uses high-bandwidth NDI over a Wi-Fi connection in resolutions up to 4K UHD from an iOS-based mobile device. The aspect ratio, frame rate and resolutionindependent nature of NDI also allows other NDI-enabled systems, including production switchers, to deliver content ready for viewing on mobile devices. NDI 4 extends highquality video with support for alpha channel and a full 16-bit data path. With support for UHD, more than 64 channels of floating-point audio are available at all sample rates. www.newtek.com

Neutrik breaks out NEUTRIK HAS unveiled the NA2-IO-DPRO two-in/two-out Dante interface, which possesses two switchable mic, line, AES/EBU inputs and a pair of switchable analogue line, AES/EBU outputs,

with two Dante ports for redundancy or device daisy-chaining. The breakout box has a small form factor, metal construction and removable protective rubber casing for reliability in a wide range of applications. The front panel provides two latching XLR inputs and two XLR outputs. AES/EBU operation is auto detected for inputs and outputs. Using Neutrik’s free DPRO controller software for Mac or PC, +48V phantom power can be applied; microphone preamplifier gain, pad and high-pass filtering can be set

per channel; and input channels can be linked for matched operation. Output channels can be muted or unmuted within the software. The rear panel provides primary and secondary Dante ports on Neutrik etherCON connectors. The secondary input can be configured for redundant or switched mode (for daisy-chaining). When operating in switched mode, in conjunction with a 60W PoE injector, up to eight devices can be daisychained. Up to four devices can be daisy-chained with a 30W PoE injector. The NA2-IO-DPRO is compliant with AES67. Power must be supplied externally via either a PoE switch or a PoE injector per IEEE 802.3af/at, class 2 or no classification at 6W. With optional mounting brackets or a rack panel, the NA2-IO-DPRO can be mounted below tables, in floor boxes, in racks or on the stage truss. www.neutrik.com

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Ravenna open control protocols suppor ting up to 64 audio channels and eight low-latency bidirectional streams. In brief, Ross has announced several updates to its por tfolio. V9.1 of the Acuity production switcher adds direct integration

Gator-Toolbox and HD signals to broadcast production and live event workflows where low latency and quality UHD, HDR and WCG are required. The integrated format conver ter implements a rapid scaling and deinterlacing technology. Featuring smooth frame-rate conversion with tracking audio resampling, GatorToolbox is also a standards conver ter that adapts foreign standards into the production. Navigation can be made between SDR, PQ, HLG and SLOG in any combination with suppor t for both standard and wide (BT. 2020) colour gamut. Ross has also unveiled its NWE-IP Nielsen Watermark Encoder for IP networks. The solution is built on the manufacturer’s latest release of the BACH Vir tual SoundCard, a Linux-based SDK that enables audio applications, such as NWE-IP, running on a COTS Linux ser ver to connect to AES67 and SMPTE ST 2110 audio senders and receivers using SAP, and

with the Ultritouch hardware panel, centralising router and switcher aux control into a single 2U touchscreen inter face. Graphite V2.3 provides additional PC audio channels so that customers can use computer-generated audio sources like audio from a PowerPoint presentation or add a Dante or AES67 vir tual sound card to get audio-over-IP into the system. Utrix 4.0 adds control enhancements to suppor t the Ultricore BCS Broadcast Control System, Ultricore IP NMOS discover y, registration and connection management licence for Ultricore BCS and Ultritouch 4 touchscreen control panel, a larger version of the Ultritouch 2U facility monitoring and a control touchscreen panel that now includes a headphone jack, front-panel USB por t for peripherals and optional VESA mount kit. www.rossvideo.com

One-click configuration DESIGNED TO provide fast auto configuration for any gigabit switch, Just Add Power (J+P) has expanded its Just OS firmware ecosystem with the Instant Install application. Users can repor tedly incorporate any gigabit switch that suppor ts jumbo frames – managed or not – into their J+P

matrix. Devices are connected anywhere on the switch and, with a single button click, the devices are found and configured and a driver is built, all in less than two minutes, claims the manufacturer. www.justaddpower.com

PRODUCTS

Streaming simplified DESIGNED FOR non-technical users, Magewell’s Ultra Stream HDMI streaming encoder simplifies live streaming and recording for church volunteers via on-device buttons or a smartphone app. Now, the company has announced a new Ultra Stream model for customers with SDI-based video sources. Ultra Stream SDI features support for 3G and 4G USB modems for live streaming from anywhere over a mobile broadband connection. Automated connectivity management switches between mobile broadband, wired Ethernet and Wi-Fi connectivity if the current network link is interrupted. The Access Point mode enables Wi-Fi-based smartphone control of Ultra Stream encoders in environments that don’t have an existing accessible Wi-Fi network. A new web interface enables remote control of the encoder from

