Worship AVL January–February 2023

THE MESSAGE IS CLEAR

As we head towards the end of the year, some of you will be busy planning Christmas services, while others of you may be planning ahead to special events and services next year. Either way, I hope that 2023 proves to be successful, prosperous and healthy for all our readers. We’re back on the road again and Richard has been visiting houses of worship in Indonesia and Singapore. Look out for these stories in future issues, but his first visit was to GBI Danau Bogor Raya, just south of Jakarta, where a new audio and streaming system is helping bring people back into the

for at-home worshippers (p.20). In Malaysia, our regular columnist Azizi Ala has helped Sultan Ahmad 1 State Mosque overcome excessive background noise (p.22). Closer to home – for me at least – is Bangor Cathedral in Wales, which has enlisted the help of DM Music to update its ageing PA and livestreaming system (p.28). And DM Music features in our Tech View slot (p.58) where we learn more about the company’s roots and how it’s become a resource for churches in the UK. I hope you enjoy the issue.

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Visual system design in mosques

IT HAS BEEN CENTURIES SINCE

Quba Mosque in Medina became the first Islamic mosque to be built, back in 622ce. Mosques are not only used for worship activities but also as a centre for the development of knowledge for Muslims. Traditionally, face-to-face meetings with direct oral presentations have been used for this objective but, due to the increase in numbers in the congregation and the expansion of space within venues nowadays, a speech reinforcement system and visual distribution solution are required to compensate for these changes. In this article, I will touch on the role and importance of the visual system in the mosque.

Watch and listen

Understanding the content of speech in the mosque can be quite challenging because it is influenced by several key factors that I’ve explained in previous articles. A high speech transmission index (STI) value is required to increase the ability of worshippers to understand as they listen. However, this ability to understand can be enhanced with the presence and help of a visual system so that the content can be heard, read, learned and easily remembered. In other words, a visual system used concurrently with an audio system provides value-added benefits to enhance the process of understanding what is being said. As a good example, watching news on the TV and listening to it on the radio provide different experiences, whereby watching TV is a more effective way of delivering the message because it involves three processes: watching, reading and listening. Nowadays,

most preaching activities that are held in a mosque, including sermons in Friday prayers, are not only delivered orally but also simultaneously presented and displayed on a screen for a better understanding of the sermon’s topic.

Type of system

In Malaysia, there are typically three types of visual-related systems commonly used in mosques, namely in-house distribution visual systems, livestreaming and broadcasting systems and CCTV systems, although CCTV is only used for security purposes. The in-house distribution system is a basic visual system that has been in use for around 15 years and was traditionally used to display imagery from the source to a dedicated area through a display device, such as a projector. However,

with advancements in technology and customer needs, the system design evolved and was upgraded with new features, such as camera automation, videoconference integration, recording functions and high-definition displays, etc. The rise of social media as a livestreaming medium has become popular over the last five years. Facebook and YouTube are examples of platforms that dominate streaming services by sharing information through live sessions without any limitations. Mosques are no exception but lagged behind this change as livestreaming and broadcast systems began to be more widely used, especially since the Covid pandemic hit the world nearly three years ago. Nowadays, Friday sermons, preaching sessions and forums can be seen live through a dedicated streaming platform using a mobile phone, tablet or laptop, etc.

The requirement

Visibility is the main objective when designing a mosque’s visual system. The system needs to combine two parameters, namely visual acuity and visual quality, so it’s important to ensure that the visuals displayed on the screen/ TV are not too small or blurred, which will make the information difficult for the congregation to see, read and understand. Visual acuity is related to determining the size and brightness of the display device. Knowing the farthest viewing distance of the congregation and the lighting level of where the display device will be installed, will determine the ideal size and optimum brightness of the display, either in lumens or nits. The display device could be a projector, HD monitor, 4K TV or LED screen. Generally, lighting levels in a mosque are between 300–500lux for the main prayer area, female prayer area, terrace corridor or Sahn and spill area. Visual quality is often associated with system design and this involves the whole conceptual design, including equipment selection, cable infrastructure, termination processes and lastly equipment calibration. Mistakes sometimes occur during implementation of the above processes which can result in the visual output suffering common problems such as flickering, distortion, blurring, discolouration and mismatched resolution, etc. However, what I’ve specified above is only a general overview and I will cover several other factors in my next article. Until we meet again in Part 2, take care.

Azizi Ala considers the importance of visual systems in mosques and how they can enhance worship

Azizi Ala

Founder and technical director at Acousticon Sdn Bhd

Friday sermon speech with visuals presented on a screen and TV

Let’s do it better! Managing stage monitoring

In

a new series,

Soo returns to offer advice on managing stage monitoring

A BLESSED 2023 AND A BIG thank you to Worship AVL for having me back on this platform to share the lessons learned over years of both work and ministry.

Last year, I did a series on “What’s AVL systems got to do with church worship?”, and this year I’m happy to introduce a new series titled “Let’s do it better!” which I hope will help elevate church AV to a new level of excellence. To kick this off, I’ll be touching on managing stage monitoring, a topic that has probably vexed many live sound engineers for decades.

In a church setting, preachers, singers and musicians are the key beneficiaries of stage monitoring systems. It has been asked, “why do they need monitors when the mains are already so loud?” – a question possibly raised by someone who may not have experienced being onstage and not being able to hear oneself or others while speaking, singing or playing an instrument, simply because FOH loudspeakers direct sound to the congregation and not onto the stage. Not being able to hear onstage potentially leads to undesirable outcomes such as voice strain, missing music cues or singing off pitch, etc. So, in a way, monitors are a necessity and not an unnecessary luxury.

However, there is a downside to monitors: stage volume, the nemesis to all FOH engineers. It is all too common that spills from floor monitors and stage amplifiers can be so severe that the FOH engineer no longer has control over the house mix, and it gets worse with smaller venues, where even acoustic instruments such as drums contribute to stage volume.

Fortunately, today there are quieter alternatives to conventional floor monitors and stage amplifiers, which we’ll discuss shortly. But when presented with conventional setups, there are ways to help curb stage

Always focus the monitor’s axis at the intended listener’s ears (and not anywhere else).

Position monitors closer to the respective listeners; likewise, elevate stage amplifiers wherever possible. Choose monitors with the right horn orientation and axis angle. Stage amplifiers can also be tilted with special stands for better focus. Cut unnecessary low frequencies. In smaller venues or stages, work with 8- to 10-inch LF monitors to reduce undesirable stage boom.

• Feed only what is absolutely necessary into the monitors. Never

monitor feeds after every worship service. Putting more into monitors only results in users getting less (sonic details). This subsequently leads users to wanting it louder and eventually creating even more stage volume.

Many may be surprised to know that floor monitors actually need to be tuned, even for higher-end models,

the first of

Robert

Choosing the right setup is key to success

Personal monitoring systems to deal with stage volume

No monitor is perfectly designed to suit every application, performance, venue or user preference.

Monitors may exhibit undesirable frequency peaks that need to

change in experience (admittedly it is quite different). Secondly (and most likely), IEM systems are not

necessary supporting provisions.

still a rookie engineer, I wanted to experience using IEMs first-hand

church musicians, so I tried them during one Sunday service while leading in worship and playing my electric bass. I then understood sentiments. As IEMs are occlusive devices, like passive earplugs, I couldn’t hear the congregation and my surroundings at all and, as a worship leader (or preacher), that is both scary and uncomfortable

feel the congregation so you can respond to them appropriately. The mostly mono mix sounded dry and unengaging, just the very conditions

singers from performing. How do we do this better?

Room miking is absolutely essential, as it allows the user to hear their crowd and feel the energy in the sanctuary. Secondly, because we hear in “stereo”, the monitor mix should also be done in stereo, or even in surround (immersive) for a more natural aural experience. Lastly, add a touch of reverberation effect to simulate the room acoustics as well as for music and vocal enhancement. By providing these three key elements, users may be more receptive towards making that conversion.

Another key factor affecting how users perceive IEMs and personal monitors is the quality of the listening device itself. Some time ago, I met a church drummer who was really unhappy with the “poor sound quality” he was getting from his personal monitor system. After some investigation, I discovered he was using a cheap low-quality earpiece which he bought online. With some persuasion, he switched to a better sounding pair (with deeper bass, very important for drummers) and he became a believer since. No turning back.

Well, I hope this short article has been helpful for you. There’s so much more that I would like to share, so do lookout for my next article. Till then, take care and God Bless.

What type of lighting fixture should you choose?

Alex Holt, Traders Point Christian Church, USA: “We wanted a fixture that had an LED engine, a full framing system, variable white control and the ability to fully pan and tilt. The fixture also needed to be road-worthy because our campus had to load in and out on a weekly basis. Elation’s Fuze Profile CW was a new fixture to our team but, after getting our hands on it, I was hooked. It delivered everything we needed and more at a price point that alternatives on the market couldn’t beat. The light output blew me away. The white it produces is extremely clean, and the field it produces is incredibly even from edge-to-edge. The framing system is precise and consistent every time. I knew this fixture was going to be the future of our key lighting in all of our auditoriums. With making the move to a 4K broadcast system, we knew our key lighting needed to be best-in-class. Its ability to create an even, soft and smooth field of light across an 18m platform gave our broadcast a fresh, sharp and clean look. And the ability to adjust colour temperatures allowed us to dial in the perfect look, no matter the moment we were creating.”

Alexander Lehman, Connection Pointe Christian Church, USA: “We replaced our lamp-based fixtures with a new LED system featuring Chauvet Professional’s Maverick

Force S Spot. They open up a world of creative possibilities, which really help in our designs. We use them quite often for gobos. I am a big fan of using gobos, both on the stage and in the audience. They add movement and texture, and make a room feel full without the fixture itself needing to move. Plus, when we want them to, they can definitely add a wow factor to our services.”

Zach McCrorey, Transformation Church, USA: “Our Ayrton Levantes have been

an absolute game changer, and the quality of our online experience has been raised tenfold. In conjunction with our most recent broadcast camera upgrades, our key lighting infrastructure had to be enhanced as well. Now, our team onstage is lit so incredibly well in-person, and that translates beautifully through the camera lens to those watching from home. Also, there are multiple broadcast locations within our auditorium – from the main stage to the broadcast host location to our baptistry area – and

utilising the very smooth framing shutters has made highlighting any area within the auditorium a breeze. As our community is multiethnic, being able to light diverse skin tones quickly and correctly is important. Levante’s colour palette mixes very well, and the colours displayed are crisp. The fixture is quiet and quick in response. But what is truly mind-blowing is how compact it is. We utilise a single-man lift for all strike and installation of lighting fixtures, so weight was an important factor in deciding which fixture to purchase. We were thrilled to learn that this fixture came in at under 23kg.”

Nereen Bradshaw, Maranatha Community Church

Johannesburg, South Africa:

“We invested in two sets of Astera Titan Tubes for our 3,000-seat auditorium in Kempton Park. They bring a completely new dimension to the stage and give it a real modern edge which is great for engaging younger members of the congregation and for presenting more energised and invigorated musical segments. Conversely using very slow colour or intensity effects has brought a gentle ‘raining’ kinetic experience – so they can be used for upbeat praise as well as quieter worship.”

Elation’s Fuze Profile CW at Traders Point Christian Church

Astera Titan Tubes at Maranatha Community Church

Use

MIPRO ACT-5800 Series digital wireless systems operate in ISM 5.8 GHz license-free band so they can be used freely in any country. No ma�er presenta�ons, conferences, lectures, choirs or ensembles, ACT-5800 Series can fulfill your cable-free sound pick-up or recording requirements by offering various kinds of transmi�ers and microphones.

Kara II brings focus to COG

subwoofers at centre stage provides low-frequency extension. L-Acoustics 8XT coaxial boxes are placed along the stage for front-fill, while four 12XT boxes are installed beneath a balcony ceiling. Six 12XT act as monitors for stage performers, and the entire system is driven by five LA8 and three LA4X amplified controllers. Metatech configured the system and conducted one-on-one training for the church’s technical

“Our objectives for Church of God’s mission are met with this new system. The current and future members of our congregation will be able to experience a life-changing worship service that they will never forget. L-Acoustics has helped us to achieve this with the high-quality sound system playing a major role in our everlasting mission,” continues pastor Velasco.

He concludes: “Along with positive feedback from members of our congregation, sound engineers

LOCATED 30KM FROM THE Philippine capital of Manila, Dasmariñas City has seen explosive growth in recent decades. Founded in 1990 in the Salitran neighbourhood, the Dasmariñas Church of God (COG) serves both the local population and the wider Manila metropolis. Originally housed in a small rural complex, COG built a dedicated five-storey Generation Blessing Building in the heart of Dasmariñas to better serve its current 15,000+ congregation.

COG connects with its parishioners and locals through offerings such as a fitness centre, sauna, café, dance studio, photography studio, music classes and more. But the heart of COG’s ministry are the eight worship services offered every Sunday in the main 2,000-capacity hall and an overflow 600-capacity smaller hall. Altogether, COG welcomes over 20,000 people on any given Sunday. To ensure the ministry’s message is communicated clearly, both of the church’s halls needed to be equipped with dependable audio systems.

“We want to give the congregation and visitors a great worship experience, an experience in which they will have a hunger to come back for more,” says head pastor,

Dr Anthony

“Our work is to share the Gospel of Jesus Christ with the lost in the city. The main hall is one of our avenues to accomplish this mission. Through the performance of live worship songs, vocal clarity and full-range music from our backing band are top priorities.”

L-Acoustics Certified Provider distributor for the Philippines, Metatech, has been servicing the church’s audio, video and lighting needs since 2012. Metatech was tasked with upgrading the audio system in both the large and small sanctuaries. Metatech had already worked with COG in 2012 to address poor acoustics due to reflective wall surfaces. At the time, it installed a combination of acoustic treatment and a sound system based on L-Acoustics Kara. Now, COG chose to upgrade the first-generation Kara to Kara II with the addition of Panflex horizontal directivity to better focus sound on the audience area only, avoiding unwanted reflections from venue walls.

