Worship AVL January-February 2021 by Blank Canvas Publishing Ltd

AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST January–February 2021

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January–February 2021

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Contents Issue 68

January–February 2021

NEWS LED UPGRADE Essential Church turns to ADJ to reduce energy bills

RAPID GROWTH Quantum338 aids VOUS Church in the virtual world

CAPITOL IDEA Shalom Evangelic Church chooses AEQ’s Capitol IP

GRAND DESIGN TMCKL replaces ageing system with CURV 500s

PERFECT TIMING St Paul’s Lutheran Church moves to new home

HYBRID MODEL Faith United Methodist Church improves audio at home

WINNING ENTRY Hope Church’s prize is a Coda Audio N-APS system

LOOKING TO THE FUTURE Roman Catholic TV broadcaster moves to IP

FULL RESTORATION ETC helps South Main Baptist Church see the light

SHORT THROW Keeping energy off the walls at Coral Hill Baptist Church

PROJECTS COVER: CLEAR CHOICE JPCC chooses Adamson for Alam Sutera Hall

GOING MOBILE Quick deployment for Heart Church Nottingham

TRANSFORMATION GMS Church moves into shopping mall

GAINING AN EDGE Reconstruction for Singapore’s Angullia Mosque

AUDIO UPGRADE Sumkim of Sarang Presbyterian adds colour to services

LIVESTREAMING All Saints Crowborough updates its cameras

KNOWHOW GRAND CHALLENGE Gordon Moore looks at micing a Grand Piano

CHURCH MEDIA Casey Hawkins on the year that changed everything

AUTOMATING LIGHTING When should you busk or cue, asks John Black

TECHNOLOGY TRENDS IN AUDIO What was hot in audio in 2020

PTZ CAMERAS PTZOptics helps churches adapt to streaming

LIGHTING FOR VIDEO Bob Mentele improves video quality

PRODUCTS Equipment launches and updates

THE TECH VIEW Combining full-range audio and worship in Indonesia

Editor’s note Email: rlawn@worshipavl.com As Christmas became the latest religious festival to be affected by Covid restrictions, there continues to be a light at the end of the tunnel that a successful vaccine may bring an end to social distancing from the spring. And hopefully, with the vaccine, will come a time to look back and reflect on the last year and the way HOWs have managed to stay in touch with their congregants. Some have taken their existing livestreaming equipment and made significant upgrades to audio and video equipment; others have embarked on a steep learning curve to bring even the most basic videos of sermons and prayers to their congregants. Each HOW has its own story to tell. But what we will continue to see is the move towards more virtual forms of worship, even as the doors are reopened and sanctuaries return to full capacity. For whatever reason, there will always be someone who cannot attend a service in-person but wishes to worship at home. The pandemic has reinforced our desire to stay connected, to keep the community together, and the advances in technology over the past 12 months will make that desire much easier to fulfil. The way we worship no longer needs to be confined to the physical walls of the sanctuary. And so when this is all over, I hope we are able to appreciate the positives that have come out of this pandemic and enjoy worshipping together, wherever we are in the world.

IN THIS ISSUE 10

Contacts ADVERTISING DIRECTOR Sue Gould T: +44 1892 676280

CONTRIBUTING EDITOR Caroline Moss T: +44 1892 676280

SENIOR REPORTER Simon Luckhurst T: +44 1892 676280

EDITORIAL COORDINATOR Karen Wallace T: +44 1892 676280

SALES ASSOCIATE Carolyn Valliere T: +1 562 746 1790

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PRODUCTION MANAGER Adrian Baker T: +44 1892 676280

DIGITAL MEDIA MANAGER Nick Smith T: +44 1892 676280

VIDEO EDITOR Chris Yardley T: +44 1892 676280

SOCIAL MEDIA COORDINATOR Jessica Ubhi T: +44 1892 676280

GUANGZHOU MANAGER Sue Su T: +86(20)85633602

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NEWS

Essential Church upgrades to energy-efficient LEDs USA As part of plans to improve the aesthetic appeal of the stage and reduce the HOW’s energy bills, Essential Church in Huntsville, Alabama, has turned to ADJ and sister company Elation Professional to improve the production quality of both in-person services and the footage they capture for online broadcast. The church brought in Christopher Watts of Watts Technology to advise on a cost-effective solution to add creativity to their stage lighting. In turn, Watts called in lighting designer and regular collaborator Thomas Griffin of Lti Productions. Like most religious congregations around the world, Essential Church has made online services a major priority this year. However, as they experimented with filming their worship and teaching in their auditorium, they realised that the lighting setup, while adequate for those attending in-person, was limiting the quality of their video recordings. After visiting the church, Griffin designed a new system that would replace the conventional front lighting fixtures with LEDs. New PARs and battens have been installed above the stage, while a small number of existing LED fixtures have been

repurposed and integrated into a new DMX control system, which Griffin programmed to be easily operated by the church’s volunteer tech team. Four of ADJ’s Ultra Hex Bar 12 LED colour wash battens have been fitted to lighting bars hanging above the stage, parallel to the room’s apex ceiling, with the inside pair positioned towards the back of the stage and the outside pair towards the front. “The addition of backlight was an important part of the solution to the church’s broadcast lighting problems,” explained Griffin. “When you film

someone onstage with just front light, they look flat, the backlight adds a bit of a halo effect and separates the person from the background and makes them look more threedimensional and lifelike on camera. I like the Ultra Hex Bar 12 because it is a double hit fixture, you get a nice wash but you can also use the pixel control (in groups of two) to create chase patterns.” To further enhance the church’s online broadcast quality, as well as the look of the stage in general, Griffin put in four of ADJ’s 5P Hex LED

PAR fixtures. These were positioned beside the rear Ultra Hex Bar 12s and angled backwards to wash a series of four scenic elements the church had constructed, each consisting of multiple white rectangles. Griffin also specified the SEVEN PAR 7IP from ADJ’s sister company Elation Professional and introduced the church to the ONYX platform from another of ADJ’s sister companies, Obsidian Control Systems. Alongside the ONYX PC software, he put in an NX Touch, a simple control surface that features 14 touch faders and 20 velocity-controlled pads. Following the installation and setup of the new system, the team at Essential Church were very happy with the transformation to the lighting of their stage. Not only do the pastors and worship team onstage reportedly come across sharper and more naturally on camera, the backlight and colour washing enhance the atmosphere for those who attend the in-person services. Add to this an easy-to-use control solution and the church is ready to take its services – both on- and offline – to the next level. www.adj.com www.essentialhsv.com

Energised services with Mackie INDIA Presbyterian Church in Lengpui, Mizoram, has chosen Aizawl-based Music Home to equip its sanctuary with a new sound reinforcement system from Mackie to energise its services. Together with the church’s committee, Music Home selected Mackie’s DRM line array for the project. Commenting on his choice of DRM loudspeakers, Music Home’s Lalrin Fela explained: “For this project, we went with Mackie’s DRM line array owing to its consistent performance, ease of use and unmatched clarity.” After the initial survey and understanding the church’s architecture which comprises balconies and high ceilings, the Music Home team decided on a configuration of three DRM12A

Three DRM12A speakers and a DRM18S sub are hung on each side arrayable powered loudspeakers, along with a DRM18S powered subwoofer, hung from the ceiling

on either side. “In such demanding environments, the DRM loudspeaker offers many arrangement possibilities

concerning coverage and angle. The powered system is extremely reliable, especially in fixed installations, and offers high-efficiency, 2,000W peak power,” said Fela. “The church was thrilled with the result, especially the system’s speech reproduction,” he added. “The way we were able to integrate the DRMs and array the subwoofer, it doesn’t matter where you sit; it’s all clear and intelligible. The sound coverage and consistency over long distances make it a perfect fit for environments like churches that have complex acoustic spaces. We are elated that the church is so happy with their new Mackie DRM line array,” Fela concluded. www.mackie.com

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NEWS

Quantum helps VOUS Church keep up with growth

Production coordinator Jon Wygant with the Quantum338 USA VOUS Church only launched five years ago but has already grown rapidly and expanded into two worship spaces – a 1,500-seat auditorium at iTech, Miami’s mega technology magnet high school, and a 500-seat hall at Jose De Diego middle school, just two miles to the south. But the real growth has taken place virtually, especially during the pandemic, with the church now having an average of 40,000 viewers streaming services online each week. VOUS Church production coordinator Jon Wygant contacted 3G Productions to supply a DiGiCo Quantum338 mixing console, primarily for the iTech auditorium. “We’ve had a DiGiCo SD9 at each of our locations from the start, and I absolutely love them,” said Wygant. “The SD9 is still a powerhouse for such a small desk but, as we made plans late last year

between an SD12 and SD5, so when DiGiCo announced the Q338, it was destiny.” The Quantum338 currently serves more as the church’s streaming console than an FOH desk and is isolated in a separate room “to keep the mix focused and clean,” Wygant noted. The pre-existing SD9 has now taken over monitor duties, residing in the main worship space for easy interaction with the praise team, and is used to control all IEMs, wedges and the house/reference mix. With approximately 60 inputs coming into the house console, the church generally runs 16 different IEMs on

The view from VOUS Church’s stage prior to a Zoom service to take our services into an online experience, we decided to upgrade to a console that would better suit our broadcast site’s future needs. I knew I wanted another DiGiCo and I was initially hoping for something

the monitor mixer – for drums, bass, two guitarists, two keyboardists, up to eight singers and two engineers – plus two sets of wedges, which are primarily used for those who are speaking.

iTech’s Quantum338 is paired with two Waves Extreme Servers, the first one in a standard setup to run plugins for the live mix; the second is to run a Waves eMotion LV1, to which the audio crew sends matrices and some input channels via Dante from the Q338 to create a stream-specific mix. This is based on the house mix with some adjustments to optimise it for the church’s four YouTube and Facebook broadcasts on Sunday, two of which are Zoom services where the pastors and musicians can see and interact with their online community via eight large TVs facing the stage. Wygant shares that the Quantum338 learning curve for their team was “really short. Having personally mixed on many SD-Range consoles, going from one DiGiCo to another is so easy since the work surface layout essentially remains the same. Plus, 3G, who has been our main pro audio vendor from the start, always provides exceptional system design and installation assistance as well as training and support, bringing us up to speed super-fast. They’ve been fantastic to work with. “We have a blast collaborating on improving our layout and making new macros, and we’re really loving the flexibility and sound quality it provides. Running services and streams on the Q338 feels almost effortless and mixing on it each week is such a thrill. We are truly blessed.” www.3glp.com www.digico.biz www.vouschurch.com

TCC breathes new life into streaming SINGAPORE Trinity Christian Centre (TCC) has deployed Harmonic’s VOS360 video streaming platform and Veygo’s media player for live and on-demand streaming of sermons and events. “Harmonic and Veygo provide the most feature-rich, highperformance, cloud-based video streaming service. The end-to-end seamless workflow makes the user experience unique, allowing us to focus on the content while entrusting the experts with the

technology,” said Pastor Allen Loh, director of missions, human resources and broadcast at Trinity Christian Centre. “The ability to stream our services at all times is extremely important. With round-the-clock assurance of our live video channel by Harmonic’s DevOps teams, we can ensure maximum uptime, scale in real time and provide an exceptional viewing experience for our congregation.” Harmonic’s VOS360 Live Streaming Platform works by

simplifying media processing and delivery. Without requiring any physical infrastructure, Trinity can deliver its livestreaming channel and a weekly channel playout of scheduled sermon clips. Integration between Harmonic’s VOS360 platform and Veygo’s Meta_Player, featuring content management, multiscreen apps, a secure player and analytics, helps the HOW provide a high-quality experience for viewers on every screen. “Today’s houses of worship need a solution

that is simple to use and fully managed, without requiring heavy investments,” said Tony Berthaud, vice president of sales and video services, APAC, at Harmonic. “Running on the public cloud and deployed in just two weeks, our VOS360 platform is empowering non-traditional broadcasters like Trinity to launch a video streaming channel quickly to reach a wider audience.” www.harmonic.com

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NEWS

Shalom Evangelic Church turns to AEQ Capitol IP SPAIN With parishioners told to exercise caution during their religious practice, radio has proven to be a powerful tool for Shalom Evangelic Church, located in Torrejón de Ardoz, Madrid. Pastor Ciprian Fratean has chosen a Capitol IP mixing console from AEQ for the HOW’s radio station to help volunteers produce intuitive programmes without operating difficulties. One of the main features of the Capitol IP is the wide input availability: four microphone/line, 12 analogue, four AES/EBU digital and two stereo USB inputs, two optional phone lines and multichannel digital links, including 16 audio-over-IP

channels over two Ethernet ports or 64 MADI fibre-optic channels. The pandemic has seriously affected the Alcalá de Henares community in Madrid and in-person religious practice has presented a serious risk of infection. From the start of the lockdown, Fratean insisted that all people should remain at home. In order to stay in touch with everyone, he took the decision to replace the old mixer. The new digital console allows each person to produce content from home, without having to travel to the radio station. One of the features that Fratean appreciates most is AEQ’s CapitolScreen control and display

Pastor Ciprian Fratean software. “From this software, we can control both equalisation and other parameters that are fundamental to our production,” he explained. Even when the church is reopened, the new equipment will allow vulnerable people to continue participating in

community activities safely from their homes. Support for this project was provided by AEQ’s corresponding sales area manager, Eduardo Guerrero, and AEQ’s technical services. www.aeq.eu

Hitachi raises streaming quality for Immanuel Baptist Church

USA When Immanuel Baptist Church of Little Rock, Arkansas, designed its new on-campus City Center for hosting community and local corporate activities, it purchased three SK-HD1800 cameras from Hitachi Kokusai to improve in-house video production capabilities. The ongoing pandemic has only made the visual quality of the Hitatchi cameras shine

even brighter, elevating the church’s livestreaming and IMAG as it moved its services from its primary church building to the new City Center auditorium. Developed in a former grocery supermarket on the same campus as Immanuel Baptist’s main church building, the HOW has placed a high priority on video ever since it became one of the first to broadcast its

worship services live on television in the mid-1970s. “We wanted to have a high-quality production entity in the City Center so that anyone using the facility would feel comfortable that they’re getting top-notch IMAG and livestreaming capabilities,” said Phillip Ashworth, the church’s director of communications. “The cameras play a key role in making sure we achieve the level of quality we want, so even though we had a different vendor’s cameras already in our main worship centre, we wanted to see if we could do even better here. “I have always loved Hitachi cameras, but when we did our main worship centre years ago, our tight budget didn’t allow that class of camera. I was thrilled to find out the SK-HD1800 fit our budget. We were evaluating various LED videowalls and looking at different vendors’ cameras shooting with them in the frame, and saw artefact issues such as flickering. We put the Hitachi camera on the videowalls and it eliminated that problem for us.” Supplied by systems integrator Edgemont AVL, the SK-HD1800s are deployed in fixed positions and on a recently added track dolly in the City Center’s 850-seat auditorium. In addition to driving IMAG on the room’s 9.75m x 3m Primeview videowall and livestreaming through a Teradek Trax

encoder, the camera feeds can be called up in multiple rooms in the City Center and main building through a fibre network. The City Center opened in February 2020 but the quality improvement enabled by the SK-HD1800s came even further to the forefront when the pandemic led Immanuel Baptist to relocate its worship services from its main sanctuary to the City Center for easier social distancing. “Now that we’re using the Hitachi cameras for our worship services, we had immediate feedback from people watching our screens and streams that they noticed the quality gain,” Ashworth explained. “That was a particularly huge deal when we needed to completely jump online for several weeks. People were always thankful for our online stream, but we never had comments about the quality before. Now, people were commenting that ‘I don’t know what you did, but it sure looks better’.” That improvement has led the church to discuss raising the quality of video productions in its main worship centre once it reopens, and when budget permits. In the meantime, the new Hitachi cameras continue to help the church better engage its followers through challenging times. www.hitachi-kokusai.co.jp/global/en/index.html

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MD 445 and MM 445

Closer. More direct. More intense. The most powerful version of our dynamic high-end microphone series enhances vocals with an unprecedented intimacy and range of detail. At the same time, the high-rejection, super-cardioid pattern offers an extremely high level of feedback resistance. Learn more about the MD 445 top-of-the-range microphone and the MM 445 capsule. www.sennheiser.com

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NEWS

Pentecostals of Brunswick grows with dBTechnologies

USA An L-C-R audio system from dBTechnologies has been installed by Allseasons Audio at Pentecostals of

Brunswick, a growing church in Brunswick, Georgia. The system comprises 12 DVA T8 line array

loudspeakers supported by a pair of DVA S30N subwoofers. The upgrade replaces a 15-year-old design that had poor coverage and sound quality. “In one part of the church, you’d have 90dB and a few feet away it might be 98dB,” explained Allseasons Audio owner, Brian Bush. Before the installation, Bush did a demonstration for the church and noted that “the dBTechnologies loudspeakers sold themselves”. Bush used dBTechnologies Composer software to design and optimise the system and reported that the installation and rigging were easy. “Installing a DVA system is very simple; just kind of plug and play,” he added.

The church has a full band, praise singers and choir and Bush mixes most services on an Allen & Heath GLD 112 digital mixer. He mixes instruments left and right and routes voices to all three arrays. The band has in-ear monitors mixed on Allen & Heath ME-1 personal mixers. Bush is very pleased with the new system and says Pentecostals of Brunswick plans to renovate its auditorium to expand seating, add dBTechnologies floor monitors and install a second DVA system in the church’s gymnasium. He commented: “Everybody says the new system is a night and day change for us. The coverage is even, the sound is clear and it doesn’t hurt your ears any more. And I can’t say enough about the DVA S30 subs – they’re phenomenal.”

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Curvs and lines of grand designs MALAYSIA Following the cornerstone being laid on Malacca Street in September 1899, the Tamil Methodist Church Kuala Lumpur (TMCKL) at Brickfields continues to welcome a mixed congregation of locals and expatriates for prayer meetings and Bible studies. Rebuilt in 1961, the style of worship has gradually blended musical elements into their services. With an increase in SPLs over the years, decreasing audio intelligibility prompted a recent overdue upgrade. The single-storey, elongated 26m x 12m sanctuary is topped with an inverted V-shaped roof that climbs to an apex of 9m and creates lengthy reverberation times. An analogue mixer with point source speakers had served the needs of TMCKL for two decades but had demonstrated audible signs of fatigue in recent years. With this acoustic challenge in mind, the Tamil Methodist Church leaders decided to upgrade their audio system to serve the current and future needs of their 300-capacity congregation. “We were looking for a loudspeaker system that could deliver both speech clarity together with musical dynamics, without distracting the traditional aesthetics of the architecture,” commented TMCKL music and worship minister, Andrew Selvaraj. “The previous outdated loudspeaker system was visually too obtrusive and couldn’t deliver the optimal coverage to all the seats. If faith comes by

The distributed audio system comprises 12 CURV 500 speakers and four iSUBs hearing, we decided that our sound system should become a priority.” Having undertaken an extensive needs assessment study including several audio evaluations, TMCKL commissioned Bronte Audio Solutions. Rather than adopt a regular L-R loudspeaker configuration, Bronte Audio Solutions modelled its successful design on a distributed system of 12 LD Systems CURV 500 S2 satellite array speakers that are hung in six pairs. Supplemented by four CURV 500 iSub 10-inch subwoofers, the paired dual 4-inch arrays are bridged and attached by 122mm-high SLA Smartlink adapters.