Ultra Stream SDI anywhere via VPN or users can access it from a desktop computer over wired Ethernet. Multi-level user management in the web interface allows access to administrator functions to be restricted to authorised users. Developers wishing to integrate control of Ultra Stream encoders into their software applications can enable an API that adds functionality into their own branded interface. Ultra Stream SDI captures, encodes and streams HD or 2K video at

resolutions up to 2048 x 1080 over 3G-SDI connectivity. Support for embedded SDI audio is assisted by an analogue microphone input and headphone output, while an SDI loop-through connection allows source signals to be simultaneously sent to a monitor or other production equipment. Measuring 104.6mm x 94.2mm x 28.5mm and weighing 143.3g, Ultra Stream SDI offers both wireless and wired network connectivity via built-in Wi-Fi and an RJ45 Gigabit Ethernet port. The developer has also released its second NDI decoder device in its Pro Convert family. The low-latency Pro Convert for NDI to HDMI decoder transforms a live NDI stream into an HDMI output for connection to a monitor, projector or other baseband device. Capable of decoding NDI streams up to 2160 x 1200 at 60fps

for output over its HDMI 2.0 interface, the device can also up-convert HD or 2K source streams to 4K for viewing on Ultra HD displays. The plug-andplay decoder features DHCP-based network configuration and can detect

Pro Convert for NDI to HDMI AV characteristics of the target display device via EDID metadata, automatically selecting optimal output parameters or offering a range of compatible choices. www.magewell.com

AJA adds 12G-SDI solutions

HDR Image Analyzer 12G AJA HAS unveiled a 12G version of the HDR Image Analyzer and Kumo 3232 router, an FS-Mini frame synchroniser Mini-Converter and three additional openGear compatible converter cards. In addition, users can benefit from new software and firmware updates that are designed to improve and enhance the Desktop I/O line, Mini-Converters and FS4 frame synchronisers/converters. Developed in partnership with Colorfront, the HDR Image Analyzer 12G is a 1U real-time HDR monitoring and analysis solution featuring high bandwidth 12G-SDI

Kumo 6464-12G connectivity. It aims to enhance monitoring and analysis of HDR formats in production and post, including Perceptual Quantizer and Hybrid Log Gamma. The Kumo 6464-12G includes 64 12G-SDI inputs and 64 12G-SDI outputs for signal routing with

increased 12G-SDI bandwidth connectivity. Ganged dual and quadport routing configuration options allow users to combine multiple inputs and outputs for resolution support up to 8K. Providing broadcast-quality utility frame synchronisation in a portable

form factor, the FS-Mini Converter synchronises and converts a wide range of video formats to a house standard with a 3G-SDI input and output, simultaneous HDMI output and a two-channel RCA-style audio output. The US manufacturer has also developed new openGear OG-FSMini, OG-ROI-DVI and OG-ROI-HDMI cards. The OG-FS-Mini combines the functionality of the FS-MiniConverter with the openGear architecture, while the OG-ROI-DVI and OG-ROI-HDMI support DVI or HDMI to SDI region of interest scaling, scan conversion and image rotation in the openGear format. Finally, a host of free firmware and software updates have been unveiled for the Hi5-4K-Plus, Hi5-12G and IPR Mini-Converters. www.aja.com

Evolving productions go into the Stratus-phere

TO HELP meet the needs of everevolving house of worship broadcast production needs, Grass Valley has created GV Stratus One. It is an all-inone production management solution

designed so that it can be deployed within hours and without specialist technical assistance, while allowing staff and volunteers to manage all aspects of the media workflow, from

content capture to final delivery via any platform. GV Stratus One aims to help production teams streamline their workflows. It can serve as a multi-site integrated solution with the ability to access content from any system. Browser-based access allows for collaborative methods of working, as team members can add and access clips from any location, while

production crews can edit and work on the media as soon as recording starts. The system manages ingest and content management playout, web streaming and social media delivery. Users of Grass Valley’s previous GV Stratus solution can also deploy GV Stratus One as a backup for disaster recovery. www.grassvalley.com