“The upgrade was quick and budget friendly as we could upgrade COG’s park of Kara to Kara II using upgrade kits,” adds Wayne Gutor, L-Acoustics product manager at Metatech.

The system consists of two flown arrays of eight L-Acoustics Kara II each with three SB18 subwoofers

Using Soundvision to accurately predict SPL and coverage throughout the room, Metatech, with the assistance of application engineers at L-Acoustics, designed an L-R system for the main sanctuary composed of two flown arrays of eight Kara II each, with three SB18 subwoofers flown behind each array. A ground stack of two SB28

from other churches have visited us and benchmarked the sound of the L-Acoustics Kara II system in our main hall as a point of reference in terms of quality. My team and I are greatly humbled.”

www.cogdasma.com www.metatech.ph www.l-acoustics.com

Velasco.

The main hall is equipped with L-Acoustics Kara II

sounds as good as it looks

DQOR® SERIES

TWO-WAY INDOOR/OUTDOOR INSTALL LOUDSPEAKERS ld-systems.com/dqor

Encourage your customers and guests to linger for longer with great sound. Thanks to their wide coverage angle and balanced sound, DQOR speakers provide an inviting ambience whether indoors or outdoors. These modern and dynamic looking installation speakers are available as 3”, 5” and 8” versions in black or white and respectively with two connection variants: low impedance (8 Ohm), or high impedance (70V/100V/16 Ohm) with multiple power taps.

Adamson sees the light

SOUNDWORKS, AN AUDIO production house based in Jakarta, has supplied a complete audio solution for one of the biggest religious music concerts in Southeast Asia. The event was held at Stadion Madya Jakarta on 5 November during the start of the rainy season in Indonesia and the first time the event has been held outdoors since the start of the pandemic. Headline acts included Grammy Award-winning gospel songwriter Sidney Mohede, who is also the leading worship leader in Indonesia, legendary Indonesian pop singer Ruth Sahanaya along with inter-denominational acts from around the country.

Soundworks supplied a total of 136 boxes of Adamson loudspeakers consisting of 24 E15, 18 E12, 30 S10, 16 E119 subs, 16 T21s and eight E219s for ground subs, and 12 Metrix for front-fill, all powered by Lab Gruppen PLM amplifiers.

FOH was handled by a Yamaha Rivage PM7 digital mixing system,

with monitors catered for by a Yamaha PM10, alongside two Yamaha RPio622 I/O rack stageboxes and four Rio3224-D2s with 32 analogue inputs, 16 analogue outputs and eight digital AES/EBU outputs. The setup also consisted of a Yamaha QL5 console

for recording, tracking directly to Steinberg’s Nuendo Live recording software and a backup PC with a second Nuendo Live setup. “With the final position of the stage moved forwards, it impacted the position of the nearest left and right towers; they were at almost

an 80° angle to the main stage, and it was slightly offset between each side,” explains FOH engineer, Pongky Prasetyo. “The system engineer had to tilt and angle the outer-fill PA cabinets on each side (Adamson E12s with S10s for down-fill) in order to get maximum coverage. We left no areas of the stadium uncovered.”

The four-day setup was affected by heavy rain and winds but thankfully, on the day of the event, the weather had improved considerably. The event drew more than 15,000 people, many of them coming from outside the capital Jakarta just to attend the event. The concert became a trending topic on social media the next day with many commenting on the superb audio quality, resulting in plans to repeat the event on an annual basis from now on.

www.adamsonsystems.com www.seethelightindonesia.com

An Adamson system comprising over 136 speakers has been deployed at the See the Light religious event in Indonesia

Evolving with you.

Not all wireless is created equal. Audio professionals can encounter challenges using traditional RF technology, but with Evolution Wireless Digital, fundamental limitations of wireless systems are resolved using new technology that is nothing short of groundbreaking. With the EW-DX line, there will be even more professional features for nearly any budget or application.

Discover why EW-DX is the future of wireless. Visit sennheiser.com/ew-dx to learn more about the latest members in the Evolution Wireless Digital series.

The Evolution Wireless Digital Series

Converting to TORUS

release of Martin Audio’s CDD series, according to project manager Alex Peake, JCA Media has become a convert to the British brand.

Houses of worship are one of JCA Media’s core installation segments. “We have used CDDs of all sizes, including the weatherised versions. With their asymmetric pattern, they sound awesome – smooth and warm,” says Peake.

The company then discovered Martin Audio’s Blackline X8 and, finally, TORUS, which coincided with First United Methodist Church’s installation. “The church reached out in November 2019 after seeing our work on Facebook, but then Covid-19 intervened,” adds Peake. “In fact, I was quoting this installation six or eight months before TORUS came out and had a different brand specified.

“But with a throw distance of around 21m, the client was reluctant to have another delay system – they wanted the new system tucked in and tidy and didn’t want anything visible on the floor.” In demoing other single point source systems, Peake found he was losing volume at the back of

obtrusive.”

The project manager’s design to create even coverage over the 300 congregants – in both service modes – was based around a three-box hang, driven in one-box resolution from an iKON iK81 process control amplifier. A single T1230 at the base gives full 90° coverage, with the top two T1215s running at 60°. “This was to keep the sound off the ceiling and walls, and it enabled us to control the horizontal dispersion. The horizontal waveguide would tighten up the sound disappearing up into the vaulted all-wood ceiling and, at the same time, would eliminate the need for a front-fill. So, it all came into play perfectly and provided multiple solutions.”

The church wanted a “blended” service to compliment its traditional mass, which is when the cardioid SXCF118 sub came in, flown behind the hang. “The SXCF118 blew our minds,” explains Peake. “That vaulted ceiling almost served like a natural horn, with the single 18-inch vibrating off the ceiling.”

The wedge monitors are in the shape of four Blackline X8. However,

The array consists of two T1215s at the top and a single T1230 at the base, with an SXCF118 flown below

there was still a place for CDD in the installation. Downstairs is a smaller, separate area for a more contemporary service and, as with upstairs, an ancient sound system was ripped out to be replaced with a CDD6 LCR setup, underpinned by an SX112 sub tucked away on a semiportable stage.

“The Martin Audio array and amps are amazing,” continues Aaron Denney, the church’s technical

director. “They provide targeted coverage in every row of the pews. They have more than met project goals and greatly exceeded our expectations. One staff member referred to it as a ‘300 times improvement’ for a space that has many complicated issues when it comes to live sound. All in all, a job well done.”

EM-362

Neck-worn Microphone

TOA EM-362, neck-worn microphone specially developed for the use by Iman during prayer. Unique design suspends the microphone in front of the speaker’s mouth optimizing speech pick up and avoid being brushed against during prayer.

We supply sound, not equipment.

TOAasiapacific www.toa.com.sg

A triumphant operation

IN 1920, THE TRIUMPH Missionary Baptist Church came into being and has since grown into a multi-campus organisation. It is now one of the fastest-growing churches in the US, even during the pandemic, and is currently attracting 400 new members each month.

Under the direction of senior pastor, Reverend Solomon W Kinloch, Jr, Triumph seamlessly transitioned into livestreaming its worship services. This allowed members and friends to worship virtually in their homes or using the drive-in setup at their North Campus. Additionally, Triumph Church began broadcasting worship services on local NBC-, CBS- and ABC-affiliated channels.

As a result of this fast growth, the church decided to invest in a broadcast-level setup to accommodate its packed schedule. Four days per week, the church delivers one or two sermons per evening from its 500-seat auditorium and had been bringing in AV personnel to support with the production, managing content creation and delivery from the central control room.

The desire to streamline its operations lead to a consultation

with Triumph’s systems integrator partner, Key Code Media and then to MRMC Broadcast to see if there was a solution that could help. Previously, the production team used a traditional crane, operated by several staff to capture over-thecrowd shots and wider shots of the stage.

MRMC’s AJS-1 Auto Jib System was specified. Designed for reliable use in live event productions, the jib reportedly offers quiet and smooth camera motions, with support for a PTZ camera weighing up to 4.2kg. The automation allows the jib to be driven from the control room, which has helped to reduce the number of staff needed to run the production.

“Until the AJS-1 was installed, there were three or four people in the control room, with six to seven on the sermon floor,” explains a church spokesperson. “This has now been reduced to three, so we don’t have to invest as heavily in outsourced support. The jib has been easy to install and the MRMC team were great in helping us map out the shots and programme the automation.”

The AJS-1 sits off to the side of the congregation and is used

at a horizontal reach of 2.3m to capture the shots of the preacher and audience. The jib is driven by an MRMC Broadcast Control Panel from the control room. As MRMC’s robotics solutions are camera agnostic, it means they can seamlessly fit into any existing workflow or production setup. With partnerships with several PTZ manufacturers, customers have the opportunity to create smooth, precise shots without compromising picture quality, as well as also benefitting from unobtrusive, quiet, fluid movements every time with every shot in any production.

“Ever since we launched our automation tracking software, Polymotion Chat, our offering has expanded to allow those working in houses of worship and on live events to take their PTZ-based productions to a new level,” adds Paddy Taylor, head of broadcast at MRMC.

“Remote acquisition technologies such as those used with the AJS-1 and our quiet rail system, the QRS-1, bring freedom of choice back to production teams and allow users to move on considerably from locked off-camera positions and add unique motion to their capture.”

Continuing growth has led Triumph Missionary Baptist Church to invest in a broadcast-level setup for its services

Flexible solutions to meet any requirement

Network control and monitoring have been added to Audio-Technica’s 3000 Series Wireless Systems

AUDIO-TECHNICA HAS ANNOUNCED the expansion of its acclaimed 3000 Series Frequency-agile True Diversity UHF Wireless Systems with the addition of a network port, which now allows network control and monitoring along with the same easy setup, versatile operation and rock-solid, richly detailed, high-fidelity sound as standard 3000 Series components.

Expanding on the functionality of the standard 3000 Series Wireless System, the new network control and monitoring option is unique for a wireless system in this price category, as it allows the 3000 Series to be compatible with A-T’s proprietary Wireless Manager software, a macOS/Windows application for remote configuration, control, monitoring, spectrum management and frequency coordination of compatible Audio-Technica devices in sound reinforcement or installed sound applications.

The software package offers a broad range of control and management functions of networked receivers, grouped into three tabs: Device List, which auto-discovers connected compatible A-T hardware and allows users to populate a device list of Audio-Technica and other manufacturer’s wireless systems; Frequency Coordination, which allows real-time spectrum scanning via the 3000 Series Wireless with Network option or other A-T connected network-enabled receivers, or the option of using the pre-loaded television channel database for offsite planning; and Monitor, which allows live monitoring of connected systems with the option of filtering the displayed devices by assigned tag groups. Parameters monitored include AF, RF, battery, transmit power and more.

Audio-Technica’s 3000 Series Wireless Systems give users the power and flexibility to operate within the congested UHF spectrum. With a class-leading 60MHz tuning range, which is more than twice that offered by the previous versions, 3000 Series systems are

available in two frequency bands –DE2 (470–530MHz) and EE1 (530–590MHz). Frequencies can be easily scanned and selected on the receiver and then synced with the transmitter via IR sync functionality. The 3000 Series even lets users set a backup frequency that can be quickly swapped by pressing the transmitter’s multifunction button in the event of unexpected interference.

The challenge in any house of worship is finding an audio solution that not only professionally captures each element of a service, but that

can seamlessly manage and blend those elements into a great-sounding whole. Monte Brothers Sound Systems, a house of worship audio equipment integration specialist, has had a close collaborative relationship with Audio-Technica for several years. As a result, the integrator has come to rely on 3000 Series products to provide flexible wireless microphone solutions that meet any requirement.

Two examples are the Miraculous Medal Shrine in Philadelphia, Pennsylvania, and St Mary’s Seminary and University in Baltimore, Maryland,

they have ordinations and, during the celebration of the services, multiple priests will speak.”

At St Mary’s Seminary, four 3000 bodypacks are paired with two AT899 lavaliers and two BP894 headset mics. There are also four handheld wireless mics available. System 10 PRO bases are paired with ES925/ XLRs with MicroLine elements at the pulpit and the lectern, with a pair of ATW-T1006 boundary microphone/ transmitters at each end of the altar. A microphone on the piano transmits through a fifth System 10 PRO base.

The sound room at St Mary’s Seminary features 3000 Series wireless products

SPREAD THE WORD

Compact, powerful and unobtrusive, NEXO loudspeakers combine even coverage and full range sound with excellent speech intelligibility to create the perfect system for worship spaces. Find out more about spreading the word at nexo.sa.com

Thinking. Inside the box.

Best of both worlds

WHEN INDONESIAN CHURCHES resumed in-person services last year, pastors and church leaders soon discovered that their regular Sunday worshippers were not exactly flocking back. Attendances are slowly rising again, although GBI Danau Bogor Raya AV operator Yosua Kelvin Priambodo confirms that attendances are only half that of the pre-pandemic normal. Having undertaken a complete rebuild of its main sanctuary some 30km to the south of Jakarta, Bogor’s GBI church was faced with a dilemma. On a limited budget, it could either provide the best AV streaming system for its stay-away worshippers or install a leading in-house entertainment system that would draw back the masses once again. Fortunately, Kairos Multi Jaya Audio was on hand to expertly solve the church’s predicament and provide both.

Following the demolition of GBI Danau Bogor Raya, congregants recently returned to their newly built sanctuary with a sense of curiosity and relief following two years of worship in temporary accommodation. On what had previously been a vacant plot of land next to the old church, GBI’s main Bogor headquarters and church serving 50 smaller satellites threw its doors open in August 2022. Within the ground-level sanctuary, which can accommodate up to 800 worshippers,

the stage is now set with an impressive 8m x 4m (WxH) LED wall together with a full-range line array system.

Like the hybrid world that tugs workers between home and the office, worshipping may be permanently lodged in a transitionary phase. “In addition to desiring a professional PA, video and lighting system that would be easy to use and futureproofed for some years ahead, the church required the best streaming service for stay-away and distant congregants,” confirms Kairos Multi Jaya system designer, Damaran Kristanto. “The church requested a line array with a very good price performance ratio that is both powerful yet lightweight. By proposing an Allen & Heath ecosystem within the signal chain, we knew that

we could also cater for the church’s streaming services. Crucially, the combination was within budget.”