The six pairs of distributed, passive speakers and four subwoofers are powered by three CURV 500 iAmp 4x 240W amplifiers. Loaded with presets for various satellite and subwoofer configurations, each four-channel amplifier offers DSP control including delay and parametric EQ. Importantly for the church volunteers, the single push encoder and OLED display on the front panel of the iAMP makes operation intuitive when powering on and off in addition to making adjustments on the fly. LD Systems distributor AV United Sdn Bhd also supplied two Audio-Technica U859QL gooseneck microphones for the

pastor’s lectern in addition to three Yamaha DXS8 active monitors. An Allen & Heath SQ5 console completes the signal chain and the audio upgrade. Bronte Audio Solutions project manager Cheah Kok Hon reflected on the results of the three-day installation and commissioning process. “Not only does the CURV 500’s minimalistic design complement the church aesthetics, it duly delivers sonic intelligibly to every seat in the room without compromise. When commissioning the system with spoken word and live music, the results went beyond our expectations.” Church leader Selvaraj, the musicians, choir and worshippers are renewed with the audio upgrade. Over 20 years, ears became accustomed to the decreasing sound quality and their collective senses were seemingly numbed. The net effects following the upgrade are profound and the worship experience of the congregation has been duly raised. “Everyone at TMCKL is excited with the addition of the CURV 500 loudspeakers,” explained Selvaraj. “We are now experiencing intelligible sermons and prayers in addition to high-definition audio quality for our live music services. We feel elation in what we are now hearing.” www.av-united.com www.ld-systems.com www.tmckl.org

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NEWS

Ticking the right boxes in Box Hill AUSTRALIA Timing can be everything when relocating as the community at St Paul’s Lutheran Church discovered recently in Melbourne’s eastern corridor. Having felt crowded out by rapid urban growth, the church committee agreed that a quieter location with room to expand was their best option. Fortunately, within a short distance of St Paul’s, St James Uniting Church on Box Hill was on the market and contracts were exchanged. Renovation of the striking midcentury, early modern architecture quickly followed, including a sensitive, high-quality AV fit-out in the heritagelisted building. Having appointed

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HOW experts Mozaix as the systems integrator, director Paul Tucker became acquainted with the church’s building committee. Somewhat unique to a church’s architecture, the original St James space was found to be acoustically dead. The carpeted floors and the vaulted ceiling construction that remained from the previous renovations clearly did not suit St Paul’s “call and response” vibrant style of congregational worship with a full choir and musicians. Acoustic engineer Andrew Nicol was called upon to apply acoustic treatment in the form of an array of signature reflective diffusers for the front wall and behind the band stage. Having removed the carpets, a hard stone tile floor was then added and acoustic panels were affixed to the rear wall, together with acoustic absorption on the balcony fascia. The combination resulted in an acoustically lively but controlled space that suits congregational involvement and accommodates high SPL audio. Following the acoustic treatment, Nicol briefed AV system designers

Hanson Associates to provide an audio system that would provide live reverberance. In addition, the church stipulated that the AV design needed to be sympathetic with the architecture and so discretion was called for. Consultant Mark Thompson noted that given the acoustic design, a slimline Martin Audio O-Line would best suit the church’s requirements. Having acoustically modelled the room, Thompson’s design of 12 elements per side would provide optimum speech reinforcement together with musicality. Having worked together on previous projects using the Martin Audio O-Line micro-array, both Tucker and Hanson Associates were confident that the design would deliver the goods. Each O-Line module is individually addressed by its own amplifier channel and DSP allowing the array to be beam steered, resulting in acoustic energy being directed away from the ceiling space and the pipe organ loft. In addition, the O-Line array does not produce unwanted vertical sidelobes in the audio band, which is critical in reverberant environments as sidelobes further add to the reverberant energy, which in turn decreases the intelligibility. As a result of these characteristics, O-Line’s ability to reproduce high frequencies without sidelobes makes it ideal for both fullrange speech and music reproduction. Further supplied by Martin Audio’s distributor, Technical Audio Group (TAG), an Allen & Heath mixing environment operates in the Dante domain and is complemented by Q-Sys signal processing. The AV booth is also the control hub of all the video and streaming capabilities with St Paul’s recording and broadcasting services even before the Covid-19 pandemic. The volunteers remotely power up the PA and the projectors from a tablet. Following tuning and final commissioning by Hanson Associates, Tucker was duly impressed with the results. “It’s a very transparent PA with no lumps in the bottom end,” he noted. “It really connects to the room nicely. A consecration service featured a fantastic viola player and the sound of that instrument was stunning.” www.martin-audio.com www.stpaulsboxhill.org.au

Riedel opens up possibilities for Daystar Television Network USA Daystar Television Network, a 24-hour faith-based channel, has completed an upgrade of its comms capabilities, employing Riedel Communications’ Artist digital matrix and Bolero wireless intercom systems. Integrated by Omega Broadcast, a full-service broadcast and cinema equipment provider based in Austin, Texas, the new solutions enable reliable communication between the Daystar crew members throughout the network’s Dallas-based studio complex. The Daystar installation consists of an Artist-128 mainframe equipped to support AES67, VoIP, Dante and analogue intercom signals, as well as 28 SmartPanel App-driven user interfaces and 10 Bolero antennas to support 20 intercom beltpacks. A separate Bolero antenna in standalone mode will support remote ENG shoots. “The Riedel Artist series and Bolero wireless intercom packs have greatly improved our floor operators’ ability to communicate with mix positions and technicians in a timely manner,” explained Doug Leake, post audio and audio systems engineer, Daystar Television Network. “With Bolero’s expanded performance range, we’re able to respond faster to constantly changing needs throughout our campus. The Riedel gear has opened

up workflow improvements that were not possible in the past. Also, with Bolero operating in the DECT range, we have gained back valuable spectrum for our growing wireless mic and in-ear transmitter needs. The equipment’s reliability, ease of use and features have made the change to Riedel a great experience.” As the Artist matrix is equipped with Luminex switches and both Artist and Bolero support AES67 signals, the entire system is IP-ready. This will be important for the next phase of the project, an IP link to facilitate communications between Daystar’s Dallas broadcast centre and a separate studio in Jerusalem that is expected to come online in June. “Daystar first approached us because they needed to replace their ageing wireless intercom, which had reached its end of life due to the frequency repack. And then, after extensive testing and discussions, they decided to upgrade their entire wired and wireless communications environment to Artist and Bolero,” said David Fry, VP of Omega Broadcast. “Not only does Bolero provide comprehensive wireless coverage and fantastic, high-quality sound, but the IP features of both Artist and Bolero mean the system will serve Daystar well into the future.” www.riedel.net

www.tag.com.au

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NEWS

Immersive sound at home and in the sanctuary

PT ASIIS Indonesia makes Waves at conference

USA Faith United Methodist Church in Tulsa, Oklahoma, is not the only HOW to shift to video streaming during the pandemic. As the building reopened, it developed a hybrid model – a few worshippers were allowed into the church while it continued to stream its services. However, a challenge emerged: with the onsite sound system

to work great in our space. When we unexpectedly had to begin livestreaming the services, we quickly found the audio we were providing to our congregation was not at a high enough quality. We immediately began looking at what we needed to do it right. The obvious answer was to go with Renkus-Heinz.” Andy Mulya Sutikno INDONESIA

running, the audio on the stream became increasingly unintelligible. “The sound system we had was spraying sound all around the sanctuary,” said Mark Eldridge, director of tech ministries at Faith United Methodist Church. “Sure, it was hitting all the people, but it was hitting all the walls as well. That’s been a challenge with the onsite sound for some time. It wasn’t always the most intelligible sound. But then, with streaming video, you really can’t have that sound getting back to the mics because it really muddies up the mix.” When first built in 2005, the HOW’s 855-capacity, octagonally shaped sanctuary used a system that provided sound nearly everywhere in the space – reverberant and reflective surfaces included. “We were already planning on making upgrades to our system,” Eldridge added. “I had been researching it for about five years and I knew steerable loudspeaker technology was going

The new system is powered by the ICLive X Series, with two arrays installed on the edges of the space each made up of three modules – two ICLX loudspeakers and one ICLXL loudspeaker. “Making sure the audio was focused on the in-person congregation was our highest priority,” said Curt Taipale of Taipale Media Systems, the firm that designed the system. “By using Renkus-Heinz, we were able to make sure sound was going where it was needed, and not filling unnecessary space. And when you solve that challenge, you solve the sound on the stream as well.” “Everyone from the staff to the worshippers have noticed the drastic improvement in audio quality we got with Renkus-Heinz,” Eldridge concluded. “Worshippers who have been tuning in via livestream are calling in words of praise as they’re finally getting an immersive service experience from their homes.” www.renkus-heinz.com

A Waves eMotion LV1 live mixer has been selected by PT ASIIS Indonesia to handle the broadcast audio streaming for the Unlimited Fire Conference – Power 2020. Located in Solo city, Surakarta, the Unlimited Fire Conference is an interdenominational youth network connecting various churches, businesses, governments and communities and seeks to build relationships and networks with youth leaders. The conference featured the Unlimited Fire band, consisting of five vocalists, four musicians, a pastor and two hosts. ASIIS was tasked with providing internet connectivity, a broadcast system, tracking and mixing for the band’s worship sessions. “Our setup’s function is centred on direct-from-stage to the eMotion LV1 stageboxes,” explained production director/mixing engineer and owner and director of PT ASIIS Indonesia, Andy Mulya Sutikno. “We used two SoundStudio STG 2412 stageboxes for the stage, one STG-1608 for monitor mixing and an additional one for broadcast mixing, feeding our nearfield Amphion One18 monitors. When working with the SoundStudio stageboxes, we are able to get very clean and controlled high frequencies, solid and tight low frequencies, and warm yet articulated mid and midlow – giving the hi-fi feel of a live mix. We supported the venue’s existing backline via a Waves SoundGrid network that connects the broadcast mixer with the monitor mixer – with gain sharing from the various stageboxes in the SoundGrid network. “The whole conference was broken down into nine sessions that involved

a chat, a music video, hosts, worship and sermon. The chat was recorded elsewhere, and I recorded and mixed the worship and sermon,” Sutikno furthered. “The music video was shot separately by the church. The church’s media team took the worship and pastor sessions that I mixed and then combined it with the other bits and streamed it. We used the eMotion LV1 for tracking and direct mastering for sermons that go direct to a multimedia team for video editing. So, we had materials that were recorded at the moment, together with materials to be sent direct, mixed and mastered, minus sound editing.” Using Waves’ plug-ins is an integral part of Sutikno’s workflow. “I constantly used the Scheps Parallel Particles to optimise the bass sound, which originally lacks presence and tends to be too boomy, and EQing does not really help,” he said. “I used Waves’ Smack Attack and Torque plug-ins for kick and toms, since the acoustic drum kits tend to lack accurate tuning and they sound quite hollow. Additionally, I insert the F6 Floating-Band Dynamic on almost all channels. We like to do EQing and dynamic EQing all in one window. With most vocal microphones, the F6 helps to reduce the mid-low and low proximity effects by using dynamic EQ, especially when the singer suddenly gets too close to the mic; or alternatively, when they sing quite distant from the mic and the dynamic EQ processing does not trigger, the F6 ensures a full-bodied vocal. Overall, Waves’ F6 helps the whole signal to glue together and create a balanced and pleasant vocal sound.” www.waves.com

12 WORSHIP AVL January–February 2021

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CONTROL FREAKS.

C S-S E RI E S. On-board DSP and optimization give you unparalleled power with revolutionary control over even the most complex performance environment. This is Adamsonâ&#x20AC;&#x2122;s legendary sound, evolved for the networked future of professional audio. E X PLO R E C S-S E RI E S AT POWE R.A DA M SO N SYS TE M S.C O M/C O NTRO L

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Hope Church places trust in Coda USA Phoenix-based 5 Words Media (5WM) recently hosted a #FreeChurchAV contest which invited churches across the US to pitch for a new AV system by telling their story and highlighting the benefits that upgrading technology within their church could bring. The lucky recipient of the system was Hope Church in Danville, Virginia, where 5WM felt that a new system would have the greatest impact. Having taken account of the church’s requirements, 5WM owner and design principal, Daniel Gourley, undertook a thorough design process, before arranging the shipment of all materials and sending a team from Arizona to complete the install. A major part of the project was the purchase of a Coda Audio N-APS system, which was installed in time for the church’s postlockdown reopening. “At Hope Church, we wanted to install a compact system that had a powerful output,” explained Gourley. “The church’s ceiling was only 5.5m high and needed not only to carry the weight of the N-APS top boxes, but the subs flown above as well. Initially,

weight was a concern – the church was built in the 1970s and wasn’t designed to carry heavy loads flown overhead – but the Coda speakers are so light it wasn’t a problem. The system was loaded into the System Optimizer which uses Coda’s predictive software, and selected two HOPS8i boxes as side fills for the alcove spaces on each side of the stage. “The room itself was actually the main challenge due to its 5.5m elevation dropping to 2.7m at the side areas. The DSP in the LINUS10C amplifiers allowed us to delay and EQ the main PA from the side fills to avoid any comb filtering and phasing in the seating area. Once installed, we ended up with a system capable of 106dB at ±1.9dB of broadband audio.”

Hope Church’s student ministry director and tech leader, Jonathan Wright, was present with his team when the system was first switched on. “To be selected for the install was super exciting because we knew just how much improving our AV facilities would positively impact our work here at Hope Church. As the install progressed, it became clear that this was an absolute state-of-the-art

project. When they first switched on the Coda system, we were pretty stunned by the power and clarity. You go to the furthest corners of the room and there’s just no difference in output or quality. I couldn’t stop smiling and laughing, because it was so much better than I’d ever experienced.” www.codaaudio.com www.freechurchav.com

Anonymous donor helps Texan church update PA system

USA Following years of struggling with a patchy PA system, an anonymous donor has allowed the Shepherd’s House Church in Lewisville, Texas, to commission recording engineer Robert Wirtz to design a new system comprising eight QSC KLA12 active line array cabinets and four KS118 active subwoofers. His first task in achieving the quality the HOW was looking for was to treat every seat in the house as a good seat.

“The building is very much what you’d think of an older church,” he explained. “It’s a big A-frame, with the ceiling about 15m at its apex, windows on the sides, no acoustic treatment and a balcony in the back. For budgetary reasons, they originally wanted to go with a few point source boxes per side. That would have worked but we would’ve needed delay speakers to fill the back areas, and every time you add another point

source, you add potential phase issues. With a properly configured array like KLA, the sound is phasecoherent everywhere. I needed the back row of the balcony to have the same experience as the front row in the sanctuary. “Most line arrays I’ve worked with cover 12–15° along the Y-axis – which is what translates to front-to-back in the house,” continued Wirtz. “The KLA specs say they cover 18° but it feels more like 20–25°. They’re just so forgiving. With one box I can hit three rows of chairs; with two, about eight rows. So, this let me achieve more coverage with fewer boxes per side. That really saved the church money.” So did the KLA Series’ on-board DSP. “With most arrays, you need separate system processors to determine the level EQ for each box,” Wirtz added. “That can add thousands in cost. With the KLA, it’s all built in. You set the number of boxes per side with a dial on the back, and the system knows how to drive and EQ each box.”

In terms of bass extension, Wirtz was in for a pleasant surprise. “I had originally drawn this system with the KW181s,” he recalled. “When I went to buy the gear at Texas retailer Sound Productions, Kris Landrum there recommended the KS118s. I’d had no experience with them before and could not believe the difference. They’re about the same price but at least twice as powerful. The low end is deeper and it’s a more articulate sub. The KW181 was always a great workhorse but the KS118s are a whole other level.” Associate pastor and audio director Mike Bauman could not be happier with the results. “I was getting several unhappy emails every week saying that some instrument was too loud or too soft, or they couldn’t hear the vocals,” he explained. “Now, my inbox is full of compliments. The sound is so clean and clear all throughout the sanctuary.” www.qsc.com

14 WORSHIP AVL January–February 2021

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Tv2000 looks to the future with IP ITALY Tv2000 is a popular television broadcaster that carries Roman Catholic themed programming. Located close to the Vatican City in Rome, Tv2000’s studio and transmission centre has migrated towards IP connectivity in a project led by Sony and systems integrator Allyn. The upgrade will allow the broadcaster to improve operational flexibility, which is particularly important as remote production has become an increasingly critical consideration across the media industry. It also creates a path to a future move to UHD and UHD HDR production. As Tv2000 has a considerable investment in SDI equipment, including major components such as production equipment and cameras, the broadcaster sought a solution that would allow a comfortable, managed transition. While other vendors demanded a wholesale changeover to IP, Imagine Communications was able to propose an architecture that embraced both SDI and IP connectivity, retaining the value in legacy equipment, while delivering the benefits of flexibility and agility from IP.

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The central apparatus room at Tv2000

“Imagine Communications matched the requirements perfectly that the Tv2000 technical team were searching for,” said Fulvio Gallo, CTO of Tv2000. “Working together with Imagine and Allyn engineers, our team, which

included IT manager Romano Storelli and technical manager Vinko Vukoja, delivered a seamless integration between the broadcast and IT worlds.” Imagine supplied two critical components. First is the Selenio Network

Processor (SNP), which provides the gateway between SDI and IP environments. Widely used in hybrid implementations due to its unique versatility, the SNP delivers four independent video processing engine paths in a compact 1U form factor, supporting up to 32 1080p (or eight UHD) signals concurrently. The second component is the Magellan SDN Orchestrator (SDNO) software control solution, which provides orchestration of the complete system, whether the underlying hardware uses SDI or IP connectivity. It allows users to build workflows and operate rich hybrid systems, without worrying about interconnectivity or technical limitations as the transition to IP continues. “The Tv2000 installation is one of the most sophisticated applications of NMOS, providing remote, networked operation of major pieces of equipment like Sony production switchers,” said Maurizio Maroli, Allyn’s CEO. “Only Magellan SDNO could deliver the seamless level of control and orchestration required to manage this hybrid, multi-vendor workflow.” www.imaginecommunications.com

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New organ leads to full restoration at South Main Baptist Church

USA What started as a decision to replace the HOW’s organ has led South Main Baptist Church in Houston to install a new ceiling for better acoustics, then new plastering and painting and, eventually, a full restoration. Rob Tegtmeier of CW Lighting & Associates has helped the church update its lighting system using ETC’s Source Four LED Series 2 fixtures. The previous lighting rig consisted of one very large Fresnel providing a basic wash for the sanctuary and altar. “They knew they needed a big shift in design,” said Tegtmeier.

Once the church was happy with the quality of the light, the design team had to deal with fixture placement. For that, they needed an assist from the architect, Bill Merriman of Merriman Holt Powell Architects. He found space for the fixtures in parts of the ceiling that wouldn’t disturb the moulding or painting. It was limited, but it worked. “We clustered them together in alcoves within the ceiling, so they’re not nearly as noticeable,” explained Merriman. “It’s a much cleaner look for the space – and the new up-lighting of the dome over the chancel is beautiful. It was very nicely done.”

Image courtesy of 2020 Hester + Hardaway, Photographers

“They were happy with the reliability of the ETC equipment they had for years, but they knew they needed to upgrade to LED fixtures, which would mean a change in their dimming and processing.” The church’s leadership also wanted to showcase the beauty of the space. “They wanted the architecture of the space to speak for itself,” added Tegtmeier. “They didn’t want lighting to distract from it, but to enhance the qualities as much as possible. There’s a lot of blue in the stained glass, so making sure you could keep the room warm enough with sunlight coming through blue glass was a high hurdle. Plus, with the paint and wood in the space there was a lot of yellow in the room. With the Source Fours, they can have multiple colour temperatures of white without being too blue or too yellow.”

As Merriman and his team modelled out the space, Tegtmeier found another way to highlight the architecture. Each of the church’s historic stained-glass windows culminates in a vaulted ceiling with a beautiful blue painting treatment on the ceiling at the top of it. In order to light the vaults, Tegtmeier placed Source Four fixtures in unused heating ventilators at the foot of each of the windows. Shutter cuts keep the light on the blue section, enhancing it without overpowering the room. “We’re so proud of how beautifully the sanctuary was restored that we submitted it for a Preservation Award from Preservation Houston, which it won,” Merriman added. Thanks to the ETC fixtures, South Main Baptist’s past is preserved but the church is ready for its next chapter.

The RM-LP100 controller inside the control room

Grace Community Church streams services with JVC USA Grace Community Church has provided reformed Baptist worship services to the Glen Rose, Texas community for more than 20 years. In light of the Covid-19 pandemic, the HOW recently began livestreaming its Sunday service for the benefit of infirmed and elderly members. This has been made possible through a pair of KY-PZ100 PTZ cameras and an RM-LP100 controller from JVC Professional Video. Church member and AV consultant Chris Blake oversaw the acquisition and installation of the equipment. In order to capture the entire worship service, Blake opted to install one JVC KY-PZ100 at the rear centre of the room, about 23m from the platform. The other camera is off to the side, roughly 12m from the platform. Both are mounted above people’s heads, to ensure they are out of anyone’s line of sight. “When we started to review our options, one of our biggest considerations was the desired position of the cameras,” explained Blake. “Since our plan was to install one at the back of the space, we needed a long zoom – and the JVC cameras offer that. We also found that JVC has good optics in terms of both the lens and the sensor.” According to Blake, the positioning of the cameras fits ideally into Grace Community Church’s size and capabilities. “We value keeping our space an atmosphere of worship,” he added. “The idea of setting up tripods and having extra volunteers that need to run cameras reminded us more of a TV studio than a worship space. Since we are a smaller church, we chose the JVC PTZ cameras because they are

discreet and high quality, and they have excellent performance.” Working with Stream Dudes in Chicago, the HOW also purchased JVC’s RM-LP100 Controller. “We felt that a hardware-based controller solution would be easier for volunteers to run, compared to a computer with software,” continued Blake. “The controller is straightforward and easy for our volunteers to use, and they really love it. Price, quality and ease of use were really the main factors for us. The JVC system, and its ability to easily integrate with other products, fits the bill.”

A JVC KY-PZ100 has been installed at the rear of the church When it comes to streaming throughout the pandemic, Blake says that the JVC system has been especially useful. “We are continuing to rely on our streaming solution since many of our members are either older adults or in high-risk groups. They choose to stay home, even though we are back to meeting in-person, so that option has served a lot of people well over the past several months.” pro.jvc.com

www.etcconnect.com

16 WORSHIP AVL January–February 2021

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The music plays on at Coral Hill Baptist Church USA When steady growth made its old, traditional sanctuary too cramped, Coral Hill Baptist Church in Glasgow, Kentucky, made plans for a new sanctuary adjacent to the existing one with seating for 300 worshippers. Local AV integration firm Red Ranger Media worked with the church to design and install a Danley Sound Labs sound reinforcement system that would support the HOW’s wide variety of musical styles. “In moving from their old sanctuary to a new sanctuary of their own design, Coral Hill Baptist Church wanted to decrease the distance to the back row to make the services as intimate as the senior pastor of 32 years had always wanted them to be,” explained Allen Cothran, owner of Red Ranger Media. “The new sanctuary is very wide with a short throw – no more than 12m to the back row of seating. The floor is concrete and the walls are dry wall, so good pattern control was essential.”

Given their reflective nature, the subject of acoustical treatments for the walls came up repeatedly throughout the process. “Since they

on people and off of the walls and ceiling.” Cothran used Danley Direct modelling software to perfect his design. “I

were on a tight budget, I suggested we could achieve the goals of the sound reinforcement system without acoustical treatments if we went with Danley’s patented point source technology,” Cothran added. “Danley boxes are well controlled and, with the right models in place, keep energy

started with an L-R design using Danley SM96s, but it was clear I’d be missing the edges,” he said. “But when I swapped them out for SM60Fs and added an SM96 in the centre, everything came together beautifully. I ran the model past the engineers at Danley, and they made a few small

tweaks. We installed the system as designed and then had to pull our scaffolding down immediately so that carpet could be installed on the stage. We fired the system up and were relieved to find that the coverage was perfect and exactly as the model had predicted.” Since the Danley SM60Fs already include extended low end to 66Hz and since the church didn’t need concert-level slamming kicks, a simple Danley THmini15 flown above the centre SM96 fills out the sonic picture perfectly. An Ashly nXp 1.54 powers the system with on-board DSP for modest input and loudspeaker conditioning, and an Allen & Heath SQ-6 digital mixer gives church tech volunteers control of the system. A custom 6m x 2.4m Draper Onyx screen illuminated by two edge-blended NEC PA-series laser projectors give Coral Hill visual impact to match with the new sanctuary’s sound quality. www.danleysoundlabs.com

Symetrix brings new opportunities to synagogue

USA New rules and restrictions have forced so many HOWs around the world to rethink the delivery of their services. In 2016, systems integrator Shadowbox Design Management installed a Prism 12x12 at Bet Am Shalom Synagogue – nestled in the Highlands neighbourhood of White Plains, New York – as the heart of a public address/reinforcement system with four main zones: the main synagogue, chapel, multifunction room and library. In the spring of 2020, the Covid-19 pandemic imposed new rules and restrictions on how the synagogue

could use their floor space and resulted in a mandatory halt in services and activities for their congregants. Leaders of Bet Am Shalom contacted Shadowbox Design Management to find a way to upgrade the audio system throughout the facility so the synagogue could continue their services. They needed to expand the system’s ability to combine the spaces and route audio from anywhere on demand. With the Symetrix Prism 12x12 DSP, the necessary functionality for additional audio routing within and between common spaces was already built into

the system. Relatively minor tweaks to the system’s existing SymVue page simply needed to be harnessed, labelled and written to a Windows touchscreen. Leveraging the SymVue GUI authoring tool, buttons were added to the system control screen so that a user could easily recall presets for room combining, simplifying the task of adding or subtracting primary and overflow spaces for any type of service or function. Taking it a step further, Shadowbox automated certain routing options by deploying the Symetrix Remote

Event Scheduler functionality in the Symetrix Composer software package. With the Event Scheduler, users can schedule changes in system settings, such as audio switching of one or more local microphones to internet streaming services. This allows facility managers to concentrate on more immediate aspects of the production and not worry about recalling presets to start and stop web stream audio broadcasts. The adjustments to the system allowed volunteers and staff to concentrate on their preparations for events, services and activities without needing to configure the audio system. “They are still discovering how much capacity and functionality has been built into the system. The improved sound and capabilities of the system is very appreciated by Bet Am Shalom,” said Joseph Ondrek, vice president of Shadowbox Design Management. “The high quality of the audio, at a great price point, is one of the reasons why we use Symetrix. We are always looking for custom solutions for our clients’ needs, and the Symetrix staff have always been there to help out when we can’t figure out a solution on our own.” www.betamshalom.org www.shadowboxdm.com www.symetrix.co

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A clear choice for JPCC A recent campus expansion prompted a return to Big Knob Audio for JPCC JAKARTA PRAISE COMMUNITY Church (JPCC) began with a small prayer meeting of 10 young adults in 1996, known then as the Jakarta Praise Center – Youth Ministry. The congregation quickly grew from its initial size of 10 and, in 1999, was given the name it carries to this day under the denomination of Jemaat Kristen Indonesia, as JPCC was formally founded by Jeffrey and Angela Rachmat and Jose and Hanna Carol. Since 2013, JPCC has hosted largerscale contemporary services through an Adamson E-Series system at Kota Kasablanka Mall in South Jakarta. As part of the Hillsong family, JPCC also serves under the synod of Jemaat Kristen Indonesia (JKI) and recently expanded its catchment to Tangerang City where it holds services in the larger Alam Sutera Hall. The new hall fit out demanded an audio system that would allow the church to continue spreading its message in a new city. As such, the pastoral team once again turned to Big Knob Audio (BKA) to provide an Adamson solution, for which they proposed the sub-compact S-Series for the new campus. “Our pastoral team and congregants have been very pleased with the

Six S7p enclosures provide front fill

A flown array of 12 S10s performance of the Adamson E-Series system at our Kota Kasablanka hall in Jakarta, so it only made sense to duplicate that success with Adamson and BKA in our new location,” commented Pastor Johanes Thalee.