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PRODUCTS

Williams AV adds a comment FOR HOWs who wish to add annotation to their 4K videos, the Annotation Pro from Williams AV is built on an NVIDIA Pascal GPU system architecture with 256 NVIDIA CUDA cores which can reportedly deliver real-time video processing with less than two frames of latency. The embedded software application runs on a Linux OS and offers upgrade possibilities that are unavailable

in hardware-based FPGA or ASIC solutions. With two digital video inputs, an HDMI and USB 3.0 video and picture-in-picture capabilities, the system can be configured to support many different dual video output viewing configurations. The USB 3.0 can also be configured for video capture applications. Annotation Pro can work in a video in-line or loop-through video design. Depending on the project

True HDR 4K RGB debut CHRISTIE IS looking to eclipse its competition with its latest projector release. Christie Eclipse is a 4K RGB pure laser projector that includes Christie RealLaser illumination, true HDR and an expansive colour gamut that approaches the full Rec. 2020 and Rec. 2100 colour space. In short, Christie describes Eclipse as ‘the world’s first true HDR 4K RGB pure laser projector for the pro AV market’. Christie Eclipse is built to process and reproduce HDR content onscreen, in 4K resolution, at both high and low brightness levels. The result is said to be a contrast ratio of up to 20,000,000:1. Its colour gamut enables it to produce highly saturated colours, exceeding the Rec. 2100 200,000:1 contrast ratio specification 100 times over. The inclusion of RealLaser illumination, 4K resolution and a high frame rate capability of up to 120fps reportedly facilitates smooth content delivery without a distracting blur. The brightness level can be customised to best suit the

environment, from 2,000 lumens to 30,000. Eclipse also features Christie TruLife technology for a performance of 4K at 120Hz and Christie’s Twist software, which offers warping and blending capabilities. An optional Christie Terra input card adds further efficiency for integration and connectivity. All of Christie’s projectors that feature TruLife, such as Eclipse, can connect directly to a Christie Terra SDVoE system. Christie Eclipse also supports Christie Mystique, a camera-based warping and blending tool designed to simplify the use of multi-projector arrays.

requirement, it can be ordered in either a non-HDCP or as an HDCPcompliant device. Annotation Pro reportedly works with any HDMI switcher or third-party control system and has been designed to support many different types of touchscreens. It comes equipped

with two RS-232 ports and five USB control ports for HID touchscreen support. Annotation, whiteboard and highlighting tools can be changed on the move on any live video source. www.williamssound.com

Combining performance and durability PIXELFLEX HAS introduced the FlexUltra XT, an LED video panel that combines performance and durability for any rental staging production design. The panel offers design potential to any live production with

PixelShield technology. The front serviceable modules reportedly make it simpler to keep each panel looking its best, while the Z-Axis adjustments are said to ensure that the screen is always seamless.

ultra-high-resolution pixel pitch options, an allin-one optional ground support system and PixelShield protective technology. FlexUltra XT is available in 1.5mm, 1.9mm and 2.5mm pixel pitch options and comes as standard with PixelFlex’s COB

With magnetic connections and auto-locks, the FlexUltra XT reportedly turns vertical rigging into a one-person job with built-in levels and selflevelling footers in the optional ground support system. www.pixelflexled.com

www.christiedigital.com

Compact and versatile OPTOMA HAS expanded its range of DuraCore laser ProScene projectors with three models – the ZU606TSTe, ZU606Te (WUXGA) and ZH606e (Full HD 1080p) – described by the manufacturer as compact

ZU606TSTe

and versatile with 6,300 lumens of brightness and 4K and HDR compatibility. With a reported lifetime of 30,000 hours at full brightness, the projectors can be monitored over a network via RJ45. The ZU606Te and its short-throw counterpart, the ZU606TSTe, come equipped with HDBaseT connectivity. All three models have four-corner geometric adjustment to help with uneven walls or where a projector placement is awkward and needs to be installed at an angle. In addition, the ZU606Te and ZH606e have a

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vertical lens shift and 1.6x zoom for ease of installation. Built-in 10W stereo speakers are also featured. In other news, the manufacturer has released a warp and blended solution. Powered by blending, warping and video mapping software provider, Vioso, the Nano has been designed to support Optoma’s pro AV projector range and is described as providing simple and fast warping, edge blending and content playback. It is equipped with four channels and is suitable for flat and curved

Nano screens, domes and irregular surfaces. The Nano is ideal for multiprojector installations and features advanced projector masking and colour correction. The processor can also be used for stacking or when a project needs higher brightness or redundancy. www.optoma.ae