Hanging cleanly to the left and right of the stage, two sets of compact RCF HDL 20-A dual 10-inch line arrays finished in matte white blend perfectly within the pillarless room with a high ceiling. The active system provides front of house audio coverage for the venue’s regular church services. “We needed a line array with a low visual profile that would deliver great sound throughout the room,” furthers Kristanto. “The HDL series is neat, blends with the architecture and exerts a phenomenal size-to-power ratio. Although we added two RCF ART 910-A active speakers onstage as front-fills to cover the first two rows of seating before the HDL 20-As properly kick in, the room did not require additional side-fills or delays.”

Both the left and right arrays feature six HDL 20-A modules, each individually capable of producing a maximum 131dB SPL, augmented by two floor-standing SUB 9006-AS active subwoofers. “Our new main church in Bogor practises a charismatic service, but we blend a streaming system for our smaller churches with a live audio system each Sunday,” comments Priambodo. “The primary function of the system

will be sound reinforcement for speech and some live music, especially for Christmas carols and special events where the space may get filled more than a regular Sunday service and a little more power is required. We’re very impressed with the clarity and even distribution that the HDL 20-A system has demonstrated throughout the hall. It may be entry level, but it sounds nothing like it.”

To date, acoustic treatment has not been completed, so the Kairos team had to reduce the natural echo of the building during tuning and commissioning. “For live music performances, the church technicians required a powerful speaker library for their system, which we have added,” continues Kristanto.

“Another requirement was to create a livestreaming service to the YouTube channel for broadcasting to those worshippers staying at home.”

The mix position is occupied by an Allen & Heath SQ-6 48-input digital console. Equipped with a 7-inch touchscreen and a 32x32 96kHz audio interface, the compact mixer also offers multitrack recording. Ease-of-use features include wireless remote-control configuration courtesy of the SQ MixPad app. Stored presets within the SQ-6 also offer the volunteers a gentle introduction

Kairos Multi Jaya Audio has guided GBI Danau Bogor Raya through its dilemma of how to cater for in-house and at-home worshippers in its new sanctuary

The 8m x 4m LED wall is a distinct feature of the newly built church

L–R: Phoebe Joshua Istyaputra and Yosua Kelvin Priambodo from GBI Danau Bogor Raya

One of two compact RCF HDL 20-A line arrays

into the world of digital audio mixing. According to the speakers and preachers onstage, scenes can be set for a particular group and returned where it was before.

A single Cat6 cable connects the SQ-6 to the local area network via a GX4816 audio rack hosting 48 inputs and 16 outputs. “We have adopted the Allen & Heath ecosystem, which operates over one cable network for up to 48 inputs and 16 outputs for monitoring,” comments Kristanto. “However, no cabling is required for streaming on its own.” With the addition of an Allen & Heath M-DANTE card and UTP network cable, the channel capability is increased to 64 inputs and 64 outputs. “When streaming to the YouTube channel or performing multitrack recording, Dante is a very flexible network system as it has almost zero latency and is relatively inexpensive as it only consists of one network cable, an M-DANTE card and a life-time Dante Virtual Soundcard licence.”

Forming part of the Allen & Heath ecosystem, six ME-500 personal monitor units now allow the onstage musicians to monitor their own performances using Audio-Technica ATH-E40 IEM headphones. The musicians receive their audio streams

an ME-U 10-port PoE hub. The four singers have adopted a JTS IEM setup consisting of SIEM-2 and SIEM-111 receivers and transmitters connected to Shure PSM 200 wireless headphones. Traditional monitoring is the preserve of the priest, who is served by two lowprofile RCF NX 12-SMA 12-inch coaxial stage monitors.

The musicians, singers and priest use a combination of Sennheiser and Shure SLX digital wireless microphones, although Kairos Multi Jaya has now added Audio-Technica as an option. Preferring a head-worn model, the priest now can choose between a Sennheiser e 935 and an Audio-Technica ATM75, while the singers can select between Shure

cardioid handheld transmitters. The choir generally perform during big events, and they are now reinforced by two Audio-Technica PRO45 hanging mics with another two PRO45s adopted as ambient feeds into the SQ-6 mix. The percussionist is catered for by AKG C430s on the overheads, a Shure SM57 on the snare, Sennheiser e 904s on the toms and an AKG B112 on the kick drum. Owing to the humidity build up when the sanctuary is not air-conditioned, a FOH dry box is used for maintaining a constant and correct temperature for the transmitters and receivers.

The impressive 3072x1280 resolution LED screen at the rear of the stage dominates the vista, while

the rear wall serves as a confidence monitor for the priest. The input signals leading to the 4K LED output include three computers loaded with Easy Worship text overlay and Resolume Arena software, together with three Sony NX100 cameras. The AV production area at FOH combines a Blackmagic Design ATEM Mini switcher and a Roland HD VP820 two-in-one video processor. The inputs for livestreaming are fed into an AV Matrix HVS 0402 four-channel HDMI video switcher for broadcasting externally.

Catering for both the visible audience within the newly built sanctuary and those watching from their homes challenged GBI Danau Bogor Raya to perfect a long-term hybrid solution. “Although hybrid setups are interesting, it’s good to be back together again and hearing a fullrange loudspeaker system following those two years of streaming,” concludes Priambodo. “Although some worshippers are preferring not to return to church, our younger congregants are generally happy to return. Hopefully, this Christmas will be as good as that experienced in Christmas 2019.” Such a scenario will be the best of both worlds.

A compact Allen & Heath SQ-6 console at front of house

Malaysian mosque goes multimode

CHANGING PERCEPTIONS

IS

not easy, especially when involving the use of technology. Adapting to a new concept becomes more complicated when the existing system provides comfort and solace to the user. However, over time, the degradation of sound quality, especially intelligibility, had become a paradigm shift for the Sultan Ahmad 1 State Mosque.

The Sultan Ahmad 1 State Mosque is the largest in the state of Pahang and is located in Kuantan. The mosque is able to accommodate approximately 10,000 worshippers and was completed and officiated by the Sultan of Pahang, Sultan Haji Ahmad Shah Al-Mustain Billah, in 1994. It was named in honour of the first ruler of Pahang, Sultan Ahmad Al-Mu’adzam Shah. As the leading HOW in the state, the mosque is a hive of daily activities, especially preaching, which is carried out in three different locations, namely the centre main prayer area and the left- and rightwing secondary prayer areas.

The chief of the Public Works Department (JKR) Pahang, Electrical Department, Ir. Zulkifli Bin Abd. Rahman, contacted Malaysian mosque sound specialist Acousticon Sdn Bhd to seek its expertise regarding the current audio setup. Onsite assessments, including acoustic and electroacoustic tests, were needed to determine the root cause of the intelligibility issues. Acousticon founder Azizi Ala reports that the intelligibility problems were not being caused by reverberation issues as RT60 readings measured 2.32s, perfectly suitable for a mosque of this size.

“With acoustic treatment already fitted when the mosque was built, it is one of the best in Malaysia in terms of passive treatment implementation,” reports Ala. Almost 30% of the walls and 70% of the ceilings have been treated with absorption material. “However, the use of more than 100 fans, including HVLS [highvolume, low-noise] fans as an active

cooling system, has contributed to excessive background noise, with a Noise Criterion value of NC55 measured using NTI Audio’s XL2 Acoustic Analyser. For this reason, the new system needed to consider these ambient noise levels plus at least 20dB to guarantee that audibility is sufficient for the entire

In addition, the Sultan Ahmad 1 State Mosque was experiencing classic electroacoustic problems which could be divided into three main issues: system design, obsolete equipment, and tuning and calibration. An analogue system had been in use for 28 years and required an untrained operator to control and manage the system, resulting in issues such as feedback and poor gain structure. The existing system also lacked any kind of DSP or analogue processing to optimise signal management, which resulted in problems such as unmatched speaker equalisation and inaccurate time delay. Further issues such as speaker

due to its reputation at several other Malaysian mosques, such as the National Mosque Kuala Lumpur and Putra Mosque Putrajaya.

“The Q-SYS Ecosystem is a great solution for mosques due to its customised interface and hardware monitoring features,” continues Ala. “It’s a network-based solution where all the equipment is connected through the Q-LAN network and it supports other network audio integrations such as Dante and AES67.”

The Q-SYS Core 110f that sits at the heart of the system manages all the I/O peripherals, including

The centre main prayer area

Acousticon Sdn Bhd has supplied a Bose and QSC solution to solve intelligibility issues at Sultan Ahmad 1 State Mosque

Bose DS 40SE surface-mount speakers in the walkway

Bose MA12 speakers have been stacked to improve vertical beam control

wing secondary prayer areas. The speaker setup includes 14 Bose DS 40SE surface-mount speakers in the walkway, 54 DS 40F ceiling speakers in the left- and right-wing and rear secondary prayer areas and first-floor female area, 12 Bose MA12 column line array speakers for the centre main prayer area and 12 TOA DH-120 long-throw horn speakers for the minaret. All zones are powered by four 1,000W quadchannel Q-SYS CX-Q4K4 network amplifiers using Q-LAN. For control and system navigation, an 11.6-inch Q-SYS TSC-116W LCD touchscreen panel loaded with a custom GUI has

allows the PA system to be used either in standalone mode or integrated mode. The standalone mode splits everything into three separate virtual systems which can be used concurrently at different points around the mosque. This means the centre main prayer area and the left- and right-wing secondary prayer areas can be operated and controlled at the same time with a portable iPad connected wirelessly to the Q-SYS Ecosystem. In integrated mode, the system is centralised through the LCD touchscreen panel installed in the equipment rack or through

the iPad. “It was very convenient as this iPad also can be used as a portable touchscreen to operate the system remotely while being away from the equipment rack,” explains Mohamad Izwanuddin Dahalan, one of the audio operators at Sultan Ahmad 1 State

The FOH speakers for the centre main prayer area proved the biggest challenge during the installation process. Originally, a distributed system using a three-layer configuration was suggested, given the 30m x 30m (WxL) dimensions of the space. However, the proposed location for the speakers was already crowded with fans, book cabinets and light switches. To counteract the problem, a directional longthrow projection speaker system was needed to cater for the 30m throw distance from the front to the rear of the area. While an active steerable line array column speaker was not favourable due to budget constraints, two Bose MA12 column line array speakers have been stacked to provide 600W @ 4Ω with 145° (–6dB) horizontal and 20° (–6dB) vertical coverage. Stacking the speakers gives greater vertical beam control to improve speech clarity, especially at the lower frequencies between 100–500Hz.

Using Smaart V software, the new system has shown significant improvement in intelligibility results in the entire mosque, especially in the three main prayer areas. The STI result for all areas recorded an average of 0.55, exceeding the design objective of 0.52, and sound coverage is now being

Alauddin, Grand Imam of Sultan Ahmad 1 State Mosque.

Completing this project had its own challenges, adds Ala. The project was delayed due to Covid-19 restrictions and, as a result, fell behind by six months, affecting the logistics of the entire upgrade. However, both the Public Works Department and the Sultan Ahmad 1 State Mosque understood the issues and the outcome has been deemed outstanding by all, particularly witnessed by the smile on Dato’ Badlishah Alauddin’s face.

www.acousticon.com.my pro.bose.com www.qsc.com

Left-wing secondary prayer area

Grand Imam Dato’ Badlishah Alauddin

iPad remote control and the LCD touchscreen panel in the rack

Outside the box

VINE CHURCH IS AN ANGLICAN house of worship in inner suburban Surry Hills in Sydney, Australia. It was founded in 2011 when Toby and Liz Neal gathered a group of 16 friends together in one of Sydney’s least religious areas, despite concerns that it might be easier to establish a new church in a different area. The first services were held in a local pub, and then later in a variety of locations including a hotel, a neighbourhood centre and schools. When pastor Toby Neal was offered to lead the existing parish at the Albion Street location, he had the vision to make the traditional precinct feel the way he wanted Vine Church to be perceived –relevant and approachable.

The old architecture and heritagelisted features of the church draw mostly young adults and families each Sunday. Replacing the pews with chairs is just one of several alterations that have taken place over the past 18 months to keep the building feeling fresh and contemporary, without

robbing it of its character. The extensive refurbishments have also included an upgrade to the FOH loudspeakers for the main auditorium which seats up to 200 worshippers.

Pastor Neal understands how the right PA system can impact a worship service. “People feel anxious singing in church. When

you can surround them with an immersive sound, they’re more likely to sing loud and feel comfortable singing. We wanted the volume up but not for it to be sounding loud and strident. And we obviously want the spoken word each week to be very clear so people can understand what’s happening.”

Open Box Technology is a Sydney-based AV integration business specialising in church installations. Director Nick Utber has assisted Vine Church for many years and was approached again to manage the full audiovisual upgrade at the Surry Hills property. This meant finding and installing the right PA system to bring the auditorium to life every Sunday. The challenge was twofold. First, the system needed to produce sonic clarity and precise coverage within the acoustic chaos of the sandstonewalled environment. Second, the loudspeakers had to satisfy the aesthetic and mounting regulations of a heritage-listed building.

Sound technician Jeremy Kuan explains the criteria for finding a worthy upgrade. “With our old system, if you were sitting on the sides, it was noticeably softer than if you were sitting in the middle, and if you were sitting at the back it was much softer than if you were sitting at the front. So having that even spread was one thing we really wanted. Also, we

Two Fohhn Linea LX-220 speakers form the main L-R system Fohhn

at a tradeshow. “I was at ISE in Amsterdam and walked past the Fohhn booth and heard this amazing sound coming out of these small column speakers,” he recalls. “In the Vine Church application, we were looking for something that would provide great coverage and great performance, but also manage the space acoustically and limit the amount of reflections in the church. Fohhn was really able to deliver on all of those metrics across the space and do it in a small, aesthetically pleasing footprint.”

The system is made up of two Fohhn Linea LX-220 hybrid line source loudspeaker columns as main left and right, two Linea LX150 column loudspeakers to fill the sides and two ARC AS-31 passive subwoofers floor-mounted onstage to provide the low end.