“Like our larger E-Series system, the compact S-Series solution in Alam Sutera offers clear and perfectly even coverage throughout the entire space and keeps the focus on the important messages our pastors and musicians are sharing.” Led by company director Pongky Prasetyo, the team at BKA sourced and installed the S-Series system for the 2,200-capacity main hall that consists of main arrays of 12 sub-compact S10 two-way, full-range enclosures per side, along with 12 E219 subwoofers for punchy and impactful low end. A complement of six ultra-compact S7p point source enclosures round out the coverage as front fills. Additionally, the campus’s smaller 600-capacity hall has been outfitted with ultra-compact IS7 arrays from Adamson’s install-focused IS-Series,

along with a complement of E119 subwoofers. “The newly installed Adamson system at our facility allows us to share our dynamic praise and worship clearly and with ease,” added Thalee. “We’re very grateful to our partners at Adamson and BKA and look forward to continuing our relationship as we continue to grow.” “Our friends at JPCC are very discerning and demanded the best possible audio performance for their praise and worship services,” concluded Prasetyo. “Adamson was the clear choice for this application and will ensure that JPCC’s community in Alam Sutera gets the same premium sound reproduction as their peers in Jakarta.” www.adamsonsystems.com www.jpcc.org

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Going mobile Heart Church in Nottingham has expanded to new spaces in a former TV centre and called on audio specialist Wigwam to design and package a touring audio solution that can be rapidly deployed each week with technical facilities brought in for each service. The entertainment technology hardware installed within Talbot Street remains in situ as midweek services and events continue to take place at the administrative headquarters. Unable to commission a systems integrator to install a permanent audio, lighting and AV system into both studios, Heart Church called on UK audio installation expert Wigwam for assistance. Now part of Solotech, Manchester-based Wigwam is renowned for live touring, diversifying into an installation/integration business in 1990. It has rapidly gained a reputation amongst the HOW community in the UK. “Our growing customer base for audio installations extends from charismatic churches to major

AS CHURCHES HAVE WELCOMED increasing numbers of worshippers over the years, growing pains inevitably lead to expansion or relocation. Instead of conforming to the norm, a UK church decided to adopt a more flexible setup for its future needs. Rather than investing in a property with a larger footprint and growing its roots into a specific postal code, Heart Church has taken the unusual step to go mobile. Just as SaaS (Software-as-a-Service) represents recognised cost savings over traditional infrastructure, a portable audio package promotes modular and future-proofing benefits. Welcoming a multicultural crosssection of congregants, Heart Church in Nottingham hosted two Sunday and smaller midweek services from a large modern building in Talbot Street until earlier this year. Incorporating a highly charismatic service with an ensemble of talented musicians who perform their own compositions, Heart Worship’s Pentecostal style is further boosted by a large LED screen and fully loaded lighting trusses above the stage. The

DiGiCo’s SD10

The wireless Sennheiser system

big productions needed a bigger room, however, leading the church committee to opt for a more flexible setup. Located within two miles of Talbot Street, on the same north bank of the River Trent, their search led to King’s Meadow Campus within the University of Nottingham. The complex, which previously served as an ITV studio for local Carlton TV until 2005, was available on a rental basis. The flat floor and acoustically treated properties of Studios 7 and 11 presented the church leaders with a blank canvas of possibilities. Both the respective 729m2 and 180m2 spaces could be transformed around the evolving nature of their services ranging from the purely functional to something exceptional,

cathedrals,” explains Wigwam sales manager, Phil Goldsworthy. “Wigwam’s stock in trade is now sensitive installs.” Initially surprised by Heart’s enquiry, Goldsworthy quickly appreciated why Wigwam had been requested to assist in their transition into the studio spaces. “They wanted to enhance the production values of their Sunday morning services for which the studios are ideal now. Should the number of worshippers increase, they’ve decided to keep it flexible by renting somewhere bigger, at which time they can add more equipment to their inventory. Heart has already outgrown the existing building but they don’t want to invest in another should they continue to expand.”

20 WORSHIP AVL January–February 2021

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PROJECTS

Wigwam proposed a loudspeaker and staging system that could easily be identified as a touring package for going out on the road. “All the equipment is flight-cased,” comments installations project manager, Tim Mortimer. “The church shares the space with the university who still uses these rooms for examinations, so the best solution was to make the flown loudspeaker system removable. The whole system is flight-cased and can be stored at the end of a service before being loaded back in the following week for their three Sunday services. “Their requirement was for a portable, high-end touring package,” furthers Mortimer. “They’re looking ahead to the time when the rental agreement lapses with the university, so that they can easily pack up and go elsewhere. Owing to our touring pedigree, Wigwam was selected for its high-quality production values and expertise in packaging kit up for moving in and out. Having narrowed down their price/performance requirements, we agreed on training their volunteers alongside their very good in-house engineer. The acoustically treated studios sound amazing but they also needed a portable stage for the empty space.” Having arrived at that point, colouration of the canvas was required. “Heart conducted audio evaluations and demonstrations by comparing various speaker systems,” furthers Goldsworthy. “Ultimately, they were won over by the qualities of L-Acoustics KARA II loudspeakers. A line array was the main option as it would provide even coverage from the front to the rear of the room. In addition, they wanted a system that could be expanded should they need to host bigger events elsewhere. KARA is a perfectly modular, scalable system that can either scale up or down as they require.”

The equipment is stored in customised flight cases

KARA II from L-Acoustics compact form factor and powerful, consistent SPL make it the perfect tool for events with needs ranging from a single plug-and-play cabinet to a larger concert system. The French manufacturer’s Soundvision software was used to simulate the audio

Sennheiser’s ew G4 headmic set As stipulated by Heart, the variable curvature design of the KARA II modular line source system promotes flexibility for changing future requirements and multifunctional deployment. Offering 70° or 110° symmetrical and 90° asymmetrical horizontal directivity patterns, KARA II coverage can be tailored to changing room parameters. Weighing 26kg, the

design for Studio 7. “It’s a great tool that ensures the angles are set up correctly,” explains Goldsworthy. The current setup includes L-R suspended arrays each consisting of nine KARA per side, with a further three providing front fill reinforcement. Lowfrequency enhancement is extended to 32Hz (–10dB) with the addition of eight SB18 18-inch subwoofers and

four X12 coaxial models are deployed onstage as monitors for the worship leaders. “From start to finish, the actual installation took around three days in total, during which we added multicore and loudspeaker fixtures in the ceiling.” A DiGiCo SD10 was the preferred choice of mixing console for Heart’s technical engineer, Phil Southey. As an SD10 owner, Southey was more than familiar with the sonic qualities and ease-of-operation features associated with the digital console for both FOH and monitor mixing duties. With three banks of 12 motorised faders and one master fader, all functions are accessible from a centrally located, 15-inch, colour-keyed touchscreen, while presets can be recalled on the channel strip. The rig includes a range of Sennheiser wireless systems, including six channels of Sennheiser G4 in-ear monitors together with 10 channels of ew 500 G4 microphones, including eight e945s for the singers and two e935s for the worship leaders. “The church definitely wanted to upgrade the production levels for their services and the G4 lineup definitely hits the spot in terms of performance features, reliability and price,” explains Goldsworthy. “Like the rest of the equipment, the transmitters and receivers are stored for mobile use in customised Wigwam flight cases.” The smaller Studio 11 facility is used for the youth congregation where a live band is reinforced with

a pair of L-Acoustics X12 coaxial point source enclosures mixed on a DiGiCo SD9 console. “Heart wanted to maintain the same quality for the youth services as the main services,” furthers Goldsworthy. “This would also allow the budding young volunteers to learn how to gain mixing skills that would allow them to transfer to the main venue in time.” In addition to being blessed with even, hi-fidelity audio each Sunday, the room is capable of being transformed extremely quickly, owing to the portable nature of the equipment. Each Sunday night, the arrays are lowered onto three-way KARA dollies and into Sigma flight cases together with the consoles until the next service or event. “Training the volunteers was a vital part of the package we provide,” comments Goldsworthy. “Heart calls upon a large team of volunteers every Sunday to both load the system in and out. As such, we guided them through the process by loading it in and out several times so that it became second nature.” The touring theme is expanded to the mains power, which runs into Sigma 32A Distro units mounted into each mobile rack of L-Acoustics LA8 amplified controllers networked via the current LA Network Manager 3.1.3 software. Once in position, the DiGiCo SD10 console is simply connected to the Optocore fibre network. Of the two multicores acquired for the productions, one remains out of sight in the venue’s roof during weekdays. For now, Heart is in the right place but their leaders have certainly used their heads by consulting Wigwam to design the audio for their new home. www.heart.church www.wigwam.co.uk

January–February 2021 WORSHIP AVL 21

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PROJECTS

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GMS sought to add punch and volume to musical performances at its new facility in Pakuwon Mall, reports Richard Lawn

MARKETING SLOGANS SOMETIMES take on new meanings over time. “Not just shopping, it’s a lifestyle”, for example, was adopted by Pakuwon Mall in Surabaya long before Gereja Mawar Sharon (GMS) Church relocated its services there. Capable of accommodating 3,332 seated congregants for each Sunday service in the Pearl Exhibition Hall, the retailers within the development clearly benefit with the added footfall both prior to and following each charismatic service. Transforming this immense third-level space into a performance venue and transmitting the word of God was made possible by Berkat Mitra Swara who were commissioned to install a powerful loudspeaker system. Measuring 56m x 46m (WxL), the new pillarless worship space required an audio system that could not only deliver smooth, natural sounding spoken word but also add punch and volume during the musical performances. Having initially been requested to submit a company profile to the church in 2019, director Thomsen Phan and the PT Berkat Mitra Swara team received an invitation to demonstrate

an L-Acoustics loudspeaker system. Associated with the distribution of many credible sound reinforcement manufacturers in Indonesia over the past two decades, Phan acknowledges that he has learnt many new aspects since taking on stewardship for the French brand in 2018. “We have learnt to differentiate ourselves from the other suppliers when conducting speaker evaluations,” explains Phan. “The demo protocol approach that we have adopted from L-Acoustics, right down to the track that has to be played during music playback, is a lot more professional.” Promoting a KARAi setup for their evaluation ahead of the more compact KIVA II module, project manager Hendra Halim was initially sceptical with regards to their chances of winning the tender. However, his fears proved to be unfounded as the demo made the sale. Having opted on the virtues of KARAi as the main loudspeaker system, Halim was then tasked with designing a system for the room using Soundvision 3D acoustical and mechanical simulation software. Capable of operating in real time, Halim calculated SPL coverage,

The KARAi system provides less than 2dB loss from the stage to the rear of the room SPL mapping and delay coverage once the exact room dimension and details had been inputted for the venue with a varied 16–19m ceiling height. The modelling was finally checked and verified by the French headquarters. “Upon completion, the Soundvision simulations had proved to be 95% correct,” furthers Halim, when expressing the virtues of the software. “We really only had

to tweak the speakers slightly during commissioning to achieve the desired outputs.” Led by Halim, the three-week project in Surabaya was completed prior to the onset of the current pandemic. The sanctuary features an L-R configuration comprising nine KARAi cabinets flown in each array adjacent to separate hangs of four SB18i 18-inch subwoofers for low-frequency

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PROJECTS extension. A further six KS28 dual 18-inch bass-reflex enclosures capable of reproducing bass extension down to 25Hz (–10dB) are ground stacked below the 18m-wide stage. Even coverage has been maintained for seats located adjacent to the stage by adding L-R out fills and L-R arrays hanging dual ARCS Focus and single ARCS Wide speakers from a Wi-Fo bump bar. The entire system is driven by nine rack-mounted LA12X amplified controllers with an additional LA4X dedicated to powering the eight coaxial 8XT enclosures spread across the stage lip for front fill. Loudspeaker cabling is routed overhead from the trussed arrays to the amplifier rack located backstage to the rear of the large LED display. An adjacent rack connects the Neutron engine and three DL231 24-in/24-out active microphone splitters to the Midas Pro X control surface at FOH. A Pro X HyperMAC router provides a dual redundant snake connection over optical fibre and copper with a bandwidth of 192 bidirectional channels with Cat-5/5e cabling between FOH and BOH. AES50 digital audio networking allows the Pro X to assign up to 288 inputs and 294 outputs to any of its input channels and bus outputs.

Onstage, side fill and wedge monitoring duties for the church leaders are fulfilled by L-Acoustics coaxial 112P speakers. The

wireless receivers and Beta58s and Beta87s have been retained. Specified as the broadcast feed, a third Midas control surface has been added in the form of a Pro2. “This has proved invaluable for streaming services over the internet during the pandemic,” furthers Halim. “The church committee specified KARAi on account that they will probably relocate to a bigger venue in several years’ time where they will use the current rig as the basis. The modular, flexible design

features make it a good basis for upgrading in future. Measuring less than 2dB loss from the stage to the rear of the room, KARAi has proved itself be the right choice. Not only is it ver y smooth and natural sounding for spoken word, there is an unmistakable punch and power during musical per formances.” gms.church www.graciaauvindo.com www.l-acoustics.com

The entire speaker system is powered by a single rack of L-Acoustics LA12X amplified controllers musicians receive their individual mixes on Midas DP48 personal monitors emitting from the Midas Pro X console via the Neutron engine. Pre-existing Shure ULX4

A Midas Neutron engine and three DL231 active mic splitters connect to the FOH Pro X control surface

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January–February 2021 WORSHIP AVL 23

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PROJECTS

Worshippers upstairs are assisted by HD displays and an extensive Bose loudspeaker system

The main visuals are provided by a pair of Epson G7905UL 3LCD projectors

The newly constructed four-level mosque is close to Little India

Gaining an Edge in a compromised room Two storeys become four to accommodate the rising number of worshippers at Angullia Mosque, reports Richard Lawn BEARING THE NAME OF THE LATE merchant and philanthropist Mohammad Salleh Eusoff Angullia, an iconic landmark in Singapore’s Serangoon Road and Little India district has endured for 130 years. Accommodating a capacity of 1,500 worshippers on two levels had become the norm at Angullia Mosque but the overflow crowds during Eid and Hari Raya had reached a tipping point. The mosque elders and the Islamic Religious Council of Singapore (MUIS) agreed and decided that the heritage building required a full reconstruction. Having raised the S$6.35 million required, applicants were invited to tender their designs to install an AV system that would provide intelligible audio and assistive visual systems. No stranger to the MUIS, Hazel Bayu Studios was awarded the role of AV designer and consultant for the project. “All mosques generally operate

All you need to host a service – a fixed mic and a tablet in the same manner with five daily prayers, main Friday prayers, Hari Raya and other special events,” explains Hazel Bayu’s Ahmad Lokman. “The main variance between mosques is crowd control.” Systems integrator Avitcom is perhaps more at home in the

corporate space and the classroom. Prompted by an advertisement promoting the open tender, Avitcom’s design was successful. “Hazel Bayu provided us with full schematic plans, documentation, SPL level specifications, audio coverage and other pertinent information,”

comments Avitcom director, Christopher Chong. “We then created and analysed EASE plots, taking into account standard mosque surfaces such as marble walls, concrete, carpeted floors and glazed windows.” The two-storey building was demolished to make way for a new four-level construction that could accommodate the rising number of worshippers. “The first phase of installation involved the trunking of conduits and cabling during the construction phase,” explains Avitcom director, Kelvin Teh. “At this time, the upper levels of the mosque were still being constructed, so the site was congested and dirty. As we were late to site, the general contractor had already completed most of the works, which meant that we had to retrofit the AV works into the fabric of the building and cutting into walls, ceilings and floors. Luckily, we were in time to

24 WORSHIP AVL January–February 2021

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PROJECTS coordinate our works with the general contractor on levels three and four.” Forming the basis of the mosque’s visual network, an extensive Extron twisted pair cabling infrastructure interconnects the L2 and L3 prayer halls, prayer rooms, L1 car park and lobby with the L2 control room. Capable of receiving up to 10 HDMI and PC VGA inputs, a DTP CrossPoint 108 4K matrix switcher is routed to eight outputs throughout the four-level complex. The simple video setup in the main multipurpose prayer hall on L2 combines two main inputs being fed into the matrix processor. Arabic scriptures are transmitted from the control room PC, while a single Panasonic AW-HE40 PTZ camera is routed via a DSC 3G-SDI to HDMI converter and scaler. “Owing to a restricted panoramic view, the PTZ angle could not be flush-mounted to the ceiling,” explains Lokman. “To overcome this, the unit was lowered 300mm with a customised bracket fabricated by Avitcom.” Although Avitcom created several preset angles for selection from an Extron touchpanel, an RM-120 can also be used to manually adjust the PTZ camera. The addition of an Extron SMP111 recording and streaming

The Imam’s view of Angullia Mosque processor distributes both AV sources for livestreaming internally to other rooms or externally via YouTube. Cable lengths measuring almost 100m connect the video sources to the outputs on all levels, warranting the inclusion of two Extron DTP HD DA 4K 330 distribution amplifiers. Each unit provides signal extension to eight Extron DTP-enabled products, sending HDMI, audio and control over shielded Cat-6 cable. Multiple DTP 4K 330 receivers receive the HDMI signals for outputting to the Epson projectors and various LG LED displays. Projecting onto L-R Remaco PRO-2717 120-inch motorised screens, two ceiling-mounted Epson G7905UL

7,000-lumen 3LCD projectors play a vital role in assisting the visually impaired in the main prayer hall. “Integrating the projection screens into the marble façade was quite a challenge,” professes Lokman. “The contractor wanted to reduce the size of the screens, so I explained the reasons to the contractor as to why this size of screen was needed. To keep within budget, I felt that the LCD models are more than adequate, compared to LED models.” The housing for the motorised screens also needed to be troubleshooted, recalls Teh. “Fixing both units to the walls wasn’t a problem, but the short bracket depth

ruled out future maintenance from the rear. We worked closely with the general contractor to modify this, by creating new apertures in the Imam’s room to the rear. As such, the service engineer can unscrew the units and lower them from the wall.” During major religious festivals and events, overflow areas in the mosque can be opened up, including the L4 outdoor garden and the L1 car park. In addition to speaker outputs, the centralised Extron setup allows the services to be streamed to the HD outputs throughout the mosque. Furthermore, an Epson EB-2142 4,200-lumen projector provides the car park audience with a view of the main prayer hall on a Remaco motorised 110-inch diagonal screen during peak times. Offering compatibility with the video network, an Extron AV control system was specified to provide ease of use, especially with the mosque elders. “The daily requirements within a house of worship such as a mosque need to be planned in advance,” furthers Lokman. “AV is just one of them and so the GUI touchpanel is vital to their operations. The touchscreen must be forgiving and with the simplest controls and security, including password or key code elements. Seeing that there

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PROJECTS are elders that will be managing the mosque, we decided that the minimum size should not be less than a 5-inch for the touchpanel.” An Extron IPCP Pro 350 IP Link Pro Control AV processor supports 7-inch TLP Pro 725T and 10-inch TLP Pro 1025T touchpanels. The 10-inch wired touchpanel is fixed to the wall in the L2 prayer hall, whereas the 7-inch versions are hard-wired to the desks of the L2 Imam room and L2 administrative office where paging is conducted. “We wanted to

Tesira Server-IO DSP processor. Avitcom configured the loudspeaker EQ, delays, filters, compression and crossover settings within the Biamp Canvas software as they have on previous projects. “I like Biamp’s functionality and the programming to be extremely user-friendly,” furthers Chong. “For this particular project, Tesira broadcasts audio to any outputs on four levels from the Server-IO processor and sets the times for the five daily prayer services. By adding DSP-2, SIC-4

vertical beam angle of 75° and a range of almost 20m, the 8-inch design is best installed close to the corners of a room. “Despite the higher cost, their inclusion in the design was warranted as you get the same SPL levels and coverage using far fewer speakers,” adds Lokman. “As there are only three speakers tucked away in the corners, they are less obtrusive on the eye. When I was tuning the speakers using Bose simulation software, I was amazed at the even dispersion and the detail within the vocal range.” In addition to the high-performance levels and aesthetics provided by the Bose speakers, the Avitcom team was further impressed with the Bose EdgeMax solution. “The mounting system makes the EdgeMax models easy to install and the magnetic grille makes it easy to terminate and set up,” comments Chong. “To prevent audio feedback, we have limited the control levels to ±9dB gain. The reverberance was minimised by fine tuning. The parameters set in the Biamp Canvas software really helped, as did the consistency in voicing of the various Bose speaker models.”

and further extended by way of a DTP HD DA44 distribution amplifier. Based on a 12-in/eight-out fixed DSP matrix, the audio adapts a TesiraForté AI processor. Feeding into a Soundcraft FX16II mixer, the main inputs include Shure QLXD4 wireless, SM58 handheld and Beta 54 head-worn models, together with a wired MX418D gooseneck. Powered by a PS604 four-channel amplifier, L-R Panaray 402 dual 4.5-inch wall-mounted and dual DS100SE ceiling speakers serve as the outputs for the room. User friendliness and future proofing are recurrent themes in the AV design. “To avoid technicalities, the addition of patch bays was negated in favour of signal routing via the touchpanels,” comments Chong. “The car park and L4 outdoor areas are both equipped with video and speaker outputs for connecting portable speakers and HD displays when larger crowds result in overspill numbers. In addition to the schematic drawings mounted on the rack, we also prepared a user manual document, allowing staff to understand any technical requirements if necessary.”