PRODUCTS

Datavideo takes control of the light BC-100

DATAVIDEO HAS introduced its BC-100 camera that has been designed to film in changing light conditions. The Full HD camera includes a 4⁄3-inch sensor, an MFT lens mount and 3D noise reduction. With real-time HDR capturing in 4:4:4 colour depth, all information is stored for postproduction. The MFT mount reportedly allows the use of a large array of lenses from manufacturers such as Leica, Panasonic and Sony. The BC-100 can also be used with a lens converter from companies such as Aputure. The camera features two 3G-SDI outputs as well as a single HDMI output. Professional audio can be added with two full-size XLR inputs with 48V phantom power. Ideally, the BC-100 should be

complemented with a TLM-700K viewfinder monitor supporting HDMI loopthrough. Staying with cameras, the manufacturer has developed the PTR-10 remote camera head to give users the possibility of mounting any small camera in an inaccessible location and controlling it from a distance. All the connections on the back of the camera are transported through the PTR-10 and break out on the bottom of the unit to prevent stress on the cables. The PRT-10 is compatible with DVIP and can be controlled with the RMC-300. It also accepts RS-422 for control. An HDBaseT model is also in development. Datavideo has also redesigned its ITC-100 intercom system. The basis of the IP-300 is an IP network that runs on standard Ethernet up to 100m in length or up to 200m with the optional VP-300R. The system includes tally lights that can be mounted onto any camera and four beltpacks that feature a tally light

so the cameraperson knows when the camera is live. The ITC-300 can handle eight beltpacks for individual communication but even more if a party line is used. It is compatible with existing IP networks and can easily be routed. Each cable has a locking mechanism that slides over a standard RJ45 connector, securing the connection to the beltpack to prevent connection loss.

The SE-500MU, meanwhile, is the Taiwanese company’s first UHD switcher in a 1U format. It accepts four HDMI 2.0 in resolutions from 720p to 2160p so that multiple devices can be hooked up to a single projector. It is also suitable for switching between different cameras in multiple different resolutions. The HDMI output is scalable and there’s also a secondary assignable output. Finally, Datavideo has developed two new recorders. The HDR-80 is a desktop model, while the HDR-90 is a rackmounted version. Both feature up to 4K recording in ProRes profiles up to 4Kp60 and include a 5-inch touch panel. The recorders have various options for recording 4K material and feature 12G connectivity for 4K over a single SDI wire.

ITC-300

www.datavideo.com

SE-500MU

Sony extends its AV appeal THE PXW-FX9 has been marketed as the next generation of camcorder from Sony and the first XDCAM camcorder featuring a 6K fullframe sensor and Fast Hybrid Auto Focus system. Advancing the feature set of the FS7 and FS7 II models, the FX9 combines high mobility with an AF system and slow-motion capabilities with its newly created sensor. Accompanying the PXW-FX9 full-frame format camcorder, Sony has added a full-frame 16–35mm (FE C 16–35mm T3.1 G) E-mount lens. Compatible with a wide range of E-mount cameras from Venice to Alpha interchangeable lens cameras and the FX9, the new lens is optimised for professional video creation.

PXW-FX9

The PXW-Z750 is a 2⁄3-type shoulder camcorder to support 4K shooting with a threechip CMOS sensor system. As the latest member of the XDCAM family, the threechip camcorder is equipped with global shutter technology that reportedly negates artefacts such as flash band and rolling shutter distortion. The camera has been designed for uncontrolled lighting conditions as well as for capturing

66 WORSHIP AVL January–February 2020

fast-moving objects and action often associated with live events. Designed to support high-density simultaneous multichannel operation in large-scale live and studio productions, Sony has also updated its DWX digital UHF wireless microphone series. Accommodating up to 21 channels per 8MHz TV band or up to 16 simultaneous channels per 6MHz TV band, the DWX Gen3 platform incorporates four codec modes, promotes secure encryption and enhances networking capabilities. Incorporating audio processing and encryption

PXW-Z750

technologies, the DWT-B30 and DWT-B30R bodypack transmitters combine secure digital transmission with low latency, while the DWTB03R models also operate with rechargeable long-life Li-ion batteries. Housed in die-cast magnesium and aluminium, the compact DWR-S03D receiver can be mounted directly on camcorders. Auto channel scan and sync assist the frequency setting and integration with the manufacturer’s XDCAM shoulder camcorders to allow audio status monitoring via the LCD or viewfinder. Providing remote operation of up to 82 transmitters using the Cross Remote function, the DWT-B03R is compatible with Sony Wireless Studio control software when combined with the RMU-01. The two-channel, Dantenetworkable DWR-R03D wireless receiver integrates DSP, encryption and RF transmission technologies within its 1U chassis. pro.sony.com