The heritage-listed status of Vine Church’s building prohibited the speakers from being mounted onto the sandstone walls. Instead, “we had to ask Fohhn how to fly these speakers with a single stainless steel wire,” explains Utber. “Fohhn was able to create a custom solution from their own rigging products and adapt them to suit

the LX-220 which doesn’t have an off-the-shelf fly bracket option. That gave us the hang and the toe we needed which allowed us to then proceed with the design.”

Utber explains how the structural properties of the Fohhn LX-220 matched the Vine Church a pplication. “The acoustic centre of the LX-220 main speakers is at the bottom third of the column, allowing us to direct the HF energy from the front of the seating plan right to the back, without hitting the back wall and minimising the amount of reflections we have off the surfaces. It also provides great coverage from front to back –you don’t lose a huge amount of volume towards the back and you still have the clear HF coverage.”

Column speakers of this nature are often designed for high speech intelligibility, which can be at the expense of musicality or the ability to reproduce lower frequencies. However, live music is a big part of a Vine Church service. “The Fohhn system is really great across the full spectrum,” adds Utber. “From a PA perspective, we were able to get the high bandwidth performance we wanted from the acoustic properties of a column speaker.”

Compared to the outgoing loudspeakers, the Fohhn system now offers Vine Church a rich and enveloping audio experience. Feedback, dead spots and excessive acoustic reflections have been virtually eliminated, resulting in even coverage and tighter mixes. “The headroom available in the Fohhn system is great, the coverage is second to none and the low profile of the speakers means that they’re aesthetically pleasing and they look great in the space,” explains Utber.

“With the old system, I found that it was echoey – the sound would bounce around the building and it was really hard to mix,” says Kuan.

“With this new system, it’s much cleaner. It’s much easier to mix. It’s a much more intuitive process.”

Pastor Neal is pleased with the result too. “I’ve noticed with the new Fohhn system we are getting this immersive sound so, rather than the speakers blaring at us, it is a more immersive environment where the sound is embracing you. And that makes it much more comfortable to sing.”

www.fohhn.com www.openboxtechnology.com www.vinechurch.com.au

Sound systems for churches

For modern church services modern media technology is needed. This includes a loudspeaker system that guarantees speech intelligibility and at the same time is suitable for powerful music. Fohhn manufactures these systems near Stuttgart, Germany and has been equipping small and large houses of worship all over the world for 30 years.

Fohhn loudspeakers are at home in projects all over the world from the Berlin Gedächtniskirche to the Coptic Orthodox Cathedral in New Cairo. Many smaller houses of worship also rely on Fohhn. Get in touch with your personal Fohhn contact via Email at info@fohhn.com or phone: +49 7022 93323-0. You can also find us on the Internet at www.fohhn.com/churches

Connecting youth together

EVERY FIVE YEARS, YOUNG people from all over Europe meet at the European Adventist Youth Congress, the largest gathering of Adventist youth in Europe. The AYC22 event was held in Lahti, Finland, and welcomed over 2,500 young people for the four-day conference. The first youth congress took place in Chemnitz, Germany, in 1928. Since then, times have changed but the aim of the gathering has remained the same: to be the perfect place to connect with other young Christians, to share and celebrate faith together, and to be challenged to make a real impact in our communities and surroundings. Event organisers the Inter-European Division and the TransEuropean Division are part of the Seventh-day Adventist Church, which has more than 78,800 churches and more than 18.7 million members worldwide.

The event organisers were intent on providing fully inclusive language interpretation for all attendees. The plenary sessions would be in English and 11 additional languages (including Bulgarian, Czech, French, German, Italian, Portuguese, Romanian and Spanish) would need to be interpreted for the attendees. Providing and managing large quantities of traditional radio frequency (RF) systems would require a dedicated support team

along with a sizable equipment inventory.

The theme for AYC22 was “Plug In”, with main speakers David Asscherick (Light Bearers speaker and ARISE co-founder and instructor) and Daniel Bosqued (president of the Sagunto Adventist College in Spain) leading seminars and workshops around the concepts of Plug & Breathe, Plug & Serve, Plug & Share, Plug & Live and evening rest sessions called Unplug.

Audio Pro Heilbronn Elektroakustik provided the AYC22 conference with two Listen EVERYWHERE LW-200P-08 eight-channel Wi-Fi audio servers to broadcast the 12 live language channels throughout

the venue. Attendees, participants and staff used their personal smartphones to download the free Listen EVERYWHERE app, then simply selected their preferred language channel.

The deployment of Listen EVERYWHERE at AYC22 allowed each attendee to use their personal smartphone to stream their preferred language audio, in turn listening through their personal wired earphones or Bluetooth-enabled earbuds or hearing aids. Each user was able to enjoy clear audio in a large venue environment.

The conference was able to offer a venue-wide broadcast of multiple

languages while avoiding the need for additional resources of lendable inventory and the necessary staff to maintain, track and clean traditional receivers and listening transducers.

“One of the challenges of the event was providing interpretation for the general sessions,” explains Kim Franklin, vice president of global marketing at Listen Technologies. “In the past, providing translation meant that users had lots of instructions they needed to follow. They had to sit in a particular section to hear their language interpretation. They had to check out translation equipment, manage saving battery life and return the equipment at the end of the event.

“Using Listen Technologies’ Listen EVERYWHERE audio over Wi-Fi solution, AYC attendees downloaded an app, brought headphones or earbuds, and selected their language for the general sessions. They sat wherever they wanted and didn’t have to worry about returning devices because they used their smartphones to access the interpreted audio. Attendees reported that they found the app to be intuitive and easy to use.”

www.audiopro.de www.aycongress.org www.listentech.com

The Listen EVERYWHERE servers stacked at the bottom of the rack

Listen Technologies has supplied a Listen EVERYWHERE system to the European Adventist Youth Congress in Finland

MORE THAN JUST SPEECH K&F PIA M CONVEYS YOUR MESSAGE

It has always been our main goal to deliver clear, natural sound to ensure every word is heard throughout the whole audience. Especially in places of spiritual contemplation it is particularly important to not just transmit speech. Using K&F PIA M makes room for the most important thing: the message. Loud, crystal clear and natural.

Custom-made success

place of Christian worship since the sixth century. Since that time, several iterations of the cathedral have been destroyed during wars and conflicts, with extensive reconstruction taking place in the 15th and 16th centuries. Today, the Grade I listed cathedral has the capacity to hold around 1,000 worshippers, hosts a large number of eucharist and evensong services across the week in both Welsh and English and also serves as a major tourist attraction for the coastal city in North Wales. DM Music has 30 years of experience as a specialist church sound and audiovisual installer. “After contacting Gloucester Cathedral and asking who they use for their tech, Bangor Cathedral called us and said they wanted a new AV system,” explains Graham Bennewith, installation director at DM Music. Initially, the project was handled by DM Music’s projects director, Jon Miles, who travelled to Bangor to discuss the cathedral’s needs. The brief included a new PA system to cover the entire seating area and a new camera system which would serve two purposes: one was for the

organist so he can see the conductor and the choir, and the other was for livestreaming.

Once the proposal had been finalised, Bennewith visited the cathedral with Miles for a previsit to discuss cable routes, fixings and fittings while the cathedral sought approval for the works from the appropriate Diocesan Advisory Committee (DAC). “DAC approval can be a complicated process but we’ve learnt over the years what the authorities are looking for. There’s certain DACs that we’ve worked with for so long now that they more or less rubber stamp our quotes without any problems.” To prevent any damage

to the stonework, all the speakers in the cathedral are mounted on wooden patrices which in turn are mounted to the mortar lines in the pillars, eliminating the problem of where the fixing holes line up. The PTZ cameras are mounted on wooden plinths created by DM Music’s in-house carpenter so the modern technology can blend in with the existing woodwork. “We custom-make a lot of fixings,” adds Bennewith, “including camera plinths, mic bass holders and metal straps for pillars.”

The existing PA consisted of old column speakers that were slowly failing and increasing reverberation

struggling to see the conductor’s arm movements. “We didn’t model the cathedral during the design process,” explains Bennewith. “After 20 years of working in churches, we get to know what will work and what doesn’t work. Bangor is a large, traditional church building with predominantly speech but also light music use, so we knew we’d be looking at column speakers with controlled vertical dispersion and wide horizontal dispersion.”

The speaker setup includes six Yamaha VXL-16 and eight VXL1-8 slim line array modules, along with 10 VXS1MLB surface-mount speakers and four VXS3SB subwoofers. “The Yamaha columns have a slightly bigger driver but they handle the low end better. And with a slightly better frequency response, we knew we wouldn’t need too many subwoofers. The cathedral wanted simplicity of control but also flexibility in where the equipment was located so we knew we weren’t looking at a traditional mixing desk but more along the lines of a system processor.”

As is typical of so many churches and cathedrals, the RT60 time at

The organist can now see the conductor and the choir

Bangor Cathedral was too long. “The traditional church design is very good for choral and orchestral but terrible for the spoken word,” describes Bennewith. “We will always look at using speakers with a narrow vertical dispersion so we’re limiting how much sound is hitting the floor and ceiling. Then we use lots of speakers spread down the building on different pillars, all time-delayed so that each one is only covering a relatively small area. If we used a line array, there would be a lot of dead spots so there’d be a lot of areas where the columns would block the coverage. Then you’d have to put in spot monitors to fill the dead spots so, by the time you start adding additional speakers, you may as well distribute throughout.”

To boost the sound in the quire, the 10 1.5-inch VXS1MLB spot monitors are fitted behind the light bulbs or hidden behind carved woodwork. “They’re so small that the cathedral staff couldn’t even see them,” adds Bennewith. “But this is the first installation where we’ve used quite so many of them for such a large area. The quire area is full of ornate carvings so there wasn’t anywhere obvious to place the column speakers. For larger services, the choir sit in the quire but, for smaller services, the congregation sit in the

quire, so we needed to treat the area for both types of use.”

DM Music supplied one Powersoft Duecanali 804 and two Quattrocanali 2404 amplifiers, along with a Sennheiser eight-way ew100 G4 radio mic system with remote antennae on top of the quire screen with the receivers installed in the main rack.

Five Audio-Technica ES925C12/XLR gooseneck microphones can be used in eight different locations around

emote switches and can be controlled by the organist via a fader panel or via an iPad for livestreaming.

“The cathedral really wanted to up their livestreaming game,” continues Bennewith. “During the pandemic, they used a couple of webcams but they didn’t have a nice feed from their PA system into the streaming system.”

The streaming solution consists of NDI cameras wired on a network cable, PoE power from a network switch and multiple plugin points for a laptop. “The cathedral is using OBS for streaming so we provided them with a stream deck that gives them pan, tilt, zoom control of the cameras and preset recall.

The cathedral can view and switch between all of their eight cameras in OBS using an external screen for a

or four different places where they can plug the multiview in.” The first camera is located over the West door which provides a view straight down the middle of the cathedral, two cameras are placed either side of the nave part way down which can also be turned to give a view of the West door, two fixed cameras in the quire for the organist and three PTZs around the quire, one on the screen and one either side.

With the job completed ahead of schedule, on budget and without any major complications, Bangor Cathedral’s new PA and camera systems are set to serve both inperson and at-home parishioners for many years to come.

www.dmmusic.com

Taking a stand

KLAUS WERNER, KÖNIG & Meyer’s project manager of research and development, introduces its new Wind-Up series, explaining how the established manufacturer have succeeded in designing the new stands in such a way that they are durable, user-friendly and at the same time comply with Germany’s strict DIN standards.

STANDING APART FROM THE CROWD

This year’s Frankfurt Prolight & Sound show saw K&M introduce two unique new wind-up stands: the “3000” and “4000”, measuring 3m and 4m respectively. The process of designing wind-up stands of

German stand manufacturer König & Meyer has unveiled two maintenance-free Wind-Up stands

Without cables: durable K&M Wind-Up technology

transported by the intuitive crank system which benefits from a very low operating force. But we also needed to ensure that with this, we still complied with the German DIN 56950-3 safety standard. This standard has been in force since 2015 and describes the necessary safety requirements for both stands and truss lifts. Our design also meets several professional associations’ requirements too.

CLEAR ADVANTAGES

From the point of view of the user, the beauty of the new drive unit’s capabilities in controlling the height means that the stands are practically maintenance-free and high maintenance costs due to the time-consuming replacement of the steel cables are no longer a factor.

The longevity of the stands is also ensured as our load capacity specifications, 40kg for both wind-up stands, are related to the required tilt safety limit, not to the actual load capacity of the stands, hence there is only a small amount of stress placed on the mechanical components.

The stands have been extensively tested with multiple, centric loads and we think it’s fair to say that the stands are “almost indestructible”. In addition, as is the case with both the “3000” and “4000” products, the crank can be removed using a patented quick-locking system to prevent unauthorised use.

USER-FRIENDLY

Our goal from the outset was to create lightweight, compact stands with a low base height. They had to be easy to operate and have a high load-bearing capacity but user safety is prioritised. Central to König & Meyer’s long-standing ethos though is that manufacturing with highquality material is imperative. To carry the heavy load, the segments in the mast are made of steel while the base tubes are made of an aluminium alloy. Other components are zinc diecast and the guides are made of plastic.

PRACTICAL POSITIVES

The foot circle diameter required for stability on a stand is always

position, at least when the feet

patented AutoLock system, we have implemented a safety device that is even more convenient for the user, as there is no need to manually release the locking bolt when cranking up. In addition, we offer an optional adjustable adapter for the stand foot which compensates for uneven floors, stairs or slopes up to a height of

It’s been incredibly rewarding

particularly with regards to its easy handling and light weight (the “3000” weighs just 12kg while the “4000” comes in at 14.5kg). There’s such a variety of scenarios in which these wind-up stands can be used – from street festivals to theatre stages

formats. You can use them for lights or stage backdrops, but they’re said to be as equally practical for filming and photography – the possibilities

How four AV technologies can support long-term hybrid worship

Steve Milley, group manager of sales at Panasonic Connect, considers how to manage at-home and in-person worship

IN 2020, MANY HOUSES OF worship quickly deployed tech solutions for what they thought would be a temporary phase of remote worship. Now, however, declining in-person attendance levels indicate that the demand for hybrid services could persist. Pew Research Center1 found that while 90% of congregations held in-person worship services in March 2022, only two-thirds of worshippers attended an in-person service. Further, 36%2 reported that they had attended services both in-person and remotely, hinting that a sizeable portion of the population prefers having the options presented by this hybrid model.