Customised Extron TouchLink touchscreens serve as simplified GUIs for the mosque users minimise operative use, so it is timed to switch on and off automatically when required,” explains Avitcom’s Christopher Chong. The processor supports Building Management System (BMS) protocols for centralised monitoring control of the mechanical and electrical systems. “It’s the first time that we applied the Extron control software,” reveals Teh. “Having attended a certification course held by Extron Singapore, I learnt how to program the software. The platform is extremely flexible and the GUI touchscreen has been created for simplicity of use. For an application such as a mosque where the end user comes from different backgrounds, it is ideal.” “Extending the worship space during peak times was a large part of my work,” explains Lokman. “It was important to be able to send an audio feed and transmit it anywhere throughout the mosque, especially during special events and Friday prayers where overfill would come into play. Based on previous experiences, I created the audio design using Biamp Canvas software as the drag-anddrop programming is intuitive and the presets work extremely well. Not only is it extremely flexible, it interfaces very well with Extron control programming.” The audio settings for the L2 main prayer hall are configured within a

input and SOC-4 output cards, the varying acoustics and properties of the different rooms could be individually calibrated.” Suitably impressed following a demonstration of EdgeMax ceiling speaker technology at the Bose showroom, Lokman adopted a Bose loudspeaker solution for the audio reinforcement. The main prayer hall adopts L-R wall-mounted Panaray MSA12X loudspeakers in 8Ω mode. Finished in white, each self-powered, digital, beam-steering model comprises 12 2.25-inch drivers in a vertical line array to cover 160° horizontal wide dispersion in the hall. “Given the challenging acoustics of this space, the vocal intelligibility during Koran recitals and prayers is outstanding,” furthers Lokman. “In addition, the slim column enclosures satisfied the interior design wishes of the M&E consultant Conteem Engineers.” Based on an 8x8 I/O and 48kHz/24-bit audio conversion, a ControlSpace ESP-880 processor controls and manages the DSP settings for both column speakers. Powered by two dual-channel PowerShare PS602 amplifiers, EdgeMax EM180 and EM90 ceiling speakers provide side and rear fill reinforcement in 8Ω mode. The inherent PhaseGuide technology produces asymmetrical beam angles of 180° and 90°, respectively. With a

Shure QLXD4 wireless handheld and head-worn models feed into a Soundcraft FX16II mixer Once again powered by two PS602 amplifiers, four EdgeMax EM180 and EM90 models provide the main audio reinforcement in the L3 prayer hall. The same amplifier platform is used to power Bose FreeSpace DS40F 4.5-inch ceiling speakers installed into the L2, L3 and L4 lobby areas, the L2 Imam room and the L3 conference room. The car park and L3 classroom differentiate themselves by incorporating FreeSpace DS100 SE 5.25-inch models. Networked via an Edimax PoE 10-port network switch to a dedicated IPCP Pro 250 processor, the AV parameter controls are configured from a third TLP Pro 725T in the L4 auditorium and communal pavilion. Visuals are courtesy of an Epson EB-535W projector together with dual 43-inch LD displays. HDMI inputs, including a connection to the L2 rack, are fed into an Extron DXP44 HD 4K matrix switcher

In addition to providing specialised expertise, the AV systems integrator and consultant are constantly engaging and knowledge sharing with the financers, interior designers and general contractors who may have different experiences and are now having a new appreciation of the AV integration aspects. “The end user and the client understand what they want, but they may not be aware of the best solution,” concludes Lokman. “We have to work closely with the main contractor to overcome daily onsite obstacles and communications. You can foresee many problems in advance but, once the drawings have been approved, there are always bound to be challenges. There’s always a compromise, so we have to appreciate the role we all play in creating the final outcome.” www.avitcom.com.sg

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PROJECTS

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Balcony delays were retrofitted after the main TW Audio FOH system had been installed

Ecosystem adds value at Sumkim With a move to larger premises temporarily delayed, Sumkim of Sarang Presbyterian Church has chosen an Avantis system to provide more colourful worship services CONSTRUCTION PLANS MAY BE ON hold but that has not stopped Sumkim of Sarang Presbyterian Church from raising its production standards. 2020 was supposed to be the year that the charismatic church built a larger-capacity facility in the southwestern South Korean city of Gwangju to accommodate its growing congregation. But like the stay at home message amplified during the ongoing pandemic, the committee opted to upgrade the AV quality of their existing services in the 1,000-capacity Grand Chapel instead. Historically, the church has implemented continual technological upgrades in phased stages. Installed several years ago, the FOH loudspeaker system combines TW Audio T24N dual 12-inch point source cabinets with B18 subwoofers powered by a single Powersoft X8 amplifier. The rigging points required readjustment and additional Chris System K-series

passive speakers were added as delays for worshippers on the balcony and under-balcony areas following these works. Powered by QSC amplifiers, additional K-series models were added more recently as pastor monitors and front fills. A large inventory of wired microphones has been created over the years, such as Shure SM58s, Audix models including the D6 on percussion and dual Countryman goosenecks on the pulpit. Following the recent introduction of LED displays, the audio technicians replaced their existing digital console that had been in operation for more than a decade. The upgrade of the digital mixing system may focus on the Avantis control surface, but the ecosystem that Allen & Heath provides has extended the mix from the stage to peripheral zones beyond the Grand Chapel. “We selected an Avantis partly because it is the latest

The Avantis is inserted with a 128x128 Waves V3 96kHz card

A DX32 I/O expander with Prime input card

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PROJECTS system available on the market,” comments the church’s lead audio engineer, Taehun Lee. Designed to provide more colourful worship services, the processing capabilities of Avantis has doubled the capacity of the previous mix system. Managing up to 64 processing inputs, Avantis is a fully processable system so that the church can now accept 68 input channels, including

While most preamps are based on AC-coupled stages, Prime has a DCcoupled gain stage that eliminates the LF distortion associated with AC coupling to greatly improve lowfrequency linearity and phase response. Along with other church officials, Lee attended a live demonstration held by Sama Sound to highlight Prime’s characteristics. “Prime offers a wider dynamic range and clearly defined audio

The Allen & Heath Avantis console at FOH in the Grand Chapel

L–R: Beomsin Kim (CEO CGI), Taehun Lee (church) and David Son (Sama Sound) 12 local inputs on Avantis. A further 32 inputs are fed into two DX168 expanders, while 24 inputs connect to the DX32 I/O expander in the same portable rack together with gigaACE audio networking. The inclusion of a Prime input module mounted into the DX32 represents an APAC debut for the UK manufacturer. “I’m personally most impressed with the premium-quality preamp called Prime, as is it can be configured at a very reasonable price within the newly created ecosystem,” adds Lee. Integrating ultra-linear components, two newly designed Prime cards are significantly different from the regular dLive preamps. Providing access to the 96kHz XCVI FPGA core, the eight-channel card has been specified primarily for high-profile sources, including the pastor’s gooseneck microphones used during sermons. “They represent a significant investment,” explains Sama Sound’s Allen & Heath product manager, David Son. “But a listener can certainly distinguish between the two. “It’s like selecting a full option when buying a car. Most churches add expensive analogue preamps to their mix for improving the intelligibility of the sermon. However, our solution is easier and a lot more cost-effective to install. We simply combined the analogue inputs and outputs and routed them to the AES output options that connect the power amplifiers and the Prime preamp options inserted into the DX32 modular I/O expander.”

to the extent that the listener believes that a sophisticated mastering process has taken place. During the blind test, the audience could distinguish the differences in balance between the low, mid and high frequencies.” Multitrack 96kHz recording has been enabled with the insertion into the Avantis ecosystem of a Waves V3 audio networking card. In addition to the added network stability provided by the simple setup, a rich palette of Waves plug-ins can be applied to the engineer’s mix with the addition of a SoundGrid server. Like Prime, the dPack option with the DEEP processing plug-in including multiband compression and dynamic EQ normally used on the flagship dLive consoles was added to the order. “We are applying various compressors and plug-ins on each

Applying DSP to the pastor’s mix instrument and input to individually express the preferred nuances.” Replacing onstage wedge speakers for monitoring, six ME-1 personal mixers are now preferred by the keyboard players, guitarist, bassist, singer and percussionist. “Sales of the ME personal mixers have doubled every year over the past four years,” adds Son. “Since the launch of the more basic ME-500, we’ve noticed a huge growth in the HOW sector market as a result of word-of-mouth referrals and glowing endorsements from users.”

A further benefit is the customised volume control that has been applied to the children’s cry room. Here, an IP1 remote controller has been flush-mounted to the wall adjacent to a light switch for extending Avantis control via a single PoE connection. Source control selection is activated by pressing and turning the push-andturn rotary dial. Just like the church engineers and musicians, systems integrator CGI, who oversaw the audio upgrade, has also joined the Allen & Heath fan club. “We installed three Allen & Heath dLive systems into three Gwangju churches last year,” comments CGI CEO, Bumshin Kim. “However, this installation represents the first occasion that CGI has installed the Allen & Heath flexible I/O ecosystem for Avantis. With the addition of Prime, we did not need to add expensive analogue preamplifiers and we easily created a convenient kid’s room solution with the addition of the IP1 remote controller via Cat-6 cabling. Together with the ME personal mixing system, we’re going to continue proposing and developing Allen & Heath solutions.” www.allen-heath.com

The church is operating a total of six ME-1s

www.samasound.co.kr

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Looking to the future All Saints in Crowborough has once again turned to local integrator Ashdown AV to supply a new video system for its livestreaming needs, reports Karen Wallace AS THE UK NEARED THE END OF its first lockdown in May last year, it became apparent that not everyone would want to return to the sanctuary and attend services in-person. In addition, strict limits on capacity meant that HOWs were restricted to the numbers allowed through their doors. Keeping in touch with congregants wishing to worship at home would have to remain an essential element of weekly services. All Saints is an evangelical church in Crowborough, around 50 miles southeast of London, and was blessed with a large extension in 2000 to make room for its growing congregation. The ageing video system that had been installed as part of the extension couldn’t keep up with the quality that people expect today and it had become too complicated for operators to use. The projector was also situated in front of a window and constantly fighting the sunlight. “Previously, the system was just being used in-house, particularly for our large services such as Christingle when we’ve managed to fit in over 500 people,” explained Catherine Allen, director of music. With the pandemic forcing livestreaming higher up the

An Allen & Heath SQ-7 on the balcony agenda, the church contacted local systems integrator Ashdown AV to discuss what options were available. “We’d already developed a relationship with Ashdown AV when they upgraded our audio system in late 2019,” added Allen. “Towards the end of the first lockdown, vicar Steve Rees said to me that we need to start making plans for the reopening of the church. We contacted Ashdown while we were still in lockdown as we needed someone

The Lumens VC-A51SB PTZ and Datavideo BC50 static cameras

who was familiar with the building and how we work as a church. We wanted to start livestreaming our sermons – we have lots of visual speakers who use props such as fishing rods so, if you’re just listening to the audio at home, it loses some of the impact. “As lockdown eased, we returned to church using somewhat clunky and difficult-to-operate equipment and realised that updating our cameras and streaming equipment to improve the quality would be worth the investment,” continued Allen. “We decided not to opt for the most expensive, broadcastquality solution as it would be out of budget and require camera operators in the building, causing social distancing issues.” Ashdown has installed a Lumens VC-A51SB PTZ Full HD 1080p camera with 20x optical zoom and a Datavideo BC50 Full HD 1080p camera, fixed one on top of the other on the balcony front. The PTZ is used to provide a series of different views through presets on the Lumens VK-20 PTZ controller. The fixed camera has a wide view of the whole front of the church. The fixed camera (“Hold Image”) is selected on the video mixer and the PTZ is then moved to its new position. Once the PTZ is lined up, the technician can switch over, creating a very smooth transition shot. The church’s two LG 84WS70 black UltraHD Edge Lit LED displays, installed

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in 2015, have also been upgraded to HD. Pete Shaddick is a regular parishioner at All Saints and also a trainee AV technician at Ashdown AV. He explains: “Along with the two cameras, we also have a Blackmagic Atem Mini Pro 4 HDMI input switcher with four inputs, two Blackmagic SDI to HDMI converters and an SY HS12-a8G HDMI one-to-two splitter. All the music’s prerecorded and played onto the main screen. It then comes through to the live feed as well. It’s a 16:9 ratio camera system with 200 presets. It’s very intuitive to YouTube as well – all you have to do is press go live and, once it’s set up, it will stream straight away.”

One of two LG screens on either side of the dais

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“Before and during the second lockdown, we have been streaming three services on a Sunday,” said Allen. “We had been trying to encourage people to come back into church because there’s something very biblical about gathering and you don’t get the same feeling in your home. However, not everyone wants to return and we’ve seen the number of people watching the services steadily increase.” One of the challenges All Saints needed to overcome was how to train volunteers on the new system during a pandemic. “Unfortunately, we’ve lost some of our volunteers following lockdown but we’ve also gained a few new people and we’ve been encouraging families to serve together where possible, such as fathers and sons. But training has been our biggest hurdle during the pandemic. We’ve made some training videos so people can watch at home and learn how to use the equipment. Before the second lockdown, we were able to do one-toone training but previously we were able to have a big group of people in for training together.” A new video system isn’t the only recent upgrade at All Saints. “Shortly

after I arrived in 2015, we started thinking about updating the audio system but it’s a slow process and it’s not something you want to rush,” explained Allen. “The problem with the previous system is that you could walk from one side of the church to the other and the sound would totally change – and also from the back to the front – so the coverage was really patchy.” As with the first video system, the speakers that were installed as part of the new extension in 2000 had begun to deteriorate. In late 2019, Ashdown AV installed two Electro-Voice EVA 2082S-906 line array modules for even coverage across the length of the room, EVA 2151D subwoofers and ZX1i loudspeakers as infill and as a monitor system for the choir. The amplifiers driving the system are the Dynacord IPX series, with an IPX10:4 powering the tops and subs and an IPX5:4 looking after the fills and monitors. Dynacord’s Sonicue sound system software was used to tune the solution. “The way we use the speaker system now is very different to back in 2000,” added Allen. “Our music ministry has developed and grown – previously it was mostly for the spoken word and a bit of music but now it’s needed equally for both.” Looking to the future, Allen quietly hopes that All Saints will be able to find the money to upgrade the lighting system. “We moved some spots around last year and added some new colours but we haven’t acquired any new equipment. We’re a creative church with lots of concerts and productions so updating our lighting fixtures is the logical next step.” Although the pandemic might have changed the focus of the weekly services, All Saints’ plans for further expansion are waiting in the background. “When things return to normal, we might need to look at adding another service on a Sunday but I think we’re reluctant to do that because it’s tiring for everybody,” explains Allen. “But we can also expand into the space at the back of the church – in effect the old part of the building – and we can add more for families with younger children. We also have space downstairs but currently we’re only able to feed the livestream onto screens in this area, so this is something that we could also develop.” Even if it’s many more months before full-capacity services can resume and livestreaming is here to stay, it’s clear that All Saints has all bases covered. www.allsaintscrowborough.org www.ashdownav.com

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visual environment technologies etcconnect.com July–August 2020 WORSHIP AVL 17

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How to mic a Grand Piano There are many ways to mic a piano but Gordon Moore highlights the steps that need to be taken to do this successfully INVENTION OF THE GRAND OR Baby Grand Piano goes to Bartolomeo Cristofori (1655–1731) of Padua, Italy. He was employed by the Medici family as the Keeper of Instruments. It was his discovery of a hammer that did not rebound and also mutes the string that made his invention possible. The goal was volume. In 1700, his clavichord was inadequate to the volume needs of a large concert hall. The piano, with its large-sounding board and asymmetrical shape, allowed for a louder, better-balanced instrument. Gottfried Silverman added the sustain pedal which gave the piano new dimensions in play. Because of its asymmetric shape and powerful voice, the grand-style pianos can be a daunting challenge for the sound man. First, you must ask yourself, “Why am I needing to put a mic on this instrument?” Examine your requirements carefully before setting up a microphone.

MEET THE AUTHOR Audio expert and industry veteran Gordon Moore is the director of technical ministries at Rio Rancho United Methodist Church in Rio Rancho, New Mexico; president of Lectrosonics, Inc; former senior faculty member for the InfoComm Academy; was named Educator of the Year for InfoComm in 2000; and received the Fred Dixon Service in Education Award by AVIXA for his outstanding contributions to education in the AV industry in 2019.

180° away from the front of the microphone. Good pattern control is essential. Your goal is to have the microphone pick up the sound emanating from the soundboard while rejecting the reflections from the piano lid. Additionally, it is not uncommon to have an additional performer quite close to the piano, such as a lead vocalist or another instrument (violin, trumpet). You want to reject all other sounds and capture just the piano itself. Third – have very good mic stands. Grand Pianos are large and good microphones are heavy. If you really don’t want to face the wrath of the pianist and the worship leader,

Don’t place microphones directly above the hammers or the sustain bar – you will pick up the thump of the mechanisms. The same thing goes for being close to the keys – it is surprising how hard some players hit those keys.

For amplification If you need to really amplify the piano for either a really large room or really loud band, you will need gain before feedback. Achieving this is easiest by positioning multiple microphones above the soundboard relatively close to the strings. Keeping your source-to-microphone distance small

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Amplification Remember, a grand-style piano is designed to deliver volume, enough for a large concert hall. So, do you really need to amplify it in the house PA? In many venues, the piano can hold its own against a band and handle the room all by itself. If you do need to amplify, then you must consider the pattern of the microphone carefully to avoid feedback.

Sweetening the mix Perhaps the need is not for loudness but for balance. You can hear the lower octaves quite nicely anywhere in the room but the upper notes are thin or heavily attenuated by attendees, furniture, wall treatments or set decorations.

Recording or hearing assistance If you are recording your services, you want to capture the piano’s contribution for the recording. Let’s be clear here – there are many successful ways to mic a piano and you will need to experiment

Gordon Moore

carefully to find the best solution for your house of worship. But let’s address this from each of the above requirements. First – tune the piano. An out-oftune piano is probably the most irritating sound and no electronic device or program is going to fix that problem. Pay a professional tuner to visit regularly and keep the piano in tune. Second – use a good large diaphragm condenser microphone which is designed for high SPLs. Dynamic microphones, while reasonable in cost, will not tend to have the sensitivity for the nuances of a professional player. Condensers can capture very slight sounds and will give you the greatest dynamic range. Many manufacturers have designed a microphone specific for the task – go to their websites and read up on them. A directional pattern is desirable – either cardioid or super-cardioid work well. A cardioid microphone generally has very little pickup of sound

Top view of a Grand Piano make certain your microphone stands can safely carry the weight and not slowly droop down until the heads are tangled up in the strings. The wise sound person will use microphone counterweights for all the piano microphones to prevent this. You can also strap the end of the mic arm to prevent drooping.

improves your gain before feedback. Go with cardioid microphones and position them so you capture the soundboard’s reflections/vibrations with consideration towards the frequency response. Between two and four microphones are very helpful in capturing a piano that needs serious amplification. Try

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A three mic setup – watch your 3:1 rule a fairly spread out pattern above the soundboard and make your adjustments to the balance and EQ during rehearsal.

but only trying to enhance their tonality. Let them know that you are trusting their choice of dynamics and how much you look forward to

their interpretations of the music. They will appreciate your input and perhaps – especially if the piano is their own property – give you some guidance in meeting your goal. A happy musician is always much easier to work with. They will be happy if they know you are trying to help them have a successful per formance. Place the microphones above the sections for which you want the greatest emphasis. If you have wireless IEM systems, pass that signal through to headphones while you are experimenting with different placements. Of course, you must do this while a musician is playing. Some musicians do not want the sound person messing around the piano during rehearsal. If that is the case, find a volunteer to play while you adjust before rehearsal. Try different placements to find the best results.

account the possibility of musicians moving around the stage. You don’t want to create trip hazards, nor do you want to impede the movement of the per formers on the stage. Try an XY configuration about 30cm from the middle of the curve.

Microphones designed specifically for pianos Many microphone manufacturers make microphones specific for the purpose. Tour their websites and search with the word piano. You will find a surprising mix of microphone types and price ranges. You will also see a wide range of suggestions for placement. As I stated at the start of this article, there is no single best method. Instead, there are many techniques which may or may not fulfil your requirements and match

A two mic rig – note the suspensions

A single mic setup for recording

To sweeten the mix

Recording

“Sweetening” the mix is a term for selective amplification of some frequencies of the piano. It sounds very good without any microphones at all but is a bit low in higher notes. In this situation, you may only use one or two microphones to capture the notes that seem most subdued. Experiment with your placement and try different positions not only left and right but also at differing distances from the piano soundboard. Your goal here is to enhance the natural sound of the piano, leaving all volume choices to the player who may choose to play very softly or with grand flourishes. A special tip here – if you are sweetening the mix only, let the musician know that you aren’t trying to control their volume

If you are recording and not too concerned with the house mix because the piano carries itself well without any help from you, then your microphone placement choices expand exponentially. By eliminating the concern about feedback, your microphone placement options can become quite flexible. This does require experimenting. You may find that setting the microphone back some distance from the soundboard will give you the best overall replication of the fullness and brilliance only a Grand Piano can have. Pay attention to the microphone pickup patterns. You want to reject nearby instruments (drums, guitars, strings, brass) and avoid picking up vocalists. Place the microphones carefully and take into

XY dual mic setup for recording

the characteristics of your piano. Experimenting is your best friend. Remember the basics – cardioid pattern, large diaphragm and condenser design. At a pinch, a dynamic mic will do but the better per formance is found with the more nuanced condenser microphones. Watch your pattern controls. If your budget is up for it, use good suspension to avoid vibration artefacts in your audio. Trust your ears. Listen carefully and keep a log of different mic placement patterns. You may find one pattern works ver y well with one player and another completely different setup is best for another. Have fun with it, don’t be concerned about getting it wrong. Instead, concern yourself with getting it right – if it sounds good, it is good. Be blessed and mix well.