PRODUCTS

Robert Juliat debuts ZEP2

AW-UE4

THE ZEP2 range of LED zoom profile spots and Fresnel fixtures from French manufacturer Robert Juliat are equipped with an enhanced LED source which reportedly provides a higher

Panasonic adds PTZ solutions DESIGNED FOR small and large areas, Panasonic’s ultra-wide-angle lens AW-UE4 compact 4K PTZ camera has a 111° field of view and is capable of video output with three interfaces: HDMI, LAN and USB. Incorporating a single cable solution for video transmission, camera control and power supply, the unit supports PoE and can be used as a USB camera powered from a computer. The AW-UE4 reportedly provides high-performance operability through RTMP compatibility for direct upload of video to livestreaming services, and is especially suited for live productions. The AW-RP60 remote camera controller comes equipped with a large LCD to display a GUI menu screen and an improved joystick

design for ‘smoother control’. The improved GUI displays all information about the camera, including iris, zoom and focus, directly on the screen. Compatible with all current Panasonic PTZ models, the AW-RP60 is reportedly capable of supporting up to 200 cameras in 20 groups, managing 100 presets and comes with PoE support for ease of integration. www.panasonic.com

AW-RP60

Robe enters new era THE ESPRITE LED is the first moving light from Robe to have a 650W white transferrable engine light source with a replaceable or transferable white source LED engine. Designed to replace entire fleets of workhorse discharge fixtures, the LED can hold useful data as well as the date, serial number and usage, which can all be accessed with the free mobile app. The fixture outputs 27,000 lumens with a 5.5–50° zoom range, which is said to provide a high-quality flat field beam. This combines with smooth CMY colour mixing, fast bumping

colour wheels and a coloured prism for producing new effects and animations. Other design features include a cooling system that removes any airflow over the optics to reduce residue deposits and extend the time between cleaning. Effects include an animation wheel, variable CTO, two colour wheels, rotating and static gobos, a six-facet rotating prism and a selection of 1° and 5° frosts. The LED also includes a set of accurate framing shutters and LED adjustable tools such as C-Pulse flicker-free management for optimisation with the latest HD and UHD cameras. The unit also comes with L3 (low-light linearity) dimming.

Maestro server for SpotMe, which has been developed in association with tracking specialist, zactrack. The server is said to extend the capabilities of the SpotMe 3D positiontracking system by enabling it to operate with any DMX lighting control console. Up until now, SpotMe has functioned with the PosiStageNet open protocol which is run by only a limited number of consoles. SpotMe sends the X/Y/Z coordinates of any object or person discovered by a followspot to

The XEP2 profile spot light quality and output. They can be used either as a direct complement or replacement for either 1kW or 2kW units as they only use 150W or 300W of LED power. The ZEP2 profile spots provide a smooth flat beam with a CRI of up to 92 and include all the features from the SX range, including three variable zoom options (28–54°, 16–35° and 11–26°), a strobe function and a built-in flicker-free dimmable PSU with a silent operation. According to the manufacturer, the fixtures offer zero UV/IR emissions to protect the audience. The ZEP2 Fresnel fixtures are described as the perfect complement to the ZEP2 profile spots. They are available in warm and cool white (150W version) and a neutral and variable white (300W version). The 200m Fresnel lens provides an ‘exceptionally flat beam’ and a variable beam angle for a ‘powerful wash effect’. Colour temperature reportedly remains constant, while dimming and beam shaping can be achieved with the addition of one of Robert Juliat’s rotatable barndoors. In other news, the lighting manufacturer has unveiled its

manage other moving head fixtures and static displays in a rig. Now, with the Maestro extension, a designer can take control from any DMX console. The lighting console, even the simplest DMX model, retains the pan and tilt control and, in return, gets additional DMX channels to modulate the tracking parameters