It can be more challenging to attract worshippers in this hybrid world. Not only do houses of worship need to encourage in-person attendance, they also need to provide engaging virtual content that creates a community for remote worshippers. According to Ministry Brands 3, nearly 70% of church leaders increased their reliance on digital tools as a result of the pandemic. That trend is likely to persist. As houses of worship develop a long-term hybrid strategy, they’ll also need to carefully consider their long-term technology strategy.

Let’s take a look at four different AV solutions that should play a key role in these plans.

High-quality camera technology

Remote worshippers have a variety of options to choose from when they seek out a virtual worship service, whether it’s at their local house of worship or across the world. In order to appeal to this group, it will be important to create a unique and engaging experience for them. Highquality video content will be a key component of that experience.

single-angle view of the service no longer suffices. Advanced camera technology creates a dynamic experience, giving audiences a glimpse into different angles of the service as if they were present in-person. Deploying PTZ robotic/remotecontrolled cameras with autotracking technology throughout the house of worship can help production teams easily capture these multi-angle views. A production that cuts between the speaker, the stained-glass windows, the unique architectural elements of the facility and the community members present in-person will help your remote experience more closely rival your in-person one. Further, the compact size of the cameras makes them easy to fit within existing beams and pillars for a discrete appearance that won’t hinder the in-person worship experience.

Not only can these cameras help stream services for remote attendees, when paired with the right live production distribution platform, production teams can send camera footage to different displays across the worship campus. This enables services to stream to different venues, spreading out worshippers on busy holidays.

Captivating projection technology

While the right video technology will have the greatest impact on the remote worship experience, projection technology is one of the most important ways to enhance the in-person worship experience. Scholarly research4 indicates that 65% of the population is made up of visual learners. That means more than half of people retain information better when they can see it as opposed to just hearing it.

Projection technology with the right brightness and colour settings for the space can help worship leaders support their sermons with visual content. Whether it’s an image to illustrate a passage of the Bible people may not be able to visualise

for themselves or some calm imagery timed to music to signify a moment of quiet contemplation, the options are endless. Adopting this strategy will be especially important to engage younger worshippers who may benefit from colourful, engaging visuals to help them understand the contents of

Projecting reading passages and song lyrics also helps ensure that everyone present in-person can follow along with the service, even if they don’t have a paper copy in front of them.

Additionally, projection technology is particularly helpful for larger sanctuaries where it may be challenging for all worshippers to have a good view of the pastor onstage. Much like attending a concert at a large music venue, cameras can capture the pastor onstage, while projectors transmit a real-time, close-up image feed, providing a more intimate viewing experience.

Eye-catching displays

While you may think of digital signage as a retail application, presenting messages digitally is important in any type of community-based environment. Worship leaders can leverage digital signage as a community builder, using them as

Projection technology can provide colourful, engaging visuals

PTZs allow houses of worship to capture multi-angle views

a place to share information about upcoming cake sales or donation drives. Instead of relying on verbal updates at the end of a service, presenting visual reminders on a digital display can help the message stick. Data from California State University5 shows that the retention of information reinforced with visual content is 15% higher than when presented without. Worship centres can also feature announcements from community partners, whether it’s the local school or a nearby business, to highlight their presence as a community pillar.

Similarly, digital displays help worship leaders provide direction. Imagine a Christmas Eve service at a large church campus with concurrent services taking place in multiple different buildings. Instead of having volunteers spend their time guiding people, strategically placed digital signage with directions can help ensure people make it to the right place. Beyond physical directions, houses of worship can also direct people to the appropriate page numbers for readings, making sure they stay engaged in the service.

Likewise, if a church can only hold one service on a busy holiday, production teams can stream the

service to different buildings across the campus with the right digital displays. This way, worshippers who prefer to come in-person can still do so, despite physical spacing restrictions.

Lastly, displays can serve as content prompters for the talent onstage. Whether it’s the pastor following his sermon or the choir following musical lyrics, displays give them the confidence they won’t miss conveying a message, song or announcement.

Inclusive audio

While visuals play an important role in boosting engagement for both at-home and in-person worshippers, engagement will be minimal if worshippers can’t hear the speaker. Many houses of worship think carefully about having the right audio solutions for musical performances, but it’s just as important to find the right microphones for your speakers based on your needs and size. Beyond that, many houses of worship now have conference and classroom spaces where deploying the right microphones can help create a more inclusive environment where everyone can participate, regardless of whether they are at home or in-person. Staff and volunteers can conduct hybrid meetings, while remote and in-person worshippers can meet, interact and build community through activities like hybrid Bible study sessions. Taking the time to equip communal spaces like this with the right microphones and receivers, in addition to your worship halls, will support even more hybrid community building.

Embracing a new world of worship

While this new era of hybrid worship may seem intimidating for houses of worship that saw remote worship as a temporary offering, it has created opportunities to engage with existing audiences in new ways and expand to new sectors of the population. Ultimately, successfully attracting new worshippers and engaging existing ones will depend upon a worship centre’s ability to leverage the right technology in new and engaging ways.

References

1. w ww.churchleadership.com/leadingideas/how-has-covid-19-impactedreligious-participation

2. w ww.pewresearch.org/ fact-tank/2022/03/22/morehouses-of-worship-are-returningto-normal-operations-but-in-personattendance-is-unchanged-since-fall

3. w ww.ministrybrands.com/blog/ ministry-brands-releases-survey-datarevealing-the-role-of-technology-inthe-church-during-the-pandemic-andbeyond

4. w ww.ncbi.nlm.nih.gov/pmc/articles/ PMC6513874

5. w ww.presentationtraininginstitute.com/ using-a-visual-aid-during-presentations

Making the jump to LED

also need to be replaced. Fourth, LED sources produce very little heat, so safety-related concerns associated with high-wattage lamps go away. The list of advantages goes on.

Perhaps you find yourself in a similar situation to what I’ve just described. You work in a venue with existing lighting instruments and infrastructure and would like to look into the many advantages of LED units, but you find it difficult to rationalise the stewardship benefits of existing resources versus an upgrade. In all of my research, product demos and discussions with suppliers and users of LED instruments, I have discovered some key points that allow making the jump to LED not only a reality, but make a case for being good stewards, and I’d like to share three of those with you.

#1: keep within your existing brand

THOUGH IT MAY BE THE youngest light source on the block, LEDs have been taking over entertainment lighting rigs in force. The beginning of their journey was actually quite a struggle. Most lighting rigs consisted of high-wattage incandescent, tungsten or high-intensity discharge (HID) sources, all of which produced a much brighter light than early LED sources. Second, the electronic dimming capabilities of LED sources were subpar, with intensity “jumps” along the curve able to be seen by the naked eye, causing a flicker-like effect. This was particularly troublesome in the theatre industry where fade times between lighting cues required smooth transitions between light intensities to maintain the desired effect.

Thankfully, LED technology has come a long way and instruments using LED sources are commonly found in both conventional and automated units. LED sources have become brighter, rivalling and even surpassing the lumens-per-watt output of older sources. Electronic dimming control has also been fine-tuned to produce flicker-free dimming curves. And as the advantages of LED have become widely accepted, all major lighting manufacturers have integrated LED sources into their product portfolios, with some going all-in on this “new” technology.

One of the greatest challenges that I face in my venues that I am sure many

houses of worship also face is the challenge of budgeting for equipment.

If you are lucky enough to be part of a new facility build, a renovation or are in the process of an approved equipment upgrade, jumping into LED lighting is a no-brainer. In my case, and perhaps others, I work in venues that are 15–20 years old and are stocked with large inventories of last-generation lighting instruments.

There isn’t anything wrong with older fixtures. I have a regular maintenance programme established that cleans and checks all of our instruments annually and, when needing to repair a unit, spare parts are relatively easy to get and don’t cost much.

The instruments are as old as my venues and, due to our maintenance programme, require very little repair maintenance and the only real “cost” is in replacement lamps and utilities (electricity). I highly value being a good steward of the resources (financial and other) that I am given, so with

an LED-sourced 200–400W per unit. With a couple hundred instruments hung in each venue that I work in, that adds up to a lot of utility savings. Second, LED sourced instruments require less maintenance. While you need to keep them clean and free of dust, the light source has a much longer lifespan, so fewer lamp changes will be required, again reducing operating costs. Third, instruments can be purchased with coloured LEDs, adding the advantage of producing a nearly infinite number of colours rather than using single gels or limited-colour scrollers that

Pretty much all lighting manufacturers now have LED source instruments in their product portfolios. After all, they need to compete with each other (which also improves technology innovations). While certain specifications, the technology used, the types of LEDs or the LED colour combination may differ between brands, I would argue that most reputable brands have a product on the market of quality. The difference between an LED ellipsoidal from one brand to the next, for example, may only be noticeable by a small group of individuals or professional lighting technicians and designers.

Therefore, the reason that I highly recommend staying with your existing lighting brand is that it may be possible to save money (being a good steward) by converting your lighting rig rather than replacing it outright. For example, you may be able to use your old lens tubes with new instrument housing because the manufacturer designs them to be interchangeable. Or you may be able to simply replace the lamp housing of the instrument with an LED housing. This both cuts down on your out-of-pocket expenses for updating and prevents additional waste if you can’t sell or off-load old instruments.

If you do look at other brands, it may still be possible to achieve this, though it will limit your options

John Black considers the budget, energy and maintenance benefits of moving to LED

over 400 instruments in my inventory, lamps and utilities have seemed

Chauvet’s Maverick Storm 2 BeamWash

a bit more. I recently attended a lighting seminar during which I had the opportunity to look at new instruments from a brand that would actually accept the lens tubes from my current instruments. If you find this to be possible, it allows you to price-compare between the brands. This probably isn’t the norm, however, and so I would always just start with looking at the brand of instruments currently in your inventory.

#2: power – make the most of daisy-chaining

Most of you have probably heard that you should not connect an LED instrument to a traditional dimmer. The reason behind this is beyond the scope of this article, and there are a few exceptions, but for the most part it is true that you should provide a constant electrical current to LED instruments. My venues are each equipped with multiple dimmer racks providing power to 200+ lighting circuits in my smallest space. Many dimmer manufacturers now produce

flexible modules that allow the user to select the operating mode of the power module, but our racks were installed before those modules came on the market. However, I need to be able to provide power to LED instruments throughout my rig where I have traditionally used non-LED instruments.

The way that I get around this is to make use of daisy-chaining. Rather than replacing hundreds of old dimmer modules for more modern modules, I have carefully and selectively replaced modules sending power to specific areas of my lighting rigs. Most LED instruments will allow you to daisychain power and data from instrument to instrument. I do this a lot. It is important to keep in mind the daisychaining capabilities not only of the instruments themselves but also the total capacity of the power module, though with LEDs chances are you will max out the daisy-chain capacity first.

This can be an effective way of upgrading your existing power distribution system for your lighting rig

without shelling out big money on a total overhaul. These systems, when maintained properly, have extremely long lifespans, so it is better in most cases to update components of the system rather than replacing it with a completely new system.

#3: think in groups

There are a lot of resources available describing the differences in the quality of light between LED and nonLED sources. Particularly in the early years of LED stage lighting, it was challenging to blend LED and non-LED rigs because of differences in colour temperature, brightness and dimming curves, for example. While there certainly are differences that still exist, the technology has improved such that many of these differences no longer make blended rigs an issue. Chances are, though, that you and I will never be in a position to update an entire rig at one time (and if you find yourself able to do so, consider yourself blessed).

I recommend that you think about your lighting rig in “groups of lights” that work together frequently, as

well as individual instruments that are used often independently.

For example, I consider all of the instruments that I use to create colour washes of the whole stage a single group. Another group may be all of the instruments that I use for a full stage gobo wash. A third group may be my front specials that are used individually. My largest group of instruments is probably my front wash. These are just examples. I broke down my lighting rigs into 8–10 groupings of instruments according to their purpose in the rig.

Once you’ve established your instrument groupings, prioritise the groupings in the order that you would like to update. For example, I prioritised my colour wash groups because I wanted to take advantage of the colour-mixing capabilities of LED instruments, reduce the total count of instruments in this group and get rid of the need for colour gels and/or scrollers. Your priority list may be different. Once settled, you can then budget for updates in groups. By updating groups of instruments that share the same purpose, you will never sacrifice the quality of light of that group by mixing and matching instruments within the group. It also allows your budgeting to be more manageable and keep the practice of good stewardship in mind.

These are just three of the ways that I have found myself able to make the jump to LED in older venues while taking into consideration budgetary constraints and being a good steward of existing resources. I do believe in the advantages that LED lighting instruments provide and I do believe that the technology is at a place where I would happily maintain an all-LED rig. Getting there is not always easy but, with some creative thinking and planning, it is possible to make the jump.

An ETC Source 4WRD II upgrade at Samil Church in Korea

ETC’s Source Four ellipsoidal can be converted to an LED with a Source 4WRD retrofit

onset of the design process, the Hannover-based manufacturer decided to completely rethink what is required in acoustically demanding environments –including houses of worship – rather than research what has been done before.

In the words of CEO Jürgen Freitag, the result is “a true jack of all trades”. To appease interior designers, the PIA M smart column speaker integrates seamlessly into demanding architecture by blending in aesthetically. However, the assembled team commissioned to bring PIA M to life were united in their quest that the unobtrusive enclosure would not compromise audio quality. The patentpending, three-way design hosts unique features that will ensure its inclusion within critical spaces demanding high speech intelligibility with musicality.