January–February 2021 WORSHIP AVL 33

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KnowHOW

The year that changed church media Casey Hawkins looks at the impact 2020 has had on the development of church media 2020 WAS MY 30TH ANNIVERSARY of when I began my video and broadcast career, when I was 11 years old. I saw a greater increase in the value of church media in 2020 than I had in the previous 29 years combined. Let me take you on a tour of the last 30 years of church media from my perspective.

1990 The church I attended was a church and school in California. I not only went to church there, but I also went to school there five days a week, from age 5 to 14.

necessary. We had two Kodak Ektagraphic III slide projectors with huge long-throw lenses, and a Clear Light Microdiamond dissolve unit so that we could utilise a crossdissolve between slides for a nice look – something often taken for granted today. The screen was motorised, and we brought it down and up throughout the service as needed. We would print the song lyrics on a laser printer. Those were fancy and expensive back then. With a camera mounting platform, we would shoot those printouts with a camera loaded with slide film and develop that film in-house in our

Not much really changed over the subsequent 20 years.

2011

Ampex VPR-80

Kodak Ektagraphic III slide projector I knew I wanted to be a part of the tech team, as I would watch the 8th graders get a year of reprieve from the annual school Christmas musical. Some of those guys got to run sound, lights or video camera, and I was envious of their “senior” opportunities. But, before I could even get to my 8th grade year, I had the opportunity at a church event, when a volunteer was a no-show, to run a camera. I did a good enough job that the media minister asked me to be a regular volunteer. That church was very contemporary for its time. We had a theatrical lighting system with NSI control boards, a Panasonic two-camera switched video setup complete with a character generator, recording to VHS tape. My favourite was the IMAG system, before IMAG and “words” on a screen were even very possible, much less considered

own darkroom. We developed the slides as a negative, making the words white and the background black. It was so much fun and so rare for church back then.

1993 My family moved to Texas so, naturally, we changed churches. This church was a lot bigger and was televised. With Ampex VPR-80 1-inch videotape machines, five Hitachi studio-configured cameras, a Chyron ACG character generator, an Ampex ACE 25 edit controller, an Ampex Vista switcher and Pinnacle DVE, all of it was broadcast-quality gear. But there was no IMAG. The services were recorded, edited that week, then aired on local television the next week. It was my first foray in broadcast with that level of equipment and I loved it.

There was another church in town that had similar quality gear, but not as much of it and it was not as good because it was older and not as well maintained. They mastered on 0.75-inch videotape, but that didn’t matter much because they broadcast live on the same station we did, at a later time-slot. We were recorded and edited, and they were live. Our edited product looked much better on-air, even though it was taped because the quality of 1-inch videotape was good enough to look live. The only real benefit of live back then was that it was over when it was over: no editing. Most people attended church regularly back then so “live” on television was not as big of a deal as it is today.

By this time, I was older and living in Oklahoma pursuing my broadcast career, and the church I attended had a traditional/blended and a contemporary service. There was a switched IMAG product with camera shots using the Ross Crossover switcher and lyrics from ProPresenter and the services were recorded on a Blackmagic HyperDeck, simple editing done via Adobe Premiere Pro and then uploaded to Vimeo for archiving on the website, which garnered a few views each week. Nothing was televised and nothing was livestreamed. Generally, the efforts of the media ministry were for internal benefit. The changes to-date were mostly superficial. Technology had vastly improved the quality and simplicity of video production and the cost barrier had been reduced greatly since the 1990s, making it more available and more common.

2016 I returned to Texas and the same church I grew up volunteering at in the 1990s. The church had grown significantly over the 18 years I was in Oklahoma. They had two main facilities, one a traditional worship centre service and the other, a modern/contemporary service held in a fellowship hall-style venue. Both services had large IMAG systems

Ampex ACE 25 edit controller

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KnowHOW with live camera shots and song lyrics. Both had advanced lighting systems and audio systems. Nothing was live or livestreamed. The worship centre broadcast was delayed for postproduction and remastering the audio. Distribution was mainly via delayed local broadcast and Vimeo. Still, most of the change over the past three decades was in the technology and affordability and not the value of the video product to the church or the community. The television broadcast was essentially the same style as it had been in the 1990s, which was commensurate for mega churches like ours. For more information on this church’s setup, see Green Acres broadcasting over horizons in the January–February 2020 issue of Worship AVL.

2020 We had begun livestreaming our contemporary services, we had updated our cable channel to HD and we had established a Roku channel with over 600 on-demand videos and a 24x7 livestream of our cable channel that we own and operate. Facebook was front-and-centre for many people by this time and a couple hundred people were watching the livestream each week. Then, in March, Covid-19 shut us down. It was obvious that media was the only way to continue church. In a matter of a week, we had to turn our normally packed facilities with thousands of churchgoers each week, into a production studio with only essential staff members and no congregation. We maintained the weekly television broadcast by airing re-runs of past services but, daily, we began producing fresh content to keep the church members and the local community engaged with the church. We produced videos for distribution via Facebook, website, Roku and email blasts that went out three times each week. We brought in limited worship members to record weekly choir rehearsals that were edited and then streamed live to keep the 300+ person choir engaged. The Student and Children’s Ministries did weekly videos to keep their people engaged via livestream. Sunday school classes were via video only. Different ministries were doing Facebook Live posts to stay in touch. Each week, we recorded worship songs and sermons and edited those together for a Sunday “Digital Campus” livestream and broadcast over our cable channel and Roku to what had grown overnight from just a few hundred into several thousands of

Green Acres’ 1-inch tape room live viewers each week. For 18 weeks we did this. It was a huge struggle at first but we got it figured out in a few weeks. We even did a virtual VBS in July, which consisted of five nights of livestream in place of the coveted week of group physical activities that

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make VBS so popular for nearly 1,500 of our community kids. Even though we re-opened fully in late August, we continue to morph. We are now live on our cable channel, Roku and livestream for our traditional worship centre service

at 08:30 and our contemporary service at 11:00. We also go live Wednesday evenings for our pastor’s Bible study – something we did not consider much before 2020. Our CrossWalk conference centre, which normally hosts hundreds of internal and external events each year, was shuttered for most of 2020 since large events were cancelled. That created the opportunity to shift some staffing that was dedicated to CrossWalk into other positions newly created in social media management, graphic design and content creation. No longer was media just a luxury to enhance your church experience. It was the church. I saw 2020 change the value of church media more than the previous three decades combined. It is believed that for a long time to come, if not forever, media will be just as much a priority for the church as in-person services and activities have been for hundreds of years.

29/05/2020 14:08

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KnowHOW

Automating lighting John Black looks at when to cue and when to busk

Multiple cue lists WHEN APPROACHING THE lighting for any event, the question of lighting control must always be answered in addition to the design decisions regarding the mood or look that you are trying to establish. Will the event be predictable and linear – like a theatrical production – in which lighting programming, once set, will not alter? Or will the event unfold more organically, possibly being redirected according to the response of the congregation or where the presenter is feeling led? Both situations can occur in houses of worship, sometimes even within the same service. When approaching lighting control, there are two main methods used for lighting operations. Cueing refers to the programming of lighting cues – or memories – that are recalled in a predetermined order. Each lighting look gets recorded, which includes all of the controllable fixture parameters and effects into the cue memory. During the running of an event, the operator executes each look through pressing a “Go” button, triggering the recorded memories recalling the settings and effects that were stored. Busking, on the other hand, refers to manually executing lighting looks by the operator. This doesn’t mean that pre-programming isn’t a part of the preparation process. After all, many modern lighting fixtures require dozens, some even over 100, individually controllable lighting parameters. For human operators with two hands and 10 fingers, manually controlling a single fixture is impossible, much less an entire rig. Whereas a cue records all of the

parameters and effects of a lighting look and is recalled using a single button operation, a programmer wanting to busk will only program those parameters, effects or groups they want to be able to manually control. These will be assigned to faders or buttons on the console that the operator is then able to manually activate during the event. Both methods have advantages and disadvantages, and, as previously mentioned, it actually isn’t uncommon to find operators executing lighting cues and busking elements in a single event. The question is, when is one method more appropriate than another? Let’s take a look more specifically at the uses of each method and how you can use one, or both, in your programming.

When to cue All modern, computerised lighting consoles have the ability to record and recall cues. In this article, I am not going to discuss how to program

a lighting cue as the syntax differs depending on the brand of console you use. However, all cues operate basically the same way. A lighting cue records all of the lighting information being output to your system at a given point in time. This includes intensity, colour, pan, tilt, gobo, effects and other information according to the fixtures in your rig. Once a lighting look is established, you can record a cue and then recall that look at any time. Lighting cues exist within a cue list. For most worship services, you will program all of the lighting cues into a single cue list. Many consoles actually have the capability to program a number of cue lists. More on that later. A cue list is most often executed chronologically, that is from the first cue at the beginning of the event, to the last cue at the end. While it is possible to create cue links to skip around within the cue list, this can become messy and complicated – especially if there are a lot of cues. In most circumstances, cues will be

executed from the beginning to the end of the cue list. The programmer can also record timing-related data to automate the length of time that cue transitions take. Fade up, fade down, hold, wait and follow times all allow the operator to precisely program the timing characteristics of executed cues. Instead of creating links to jump around a single cue list, a better way to deal with jumping around would be to utilise multiple cue lists. This can be quite effective if reusing certain sequences of cues frequently. For example, each worship song can be programmed as its own cue list and saved within a single show file. Then, if a song list changes or the order of songs change, the operator can adjust which cue list he or she is executing during the service, rather than having to jump around within the main cue list. There are several advantages to programming lighting cues for a worship service. First, it guarantees consistent lighting looks and playback regardless of who the operator is. This makes utilising lighting volunteers a breeze, regardless of the amount of experience that they have. Second, because the entire event and each look are specifically programmed, you can execute complicated lighting looks that may have taken a lot of time to program with 100% accuracy. Third, lighting cues can be triggered by an operator, or they can be triggered by a control signal received from an external system, such as QLab via a MIDI show control (MSC) signal, timecode or other protocol. There are a number of methods for automating the triggering of cues and this allows for complicated lighting sequences to be executed exactly in sync with other

Single cue list

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KnowHOW systems, such as video content or audio events. The disadvantages of programming lighting cues are that they can lack flexibility if something happens during the event on the fly that wasn’t planned or a last-minute change is made by the pastor or presenter, leading to last-minute programming. I have found that it is always best to be prepared for anything – including last-minute changes or unanticipated movements or changes within the event. Therefore, I always program a number of general lighting looks that can be executed on a fader immediately if need be.

fixture groups, colour palettes, focus palettes, beam palettes and other memories come in handy. Any controllable parameter that I want to be able to recall quickly on the fly will be programmed into a palette memory so that it is easily accessible and recallable. There are several advantages that the busking method offers.

However, there are also several disadvantages. As the lighting is operated manually, there generally lacks consistency from service to service, even if the operator is the same. The chances of executing lighting looks with exact precision over and over is not high. Second, busking is often more challenging for volunteer lighting operators as it

When to busk This brings us to busking, the second main method for executing lighting looks during an event. As previously mentioned, busking doesn’t mean that programming hasn’t happened ahead of time. Instead, it means that the programmer has intentionally programmed and assigned controllable parameters to physical controls so that they can manipulate and control groups of lighting fixtures and/or controllable parameters or effects on the fly according to what is happening during the event. How much gets programmed and what gets programmed is up to the individual programmer and how they plan to manually control the rig to achieve the desired lighting looks. As such, I highly recommend that if planning to use the busking method, the programmer should be the same person as the operator for the event. This will ensure the smoothest and most effective control of the lighting rig. When planning to use the busking approach, I will carefully plan out what it is that I want to program ahead of time to achieve certain lighting looks. This is where utilising

Submasters used for busking First, as it is not dependent on a chronological cue list – last-minute changes or unexpected things that happen during the event can easily be accommodated. The worship leader decides to repeat the chorus of a song during the worship set? No problem. As the operator is already making lighting adjustments on the fly throughout the event, they are able to adapt and react to changes as they happen. Also, if there are minor changes from one event to the next, the operator is able to make those adjustments because the lighting is being controlled manually. Second, the lighting operator can react to the energy of congregants and use the overall energy of the congregation during the service as inspiration to make lighting adjustments that reinforce or support energy fluctuations throughout the various service components.

requires knowledge not only of how the console itself operates, but also of how the console was programmed and organised to support busking operations. As mentioned before, I highly recommend if using this approach that the programmer and operator be the same person. Finally, as busking involves manually executing lighting parameters, it is more difficult to synchronise lighting looks and playback with other systems using a show control protocol.

Why not both? My preferred method, unless programming a theatrical-style event, is actually a hybrid model utilising lighting cues and busking. This can be highly effective in that specific lighting looks can be established and recalled when needed (including the

ability to sync with external systems), while also having the flexibility to manually adjust other settings. In this type of system, I will often program intensity, colour, position and pattern information into lighting cues so that the general look of each light cue remains consistent as designed. I will then program all of my effects, specials (front spotlights) and “safe” looks for manual, busk-style control. Let me explain my rationale for this. The reason that I program effects for manual control is that it gives me the opportunity to adjust the playback rate and size of the effect manually. The speed and size of an effect is a great way to reinforce high or low energy. It also allows me to use a different effect than perhaps I had originally planned if the situation demands it. The reason that I program specials for manual control is that I can then manually adjust their intensity according to the situation. If wanting to reinforce a moment of personal reflection, I may completely take out the specials and leave the band silhouetted in the stage wash. Or if a soloist changes at the last minute, no problem – I don’t have to reprogram any cues to light a different soloist positioned in a different spot onstage. Finally, the reason I program some “safe” looks is to ensure that I can light the stage if something completely unexpected occurs during an event. Both cueing and busking have their merits and there are situations where one method is more appropriate than another. Neither approach is “right” or “wrong”. I encourage you to try both out. Learn which system works best for you, your technical team and your service program. It may just be that if you’ve only used one method, a combination of the two will open new lighting possibilities you didn’t know you had.

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18/01/2019 12:57 January–February 2021 WORSHIP AVL 37

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TECHNOLOGY

Latest trends in audio Past events have prompted a lot of technological change but audio has been quietly evolving out of sight. Here is a rundown of the latest audio trends to affect HOWs THROUGHOUT THE COURSE OF Worship AVL’s history, we’ve brought you countless informative articles on a wide variety of technology, but rarely do we take a step back to look at how the environment as a whole has changed. And, oh my, has 2020 prompted change. When it comes to the latest developments in video technology, the headlines write themselves. That sector is largely reliant on key specifications such as ever-improving resolution and colour fidelity, all attributes that are already front-andcentre in the mind of the average consumer. Developments in audio are generally more nuanced in their effects and applications and it’s easy to let them pass you by. Below are some of the most prolific audio trends to have taken hold over the last 12 months.

Streaming solutions 2020 has been the year of streaming – whether forced or not – and the sector has truly matured. In recent months, we’ve seen a multitude of enterprising houses of worship capitalise on this new market and sometimes end up with an even greater number of digital congregants than they were able to accommodate weekly inside their church. On the equipment side, the market has been quickly flooded with everything from simple plug-and-play streaming solutions to full-blown production environments tailored for internet broadcasting. As we recover from the pandemic though, it will be interesting to see whether congregants’ appetite for streamed services continues or fades away. Podcasts, increasingly streamed over the internet, have also undergone a

resurgence in recent years. Yet it is not just podcasting, there’s generally been a more comprehensive move to incorporate spoken word content into everyday communications than previously. The result is both a greater awareness of audio among end users (the congregants) and a greater need for good audio quality in HOW productions. What’s still unclear is the true impact of voice and how it will progress alongside technology from here, but already 22% of audioonly listening is now done via smart speakers.

Equipment shrinkage

The Mackie DL32R provided a solution for CenterPoint Church’s small “pod-like” building

going so far as to completely ditch the traditional surface altogether. Arguably the first of these surface-less mixers to gain wide adoption in the worship market were the Mackie DL1608 and its follow-up, the DL32R, which has since inspired a plethora of creations from other manufacturers and unshackled thousands of engineers from their fixed front of house positions by encouraging them to get out into the congregation and mix as the audience hears. The digital signage market has also exploded in recent years and touchscreen interfaces are increasingly being integrated as interactive touchpoints. However,

Ever-smaller equipment is not exclusive to the audio domain, but nowhere has this shrinking been so pronounced as with RF transmitters. Alongside increased audio quality and RF spectrum efficiency, the call for more discreet form factors has been one of the biggest drivers in the design of broadcast microphones. The popularity of streamed services and video podcasts means that the on-camera look is more important than ever before. Big, bulky, broadcast-style DPA’s 6066 Subminiature headset microphone microphones are increasingly perhaps the pandemic will lead equipment rack in being this sector to explore new control coming years. This outpaced methods that avoid touching objects. trend is exemplified by smaller, Conversely, this makes the tabletby products such as consumercontrolled audio mixing setup even Lectrosonics’ Super styled solutions more appealing as control can be Miniature beltpack, intended to create given for an engineer’s personal which occupies just a tiny the right onscreen device. footprint and is barely look. As an increasing Blue Microphone’s Snowball noticeable for the amount of dedicated wearer. It’s a fraction hardware is also being replaced with of the size of its less than a decadeoff-the-shelf equipment and bespoke old predecessor. software, this shift will spread to the

Proliferation of touchscreens

Blackmagic’s ATEM Mini Pro ISO is an all-in-one miniature TV studio for livestreaming

The proliferation of touchscreens was a sure-fire entry to this list, regardless of the global pandemic. Of course, more congregants than ever have been watching services from touchscreen devices in recent months, but the more interesting shift from a pro audio perspective has been the increasing use of touchscreen mixing interfaces for engineers, some

The KLANG:fabrik system

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TECHNOLOGY

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s Bluetooth Low Energy could have big implications for the worship market

Immersive audio Aided greatly in recent years by the adoption of tools such as the KLANG:fabrik immersive in-ear monitor mixer, and the rising popularity of d&b’s Soundscape and L-Acoustics’ L-ISA platforms, there are now plenty of tools available for houses of worship to start experimenting with immersive or spatial sound. In tandem with the last trend, the rise of streaming also means more potential for viewers to be listening using headphones and thereby enjoy the full benefits of spatialised sound. This is a trend that I imagine would have matured greatly throughout 2020 if it weren’t for the coronavirus pandemic limiting in-person services. Sound is a major emotional driver for people and today’s immersive audio tools and different mixing environments allow sound professionals to better tell stories through sonic elements. Spatial audio has grown vastly in popularity in the last 2–3 years and most major manufacturers now provide options to create immersive audio workflows. It will be interesting to see how spatial audio when paired with AR and VR could shape the future of services in the long term.

centralised and remote operation further increases their usefulness.

Outdoor/portable audio Several manufacturers have already added levels of water resistance and cable-free power to their products throughout 2020 under the assumption than most large gatherings will need to be held outdoors. But for churches with struggling budgets, new equipment cannot often be

AoIP interconnected audio system block diagram

Bluetooth Low Energy Tying in with the last point, the creation and increasing adoption of the Bluetooth LE (Low Energy) standard has not only meant an increase in headphone users, but also the introduction of built-in manufacturer support for hearing aids, something that has big implications for the house of worship market as it has the potential to replace dedicated hearing loop systems, even if that’s not likely to happen in reality for many years. Previous versions of the standard were either not able to transmit audio at all or, if so, only with expensive hearing aids and usually only with proprietary technology. Despite the recent advances, there are several obstacles for the platform still to negotiate, such as privacy concerns and the fact that, at the moment, only a maximum of two devices can be connected in parallel.

Expect to see more hearing aids with Bluetooth connectivity in 2021.

Audio networking and converged AV Traditionally, audio, video and lighting have been considered their own distinct disciplines but, in recent years, systems integrators increasingly want to be the one-stop-shop for a church’s entire AV needs and a church would often rather just deal with a single party. The more generic hardware also encourages the use of a single device (where possible) for all AV needs. Platforms such as QSC’s Q-Sys have made it simple for integrators to deploy a traditional computer workstation and route all audio, video and control signals over a digital audio network such as Audinate’s Dante. AV-over-IP solutions are increasingly becoming the default option for new projects and the pandemic and need for both

Unconventional worship locations have been an unexpected feature of 2020 purchased to cater to just a single use. This is leading to a rise in demand for portable and battery-powered equipment that can be redeployed at will. Anything that can be repurposed can continue to provide value, while that hung line array installed over the stage is useless without an audience. Of course, the events of 2020 are likely to lead to even bigger technology shifts over the coming 12 months, but each of the trends listed above will continue to play a key role in a HOW’s audio considerations in the near future.

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TECHNOLOGY

Sponsored by

PTZ cameras

Helping churches adapt to the pandemic

Paul W Richards, director of marketing at PTZOptics, discusses how the ease of setup and operation of PTZ cameras let churches get up and running with streaming quickly while minimising volunteer requirements PRIOR TO THE COVID-19 PANDEMIC, automated PTZ (pan, tilt, zoom) cameras hadn’t found their way into many churches. Certainly, some of the larger or more technically savvy churches had already discovered that these cameras offer many features that make them perfect for livestreaming or image magnification (IMAG), whether on their own or to supplement other cameras with more viewpoints. However, they weren’t often used by small- to mid-sized congregations – even those that already had some type of streaming or video recording setup. This began changing as the pandemic drove more churches to internet streaming, while, in many cases, working with fewer volunteers. At the beginning of the health crisis, churches of all sizes found themselves trying to reach

Paul W Richards

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their congregations online as they were forced away from their normal physical worship spaces. While there are seemingly endless options for outfitting a livestreaming or video recording system, PTZ cameras have many appealing attributes that make them ideal for houses of worship. Many pastors, staff and volunteers may be more familiar with smartphones, camcorders, DSLR or broadcast cameras, but PTZ cameras’ form factor and remote operation can make them easier to install and use week-to-week.