The ZEP2 Fresnel calculated and managed by the Maestro server. An additional advantage of Maestro is the Prediction feature, which gives the ability to anticipate the direction of a performer’s movement onstage and adjust every slave fixture to react quickly to the direction of travel. www.robertjuliat.com

www.robe.cz

January–February 2020 WORSHIP AVL 67

PRODUCTS

Prolights adds flexibility ECLIPSEPAR IS Prolights’ range of multipurpose LED fixtures with a single source designed to provide silent operation, high-quality light and optical flexibility. All fixtures come with a range of accessories, including barn doors, filter frame, egg crate and a variety of interchangeable lenses. Additional features include a smooth 16-bit dimming plus RDM control and adjustable PWM. The first product in the range is the EclipsePARFC, which features a 150W RGB plus warm white and delivers a white CTC with ± tint control, red-shift (CRI > 92 and R9 > 94) and colour mixing. The fixture has a 2,800–10,000K CT and a 163mm Fresnel lens. The beam angle is 24° (on-board) or 65° (included), while the field angle is 41° (on-board) or 100° (included). The EclipsePARTU and EclipsePARDY feature a 177W white LED source (3,200K for the

EclipsePARFC EclipsePARTU; 6,000K for the EclipsePARDY) with a CRI and R9 of more than 95. The EclipsePARUV is a real UV LED luminaire with a 365nm wavelength LED source. Prolights has also headed outside with the MosaicoXL, a longrange outdoor LED fixture for the projection of textures, images and logos onto buildings. It is built in a durable IP66 die-cast housing and offers an output of 17,000 lumens

and a set of features including a CMY colour mixing system and profile to shape the projection area. The zoom ranges from 5–50°, while the fixture features a 540W white LED engine with 6,000K CT. This reportedly allows the fixture to be installed at any distance, making it suitable for both nearfield and longthrow installations. For users who want a superior light quality without the view of multi-cell fixtures, Prolights has developed the PixieWashXB which is said to bring together the classic styling

MosaicoXL

PixieWashXB of a traditional wash luminaire and apply the latest innovations in the field of LED technology. The large frontal plano-convex lens reportedly delivers a stunning level of brightness with an exceptional zoom range with a 1:8 ratio. The 280W RGB and warm white LED module is said to work to deliver high-quality white reproduction with high CRI and TLCI parameters and precise colour tuning. www.prolights.it

All new, all purpose, all weather PR LIGHTING has announced the release of two additions to its Aqua Series of waterproof moving head fixtures: the Aqua 580 BWS and Aqua 580 Beam. Both IP66-rated lights feature a Philips 25R 550W (7,500K) engine, precise gobos and colours and are suitable for both indoor and outdoor use. They provide a power consumption of 800W at 220V and a full CMY colour mixing system with macro. The colour wheel features 12 colour filters and there is one effects

wheel and one frost filter. The fixed gobo wheel comes with 18 gobos and the rotating gobo comes with seven gobos. Control is via DMX512 wireless, RDM or Art-Net connections. The dimmer is 0–100% linearly adjustable and the individual colour temperature adjustment is 0–100%. Head movement is 540° pan and 270° tilt. The fixtures are housed in cast aluminium and hightemperature/UV-resistant plastic. The three-in-one hybrid Aqua 580 BWS incorporates four prisms: eight-facet, nine-facet, four-facet and a gradient. The beam mode is 2°, wash mode is 3–50° and spot mode is 2–40°. In short mode, the fixture provides 23 channels, in standard mode 31 channels and in extended mode 35 channels. The unit weighs 36.5kg. The Aqua 580 Beam comes with three prisms: eight-facet, 16-facet and four-facet. The beam angle is 2°. In short mode, the fixture provides 22 channels, in standard mode 26 channels and in extended mode 30 channels. The unit weight is slightly lighter than the Aqua 580 BWS at 36kg.

AQUA 580 BWS

www.pr-lighting.com

68 WORSHIP AVL January–February 2020

Titan redefines lighting THE TITAN X2 is an LED soft light that uses RGBWW technology to provide ‘unparalleled light output’, colour accuracy and a suite of industry-first features, according to Rotolight. The 2x1 LED reportedly provides enough power to adapt to any lighting situation and performs well across the CCT spectrum from 2,800–10,000K. It is described as flicker-free at any shutter angle or intensity. With patent-pending SmartSoft technology, the light’s diffusion, focus and spread can be adjusted electronically. SmartSoft can be adjusted locally on the light via DMX or wirelessly. Lighting professionals no longer need to go through sub-menus. Instead, they can access key features with a single touch thanks to quick-start icons and up to 10 user-customisable presets for instant recall. The full-colour display provides onscreen previews of the Titan X2’s