Blending in off grid on axis

Kling & Freitag has filled a gap in its inventory with the PIA M smart column speaker

“Kling & Freitag has never built me-too products,” says senior consultant Christoph Wöhler. “Between designing the relatively basic E90 column speaker in 1990 and the VIDA powerhouse column with beam steering, DSP and 48 amplifier channels more recently, there was little in between in our portfolio. The E90 is dated and VIDA is expensive, so we realised that we had to fill the gap. From conception in early 2020 to delivery, PIA M took two-and-a-half years, which was two years too long perhaps, but we are fanatics when it comes to perfection. As such, the internal discussions have been crazy at times, but this is what differentiates us and, as a result, we have built the best-sounding loudspeaker for the money.”

Director of sales Marco Kuhnmünch further explains the Kling & Freitag engineering philosophy. “If you want to build a good sonic loudspeaker, you take an 8-inch chassis and a 1-inch tweeter and put them into six boards of wood. But to build something great, you cannot build something that your competitors are manufacturing. At the outset of PIA M, we did not

Director of sales and marketing Marco Kuhnmünch with MD Jürgen Freitag

intentionally try to build a different speaker – we simply wanted to create the best loudspeaker without compromise. It makes no sense to produce something different for the sake of it.”

Innovations targeting the low- and mid-frequency sections within the slim 139mm x 168mm (WxD) birch multiplex enclosure require closer analysis. Consisting of four 0.75-inch compression drivers in a vertically adjustable horn array, the high-frequency section incorporates a unique mechanical design. In addition to tilting up and down, it splays the waveguides separately to maintain more energy to the rear of the room while splaying them more towards the front of the listening area. This results in equal level distribution throughout the entire audience area, without compromising the mounting position or height.

“The patent-pending part of the high-frequency array is the mechanism that shapes it,” explains Wöhler. “There are other drivers with arrays in the column so, should the pattern need to change, some high-frequency drivers can be switched off, filtered differently or mechanically tilted, but the radiation characteristics remain the same. We also designed the unique mechanical curving of this adaptive J-shaped array to be operated from the rear of the speaker. Rather than tilting the physical enclosure or switching off some high-frequency drivers, the angle of the first upper driver can be maintained, while the lower one can be curved to provide a more desirable and even coverage across the soundfield.”

To perfectly adapt to the application, the four 4-inch drivers in the LF section can be alternated between Bass Reflex and Cardioid modes. The two 4-inch mid-frequency drivers that are generally dedicated to voicing are always in cardioid mode to avoid spill to the microphones.

“We have built a lot of successful business in the Asian market, mainly because most Asian languages don’t contain as many transients to maintain the information,” comments Kuhnmünch. “The mid-frequencies and tone are vital, so we generally focus on the 500–1,500Hz spectrum.”

To prevent the sound bending around the speaker and flooding the room with a low-frequency muffle, cardioid functionality is available. However, for less acoustically demanding rooms, bass-reflex tuning extends the lower frequency spectrum to 102Hz (±3dB). “With a twoway system, the low-frequency woofer cannot perform in the mid-frequencies and the highfrequency driver cannot attain the mid-frequencies, so you don’t have a controlled mid-frequency,” furthers Wöhler. “The easiest way to make the cardioid operate perfectly over the full spectrum is to separate into mid- and lowfrequency elements, resulting in lower levels than a traditional two-way system. PIA M has been designed to cut in at 200Hz and there is a reduction of –60dB, for example, at 100Hz. We love to design large frequency crossovers.

“By tuning within a narrow midrange and the low frequencies, the user benefits from broader pattern control,” continues Wöhler. “With regards to the horizontal dispersion characteristics, PIA M displays the characteristics of a much larger speaker than a column because it emits lower SPLs to the rear, which in turn enhances the intelligibility. When used as a delay line, the result is less bleed at the rear. Owing to its shape, a column speaker is normally associated with narrow radiation characteristics and a longer vertical dispersion. As this is a passive three-way design, you can make an adjustment where required within a very narrow frequency.”

The three-way design is driven by one channel of Kling & Freitag PLM+ Series, D- and IPX2000 system amplifiers. “The Lab Gruppen amplifiers we use for our passive loudspeakers incorporate Lake processing,” continues Kuhnmünch. “Following extensive testing, a PIA M preset running with filters has been added to the library and we are currently developing linear phase filters for added transparency and more depth.”

Enhancing its versatility of use, the 12.2kg enclosure is equipped with six M10 thread inserts on the rear, base and lid for mounting and there is a wall mode for the speaker for positioning where directivity is

required. In addition, the 1.2m-high enclosure can be pole-mounted or fixed to a truss horizontally or vertically with a rear-mounted adapter. Although the cabinet is available in a standard black or white finish, custom RAL colours are available that will allow it to blend into all architectural façades. Initial demand from visually demanding installations has kept pace with live events companies who are employing its use in conference setups for music playback in addition to speeches.

“When powered with our system amplifiers, the audio is put into phase and combined with all our subwoofers to provide a very musical-sounding system,” says Kuhnmünch.

Before launching the speaker at Frankfurt Prolight + Sound and ISE in Barcelona, Kuhnmünch feared that visitors would be reserved if not slightly sceptical that a column speaker could sound appealing.

“I was also apprehensive that the rear cardioid to bass-reflex switch mechanism between cardioid and bass-reflex together with the high-frequency array would be dismissed. Fortunately, everyone seemed to be completely blown away by the demos and almost disbelieving.”

Successfully delivered, PIA M is finding its way in the world.

Video formats

THE NUMBER ONE THING I LOOK for when researching video equipment is what kind of inputs and outputs it has. Probably 90% of the time, I am looking for SDI, specifically HD-SDI. But sometimes I must work with HDMI, Ethernet or even fibre optics. Here’s a quick breakdown of each.

SDI

SDI (Serial Digital Interface) is the standard format for professional video and broadcast currently. It is a BNC connector on RG-6 (Belden 1694-A) type cable. It replaces the old broadcast standard for analogue composite video, which was basically

This was standard when digital video first developed. Other than just SD vs HD quality, there is a major difference between SD-SDI, HD-SDI and 4K that you need to know. SD-SDI has a bitrate of 270Mbps. 720p or 1080i HD-SDI is 1.5Gbps, and 3Gbps for 1080p (also called Full HD). 4K is 12Gbps and up. SD-SDI equipment such as routers, switchers and adapters will not pass HD-SDI signal due to bandwidth limitations and some HD-SDI equipment is limited to 1080i, not p. Over a decade has passed since HD became standard, but you might still encounter some old SD-SDI equipment out there.

require electrical power to function. Wherever you have these nifty throwdown boxes, you will double your cabling content as well as adding the power requirement. Instead of just a cable plugging into your device, you will have the main cable into the converter, then the cable out of the converter into your device, plus the power cable, plus the converter box itself. That can take up a lot of real estate behind mounted flat-screen TVs and inside racks, requiring some creative cable management.

HDMI

the same thing, but over RG-59 cable most of the time. RG-6 has thicker wire, insulation and shielding than RG59 so it can handle higher payloads for greater distances. In the digital world of SDI, these cables carry video with embedded audio, whereas in the analogue days, it was video only. SD-SDI was standard definition digital video with embedded audio.

SDI has a 92m max cable run, but it can be boosted with signal amplifiers if needed – I like the ones that Freak Show makes. BNC connectors are durable, they twist lock so that you can’t accidentally unplug them, and the cable itself is durable and relatively easy to run in most applications, plus relatively inexpensive. I have bought several 300m spools of Belden 1694-A this year and each spool was about US$580. Connectors are cheap but the tools required to terminate these cables can get expensive, several hundreds of dollars for some crimpers and compression tools. You can also purchase cables pre-made.

DI can become challenging when consumer and prosumer gear is involved as it needs to be converted to HDMI in many cases, and vice versa. Blackmagic Design and AJA have developed affordable SDI/ HDMI converters, although they

HDMI stands for High-Definition Multi-Media Interface and is the standard for most consumer and prosumer electronics today. Also boasting video with embedded audio, HDMI has something called HDCP (not to be confused with DHCP). HDCP is an acronym for High-Bandwidth Digital Content Protection, which is clever by design but can reap a world of hurt for video professionals.

It is easy to stay within one “type” of format, either HDMI or SDI, but combining the two can be tricky. Because of the aforementioned HDCP, integrating HDMI sources into an SDI infrastructure can be difficult and frustrating. HDCP is designed to protect content creators and rights holders from piracy, but it can also prevent you and I from distributing or displaying the same content that we have the rights to use. When HDCP detects an SDI converter or video switcher, basically anything not recognised as a terminal piece of equipment like a monitor, it strips out the video so that you can’t illegally distribute or copy it. We once had a person bring a Blu-ray movie into our convention centre. They had the rights to show this movie but the signal from our pro Blu-ray player (HDMI out) would not display the video because of HDCP (video switcher is SDI so Blu-ray HDMI out was converted to SDI). One workaround to this problem is an HDMI splitter. Many of those will strip out the HDCP and allow your video to pass through the SDI conversion and into your switcher.

HDMI has improved, but there are stricter distance limitations on HDMI versus SDI. On longer HDMI runs, you might end up with a cable that is unidirectional, meaning it will only send signals in one direction. I currently have a 15m bidirectional HDMI cable that works well, but go much longer than that and you will need signal boosters or amplifiers. HDMI cable is more expensive than SDI and making your own is not very easy or

There’s more to different video formats than initially meets the eye, Casey Hawkins

Green Acres Baptist Church has fibre runs all over the campus to carry video between the buildings

ST fibre connections

The familiar HDMI connector

commonplace. You will most likely live in an SDI/HDMI combo world if you ever enter the SDI world at all.

Cat5/6 Ethernet extensions

These can get tricky. The theory is that you can use Cat5 or Cat6 cabling to transmit video signals over long distances and over an IP network, again around 45m up to 92m. Cat6 is better than Cat5 since it has more capacity for payload. You will need a pair of converters to get from HDMI to Ethernet and back to HDMI again, just as with SDI to HDMI runs, but there are some limitations that I have experienced.

Depending on the transmitter and

enough power for what you will need in the long term, or even if an Ethernet solution is best for you. Personally, I currently favour SDI or HDMI (or a combination of both) over any Ethernet solutions by 100%.

Fibre optics

Video over fibre optic cable is best for long-range transmissions and multifunctional needs. Video over fibre optics can span miles without flaw and can also handle data and control info. The caveat is that the transmission equipment necessary on both ends can be very expensive, and the cable itself is expensive and very fragile. A mere kink in your fibre line can cause errors or even complete

which means that some native tablet and laptop outputs already exceed the limitations of these devices. If a MacBook, for example, defaults to a screen resolution of 2560x1600 @ 60Hz, then you will most likely experience failure on the units that max out at 1080p because 2560x1600 is higher resolution than 1920x1080 and the refresh rate is also higher. I have had a non-working setup with a 1080 60Hz laptop source work just fine when I changed the display settings to 1080 30Hz. So you can change some display settings or use devices such as the Decimator MD-HX to conform the laptop signal to your infrastructure.

I have seen some Ethernet designs that degrade the video quality, where the output appears to have a high compression rate that makes the video appear soft and lower resolution than its HDMI or SDI counterparts. Also, these solutions tend to have the same real estate requirements that SDI/HDMI conversions do with converters and power requirements. I would highly recommend researching this option thoroughly to make sure you are purchasing and deploying

you seldom ever need to replace it because it is glass; the power of its payload depends upon the transmitters and receivers you place on either end. One run of fibre can be as good as several or even many SDI, HDMI or Ethernet runs. We have fibre runs all over campus at my church to carry video between buildings. Each of our cameras also runs to our control room and their CCUs, which also carry power, some control, video signals in both directions as well as comms – all in the one fibre line for each camera.

Moving video from here to there can be easy or complex, cheap or expensive. Choosing the right design and infrastructure for your exact needs will be crucial to success. Good luck.

ColorSource Fresnel V

Cat5 cable terminating in an Ethernet switch

ST to SC fibre cable

Light through the naked eye

Luke Gaschk

LIGHTING DESIGN HAS THE potential to evoke an emotional response and tell a story. As lighting designers, this is one of our shared goals. Human eyes are created to respond to light in interesting and unique ways. Knowing these intricacies allows us to understand how our lighting design will be perceived by others. Have you ever noticed how easy it is to see a change in intensity from 0% to 1%, but more difficult to notice a change from 99% to 100%? This is because human eyes are built to perceive low intensities with greater sensitivity. This is particularly useful to know when designing an intensity fade. If the increase in light output

power is linear, our eyes will not perceive it as linear. However, if an intensity fade is designed to initially be slow and increase in speed as the fade progresses, our eyes will perceive this as a smoother fade.

Gamma correction and the human eye

Gamma correction is a method of altering the intensity response to achieve a smoother fade. When the controlling equipment sets a lighting fixture to a particular intensity, it will be mapped to the gamma curve, which determines the actual intensity the fixture is to display.

Controlling equipment that has an adjustable gamma correction value can tune this response – sometimes this can even be tuned per colour. A gamma correction curve also allows colours to be more accurate. It stands to reason that if we are more sensitive to lower intensities, then within these lower intensities there are many more colours that we can perceive. By using a gamma corrected curve, colours become more vibrant and interesting, as we are now creating more colours within the most sensitive range of our eyes. Rich oranges and deep magentas are some of the most beautiful colours that can be achieved with RGB colour mixing.

Interestingly, gamma correction also makes the fixture’s colour appear more similar to visualiser software and computer-based effect generators, since we know computer screens are typically gamma corrected as well. If you’ve ever enabled an effect that looks better on the screen than it does on your LED fixtures, this is the reason. By using gamma correction on the LED fixtures, you’ll find that they will look much more like your visualiser software.

There are some challenges when it comes to gamma correction and LED fixtures if the fixtures are using 8-bit intensity dimming. 8-bit LEDs will only offer 256 levels of intensity, so the

, customer success engineer at Advatek Lighting, considers how attrituibes of the human eye can alter the way lighting is perceived

Riverside Church

Northshore Community Church

Over 50 Advatek PixLite controllers were used to control LED stage lighting at Eurovision 2021

Image courtesy of Steven Bolt

gamma corrected curve may result in the same output intensity level being used for multiple input DMX values. This can result in noticeable steps in a very slow fade. There are colours that aren’t possible at 8-bit, as the resolution simply isn’t high enough. 16-bit is often a better choice to make, as the number of intensity levels increases to 65,536. This means there are more colours that can be achieved, increasing options and accuracy.