Space and sightlines Churches face some unique challenges in choosing the right camera, the first of which is the size of the sanctuary. Many worship spaces are very large, but it isn’t practical long-term to install a camera right up front – where it could interfere with sightlines when in-person services resume – or anywhere that takes up floor space that could be used for seating. The rear of the room may be ideal but, without the right amount of zoom, a camera placed at the back of the sanctuary gives such a wide shot that viewers at home can’t make out

any detail. PTZ cameras are available with zoom options up to 30X and use optical zoom – rather than the digital zoom found on consumer-level camcorders – to maximise image quality. A PTZOptics 30X PTZ camera, for example, can easily capture highquality head-and-shoulders shots from over 22m away and can still zoom out wide enough to show the entire worship space. PTZ cameras can also be less obtrusive than alternatives. Traditional cameras require an operator, which means they tend to take up a lot of space and may disrupt the worship environment’s look and feel. The small form factor, discreet design and remote operation of PTZ cameras enable them to be installed out of the way and practically unseen. They can be mounted on walls, ceilings and poles, allowing for great camera angles with no visual intrusion.

Simplifying installation Churches that weren’t already set up for streaming found themselves hurrying to get sermons online for their communities. Wiring can always be a real challenge for any new equipment installation, www.ptzoptics.com

27/11/2020 16:28

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TECHNOLOGY but even more so under this time pressure. Knowing that people will eventually be coming back to church, running cables across aisles and walkways isn’t safe. However, running video, power and remote control cables through walls requires electricians and contractors. Not only is that a significant expense but such professionals can also be harder to schedule time with during a pandemic. With PTZ cameras that use videoover-IP technology – such as the NDI protocol developed by NewTek – and support Power over Ethernet (PoE), all connectivity can be handled with just one Ethernet cable. Using AVover-IP eliminates the need for SDI or HDMI cabling for signal transport. The single Ethernet cable can power the camera from a PoE-equipped network switch; send audio and video to the production or streaming computer; and control the camera’s pan, tilt and zoom capabilities. Ethernet cabling is inexpensive, low-voltage and easier to install inside walls and crawl spaces than other cable types. In some cases, churches may also be able to save money by eliminating the need for a professional installer.

Long-term gains

Streaming with fewer volunteers When churches went into lockdown because of Covid-19, many lost access to their most valuable resource: volunteers. Suddenly, pastors and limited staff needed to run a livestream themselves with nobody else to help. This is where another attribute of PTZ cameras shines. Using traditional cameras and camcorders requires a dedicated operator positioned at each camera to control the zoom level, pan and tilt of the camera. PTZ cameras, in contrast, can be remotely controlled

from anywhere. Further minimising the need for onsite personnel, one operator can run both the video production software and the cameras. Remote camera control for select PTZ cameras is available inside popular software like vMix, Wirecast, Livestream Studio and OBS. Churches even have the option to allow volunteers to help with camera control from the safety and comfort of their own homes. For example, PTZOptics offers a control app and plug-ins that let users log in remotely, or even control multiple PTZOptics cameras, through video conferencing software like Zoom.

While Covid-19 restrictions may be the initial motivation for many churches to consider PTZ cameras, they are far more than just a short-term solution. Churches that adopt PTZ camera technology during the pandemic will find that investment worthwhile even when people start returning to church. While volunteers will come back, the flexibility of these cameras and their control systems offers more options to use these resources in the most effective way. PTZ camera setups are also expandable, as more cameras can be added without additional capture devices or computer ports. And because we will always have members who want or need to worship from home, the near-immersive experience made possible by broadcastquality video and powerful zoom lenses will continue to be important. While there are less expensive, consumer-grade options, investing in quality equipment is worth every penny. PTZ cameras are still quite affordable, and their additional cost can be easily offset by the money saved in additional equipment, installation and training. Churches can have a better livestream, and far more flexibility in the future. www.ptzoptics.com

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TECHNOLOGY

MEET THE AUTHOR Bob Mentele, worship market manager at Elation Professional

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Florida’s Action Church

Lighting for video Elation’s Bob Mentele considers how to improve video quality now that the rush to set up livestreaming has passed NOT LONG AGO, ADDING A VIDEO system to a facility was somewhat of a luxury investment. Most of our congregation attended services each Sunday, being able to hear the message in-person. But, as we know, life has a way of changing. We suddenly have had to adapt to a new normal and investing in a video system so that the services can be streamed to the congregation has become a necessity. When the new restrictions were put in place, many facilities hurriedly put together a streaming solution to get the word out, hoping to return to normal soon. While today, some number of the congregation can return to in-person services, there remains a large factor that are still unable to join so we must continue to offer our message virtually. And now that the initial rush to install a solution to share our worship service is over, many facilities are asking how they can improve the quality of the video that they are creating. Often, the priority in the upgrade was to get

the best video system installed with the money that was available. Supporting systems that would help to ensure a quality image and professional presentation were often overlooked or put on hold until more funding was available. For many facilities that time is here, and they are looking for guidance and solutions. While there have been articles written about lighting for video in the past, this version is intended to be a broad overview that is not exceedingly technical – one that might offer some generic direction in how a facility may approach adding a new system or supplement existing equipment so that they can ensure that their message is given and received in the best light possible (pun intended!). Because, as we know, not all congregations are blessed to have a dedicated staff of technicians that can, or have already, implemented the changes and improvements that may be needed.

Elation’s KL Panel The first thing that we will want to discuss when considering lighting in a video application is the benefits and limitations that a camera system provides. Camera technology is constantly improving. The sensors that are being used today are much more advanced than they ever have been. Yet, they are still not nearly as evolved as the image processing that we

Bob Mentele

have in our eyes and optical system. One of key differences relevant to our topic is the ability that we have to distinguish and process variances in levels of brightness or intensity of illumination between two objects in our field of vision. Our eyes have a broad dynamic range, and that allows us to process and clearly visualise two objects in great definition, even if one is lit brightly and the other is in shadow. We will still perceive the difference in illumination, but we are able to see a high level of detail in both objects. Camera sensors do not have this capability. They can only see one of the two images clearly as the exposure setting is adjusted accordingly by the operator to render the desired object in its relative brightness level. When adjusting to capture the brightest object correctly, the dim object may turn to a simple shadow. Adjust the settings to expose the dim object correctly and the bright object will be

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TECHNOLOGY blown out and distorted. And when trying to adjust the settings to the middle of that range, neither object will look appropriate. So, when considering the lighting for your space, you will want to ensure to carefully balance the illumination level across the entire space that you may want to cover with your camera system, whether that be just the pastor or the entire chancel area. There are a few elements that we may need to contend with when setting the appropriate lighting for the sanctuary. If the space has windows that allow natural lighting to enter, we need to take that into account. Does the lighting hit the area we need to cover with our camera shot? If it does, does the lighting we have set in that area evenly blend with the added brightness of the natural light? If you are unable to neutralise the sunlight hitting unwanted areas of the chancel, you will want to look at covering the windows with shades or fabric. It doesn’t have to be to a level to black out all light from entering, but it should be enough to reduce the added intensity from the light bleed. You could also look into fabric that will diffuse the light more than block it. So instead of fighting to cancel the added brightness, use it to

Four-point lighting diagram light bleed onto the subjects of focus. One display type that can be negatively affected by a lighting system is a projection screen. Any light bleed that is allowed on the screen can cause the image to become washed out. Also, if the general area lighting is set too brightly, the contrast in intensity between the subject in focus and the image onscreen can make the image indiscernible. You will want to make sure to set a balance between the sources you can control to ensure all objects are being presented to the camera at a similar illumination level.

We also need to make sure that all of the light sources covering an area are of the same temperature. Having two different sources will cause issues with the camera’s colour recognition as well. Again, we need to look at what sources we have in our control and make sure they all match. If we have windows that allow daylight to hit the chancel, we will want to make sure all of our added lighting is also set or corrected to a daylight colour temperature. If that isn’t possible and the lighting system in your facility features warm light sources, we may want to have the windows covered

Olive Baptist Church in Pensacola, Florida your advantage and let it be diffused across the sanctuary. You will still need to evaluate how the added intensity appears in the area of your camera’s focus, but it may be easier to contend with once softened by the fabric. You will also need to consider other non-natural light sources you may have present in your camera’s view. One main source would be any video displays, such as LED videowalls or monitors – all of these devices add additional light to the space. When those types of displays are located onstage, you will want to control the brightness level that they are set to so that they do not become overexposed on the camera or create any unwanted

Another advantage that our eyes allow us over a camera is the ability to distinguish an object’s colour when presented in different colour temperatures of light. Colour temperature refers to how “warm” or “cool” the light is that a source creates. Standard incandescent light bulbs create a warm light, while the sun or daylight is a cool light. A camera has to be told what colour temperature it should be set to, and, even then, all of the lighting within the camera’s field of view needs to match that set point. Incorrectly setting a colour temperature can make objects look too blue, or orange, depending on the chosen setting and light provided.

to block that light from hitting the area in our field of view. You will also want to look at your onstage display screens and make sure that the native colour temperature that they have, or are set to, match the colour temperature of the lighting. Again, if the LED wall is set to a native colour temperature of cool white, and you have an incandescent lighting system, either the image on the screen that the camera sees will be incorrectly coloured, or the subjects in the camera’s field of view will be. Ensuring proper colour rendering or accuracy is an often-overlooked detail as a whole. Not only will our colour temperature settings and

continuity affect our colour clarity, but the quality of the light our fixtures create will as well. To ensure that we are properly rendering the colour of the objects our lighting fixtures illuminate, we will want to select fixtures with high CRI or TM-30 measurements. In essence, the CRI and TM-30 measurements detail how accurately a light source renders the colour(s) of an object when illuminated by it. The CRI rating is scored on a scale of 100, the higher the rating, the better the colour accuracy. While TM-30 is a better measurement for LED light sources, it has not been fully adapted by all manufacturers, so we often need to rely on CRI measurements instead. When selecting lighting fixtures you plan to use on-camera, a CRI of over 90 is the minimum score you should consider. Using a fixture with a lower score won’t give a horrible result but the fixture may just give some false shading to certain hues that you will need to adjust to. Something that often comes up when setting up for video capture is the lack of depth or variance between the subject and the background. There are a few methods that we can use to help with this problem, but often the best result occurs when multiple techniques are used. One option for creating depth is to ensure that you add back or top light to your area of focus. What this lighting position does is create a frame or rim of light around a subject. Adding in that contrast will help to define the subject’s frame and enhance the variance between their structure and details in the background. Another option that we have with lighting is to add fixtures to illuminate the objects in the background in a contrasting colour. Anytime we can use the lighting to create more contrast between the subject and other objects within the camera’s focal area, we will create a feeling of depth. Even if the background is a flat wall, washing it with a saturated colour will add in the effect and help to “pull” the viewer’s focus to the subject. Combining both backlight and background lighting will enhance the effect. To further the feeling of depth, choosing complementary colours in the two sources will multiply its benefit. With all of this, we need to make sure we remember the main purpose of the lighting is to ensure that the subject is clearly illuminated so that the camera can properly and accurately capture their form. We are tasked with helping to create a quality image for our congregation so that they can focus all of their attention on the message that is being delivered to them, making them feel close to the congregation even as we remain physically distant.

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NEWPRODUCTS

PRODUCTS

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

A–ZCONTENTS ADJ Encore Profile Pro

A 12-enclosure K3 array

AJA Bridge Live/OG-Dante-12GAM 56 Amate Audio

X102FD 46

ARX Systems

MIXXMaker update

Audio-Technica AT2020V/AT2020USB+V

Avolites Prism Player/Titan v14

beyerdynamic TG D70/TG I51

Blackmagic Design ATEM Mini Pro ISO

Bose L1 Pro 46 Chauvet H-55FC/COLORado Batten Q15

Claypaky Axcor Profile 600 Teatro

Clear-Com CC-70/Eclipse HX version 12

d&b audiotechnik

44S 48

Digital Projection

M-Vision 23000

DPA Paintable Subminiature Cap

Elation Fuze Wash FR/Polar Crisp Max

ETC fos/4 Fresnel/ArcLamp Flicker

HK Audio

Polar 12

JBL Professional

VTX B28

L-Acoustics K3

Lectrosonics DCHR

MA Lighting

grandMA3 onPC fader wing

Magewell Pro Convert for NDI to HDMI 4K

52 57

Marshall CV503-U3/VAC-23SHU3 57 Martin Audio

XP Connect

Prolights EclPanel TWC/EclPanel TWCJr

51 52

QSC Q-Sys Core 8 Flex and Core Nano 51

L-Acoustics scales K3 L-Acoustics has conducted its first-ever completely online product launch to unveil the K3 loudspeaker to the world DESIGNED TO bridge the gap between the French manufacturer’s full-range line arrays – the K1 and K2 – and the smaller Kiva II and Kara II, the K3 enclosure delivers the same sonic signature and frequency contours as the larger models. An updated version of Soundvision software, V3.2, has also been made available. Operating within a frequency response of 42Hz – 20kHz (–10dB), the dual 12-inch line array cabinet boasts a footprint of a dual 10-inch enclosure. Capable of producing a maximum SPL of 143dB, the bass response is extended to 25Hz (110dB) when paired with the SB28 subwoofer. Suitable for audiences between 1,000 and 10,000 at festivals, theatres and arenas, the K3 is joined by the K3i install version that incorporates the same driver and electro-acoustic characteristics but comes equipped with install mounting hardware.

Weighing 43kg, the Baltic birch plywood cabinet integrates the manufacturer’s Panflex Technology, offering four dispersion options from the single enclosure. With Panflex and inter-element angles ranging from 0–10°, K3 line source coverage can be tailored to fit any audience geometr y. Like the K2, the K3 features an ergonomic four-point captive rigging system that integrates large handles and provides visual safety assessment. Weatherised to achieve an IP55 rating for outdoor operations, K3 transpor tation and rigging accessories are available to facilitate on-site deployment. The contour characteristics of the full-range enclosure match the K1 and K2 models. To maximise lowfrequency power, laminar venting technology found in the KS21 and KS28 reference subwoofers has been integrated into the design of the K3 cabinet. Improving the output and audio quality in the lowfrequency domain, the side panels

RCF S 10 and S 12/DX 2006

Renkus-Heinz 24/3-RN

Roland V-1HD+

Schoeps CMC 1 L

Sennheiser MKE 200 48 Shure SLX-D/AD3

Symetrix xIO Bluetooth 51

of the K3 are moulded to prevent turbulent air flow at the exit of the por ts. Matching the additional lowfrequency power, the cabinet is fitted with a pair of high-output 4-inch compression drivers mounted to a dedicated DOSC waveguide. This in turn feeds into a Panflex element capable of producing one of four dispersion patterns: 110° symmetrical, 70° symmetrical or 90° asymmetrical left or right. Combined with the electronic presets, the manufacturer claims a dispersion control down to 350Hz. The installation version, the K3i, switches this with a pair of installcentric “bumpers” for hangs that can be permanently mounted in a similar way and with the same splay angle options. Up to six of the two-way active WST cabinets can be driven by a single LA-RAK II amplified controller, ensuring that a single LA-RAK AVB unit can drive up to 18 K3s. The K3 fits between the K2 and Kara II

www.l-acoustics.com

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www.ElationLighting.com

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PRODUCTS

Amate turns to point source THE X102FD has been developed by Amate Audio to offer a powerful and highly efficient point source alternative to line arrays, particularly in mediumand smaller-sized environments. The V-shaped geometry cabinet features a symmetrical dual 10-inch LF driver arrangement with a 3-inch titanium diaphragm, 1.4-inch neodymium HF driver and an aluminium rotatable horn. With an Active+ integrated power and DSP control platform producing 3,000W of two-way amplification, the X102FD is capable of 136dB SPL continuous output. Partnered with the X218WF sub-bass, the X102FD provides a ready phasealigned, full-range, plug-and-play sound system that weighs 32kg. In terms of costs, manpower and time-scale efficiencies, Amate believes that it is

far ahead of any line array solution for venues and events of up to 1,000 people.

The X102FD can be deployed both vertically and horizontally due to its rotatable horn with a simple “no tools required” pull, turn and release mechanism. In vertical FOH applications, the horn provides 80° x 60° (HxV) dispersion (in its default position). In the horizontal plane – for applications such as front fills within a large-scale line array system, or close to the ceiling hanging in an auditorium – quick rotation of the horn maintains the same dispersion. Likewise, 60° x 80° (HxV) coverage can be obtained in either plane. Active+ also provides Dante audio networking on the X102FD via the two rear-panel Ethernet ports. www.amateaudio.com

Bose launches L1 Pro DRAWING ON technology developed 17 years ago with the release of the original L1 system, the L1 Pro series consists of the L1 Pro8, the L1 Pro16 and L1 Pro32 with a choice of two modular subwoofers, the Bose Sub1 and Sub2. Features include 180° horizontal coverage and RaceTrack woofer integrated into the Pro8, Pro16, Sub1 and Sub2. According to Bose, the slimline design of the RaceTrack driver provides extended base response and less bulk, making the subwoofers easier to transport, carry and fit onstage. Builtin multichannel mixers provide

EQ, reverb and phantom power, and Bluetooth allows streaming and access to the Bose library of ToneMatch custom EQ presets. The systems are designed to offer flexibility to artists and venues alike, with the Pro8 suited to intimate rooms, the Pro16 for small-to-medium spaces and the Pro32 for large audiences. A modular design facilitates packing, carrying and system setup, while the L1 Mix app allows users to adjust mixer settings via phone or tablet from the

stage, with the ability to change volume and tone settings. Designed to provide musicians and performers with added control, the L1 Pro family delivers more output and bass extension than the original L1 system and doesn’t compromise on portability. The expanded I/O features and integrated ToneMatch technology allowing users to optimise the sound of their instruments and microphones. The introduction of the L1 Mix app provides wireless control of all mixing functionality, including volume and tone from a mobile device in sync with the mixer. The L1 Pro8 C-shaped line array weighs 17.7kg and features eight articulated 2-inch neodymium drivers and integrated 7-inch x 13-inch subwoofer with RaceTrack driver. The 24.4kg Pro16 has 16 drivers and a 10-inch x 8-inch subwoofer with RaceTrack, while the 32-driver, 13kg Pro32 can connect via a single cable to the Sub1 or Sub2 modular subwoofer, both of which feature RaceTrack drivers and SubMatch connectivity for power and audio. Two subwoofers can be combined, and cardioid mode deployed for directional performance. pro.bose.com

Polar air forecast for HK Audio FOLLOWING ON from the Polar 10, HK Audio has developed a bigger brother in the Polar 12 for musicians, entertainers, DJs, presentations, schools and audiovisual applications. Consisting of a 12-inch subwoofer and two 825mm-high columnar elements, the Polar 12 is a plug-and-play, active system. The subwoofer’s birch plywood 22.1kg enclosure incorporates a 2,000W amplifier with 24-bit DSP and a 12-inch long excursion woofer that is capable of operating down to 35Hz (±10dB). Designed to enhance portability, the midrange/HF column comes in two sections. Optimised for powerful midrange response, the top section is loaded with six 3-inch neodymium midrange drivers and a low-distortion, 1-inch constant directivity horn. Tuned to project a 120° throw pattern and impede feedback, the Polar 12 can also be adopted as a stage monitor. A four-channel mixer offers two mic/line channels, one instrument channel and one aux channel for music players. The mixer’s settings can be stored in five presets for future access and audio streams can also be rendered wirelessly via Bluetooth 5.0. The system comes complete with a padded gig bag for the columnar elements and a padded cover to protect the subwoofer in transit. www.hkaudio.com

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Renkus-Heinz JBL extends VTX series extends ICC Series FOLLOWING THE launch of the 12/3-RN single array module, Renkus-Heinz has added a third family member to the Iconyx Compact (ICC) Series. Bringing the benefits of Renkus-Heinz’s Iconyx family to a smaller footprint array, the ICC 24/3-RN has been developed for medium-sized installations. It is characterised by an unobtrusive cabinet that is almost 40% smaller than the classic Iconyx. Measuring 2m x 111mm x 121mm (HxWxD), the folded aluminium housing can be finished in black or white in addition to customised RAL colours. In terms of performance, the vertical directivity of the beam-steered line arrays can help overcome architecturally sensitive spaces. Beams can be digitally steered and directed from 400Hz and 200Hz, respectively. Vertical computeradjustable opening angles vary between –30° and +30°. RHAON II beam-steering incorporates URGO beam algorithms, a movable acoustic centre, multiple beamopening angles and high-pass filtering of individual beams. Each of the 24 3-inch, full-range paper cone drivers are powered by dedicated 40W @ 8Ω digital amplifiers, and individual DSP parameters including EQ, filters and delays up to 340ms can be configured. In addition to analogue and AES inputs, the rear panel includes two RJ45 Ethernet together with looping Ethernet, RHAON or optional Dante connectors. A rear-fixing, wallmount bracket is also included.

DESIGNED TO complement the VTX full-range sound reinforcement systems, JBL Professional has created a next-generation dual 18-inch subwoofer. Differential Drive technology endows the drivers with increased performance and SlipStream port technology offers improved airflow and reduced audible turbulence at any operating level. Following in the footsteps of the A8 and A12 rigging designs, the B28 is housed within an integrated rigging system for suspension in omnidirectional or cardioid arrays of up to 16 enclosures. The rigging and a comprehensive collection of accessories extend its flexibility within mobile and installation applications. Integrating with HiQNet Performance Manager and Line Array Calculator (LAC) software, the B28 sports the same industrial design as A- and B-Series loudspeakers. Engineered for improved linearity, efficiency and extra-long excursion, two JBL Differential Drive 2288H-M

18-inch woofers lie at the core of the B28. The combination of the 2288H-M drivers and the large, central, flared port deliver LF output without distortion or artefacts. FEAoptimised integral bracing eliminates inter-cabinet standing waves, improves rigidity and simplifies the structural design. Mounting and configuration enhances versatility options. Avoiding traditional quick release pins and retaining cables that can get damaged or lost, the twopoint rigging system uses integrated levers and locks. This enables the B28 to be stacked vertically or horizontally, using the independent sets of feet on the bottom and

sides, while the spring-loaded design is said to ensure there is no rattling during operation. Universal M20 mounts interface with supported VTX accessories for constructing complete ground-stacked arrays. NL4 connectors on both the front and rear of the unit enable convenient wiring in standard or cardioid configurations. pro.harman.com

Fresh out of Reggio Emilia DESIGNED AS low-frequency complements for RCF speakers, the S Series of compact subwoofers feature high power precision transducers that can produce fast and controlled bass reproduction. Capable of 400W AES power handling with a maximum SPL of 125dB, the S 10 and S 12 are 10- and 12-inch woofers with 2.5-inch voice coils. The models extend the LF range down to 50Hz and 40Hz, respectively, and are suited to music playback in multimedia and venue applications. Constructed in plywood, the S Series cabinets are equipped with steel front grilles, top-loaded M20 standard pole mounts and four-pole Euroblock connectors with an audio input and parallel link output.