filter library so that users can achieve the exact colour they want. Over 16.7 million colours are accessible across five lighting modes: CCT, HSI, RGBW, XY and Filter, which includes a library of more than 1,300 industrystandard gels. The soft light offers high speed sync flash with a powerful input and zero recycle time. It is installed with an integrated Elinchrom Skyport flash receiver so that up to 10 Titan X2s can be wirelessly triggered at up to 200m with the Rotolight HSS transmitter. The Titan X2 is also installed with wired/wDMX, Bluetooth, integrated LumenRadio compatibility, a Elinchrom Skyport flash receiver and RJ45. The LED incorporates four secure aluminium handles for rigging and is also available with a range of mounting options. www.rotolight.com

PRODUCTS

Zylight is on the go BI-COLOUR VERSATILITY, ± green adjustment and variable beam spread are some of the features of Zylight’s new LED Go-Panel, which incorporates the manufacturer’s patented, continuously variable Active Diffusion technology to reportedly improve the user’s adaptability, no matter the location. Diffusion can be adjusted electronically with the turn of a knob, which means that users can make incremental adjustments to diffusion levels without having to reach for a filter or assemble diffusion accessories. A single integrated friction hinge reportedly allows placement of the panel at any angle with one-handed tilting. While the small hinge keeps the fixture slim and easy to transport, the built-in remote-control options allow a choice of DMX, Bluetooth and Lumen Radio. The portable

Go-Panel includes a worldwide AC power supply or it can be powered by an optional 14.4V camera battery through an attached battery plate. It is also rated IP65 for outdoor use. www.ushio.com/zylight

Altman hears a siren THE SIREN Series AFS-500 and AFS-700 followspots have been designed by Altman Lighting to provide the functionality of a traditional followspot with new features and operator enhancements. The more compact AFS-500 fixture is a lightweight, 490W, colour-changing followspot. Dimming, colour wheel, iris and CTO features can be controlled manually or via DMX. The AFS-500 produces over 10,000 lumens of output and a manual zoom range of 7–13°. The AFS-700 delivers almost 14,000 lumens with a range of up to 60m. It has a 7–13° motorised

or manual beam spread, 18-facet iris, dimming, CTO and colour wheel that can all be controlled via DMX or an adjustable control pad that adapts for right- or left-handed operators.

AFS-500 The 37dBa maximum cooling system means the fixture can be placed in an acoustically sensitive lighting environment. www.altmanlighting.com

TurboRay activated

HIGH END SYSTEMS has launched TurboRay, an automated lighting fixture that offers a retro look with its radial diffusers to reportedly deliver a distinctive appearance.

TurboRay can be used as a narrowangle wash light or as a hard edge beam to create unique aerial effects. It has been designed with soft edges, homogenised colour and smooth

dimming, making it suited for use as a wash. The fixture’s animated gobo wheel, in addition to its other features, reportedly produces textures never before seen from any other fixture, either in the air or projected on a surface. High End Systems has also introduced the latest addition to its Sola Series with the SolaWash 1000. This new automated luminaire is available in two versions, with either an ‘Ultra-Bright Engine’ capable of producing 20,000 field lumens or a ‘High CRI Engine’ that features accurate colour rendering. SolaWash 1000 includes a full framing shutter system, CMY/CTO linear colour mixing system, a seven-plus-open position replaceable

SolaWash 1000 colour wheel, iris and dual Linear Frost systems for medium and heavy frost. Sharp edge focus can be used throughout the entire 12–55° zoom range and a TM-30 filter boosts the Ultra-Bright engine to 85+ CRI. www.highend.com

VL800 Series joins Vari-Lite portfolio VARI-LITE HAS unveiled its VL800 Series of fixed and moving head LED fixtures comprising three products: the VL800 ProPAR, EvenPAR and the EventWash. The fixtures are colour-matched to be visually consistent, as are the user experience and DMX mapping, according to the manufacturer. The VL800 ProPAR is a high-output LED event PAR fixture that includes a quiet

running motorised zoom. It offers full RGBW colour mixing and gel-matched colour presets alongside multi-mode fan control for quiet environments. The VL800 EventPAR is an LED retro-style event PAR designed as a modern replacement of classic tungsten PAR fixtures. It is available in both RGBA and warm white, with output and colour reminiscent of

tungsten PAR 64 lamps. The EventPAR includes an outdoor rating of IP24 which protects it against water spray as well as withstanding rainy conditions. Finally, the VL800 EventWash is a mid-sized LED wash moving head fixture that includes full RGBW colour mixing with seven individually controllable LEDs for easy split colours or pixel-mapping applications, along with controllable dimming and a motorised zoom. www.vari-lite.com