Colours and emotions

When it comes to human eyes, we detect changes in wavelength to determine what colour we are seeing. As it turns out, our ability to differentiate between colours is also non-linear. Our eyes will see green colours as the brightest (at around 555nm), followed by red, followed by blue. Some fixtures may already compensate for this phenomenon, however this is very important when considering what choices to make when it comes to colour.

In my own lighting design, I’ve found that green colours will be perceived as sharp and piercing, red colours will be perceived as bold and warm, and blue colours will be perceived as soft and gentle. This is partly because of the

non-linearity of our eyes, and partly to do with human emotion. You may find that mixing in elements of one colour into another colour will create a complex set of emotions, or even a whole new emotion. My personal favourite is a blue-purple base colour with some elements of the lighting design set to a deep orange to make the overall atmosphere feel a little warmer.

Here are a few tips to keep in mind:

1. A ll fixtures and lighting elements should be colour matched. If you set all fixtures

to a colour, each fixture should be able to output this same colour. This helps to maintain the integrity of the decision of colour.

2. Choose colours intentionally. An orange may evoke a sense of warmth and comfort, while a bright yellow may create excitement. Colours are a key part of telling a story through light.

3. M ake use of low intensity light. Low intensities can be used to create subtle effects and very interesting colours.

You’d also be surprised how effective it is to use black within effects. A contrast of one or two colours with a moving black throughout the effect can be quite useful.

A lways try to use gamma corrected LED fixtures, drivers or controllers. This will keep colours vibrant and accurate and dimming curves smooth. Gamma correction is always better when using higher resolutions, so if 16-bit control is a possibility, go for this option over 8-bit.

When it comes to light design, there are many options that could work and there isn’t one right answer. This is why the creativity of the designer is so important. To use our creativity as lighting designers, we need to know and understand the technicalities of how light works. By knowing how our eyes are created to perceive light, we become more aware of what story our effects are actually conveying, and you can work your way up to creating that spectacular lighting design that inspires others.

www.advateklights.com

Advatek’s PixLite controllers were used to create subtle LED lighting effects at the Paper Mill Playhouse

DaVinci Resolve updates to version 18.1

AN UPDATE TO BLACKMAGIC

Design’s DaVinci Resolve software has been announced. Featuring support for social media vertical resolutions such as 1080x1920, customers can choose square and vertical resolutions directly in project settings, reportedly making it faster to set up a timeline to produce videos. Collaboration with other editors at the same time is also described as easier with the new timeline locking operation. This automatic operation prevents two users selecting the same timeline by locking it to the first user without the need to lock the whole timeline bin. Multiple editors can now work on different timelines in the same bin at the same time.

The upgrade also adds new AI-based voice isolation track FX so customers can remove loud, undesirable sounds from voice recordings. By adding DaVinci Neural Engine-enabled voice isolation to the cut, edit and Fairlight pages using a new DaVinci Neural Engine AI-based core effects process, customers can isolate dialogue from background sounds in a recording.

The built-in dialogue leveller track FX in the inspector processes and smoothes dialogue

recordings without the need for level adjustments on clip gain or automation curves. Controls include real-time scrolling waveform display, focus presets and three process options which allow customers to easily achieve natural sounding results. With the new vector keyframing of Fairlight audio automation curves, users now have the ability to graphically enter, edit, trim and nudge keyframes with standard tools. A new automation editing view is said to provide faster and simpler management of curves and keyframes. DaVinci Resolve 18.1 also adds Fairlight grid support so customers can position clips on a grid based on timecode or musical tempo.

According to the manufacturer, editors now get a faster and smoother editing experience with improved project importing when using ATEM Mini, so that audio is now attached to the video clips automatically, making imported projects easier to edit and improving workflows. DaVinci Resolve 18.1 adds DaVinci Resolve Speed Editor functionality to the edit page, including multicam switching, audio level, trim in and trim. Customers can also use these functions in

conjunction with the search dial for even more speed. There’s also support for subtitle track presets and per-track formatting rules. This means users can now adjust individual settings for each subtitle caption, including font and style while retaining the track setting for size and background.

For Fusion users, customers can speed up their workflows with added support for magic mask in the Fusion page. The magic mask palette uses the DaVinci Neural Engine to detect and track movement in a shot. Now, users can produce clean travelling mattes directly in the Fusion page to add effects to characters or stylise the background. It’s also possible to search for common keywords and categories for more than 200 tools so that users can filter the list without knowing the exact tool name to quickly find and apply tools to their visual effects.

Blackmagic also reports that there are significant performance improvements with multiple tools. Updates to the internal processing reportedly result in up to 10x faster Text+, 5x faster stabilisation, face refinement tracking and analysis, 4x faster spatial noise reduction, better playback performance with

large node graphs and improved Blackmagic RAW decoding on Apple silicon.

DaVinci Resolve for iPad has also been unveiled, designed for creators “to extend video workflows in new ways and new places”. Optimised for MultiTouch technology and Apple Pencil, DaVinci Resolve for iPad features support for cut and colour pages, providing access to DaVinci’s image technology, colour-finishing tools and latest HDR workflows.

Blackmagic Cloud support allows creators to collaborate with multiple users around the world. With optimised performance for Apple Silicon, DaVinci Resolve reportedly delivers 4x faster Ultra HD ProRes render performance on the new iPad Pro with M2. HDR is also supported for customers using a 12.9-inch iPad Pro with the M1 chip. Creators can send a clean feed grading monitor output to an Apple Studio Display, Pro Display XDR or an AirPlay-compatible display. This lets customers use the external display to quickly create grades on-set or colour correct clips in postproduction directly from their iPad. www.blackmagicdesign.com

Blackmagic Design’s DaVinci Resolve 18.1 adds support for editing in vertical resolutions on social media platforms such as TikTok, Snapchat and Instagram TV

Listen EVERYWHERE

FROM LISTEN TECHNOLOGIES

Create meaningful connections with guests when audio is accessible to everyone using an audio over Wi-Fi assistive listening system.

Innovative Technology Stream audio over your existing Wi-Fi network.

Did you know?

For an estimated 466 million people worldwide with hearing loss, traditional sound systems are not enough.

Listen EVERYWHERE from Listen Technologies is a simple and affordable Wi-Fi streaming solution that allows people to use their smartphones for assistive listening.

Budget Friendly An affordable solution with options for every budget.

Virtually No Latency No lip-sync issues! Low latency means the audio does not lag.

Easy to Use Customizable app, fully brand and customize with your colors, logo and more.

Visit www.listentech.com/listen-everywhere to learn more or call +1.801.233.8992 for a free quote.

Bluetooth® Enabled

Connect to the audio using wireless headphones, earbuds, or hearing aids.

T-Coil Friendly Compatible with t-coil enabled hearing aids and cochlear implants.

NATIVELY SUPPORTING 12G throughout the entire chassis, Ross Video has evolved the Ultrix series with the release of the FR12 Router. Currently the only router with an integrated production switcher, deployment of the UHD production-ready router reportedly ensures that hardware does not need to be replaced and capacity is not lost.

Described by the Canadian brand as “the ultimate routing, multiviewer and signal processing platform”, the software platform enhances power efficiencies together with significant savings in cost and space. No additional hardware is required as the software is defined as Pay as You Go and adds new features through additional software licences.

The modular input and output matrix of Ultrix allows unique I/O cards to be inserted.

Customisation of the Ultrix Connectivity Platform as a 12G-capable router, multiviewer and signal processing platform, a hybrid-IP switcher or a signalprocessing hub is promoted as the cards are compatible with each other on a single chassis.

Supporting a mix of SDI, fibre and IP signal I/O, the engineering design focuses on the workflow so that Ultrix can be configured as a single frame solution or as part of a multiframe distributed architecture.

Termed as “production in a box”, the hyperconverged design incorporates video/audio routing, multiviewers, audio processing,

frame synchronisers, quiet switching, UHD gear-boxing, production switchers and audio mixing.

The smart door also serves as an LCD display that monitors the system and serves as an interface for configuring via a high-resolution, fullsize touchscreen panel. The FR12 includes up to 288x288 SDI ports with a 6144x6144 TDM audio fabric, up to 288 frame syncs and 288 switches.

Independent and individual control is enhanced with up to 48 independent multiviewer heads in the 12U chassis, with each head supporting up to 100 pips. Routing, processing and configuration down to a mono channel can be performed,

regardless of I/O. With an optional Ultrimix-MXR licence added to the fabric, a virtual, fully routable audio mixer is enabled, promoting audio flexibility and capability to the Ultrix chassis.

Up to eight SDPE blades can be configured as a single 8ME Ross Acuity switcher, eight independent Ross Carbonites or a combination of an 4ME Acuity and four independent Carbonites. Designed to perform in harsh environments, the hardware integrates thermal management, locking card guides and edge connections, together with an advanced internal smart fabric.

Canon introduces new broadcast PTZ and camcorders

THE LATEST PTZ camera from Canon, the CR-N700, is a 4K 60P 4:2:2 10-bit PTZ camera with a 1-inch Type CMOS sensor and 12G-SDI connectivity, designed for professional broadcast and live event productions. The CR-N700 incorporates the intelligent AF from Canon’s professional video cameras, such as the EOS C70 and XF605, for precision focus across the entire pan, tilt and zoom range. This latest launch expands Canon’s PTZ line-up by offering a camera for various types of productions and technical

CR-N700

requirements. Additionally, the brand is announcing the availability of a firmware update for the Canon CR-N500 and CR-N300 PTZ cameras. apable of high-quality transmission, the CR-N700 allows content eators to stream 4K 60P over IP with PoE++ support that provides power, streaming and camera control over a single cable –ideal for remote and live broadcast productions. The high-performance

lens has a 15x optical zoom and a 30x advanced zoom when shooting in Full HD. When coupled with Canon’s Image Stabilizer, broadcasters can capture steady footage, even from a distance. The CR-N700 also

Lumens looks to AI to keep subjects in view

THE LUMENS VC-TA50 is an autotracking PTZ camera capable of automatically keeping presenters in view in worship settings. Featuring AIpowered human face recognition, the camera can reportedly follow a subject smoothly and reliably without the need for additional tracking software, thirdparty hardware or tracking dongles. The VC-TA50 features programmable in-camera tracking modes which

features a Night Mode, allowing operators to capture footage in near darkness thanks to a removable built-in IR cut filter. Along with the HDR formats in PQ or HLG, broadcasters can capture virtually uncompromised footage in various lighting environments.

Designed to fit into the diverse production ecosystems of broadcasters, the CR-N700 features SRT and NDI|HX protocols for highquality 4K video streams, while FreeD enables integration with virtual productions. Broadcasters can create multi-camera setups that meet their needs with these protocols and, with Canon’s XC protocol, it is possible to integrate the CR-N700 alongside other Canon Cinema EOS cameras such as the EOS C500 Mark II,

cameras’ look with Canon Log 3 and Wide Dynamic Range picture settings. In addition to the CR-N700 PTZ, Canon has unveiled four professional camcorders – the XA65, XA60, XA75 and XA70 – alongside the VIXIA HF G70 camcorder. The models are capable of capturing 4K quality content and HD UVC streaming via USB-C, with advanced autofocus and face detection functionality. All of them enable MP4 and On-Screen Display (OSD) recording, while the four professional camcorders feature XF-AVC recording to support broadcast applications.

give users the flexibility to track a subject automatically or only within user-specified zones. Equipped with Lumens’ Smart AF technology, the camera can intelligently maintain focus on the subject’s face to deliver sharp and well-framed pictures. The device supports multiple streaming protocols, compliant with most video production, videoconference and streaming applications, including enable users to integrate the camera www.mylumens.com

Sony debuts FR7 PTZ camera

SONY HAS unveiled what it claims to be the world’s first PTZ camera to combine a full-frame image sensor with lens interchangeability and remote shooting functionality. The ILME-FR7 features a back-illuminated 35mm full-frame CMOS image sensor Exmor R with approximately 10.3 effective megapixels and wide 15+ stop latitude. In addition to wide dynamic range, low noise and cinematic full-frame bokeh, the sensor also delivers high sensitivity that allows ISO to be expanded up to 409600 when shooting in low light. The ILME-FR7 features Sony’s E-mount and can mount a wide range

of E-mount lenses, including the G Master series. A choice of focal lengths ranging from 12–1,200mm is said to give users comprehensive creative control. With a new dedicated web application, pan, tilt, zoom, focus, record, playback and all camera settings can be controlled from a tablet or computer

web browser. Multiple people can monitor ILME-FR7 footage remotely at the same time. Multi-camera monitoring is also enabled, allowing multiple cameras to be viewed remotely on one device. With its integrated controllable pan/ tilt mechanism, the ILME-FR7 can be mounted

on a tripod, on a ceiling with the dedicated CIB-PCM1 or in other locations with limited access so that subjects can be unobtrusively followed and recorded from unique viewpoints. It is also compatible with Sony’s RM-IP500 remote controller for multi-camera production. A single RM-IP500 unit can remotely control up to 100 PTZ cameras and provide joystick-controlled pan, tilt and zoom operation. The supplied infrared remote controller will also support the ILME-FR7’s simple operation.

Next-gen Pocket Cinema Camera 6K unveiled by Blackmagic

THE NEXT generation of Blackmagic Design’s Pocket Cinema Camera 6K has been debuted and features an adjustable screen, larger battery and an optional viewfinder. The new model shares the majority of the original G1’s core feature set, but adds a larger 6144x3456 Super 35 sensor and EF lens mount, allowing users to create cinematic images with shallower depth of field. A large, bright 5-inch touchscreen helps to frame shots and accurately focus, while onscreen overlays show status and record

uncompressed and compressed capture and playback at the highest 10 bit SD and HD quality. Both

Marshall turns to AI to keep the action onscreen

models support broadcast-quality 10 bit YUV and 12 bit RGB 4:4:4 for “pixel perfect capture and playback”. Replacing the previous

DESIGNED TO auto-track and follow presenters using more natural PTZ movement methods in combination with AI accuracy, Marshall Electronics has debuted the CV620-TBI PTZ camera. The camera employs new facial recognition technology and intelligently learns motion dynamics of the subject in order to better anticipate movement. This reportedly removes a lot of the guess work for camera intelligence, thereby reducing late or inaccurate manoeuvres that require corrective adjustment.