DX 2006 Incorporating 40-bit floating point DSP and a 96kHz sampling rate, the DX 2006 is a two-in/six-out loudspeaker management processor for optimising passive speakers. Providing flexible routing, signal processing and equalisation, the front panel is equipped with LCD, controls and LED indicators, while the USB and RS-232 ports on the rear of the unit extend remote PC management. The Xlink PC GUI application extends digital processing control and monitoring options on the entire screen, while programs can

be recalled and stored to and from the PC hard drive. Various crossover modes are available and up to 30 programs and settings can be stored. Eight equalisers are available for each input and output together with limiters, levels, polarity and delay settings. Dedicated for smaller rack- or wall-mounted EN 54-16 certified applications, the MX 3500 is the master unit of the DXT 3000 voice alarm system. Comprising Class-D amplifiers providing up to 500W of power, up to six independent zones can be managed with a facility for a spare amplifier. The EN 54-4 certified internal power supply comes with back-up batteries, while integrated DSP further optimises environmental EQ and maximises intelligibility and BGM performance. Optional BM 3804, BM 3804FM and ME 3801 emergency microphone consoles, together with BE 3806 button extensions, promote live broadcasting functionality. Emergency messages are stored on a monitored SD card.

www.renkus-heinz.com

S 10

www.rcf.it

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d&b audiotechnik drives new 44S to market DESIGNED TO deliver highperformance audio in nearfield applications with a wide range of flexible mounting options, the 44S is d&b audiotechnik’s first ever flushmountable cabinet. The speakers comprise dual 4.5-inch neodymium LF drivers together with dual 1.25-inch HF dome tweeters mounted on a rotatable constant directivity horn to create a rotatable dispersion characteristic of 90° x 30°. An optional d&b 44S back box can be used for flush mounting the loudspeaker into

ceilings or walls, in both horizontal and vertical positions. The 3.6kg (6.2kg with back box) loudspeaker can be used as a standalone system or supplemented by actively driven d&b subwoofers. Measuring 390mm x 128mm x 150mm (WxHxD), the asymmetric cabinet design and the optional back box promotes adjustments of ±20° in 5° increments for different listening heights. Powered by 10D or 30D installation amplifiers, the passive 44S can produce a

maximum SPL of 121dB and 123dB output, respectively. The compact, point source, two-way design incorporates an intelligent, rotatable waveguide and baffle design that the German manufacturer claims to deliver smooth horizontal and tightly focused vertical dispersion between 90Hz and 17kHz (–5dB). The injection-moulded enclosure is finished in a resistant paint and further protected by a rigid metal grille. Two M8 threaded inserts are

44S incorporated into the back panel to connect to different rigging accessories. The loudspeaker cabinet and most accessories are also available with the Special Colour (SC) option that can be executed in all RAL colours. www.dbaudio.com

6060 evolves on a wider stage MKE 200 enhances audio use

MEASURING JUST 3mm in diameter, the DPA 6060 Core subminiature microphones are capable of capturing high SPL levels without distortion. The Danish innovator has now added a white-

painted, stainless steel cap that can replace the original 6060 Series grid, which can then be painted or covered in makeup for live performances. The IP58-certified model can be used to hide a white mic in the buttonhole of a white shirt or similar. When extra audio security is required, a 360° double clip has been created for mounting the subminiature lavaliers in eight positions in 45° incremental steps. This added design feature speeds up mic changes when transferring from women’s to men’s shirts or even t-shirts where the neckline is used. www.dpamicrophones.com

DESIGNED TO enhance video clips with clean and crisp audio, Sennheiser has added the MKE 200 to its portfolio of audio-forvideo microphones. Measuring 69mm x 60mm x 39mm and featuring a fully integrated shock mount with a built-in windscreen, the mini-microphone is designed for easy on-camera use with DSLRs and mirrorless cameras in addition to mobile devices. The MKE 200 features a directional design to capture the sound of the subject while rejecting unwanted background

noise. Minimising any handling and wind noise, the microphone comes with an internal shock mount which acoustically decouples the capsule from the housing and a layer of protective mesh within. Outdoor protection is further enhanced with an inclusive furry windshield. The battery-free operation and 48g lightweight design of the pre-polarised condenser reportedly promotes optimal gimbal performance. www.sennheiser.com

SLX goes digital, while Axient makes any mic wireless SHURE’S OUT-OF-THE-BOX SLX wireless series has gained a new digital entry in the form of the SLX-D. Offered in single- and dualchannel models, the SLX-D can handle up to 32 wireless channels per frequency band without dropouts, reportedly providing better performance in congested RF environments, and is being targeted at installations where ease of use matters the most, such as houses of worship. The SLX-D transmitters run on either standard AA batteries or an optional lithium-ion rechargeable battery solution with a dualdocking charging station. To aid with setup, the SLX-D is equipped with Guided Frequency Setup and a Group Scan feature that lets users set up multiple channels by assigning frequencies to all receivers automatically via Ethernet connections.

AD3

“As we support customers in houses of worship, we recognise the need for an easy-to-use digital wireless system with rock-solid RF performance that can scale as the needs of the venue or spectrum environment change,” said Nick Wood, senior wireless category director at Shure. “With the SLX-D, we can offer a solution that is both stateof-the-art and great value.” At the other end of Shure’s product portfolio, a new wireless transmitter

for its flagship Axient Digital system has been released that transforms any XLR microphone into an Axient Digital microphone. The Axient Digital AD3 Plug-On Transmitter is a compact unit sporting an XLR connector and small OLED display said to be easy to read in challenging lighting conditions, as well as boasting a sweat-, moisture- and debris-resistant construction. Compatible with Axient Digital AD4D and AD4Q rack receivers in standard or HD modes, the AD3 is for applications that require a flexible connection to a wired microphone. The unit has been designed to provide portability and connectivity, while still offering the reliability and performance that are synonymous with Axient. It also includes a pouch, belt clip, USB-C cable and supports both conventional AA and Shure SB900A battery options. www.shure.com

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beyerdynamic adds to TG series Size doesn’t matter for Schoeps TWO MICROPHONES have from ambient noises and made their debuts as part of prevent acoustic feedback. beyerdynamic’s Touring Gear The microphone suppresses (TG) series. The kick-drum rear sound and softly captures microphone TG D70 and the side sound, making it particularly instrument microphone TG I51 are suited for drum recordings in loud manufactured with a die-cast zinc environments housing, while the compact design such as live includes features that enable events. both mics to excel in the The TG I51 studio or onstage. is described The TG D70 as a jack is a large of all trades diaphragm and reportedly brings microphone out the best in every specially instrument – from snare designed and tom drums to electric to record the guitar amplifiers and brass kick drum in action. instruments. It can be attached beyerdynamic describes to the stand or a snare drum with the TG D70 as a true the help of beyerdynamic’s MKV 87 midget as it can fit microphone holder. The TG D70 and TG I51 right into every hole The TG I51 is said to on a typical kick drum. enhance the toolbox The microphone can also be set up used by producers and sound on a cajón and bass guitar amplifiers engineers while making their lives to optimally record the instruments’ much easier. sound. The hypercardioid features www.beyerdynamic.com reportedly provide good isolation

FORMING THE world’s smallest modular studio microphone for use in film and video sound recordings, Schoeps has developed the CMC 1 L microphone amplifier. Having previously created the miniature CMC 1 U amplifier as part

of the Colette-series, the German microphone manufacturer has further reduced the size of the latest model by adopting the same miniature Lemo connector. Boasting a 28g weight and 25.5mm-long capsule as a result of the no XLR design, the CMC 1 L can be further transformed with CCM series’ accessories. Available with a Lemo-to-XLR adapter cable and miniature stand adapter, all three forms of the CMC 1 are suited for concert stage applications in addition to a boom. Offering a 50% reduction in current consumption, the technical performance is on par with the established CMC 6 amplifier. Several parameters of the electronic design have been improved including the handling of higher SPL levels (135dB SPL with the MK 4 or MK 41 capsule) in 48V operation. The CMC 1 is particularly suited for use with wireless microphone transmitters. The Schoeps RFI Shield reliably suppresses radiofrequency interference, while the low output impedance remains constant across the frequency range. www.schoeps.de

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A-T develops 2020 vision in silver AUDIO-TECHNICA HAS developed two limited-edition iterations of its AT2020 cardioid condenser microphone featuring a reflective silver finish. To celebrate the mic’s clear, natural sound quality, the visually striking finish of the AT2020V (standard) and the AT2020USB+V (USB model) is designed for users creating content for YouTube and livestreaming. Custom-engineered for extended frequency response and enhanced transient response, the sideaddress condensers are equipped with low-mass diaphragms. The mics’ cardioid polar patterns reduce

pick-up of sounds from the sides and rear, improving isolation of the desired sound source. Coming with AT8458a shock mounts as standard, the AT2020 mic line models offer a wide dynamic range and reportedly handle high SPLs with ease. The AT2020V is ideal for vocal pick-up and features an analogue XLR output for easy connection to a digital converter or mixer. Designed for podcasting and streaming, the AT2020USB+V offers the convenience of plug-and-play USB operation. Shipped with a 3.1m

allows direct monitoring of the microphone signal with no delay. It also offers a mix control that blends microphone and pre-recorded audio. The microphone’s A/D converter (16-bit, 44.1/48kHz sampling rate) is said to ensure articulate sound reproduction. www.audio-technica.com

AT2020USB+V USB cable, the AT2020USB+V features an integrated headphone amplifier with volume control that

Stereo in miniature CAPABLE OF stereo or mono operation from a single RF carrier with digital transmitters such as the DCHT, M2T, DBu, DHu and DPR, Lectrosonics’ DCHR miniature stereo digital receiver offers tuning from 470–614MHz in the UHF band. It covers six Lectrosonics blocks and matches the tuning ranges of the digital transmitters in the D Squared, DCH and M2 Duet lines. Measuring 76mm x 60mm x 16mm (HxWxD) and weighing 259g with batteries installed, setup is described as quick and easy with ultra-fast RF scans in SmartTune and using IR sync to send settings to the associated transmitter. Manual

tuning can also be carried out using the RF Scan screen or by entering the frequency in the tuning screen. The audio outputs on the TA5 locking connector can be selected in the menu as analogue or AES3 format. A 3.5mm stereo headphone jack on the top panel can be used to monitor the receiver audio signals. Detachable SMAmount antennas are also included. The receiver incorporates AES 256-CTR mode encryption, with four different encryption key policies available, including universal (common to all Lectrosonics D2, M2X and DCHX units), shared (ideal for sports coverage), standard and volatile (one-time use key).

Optional accessory cables are available for both analogue and AES3 connections to associated equipment. The optional LTBATELIM battery eliminator can be used to power the DCHR with external DC, while the optional LRSHOE accessory can be used to mount the receiver on small cameras. A USB jack on the side of the unit can be used to update firmware in the field using Lectrosonics’ Wireless Designer software. The DCHR housing is milled from aluminium alloy and specially plated for scratch and corrosion resistance. www.lectrosonics.com

downstream key on/off, transition type, picture-in-picture, effects on/off and other functions. PGM and PST busses and a transition/ fade bar (T-Bar) are also

V-1HD+ included, while audio adjustments can be made using volume knobs, signal/peak lights and unity gain markers.

An integrated 14-channel digital audio mixer comes with two XLR mic inputs and a 3.5mm lavalier mic or stereo audio source input, which both include de-essers. An additional stereo line input is available on RCA jacks and embedded stereo digital audio from the four HDMI inputs can be included in mixes as well. Each V-1HD+ audio input has its own three-band equaliser, high-

pass filter, compressor and noise gate plus delay to align audio with video. The V-1HD+ incorporates several real-time monitoring tools including a 10-window multiviewer display that can be applied to one or both HDMI outputs for cueing up camera shots and for selecting stored still images before taking them live to the program output. The effects engine comes with four composition layers for adding lowerthird titles, logos and social media comments, while the DSK (downstream keyer) layer can independently composite a picture-in-picture window on top of a video feed. Other tools include a tally light support, remote record triggering of Atomos recorders and an RS-232 port for legacy gear. proav.roland.com

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An added switch in the story for Roland WITH THE development of the V-1HD+ HD video switcher, Roland has expanded the V-series of multichannel HD video switching products. Furthering the V-1HD four-channel switcher, the compact AV switching solution features HDMI I/O, control options, monitoring tools and 14-channel audio mixing for visual storytellers. Four HDMI inputs are available for mixing various video sources including cameras, PCs and tablets. In addition to two independent HDMI outputs, the built-in scaling on Input 4 automatically synchronises and calibrates video sources without the need for extra equipment. The interface for the V-1HD+ incorporates panel buttons that provide quick access to the system menu,

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PRODUCTS

ARX mixes it up

Q-Sys releases two new Cores TWO NEW smaller models have joined QSC’s Q-Sys processor portfolio in order to meet the demand in smaller spaces that require fewer inputs and outputs, as well the increased popularity of networking peripherals. Utilising the same software-based architecture, control engine and design software suite as the existing Q-Sys Core 110f, Core 510i and Core 5200, these smaller Core processors include the Core 8 Flex, which boasts onboard analogue audio I/O and GPIO plus network I/O and the Core Nano which offers network-only audio I/O processing and control. As with the rest of the platform, the models both offer scalable DSP processing, video routing and bridging, as well as thirdparty endpoint integration without the need for separate dedicated control processors. “Pretty much ever since we released our Core 110f processor, customers have been asking us when we were going to cut that in half. There are many applications where 24 I/O channel capacity is just not needed,” explained Jatan Shah, executive vice president, chief operating officer and technology officer, QSC. “These new models are the answer to that. One offers on-board analogue I/O while the

other is strictly networked-based, so users can make their decision based on the type of endpoint requirements they have in their space. Just because they are smaller cores though, doesn’t mean we had to compromise. Both models still provide the fully integrated, software-based audio, video and control processors that Q-Sys is known for.” The Q-Sys Core 8 Flex includes a 64x64 networked I/O channel capacity with eight on-board Flex audio channels and eight GPIOs to integrate analogue audio and control devices into Q-Sys. The Q-Sys Core Nano offers the same 64x64 networked audio I/O without the on-board analogue I/O in order to support installations with smaller spaces with centralised processing and fully networked endpoints. Both occupy a half-width, 1U footprint and include pre-installed 8x8 software-based Dante audio channels (licence upgradeable up to 32x32 channels), driverless USB audio and AV bridging capabilities. In brief, the latest v8.3.3 Q-Sys Designer software update now supports software-based Dante networking on the Q-Sys 110f without the need for additional hardware or I/O cards.

provides all the inputs users need but also independent controls for a professional mix. MIXXMaker integrates ARX USB, wireless and analogue audio interface technologies into a compact package with a wide range of features,

mic/line master mixer. MIXXMaker is designed to deal with a wide variety of protocols and connectors. As consumer-level devices have become the programme source of convenience in audio playback across most applications, ARX reports that MIXXMaker not only

including wireless audio, USB and mini-jack inputs, two balanced XLR microphone inputs, switchable pushto-talk priority override ducker, global three-way EQ control and phantom power for condenser microphones. www.arx.com.au

The preset page

Martin Audio announces first iOS app

www.qsc.com

Symetrix bridges the network THE XIO Bluetooth has been launched by Symetrix as the first single-gang, Dante-enabled Bluetooth endpoint. Available in both US and EU form factors, the endpoint adopts a Bluetooth 5.0 chipset and offers both an extended range with a stable connection. IP control and PoE simplify installation with a single cable connection from the xIO Bluetooth to a PoE-enabled network switch. The xIO Bluetooth may be configured to allow mediaonly connectivity, phone bridge connectivity or both. All aspects of the xIO Bluetooth can be controlled via Symetrix remotes, SymVue panels or third-party control systems. As a fully integrated member of the Symetrix xIO family of Dante endpoints, Dante routing can be managed within the Symetrix Composer software. All

RESPONDING TO an increase in demand for a professional 1U solution that can interface with smartphones, tablets, laptops and other mini-jack and USB-enabled devices, ARX Systems has upgraded its MIXXMaker wireless audio, USB

aspects of the xIO Bluetooth are fully configurable, including the Bluetoothfriendly device name, Dante channel names, connect/reconnect functionality and security. www.symetrix.co

XP CONNECT is Martin Audio’s first-ever iOS app for the control and streaming of its self-powered portable series, BlacklineX Powered. When BlacklineX Powered launched, users were able to access the builtin three-channel mixer and on-board Bluetooth streaming by utilising the rotary panel controls on the back of the loudspeakers. The aim of the app is to provide users with all the functionality of the back panel in an intuitive format. The manufacturer describes the app as a quick and easy way for users to set up their speakers and deliver a low-scale mix using simple controls, such as input and output faders and high-pass filters. Dan Orton, Martin Audio’s product group manager, explained: “If the Bluetooth pairing on the loudspeaker is activated, it will automatically find the speaker and ask if you want to connect. Alternatively, in Demo

mode, the user will be presented with a screen with faders – two channels, Bluetooth the main output fader for the loudspeaker and a clearly visible EQ button. You can set them up as stereo loudspeakers or allow them to work in zones.” According to Orton, this means that a single connected BlacklineX Powered will allow mute control of all inputs and outputs, with signal level visualisation and access to EQ and settings. Two connected enclosures will additionally offer the choice of Stereo or Zone modes, with threeband EQ and high-pass filters. It allows setup of the XP12 and XP15 in three modes: full range, with sub added in and with floor monitors. The app has further advantages in that it allows the user to store and recall three different snapshots if set up for a FOH application. www.martin-audio.com

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Clear-Com develops lightweight wrap-around headset DESIGNED FOR people who prefer a wrap-around headset configuration, the CC-70 from Clear-Com is a lightweight, dual-ear headset which runs behind the neck and over the ears, finishing with the mic boom near the mouth. Audio is delivered through comfortable and flexible noise-attenuating, inear buds; users can either wear a single in-ear bud to listen to channel communications and still be aware of ambient conversation, or in louder environments users can wear both in-ear buds to concentrate fully on headset communication. The CC-70’s dynamic range allows users to hear a full spectrum of audio, without the excessive noise and signal distortion that can lead to aural fatigue. Weighing less than 60g, the headset is described as being comfortable to wear for long periods of time. In addition, as the headset wraps around the back of the neck, this makes it an ideal solution for noisy environments. The CC-70 uses a four-pin female connector which can be used with a variety of Clear-Com devices,

CC-70 including FreeSpeak II, FreeSpeak Edge, HelixNet beltpacks and V-Series Iris panels. With the development of an EHX version 12 software update, Clear-Com’s Eclipse HX digital matrix intercom now supports SMPTE ST2110-30 and AES67 interoperability. The all-IP intercom allows bidirectional communication

for small or large collaborative teams. The same update also allows the configuration and integration of FreeSpeak Edge 5GHz wireless beltpacks to further extend the existing FreeSpeak II 1.9GHz and 2.4GHz solutions within the same EHX managed system. The Eclipse HX system enables direct, pointto-point and one-to-many group

and partyline audio/data signal distributions and connections. All systems intelligently trunk over redundant fibre or through trunks based on IP (Dante, AES67 and native), MADI and audio Cat-5, reportedly without compromising audio quality or performance. For very large systems, Eclipse HX v12 also includes a Cross Ring IP Bridge (CRIB), which is a new trunking scheme that links separate, distant Eclipse HX intelligent fibre rings over IP bridging trunks. The US company has also developed comprehensive kits for the effective sanitisation of five of their most popular headset models: the CC-300, CC-400, CC-110, CC-220 and CC-26K. The new kits consist of replacement ear pads, replacement pop filters, sanitising wipes, ear sock covers and temple pads in a cloth headset kit bag. Userreplaceable items for each kit differ slightly based on the structure of the headset – single or dual ears – and the headset series. www.clearcom.com

MA Lighting expands grandMA3 MA LIGHTING has introduced two new products for its grandMA3 onPC solutions: the grandMA3 onPC fader wing and the grandMA3 onPC xPort Nodes DIN-Rail. The grandMA3 onPC fader wing has been designed to be the most suitable hardware playback expansion for the grandMA3 onPC software. In combination with this free-of-charge software, the grandMA3 onPC fader wing offers users full playback capabilities and adds 2,048 parameters to the grandMA3 onPC parameter count. The range of grandMA3 onPC xPort Nodes DIN-Rail have been specifically designed for increasing demands for in-fixed installation applications

to build a reliable backbone of synchronised data transportation. The Nodes can be configured remotely from any console or onPC station within the session to provide easy access to DMX output or DMX input. The grandMA3 onPC software delivers the same software functionality as the grandMA3 fullsize, light and compact models and has been designed for events and installations with a maximum of 4,096 parameters. The showfiles of the grandMA3 onPC solutions can be used across the entire grandMA3 system. www.malighting.com

EclPanel TWC

From daylight to tungsten FITTED WITH a full range of white reproductions from daylight through to tungsten tones, the EclPanel TWC and EclPanel TWCJr from Prolights are LED soft lights that provide a wide source of soft and precise colours. The EclPanel TWC (2x1; 740W) and EclPanel TWCJr (1x1; 370W) reportedly reach a superior light quality with high CRI, TLCI and TM-30. The fixtures are said to provide quick and accurate local adjustment of light through three rotatory knobs with three fully featured modes: CCT with ± green shift; HSI for total control of hue, saturation and

intensity; and FX mode to access the on-board pixel cinema effects. The units can also be controlled on a per-section basis, allowing for reproduction of on-board customisable effects or to be selfmade through the lighting desk. Both methods are said to provide appealing and modern front looks and cinematic special effects. The LEDs are designed with an on-board driver and built-in power supply and, being lightweight, they reportedly offer easy rigging and cabling for a variety of locations. www.prolights.it

grandMA3 onPC solutions

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ADJ presents an Encore ADJ HAS introduced its new range of Encore Profile Pro professional LED-powered ellipsoidal fixtures, complete with a wide selection of lens options. The Encore Profile Pro WW features a 260W warm white LED light source with a colour temperature of 3,200K. It boasts a high CRI of more than 97 and can generate an even field of light, with no hot spot. The new fixture measures a total light output of 10,000 lumens, while the LED engine has an average lifespan of 50,000 hours when operated with a 26° lens. The new ellipsoidal utilises a 250W six-in-one RGBWAL LED engine, with a 50,000-hour average operational life. The use of the independent dimming allows control of the red, green, blue, white, amber and lime LED elements to generate a spectrum of colours, from vibrant primaries to subtle hues. This feature can also be used to produce colour-corrected white light, with a macro function providing

Encore Profile Pro WW a selection of different Kelvin colour temperatures. The fixture has a light output of 6,000 lumens (measured with a 26° lens) and offers a CRI of more than 90.