January–February 2020 WORSHIP AVL 69

THE TECH VIEW

Blending professional work with Family Life Audix national sales manager Todd Brushwyler serves as the technical director at Family Life Church in Newberg, Oregon Technical director, Todd Brushwyler

I STARTED VOLUNTEERING AT A church with lighting and sound in the mid-1990s. My sister and brother-in-law were part of the worship team and they needed some help with lighting. That church was putting their worship band out on the road through their missions programme and they needed a sound guy to travel with them. Shortly after that, I got my first job in the industry working for Guitar Center in their pro audio department like so many others in our industry. Fast-forward 20-something years, with a few stops along the way, and here I am. Family Life Church is not a ‘megachurch’. We average about 400–500 attendees per Sunday across two services. Our church puts a huge focus on service, both within the church walls and outside in the community. Our all-volunteer technical team has three main positions each week: sound, lighting and media (song lyrics, video content, message notes, etc.). While we don’t have a formal technical director staff position, my main responsibility is ‘sound guy’, which is mostly managing FOH, but will sometimes involve helping with monitor mixes as well. The sanctuary presents some acoustic challenges – low frequencies tend to stack up and muddy the mix. Modern-style worship with drums, acoustic and electric guitars, bass, keyboards and vocals on a somewhat small stage means controlling stage volume is crucial. We are also in the process of launching a satellite campus in a neighbouring community that will be a video venue with live worship but the message will be delivered via a video feed from the main campus in Newberg. We don’t have huge technical budgets to spend on the latest gear, so we have to make do as best we can and spend wisely. The style of worship is becoming more modern and technical. Music is a great vehicle to open peoples’ hearts to connect with God and hear the message. Modern worship styles often

Pastor Dave Benson using an Audix HT5 wireless headset microphone

lead to a more concert-like feel in many church services, with very technical lighting and video presentations and, of course, great sound. High channel counts, a multitude of wireless systems and crowded stages can present some challenges for sound engineers, so choosing the right microphones and controlling stage volume and monitor mixes is critical. Video is also playing a more integral role, from simple projectors and screens showing song lyrics and

70 WORSHIP AVL January–February 2020

FLC’s team uses Audix wireless vocal mics, instruments mics and drum mics

message notes to complex networked campuses broadcasting services to multiple locations and online. Based on my experience, both at the church and from within the pro audio industry, I offer AV volunteers the following advice: maintain a servant’s heart – remember who you’re truly there to serve and why. Solicit feedback from trusted sources and take criticism with an open mind towards improving. Ask questions like, ‘Was the volume OK?’ or ‘Could you

hear the bass guitar in the mix?’ Seek out training opportunities wherever possible. There are many events around the world that offer training opportunities, as well as a wealth of information online. Network with volunteers from other churches in your communities. Meet for coffee and discuss challenges and help each other with solutions. www.audixusa.com www.myflc.org

Mosque sound made simple Pray with faith

â&#x20AC;&#x153;IACAD is pleased with results in development of sound system MX-6224D for Mosques from TOA, This partnership yielded a significant development of distinctive sound system for the mosques. This was achieved by dedication of engineers on both sides to add improvements which is the result of experience accumulated over 30 years.â&#x20AC;? Commented by :

MX-6224D

Digital Mixer Amplifier Introducing the MX-6224D, the latest digital mixer amplifier designed specifically for mosques. The MX-6224D incorporates DSP function and a two channel class-D amplifier. An optional remote controller is also available, making it simple and easy to use. The MX-6224D is the perfect choice for your mosque.

We supply sound, not equipment. www.toa.com.sg I TOAasiapacific www.toa.eu I TOAeurope www.toa.jp (TOA Global)

Elevation Church - Charlotte, NC, USA

ENGAGE YOUR CONGREGATION SOUND SOLUTION FOR HOUSES OF WORSHIP

L-Acoustics systems are renowned for their uniform, full-range, natural sound. Our flexible, lightweight systems project crystal clear sound to your congregation, avoiding reverberant architecture. From the front row to the very back, your worshippers will never miss the message. Generous power ensures each congregant has the feeling of being in the heart of your music. Let our sound systems help you achieve maximum engagement for your house of worship. www.l-acoustics.com