These fixtures are interchangeable with ADJ’s range of lens tubes. The industrystandard design means they can also be used with any existing ellipsoidal lenses and accessories.

Both the models support B size metal or HT transparency gobos with a four-blade manual framing shutter system as well as a manual focus adjustment. The two fixtures offer 0–100% digital dimming and variable speed strobing. A number of different dimming curves can be used to suit varied applications. The two fixtures offer DMX channel modes: 1, 3 or 4 for the Encore Profile Pro WW and 6, 9 or 12 for the Encore Profile Pro Color. The DMX addressing and mode selection can be handled via an LED menu screen on the back of each unit, while five-pin input and output sockets are provided for the DMX signal. On the rear panel, operators can find the locking power input and output connectors which can be used to connect the power supply for up to three fixtures at 120V (eight at 240V). Lastly, the inclusion of a USB port allows for easy installation of future firmware upgrades. www.adj.com

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PRODUCTS

Chauvet expands Ovation CHAUVET PROFESSIONAL has revealed the latest addition to its line of Ovation house lights. The new, compact Ovation H-55FC offers versatility in houses of worship and other venues by fitting into smaller spaces. The RGBAL fixture works with the larger H-605FC, as well as other Ovation house lights, to provide an even field of light throughout a room. The installation process is simplified with the removable fixture yoke, sconce mounting kit and recess. The H-55FC features interchangeable lens plates to adapt to different mounting heights. The convection-cooled H-55FC reportedly operates in complete silence, which makes it suitable for applications that need to eliminate distractive background noise. The fixture’s RDM and W-DMX control is said to provide users even greater flexibility. The compact fixture

H-55FC

weighs in at 3.4kg and measures 334mm x 176mm x 115mm. It features an array of performance features, including 16-bit dimming, a selectable red shift and virtual colour and colour temperature presets. In other news, Chauvet has released the IP65-rated COLORado Batten Q15 which comes with an array of rigging options said to make it right at home in a wide range of designs. The adjustable trunnions on this 1m-long RGBW LED batten, which can be adjusted without tools on its integrated track, have reportedly been given an even greater degree of versatility with the addition of ¼ turn omega brackets.

Adding to the COLORado Batten Q15’s adaptability is a new system for joining different units together. Integrated into the end caps of the fixture is a system to connect units for perfect row alignment. Since these attachments are weight bearing, the COLORado Batten Q15 can be hung “icicle style” or arranged in tower configurations using the included hanging/floor mount plate. Features include an elliptical 42–15° beam spread, a stowable glare shield, colour temperature presets from 3,200– 10,000K and selectable smooth dimming curves. www.chauvetprofessional.com

COLORado Batten Q15

Claypaky heads to the theatre THE AXCOR Profile 600 Teatro is a newer version of the Axcor Profile 600 ST and features an updated cooling system with mechanisms that are said to significantly reduce the unit’s acoustical footprint (from 38dB to approximately 34dB ambient). This fixture has been designed for venues where noise is a concern and offers a flat, uniform beam with no visible hotspots. With the same physical features, size and

Axcor Profile 600 Teatro

effects as its Axcor 600 HY B-EYE K25 Teatro has the siblings, the fixture has same optical, electronic a zoom range of and mechanical 5.3–47.2°, CMY features as the HY colour mixing, B-EYE K25 but linear CTO, a changes have been five-colour wheel, made to the overall a rotating gobo design to reduce the wheel with acoustical footprint. seven gobos, This luminaire has a rotating four37 40W Osram facet prism, an Ostar RGBW LEDs, interchangeable a zoom range of animation wheel, 4–60°, a uniform a motorised light spread and HY B-EYE K25 Teatro framing system on four a rotating front lens focal planes, a variable with an enhanced frost filter, a high-precision iris, an electronic engine for dynamic beam electronic linear dimmer and an pattern design. Individual control of electronic strobe. It is available in each single LED is said to produce two different CRI versions: the Axcor kaleidoscopic projections and Profile 600 Teatro has a CRI of 70 eye-catching effects. The Klingand an output of 28,000 lumens at Net protocol reportedly enhances 6,500K and the Axcor Profile 600 creativity and simplifies the HC Teatro has a CRI of around 90 management and synchronisation of with an output of 21,000 lumens at LED light parameters and functions. 5,600K. Lastly, the MIDI-B is Claypaky’s new Claypaky’s second addition is the LED-based moving head luminaire HY B-EYE K25 Teatro, which is a with 19 Osram 40W RGBW LEDs. special version of the HY B-EYE K25. With a zoom range of 4–50°, the Like the Axcor Profile 600 Teatro, fixture has been developed for a wide the newer version is designed for variety of applications. The narrowest venues that need quiet operation angle is ideal for aerial effects as the without sacrificing bright colours. The beam produced is ultra-dense and

concentrated. At its widest zoom, the MIDI-B turns into a uniform wash light and can replace the heavier and bulkier fixtures. The 19 LEDs are arranged in three independently controllable rings, which can be used for bright back lighting effects. Other features include colour macros, a 2,500–8,000K colour temperature control range, a 16-bit dimmer with four curves, a 25 flashes per second electronic strobe and Ethernet access.

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MIDI-B

54 WORSHIP AVL January–February 2021

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PRODUCTS

Calibrated colour matching

fos/4 Fresnel

Fresnel added to fos/4 series ETC HAS announced the arrival of the fos/4 Fresnel which, according to the manufacturer, has been designed to take the most desired features of an incandescent Fresnel and add “nuanced” colour mixing, smooth fades and LED technology to create a true Fresnel with an LED engine. The 15–50° zoom can be adjusted from either the front or the rear of the fixture, while the accessory slot can be used to add any number of beam-control accessories, such as barn doors or soft boxes. The adjustable yoke is said to enable easy balancing of the fixture after focus and the homogenised optic gives users a “seamless beam of light”. Remote control and contactless features include wireless communication using City Theatrical’s Multiverse

10- and 5-inch variants scheduled to be available in the coming months. In other news, ETC has added the ArcSystem Pro Four-Cell Pendant to its family of architectural LED luminaires. With this solution, the line now features both FourCell Round and Pendant options, depending on a facility’s mounting needs. The Four-Cell Round gives users a choice of hanging hardware, such as a clamp, threaded rod or aircraft cable to be secured to the fixture’s captive hanging point. The Pendant option includes a traditional stem kit with canopy, complete with internal wiring to provide a clean finish. The new Pendant option provides a full-range 100–277V input along with an optional, UL 924-listed variant to take care of emergency egress requirements.

ArcLamp Flicker technology and contactless programming using ETC’s Set Light app via NFC from a mobile device. fos/4 Fresnels are available in two arrays: Lustr X8 for the full gamut of colour mixing and Daylight HDR for the brightest whites. Both arrays include deep red LEDs for nuanced rendering of skin tones, fabrics and scenery. The fos/4 Fresnel outputs up to 9,700 lumens and currently comes with a 7-inch aperture, with

Finally, the ArcLamp LED solution has received an upgrade with the addition of a new Flicker variant as well as new driver options. The Flicker lamp creates a 2,700K Fade to Warm effect by flickering randomly to imitate candlelight. Flicker lamps can also be used at constant brightness by changing the DMX value on its single control channel.

ELATION HAS expanded its Fuze series with the addition of its automated LED Fresnel fixture, the Fuze Wash FR. The fixture is designed for any applications where an automated Fresnel fixture with a wide zoom range and framing beam control with a soft field is required. It features a new 480W (6,500K) 92 CRI engine that uses a five-colour homogenised LED array of red, green, blue, mint and amber sources, which is the same colour system used in both the Fuze Profile and Fuze Spot to provide a calibrated colour match. Colour quality and colour manipulation are central to Elation’s Fuze Wash FR. With the inclusion of a virtual gel swatch book, virtual colour correction, magenta/green adjustment and CMY emulation, it gives designers access to a wide LED colour array, including a mixed white. Both the RGBMA LEDs and extremely high native CRI reportedly work together to

ensure accurate colour reproduction while delivering an output of up to 14,000 lumens. The Fuze Wash FR features a specially designed Fresnel lens for a smooth and even wash and houses an 8.2–42.1° (beam) and 12.7–62.1° (field) motorised zoom for tight to wide coverage. The full blackout framing system with four rotating blades gives full control of the beam shape when required and can index ±60°. An add-on variable frost filter is featured for an extra layer of smoothing. The 16-bit selectable dimming curves assist with the fixture’s ability to dim all the way to zero. The iris for advanced beam control and the highspeed electronic shutter and strobe round out the feature set. In brief, Elation has unveiled the Polar Crisp Max, a high-output snow machine with a 20l fluid tank hidden inside a road case. The unit’s 10m hose can be rigged on a standard truss or tripod stand and can extend up to 30m horizontally or vertically. www.elationlighting.com

Single-chip DLP laser projectors come of age WITH THE creation of the 23,000-lumen M-Vision 23000, Digital Projection has developed the world’s brightest single chip DLP laser phosphor projector to date. Designed to bring budgetsensitive applications a largescreen imaging solution, the new lamp-free, laser-phosphor projector provides a 10,000:1 contrast ratio and provides saturated colours with ColorBoost + Red Laser technology. Venues needing powerful, large-format imagery without sacrificing colour accuracy, in addition to those contending with ambient light, can directly benefit from the M-Vision 23000’s light output, contrast ratio and colourimetry. The DisplayPort accepts frame rates up to 60Hz and HDMI 1.4b for Side by Side, Frame Packing & Top Bottom 3D formats. Motorised shift, zoom and focus across the whole lens

range offer extra flexibility and ease of setup. The 0.96-inch DarkChip DMD comes with blue and red lasers and a four-segment colour wheel. Edge Blend and Geometric Correction are standard features of the M-Vision 23000, including the ability to blend stereoscopic images. A complete suite of professional lenses offers throw ratios from 0.9:1 to 7:00:1, all featuring motorised shift, zoom and lens memory. www.digitalprojection.com

www.etcconnect.com

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PRODUCTS

ATEM performs live streaming Magic CREATED FOR multi-camera productions and PC use in livestreaming via Ethernet, Blackmagic Design has added the ATEM Mini Pro ISO to its portfolio of production switchers. A five-stream recording engine allows separate H.264 video HDMI streams from a live production to be recorded in real time using multi-camera features and saved in the DaVinci

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pool images are saved with the video files which include metadata tags such as synced timecode and camera numbers. The HDMI output for projectors accepts desktop and lapel mics for interviews and presentations. A miniaturised control panel comes with four input buttons for the selection of various sources, video effects and transitions such as dissolve, dip to colour, DVE squeeze Playlist function

Prism Player digitally bends the spectrum ATEM Mini Pro ISO Resolve project file for editing and remixing following the event. Audio on each input can be recorded as a separate ISO file, while the in-built audio mixer supports limiting, compression and a six-band EQ. The ATEM Mini Pro model is equipped with record and streaming control in addition to output selection buttons that can change the video output between cameras, programme and multiview. On the rear panel there are HDMI connections for cameras or computers, an extra microphone

and DVE push. An integrated DVE allows picture-in-picture effects and can instantly set up different pictures for commentary. With the ability to access every feature in the switcher, the ATEM Software Control App features a visual user interface with parameter palettes for making quick adjustments. For news or on-set presentation work, the ATEM Mini can be used as an upstream ATEM Advanced Chroma Key plus an additional downstream linear keyer.

CREATED FOR media previewing and encoding, Avolites has debuted a software application called Prism Player. Designed to work as an auxiliary tool for the Avolites Ai video software platform, the application is the first release under the Prism product range. With the player’s clear user interface, Prism aims to expand its user base by introducing the discipline to a widening group of video designers and operators. The set of complementary tools aims to help designers integrate video into their individual projects, while improving the user experience for current Ai users. Prism Player’s tool allows the previewing and encoding of media clips without having to connect to a server or Ai application. The Player supports the HAP codec for clips from other servers to be previewed and transcoded for use in

Ai, which can be encoded in batches to save time Video clips in most common video formats can be encoded into the AiM codec, ready to be loaded into the server. Avolites devised the AiM video codec for projects requiring up to 16 layers of 4K content without losing visual integrity. Content rendered in AiM can also be previewed without uploading to a server. The software also includes a playlist function to preview different pieces of content together for a show or project. In brief, Avolites has also released Titan v14 including features such as virtual faders, open workspace window overlay, mask effects, handle options and manual crossfade effects.

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www.avolites.com

AJA streams, converts and updates inputs, USB for webcam out plus an HDMI aux output for programme video. The USB port operates as a simple webcam source and allows any streaming software to be adopted, while the ATEM Mini Pro model adds livestreaming and recording to USB disks. Each of the four HDMI inputs feature their own dedicated standards converter to automatically convert 1080p, 1080i and 720p sources to the video standard of the switcher. Media

Designed to connect video links directly from any ATEM Mini Pro model switcher, the ATEM Streaming Bridge decodes a live video stream before converting it back as SDI and HDMI video. Using H.264 codecs at low data rates promotes high-quality video that can be transmitted remotely over the local Ethernet network or via the internet globally.

AJA VIDEO Systems has developed Bridge Live to transport UltraHD or multichannel HD video between uncompressed baseband SDI to and from a wide range of

a flexible array of containers and protocols, including SRT, RTMP/S, RTP, UDP and MPEG-TS. Bridge Live provides video processing with SDI encode or decode for

streaming and contribution codecs (H.265, H.264, MPEG-2 and JPEG 2000) in real time. The plug-andplay gateway 1U solution supports

one channel of UltraHD up to 60p or up to four channels of 1080p60 simultaneously via four 12G-SDI connections that are also

www.blackmagicdesign.com

56 WORSHIP AVL January–February 2021

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PRODUCTS

Marshall in miniature PROVIDING PLUG-AND-PLAY connectivity to any Mac, PC, laptop or Linux system, the CV503-U3 is a USB 3.0 miniature POV HD camera with interchangeable lenses, a software agnostic inter face for use with any soft codec and universal command settings with UVC 1.5. It comes with a wide angle 2.8mm lens producing roughly 90° horizontal angle-of-view. Users can choose from a variety of Focal Length and aper ture options, while interchangeable lenses repor tedly provide unprecedented customisation and personal design control. The CV503-U3 is built with the same durable body as other Marshall miniature POV cameras

CV503-U3 mounted with rear connector protection wings on the back panel. It ships with a locking 1.8m USB 3.0 cable so the USB cable cannot be pulled out during video streaming or collaboration.

Meanwhile, the manufacturer has developed a USB 3.0 converter. The 10-bit VAC-23SHU3 adapter enables any HDMI or 3G/HD-SDI video and audio source to be ingested into a computer for livestreaming or video

Magewell updates and expands Pro Convert family DESIGNED TO expand the support for NewTek’s NDI media-over-IP technology, Magewell has added new updates for the Pro Convert for NDI to HDMI and Pro Convert for NDI to HDMI 4K standalone IP decoders.

Pro Convert for NDI to HDMI 4K

The upgrades have been designed for applications including multi-site video distribution, monitoring, image magnification (IMAG), digital signage, remote production and next-generation media infrastructures. Complementing the decoders’ existing support for full-bandwidth NDI streams, the free upgrades add compatibility with the lower-bitrate NDI | HX mode in NDI 4. The Pro Convert NDI encoders and decoders can bring traditional video signals into and out of IPbased production and distribution workflows, enabling existing sources and displays to work in nextgeneration media infrastructures.

backwards compatible to 6G, 3G and 1.5G SDI. The openGear OG-ROI-SDI scan converter has been created for converting 3G-SDI inputs to 3G-SDI and HDMI mirrored outputs. The card features audio functionality, image scaling, aspect and frame rate conversion, together with image rotation including frame sync functionality. Region of Interest support promotes the extraction of video source signals for scan convert, scaling and conversion to HDMI and SDI from SDI sources.

OG-Dante-12GAM is another openGear-compatible solution developed specifically for bridging 12G/6G/3G SDI sources with embedded audio to and from the Dante IP audio ecosystem with 64 channels of simultaneous bridging. The insertion of the OG-Dante12GAM card creates a high-density infrastructure solution for bridging Dante to SDI and back in large venue production environments. Compatible with openGear frames, the card provides up to 640 channels of SDI/Dante audio

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Pro Convert 12G SDI Plus The Pro Convert for NDI to HDMI and Pro Convert for NDI to HDMI 4K decode NDI input streams for output to HDMI monitors, projectors, production or distribution equipment. In addition to NDI technology, the decoders also support SRT, RTSP, RTMP, UDP, RTP and HTTP (HLS) streams with H.264 or H.265 compression. The NDI | HX mode supports full-resolution, full-frame-

production and recording. Offering a plug-and-play setup for integrating video sources to PC-based soft codecs and applications, a choice of HDMI or 3G/HD-SDI video source can be selected by the user. Active HDMI/3G-SDI (BNC) loop-through outputs keep sources available for other purposes, including the feeding of monitors, switchers and recorders. UVC protocol support allows the application to control the video format, resolution, frame rates and other settings independent of the original source format. Housed in a compact design for enhanced portability, power for the VAC-23SHU3 is provided through the USB 3.0 output. www.marshall-usa.com

rate video delivery over wireless and limited-bandwidth networks. The Chinese innovator has also introduced a trio of new models within the Pro Convert family of low-latency, video-over-IP encoders and decoders. Designed to bridge traditional video signals with IP-based production, distribution and streaming workflows, the Pro Convert encoders and decoders enable existing sources and displays to work in next-generation media infrastructures. The Pro Convert 12G SDI Plus encoder converts 4K/60fps, 12G-SDI input signals into full-bandwidth NDI streams, while the Pro Convert for NDI to SDI and Pro Convert H.26x to SDI decoders transform NDI, H.264 or H.265 streams into high-quality SDI outputs for connection to monitors, projectors and legacy equipment. www.magewell.com

ates

OG-Dante-12GAM bridging within a single 2U frame housing 10 cards. Available as a free download, Ki Pro Ultra 12G v2.0 firmware brings several new improvements to the AJA Ki Pro Ultra 12G single-channel 4K/UltraHD recorder/player or four-channel HD recorder. The latest update introduces features that

streamline high raster workflows with varied video input sources, including new input frame sync for genlock-free recording, and 8K link VPID to power 8K/UltraHD2 workflows when four Ki Pro Ultra 12G devices are used in tandem in 12G- or 6G-SDI mode. www.aja.com

January–February 2021 WORSHIP AVL 57

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THE TECH VIEW

Balancing act PT Kairos Multi Jaya director Pratama Budiman uses full-range audio to enhance the message of the Lord PT Kairos Multi Jaya director Pratama Budiman

BALANCING HIS LOVE OF GOD with a thriving pro audio business, Pratama Budiman – Yupo to his friends – rarely spends time relaxing. Internationally recognised and respected as the head of PT Kairos Multi Jaya, Budiman’s star has been rising within the Indonesian pro audio business now for over three decades.

and digital audio developments. His dedication to Bible studies, however, would not be compromised. “Following three years as a cell group leader, I took on the church worker role of deacon. When my senior pastor decided to establish a satellite in the Mangga Dua district two years later, he asked me to

the Lord. Being a mid-sized church, however, we have a limited budget. For audio, we mix an EAW MK Series loudspeaker system on an Allen & Heath GLD digital console and for video we output content from two HD Sony PTZ cameras and desktop computers through a Datavideo switcher.”

Little did he realise that his work as a supplier of loudspeaker systems and microphones to the Indonesian Bethel Church (GBI) at Gatot Subroto in 1994 would send him on a new journey in life. “God called me to become his servant in 1998 when I enrolled in my local Jakarta neighbourhood,” recalls Budiman. “As a worshipper within GBI, I had no pastoral background at that point but, within three years, the senior pastor appointed me as the leader of a cell group near my home.” As a father of two young daughters, Budiman was constantly challenging himself to ensure he was kept up to date with technological advances in line array

become their associate pastor for which I needed to sit and pass an examination. Since then, I have completed further papers to become junior pastor and, more recently, full pastor.” Ordained to conduct ceremonies such as baptisms and marriages, Pastor Pratama has also used his extensive knowledge of AV technology to entice a younger audience to Sunday worship services. “Younger worshippers are drawn by the charismatic services with songs of praise that GBI conducts, where they are ‘entertained’. As such, we put on more of a show these days with lighting effects and full-range audio to enhance the message of

Having overcome the challenges of establishing the technological infrastructure in GBI Mangga Dua, Budiman highlights its dependence on volunteer technicians that lack proper expertise. With the onset of Covid-19 last year, this was heightened when all GBI churches were forced to close their doors and host online streaming services on YouTube. Despite his own technical prowess, the transition for Budiman was challenging. “For preaching online, you have to be careful and observe the teaching and doctrine, together with the content you are delivering to the audience. In addition, considerations need to be made for royalties when singing songs.”

Having successfully transitioned to full online services very quickly in March, some further investments were required. “It was vital that we install a more solid broadband internet. In addition, we also required a video editor and mixing engineer to oversee new streaming technology. Until that point, we had never had to consider aspects such as YouTube compression and LFU metering. In terms of equipment, my wish list includes a new video switcher, a green screen, lighting, camera, headset mics, mic steriliser, a large capacity of hard discs, a laptop computer and, of course, a media platform channel where fewer churches exist with a YouTube channel.” A technical infrastructure would be welcome, but Budiman is a realist. “Since the start of the pandemic, most church revenues and offerings have fallen 40–70%, depending on the social status of the congregation. My current wish is to acquire highspeed internet with a new video system, but crucially I’d like to place some of our young volunteers on AVL technology courses to improve their knowledge and expertise. We cannot hire professionals, so our biggest challenge is finding technical people who can understand audio and video editing and streaming. In addition, many of our older worshippers remain unfamiliar in accessing video platforms such as YouTube or Zoom.” Despite the hardships that Covid-19 has brought to the church and the community, Budiman feels refreshed in the knowledge that the Lord has cleansed all churches out during this time. “Ultimately, we go to church to find God. The holy entertainment that we have created in recent decades has distracted the message. The interruption caused by the cleaning operation has allowed us to go back to basics and focus on evangelism.” www.kairosmultijaya.com

58 WORSHIP AVL January–February 2021

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Elevation Church - Charlotte, NC, USA

ENGAGE YOUR CONGREGATION SOUND SOLUTION FOR HOUSES OF WORSHIP

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