The CV620-TBI (black) and CV620TWI (white) are built around new moresensitive Sony sensor technology with a 20x optical zoom range of 5–110mm starting at a roughly 60° angle-ofview. The CV620 is said to deliver “outstanding colour reproduction with exceptional detail”, even in challenging lighting environments. The CV620 also features simultaneous HD outputs of 3G-SDI, HDMI and IP Ethernet

connectivity with up to 1920x1080p resolution at 60fps. Also boasting a 340° horizontal range of movement and 120° vertical tilt, the CV620-TBI offers a large reachable viewing area for the new auto-tracking feature. Designed for broadcast production facilities with few technical staff, Marshall has added the CV730-ND3 PTZ camera for the production of highimpact content. Incorporating NDI|HX3 technology, the camera combines ultra-low latency and superior video quality in less bandwidth. It features a premium Sony 4K sensor with 9m pixels and square pixel array designed behind a long 30x optical zoom range. Providing a wide range of movement options for capturing UHD or HD video, all Marshall PTZ cameras are equipped with a 340° horizontal pan range and 120° vertical tilt with slow to fast speed adjustments.

www.marshall-usa.com

RGBlink circles round codecs for cameras

HD and DeckLink Mini Recorder HD, new models of PCIe capture and playback solutions featuring 3G SDI and HDMI connections. These updated models of the manufacturer’s DeckLink Mini cards support video formats up to 1080p60 and 2Kp60 DCI, and are designed to work with advanced colour spaces such as Rec. 2020 for deep colour and higher dynamic range.

The DeckLink Mini Recorder HD and DeckLink Mini Monitor HD feature advanced high-quality video technology that supports

fit easily into either desktop or rackmount server-style computers with the included full height and low-profile PCIe shields. They can capture from decks, cameras and live video sources, and output to monitors, projectors, media servers and more. They can be used for editing, compositing, graphics production and unlimited broadcast and postproduction situations where the highest-quality video and true versatility are demanded.

www.blackmagicdesign.com

DESIGNED TO support HDMI and Full NDI gigabit Ethernet video stream codecs for encoding and decoding, RGBlink has launched the circular TAO 1mini. Integrating a 2.1-inch TFT touchscreen for real-time monitoring

NDI|HX 3.0, Full NDI, RTMP, RTMPS and RTSP, the TAO 1mini serves as an encoder and a decoder with 2K@60 NDI, PoE and PTZ cameras. The UVC video signal input from a mobile phone serves as a power supply.

of signals and menu operations, the compact and portable device is equipped with dual ¼-inch doublerack screw mounts promoting ease of installation to a camera bracket. Compatible with multiple protocols including NDI|HX, NDI|HX 2.0,

Supporting tally lights, U disk recording and PoE functionality, the TAO 1mini includes HDMI 1.3 and UVC|Type C, USB 3.0 and audio mic/line inputs.

www.rgblink.com

DeckLink Mini Monitor HD

Pocket Cinema Camera 6K

CV620-TBI and CV620-TWI

Christie upgrades MicroTiles LED

OFFERING INCREASED reliability, efficiency and enhanced durability, Christie has launched the 0.75mm and 1mm pixel pitch models within the MicroTiles LED series. Continuing the tradition of the original 1.25mm and 1.5mm MicroTiles LEDs, the latest models integrate flip-chip technology for easier maintenance and increased LED life. The technology dissipates heat more efficiently and common cathode technology reduces power consumption to reportedly make the latest MicroTiles design the most energy-efficient to date.

The 1mm model features LED encapsulation that acts as a protective surface from dirt, dust and scratches, in addition to improving optical performance for black level performance and perceived contrast. The increased durability provides an option to design an interactive touch wall. Processing includes 12-bit input sources, 4K@60Hz and HDR10 compatibility. The QuickMount system enhances speed of installation, although the cabinet-free Click-n-Go LED tiles can be arranged in near unlimited configurations.

in the form of the DWU15-HS, DWU19-HS and DWU23-HS models that output 15,750, 19,150 and 23,650 lumens respectively. Increasing the range of brightness while maintaining reliability, quiet operation and cost-efficiency, the manufacturer claims that the incorporation of BoldColor+ technology produces brighter and bolder colours together with deeper blacks and more realistic onscreen images.

www.christiedigital.com

APT-GB reveals Neutrik’s Halo light ring feature

APT-GB HAS created its most advanced video SMV stage monitor form factor teleprompter to date. Intended for use in a wide range of performance, production and presentation applications from singers to pastors, the SMV2 Teleprompter series encompasses a range of the most common and current video formats with input and output conversion of NDI, SDI and HDMI, all in a single platform. Neutrik dual etherCON with Halo connectors support onboard video networking, so that the SMV2 series models can receive, convert and output multiple signal formats such as NDI and RTSP

via the I/Os, while the Halo indicates power and connection speed status. Halo products integrate a unique light ring together with an asymmetrical, non-metallic push tab into the design of the A series chassis connectors. Halo product variants include the NC3FAH2-LRDAE and NC5FAH-LR-DAE female XLR connectors, the NC3MAH-LR and NC5MAH-LR male XLR connectors, and the NE8FAH-LR-DAE etherCON connector. By placing one or two SMD LEDs on circuit boards, the connectors can be lit up for useful visual feedback, such as input detection, transmission status, connection status, phantom power and operating mode indication.

VuWall PAKs in a new member of the family

AN EXPANSION of the VuWall PAK Video Wall Node family has resulted in a new PAK 20 model that sports the same hardware as the existing PAK 10 but with support for two 1920x1080 @ 60Hz outputs or a single 3840x2160 @ 60Hz output, along with multi-format decoding. As a result, the range gives integrators the ability to specify anything from one 1080p60 up to four HDp60 outputs.

PAK can operate as a standalone device or can be stitched with other PAK nodes to build an IP-based videowall that is “infinitely” scalable, while also simplifying videowall deployments by reducing the number of connections and eliminating a single point of failure – reducing project

risk and offering improved reliability. In addition to variable output support, PAK features multi-format decoding of up to 32 HD streams per device, including H.264, NDI and remote desktops, or virtualised browsers using VNC.

PAK is managed by the company’s TRx centralised management platform. The TRx platform distributes AV-overIP signals and provides fully featured videowall management software. The PAK 20’s design boasts a compact form factor and low power consumption, making it is small enough to be mounted behind monitors, saving rack space and reducing extended video cable runs.

www.vuwall.com

Avolites simplifies complex video design

WITH THE release of the Prism Zero video application, Avolites’ ecosystem approach to lighting and video integration is gathering pace. With Ai being the lead platform for more complex shows or the tool for video specialists, Prism has been created for designers wanting to integrate video into their shows.

Prism Zero expands the set of complementary tools when integrating video into projects. Building on Prism Player 1.1, the software enables media to be integrated, previewed, cropped and played back. It connects directly with all Avolites Titan lighting consoles via NDI and is controlled through the Synergy settings in both platforms.

Promoting simplicity to complex video design and integration, Prism Zero has been designed for venues where there may not be a video specialist onsite. The application expands the Prism range of live production tools alongside further upgrades to Prism Player.

Playback, layer control including aspect ratio and colour adjustment, media transfer and pixel mapping can be controlled via Synergy for seamless lighting and video integration.

www.avolites.com

MicroTiles LED

JBL’s Control Contractor Series blends in

JBL PROFESSIONAL has extended its Control Contractor Series with wall-mounted, pendant and landscape loudspeakers in addition to three subwoofers. Intended to provide versatility when designing new systems or when adding to legacy setups, the latest additions feature multitap transformers for use in distributed systems, which are switchable for direct operation.

The Control 68HP has been designed to provide clarity and consistent coverage in openarchitecture ceiling applications and rooms with challenging acoustics requiring especially high SPL capability from a pendant loudspeaker. Incorporating an 8-inch LF woofer and a coaxially mounted 1-inch HF compression driver, the two-way pendant incorporates a 68W multi-tap transformer for 70V/100V distributed loudspeaker lines and is switchable for 8Ω direct operation. Providing a 110° constant directivity dispersion pattern, the Control 68HP ships with a secure mounting system including main and safety suspension cables and an included 4.5m-high tensile galvanised steel wire rope with spring clips and cable fasteners.

Featuring 3- and 4-inch drivers respectively, the SLP12/T and SLP14/T low-profile, full-range enclosures are equipped with 15W and 25W multi-tap transformers for use in 70V/100V systems and are switchable for direct 8Ω operation. With similar voicing to the JBL Control 12C/T and 14C/T ceiling speakers, the 40W and 50W coaxial models include a slide-in wall bracket

and the 15° down-tilted coverage allows flush-mounting against a wall. Finished in either black or white, an inclusive rain cover protects the terminal compartment in outdoor applications.

Primarily designed for outdoor commercial applications, the GSF3 and GSF6 landscape loudspeakers offer wide coverage with respective two-way 3- and 6.5-inch coaxial

drivers. Featuring 15W and 30W multi-tap transformers for use on 70V/100V distributed systems, switchable for 8Ω direct operation, both models are available in hunter green and tan finishes. Mounting options include a ground stake and an L-bracket for secure mounting on either horizontal or vertical surfaces.

By adding GSB8 or GSB12 inground landscape subwoofers, extended bass response down to 39Hz (–3dB) is catered for with a steep, multiple-slope low-pass filter. Augmenting the Control 80 Series landscape speaker series, the Control 89MS above-ground landscape IP56-rated subwoofer features an 8-inch driver that can deliver 115dB (peak) of bass down to 40Hz. The built-in low-pass crossover features a dual-slope filter, creating a balanced subwoofer transition, regardless of whether the speaker is driven from a full-range or a dedicated subwoofer amplifier channel. The subwoofer band multitap transformer and tap selector with 8Ω bypass promote its use in 70V and 100V distributed systems.

www.jblpro.com

Control Contractor Series

Sound sculpts a compact Contour

WITH THE launch of the Contour CT28, 1 Sound has added a three-way, passive, horn-loaded point source speaker. Capable of delivering a maximum SPL of 145dB and a bass response down to 70Hz (–6dB), the Contour CT28 maintains its directionality in the far field with a consistent 100° x 50° coverage pattern down to 200Hz. Two 8-inch LF drivers together with a 4-inch and a 2-inch coaxial mid-high frequency driver form the electroacoustic components within the 345mm x 345mm x 510mm (WxDxH) cabinet.

In addition to eight integrated M5 and four M6 points, the CT28’s versatility can be enhanced in a multitude of fixed installation and live settings with a wide range of accessories, including a horizontal mounting bracket, wall bracket, adjustable rigging system and tube mount. Weighing 20kg, the enclosure is available in black, white or custom RAL colours with a protective magnetic front grille that can be removed from the IP55-rated cabinet.

www.1-sound.com

K-array fits into any space with PAT, SAT and osKar

FURTHERING K-ARRAY’S

integration of its latest technologies, the Mugello line of compact line array units combine high power with intelligibility and performance control. The compact designs of the KH2, KH3 and KH5 enclosures are based on Slim Array Technology (SAT). The implementation of Electronic Beam Steering (EBS) technology in Mugello systems allows the directivity to be electronically modified to improve audience coverage, even in the absence of correct mechanical alignment. This feature allows extreme configurations where the array is hung perfectly straight, without inclination angles (straight

KH2

array) or stepped (step array), which is useful in restricted spaces or in the absence of rigging specialists.

The Pinnacle series of loudspeakers can be adapted to

aggregated in the creation of complex large systems. The Pinnacle-KR2 (Link) is made up of Kobra columns with 2-inch transducers, the PinnacleKR4 (Link) combines 3.15-inch Python models and the Pinnacle-KR8

(Link) consists of Kayman columns with 4-inch transducers. All three models comprise Thunder subwoofers in their KS1, KS2, KS3, KS4 and KS5 variants.

Featuring closely spaced transducers that benefit PAT, the Vypers are the flattest speakers in the K-array portfolio. Available in custom RAL colours, the Vypers are housed in discreet, slim aluminium frames that incorporate a simpler mounting installation and a magnetic grille that can be removed without screws. A 1m version with a high SPL rating that provides a longer throw and even coverage is now available.

www.k-array.com

Events draw on ribbon-cutting solutions from Alcons

EXTENDING ITS

line array solutions, Alcons Audio has created a two-way micro array for both portable and fixed installations that can be deployed as a vertical array, either in stacked or flown configurations. In addition to the 6.5-inch LF woofer, the LR7 is loaded with an RBN401 pro-ribbon driver on a Morpher lens which creates a cylindrical wavefront resulting in high throw efficiency and projection control. Available in 90° and 120° configurations, the LR7 exerts consistent horizontal dispersion within a 74Hz–20kHz (±3dB) frequency response range. Weighing 8kg, up to five enclosures can be pole mounted for plug-and-play use and bass

LR7

line array bass module. Driven by the Sentinel amplified loudspeaker controller, optimisation of the system’s response is via LR7-specific drive processing and feedback for each array, including presets for phase-matched LF extensions. The Androgyn flying hardware enables an acoustically symmetric L-R system with the asymmetric LR module.

The Dutch innovator has extended the VR series with the creation of the VR8 as a full-range PA, stage monitor or an under-balcony system. The HF section of the multipurpose VR8 features the RBN401 pro-ribbon driver mounted on a rotatable 90° x 40° waveguide for projecting “real 90” horizontal dispersion up to 20kHz. An 8-inch mid-bass transducer with a 2-inch voice coil motor structure and treated cone extend the LF range down to 74Hz (–3dB).

Available in a mirrored version in the form of the VR8M (mirrored asymmetric cabinet and baffle configuration) for symmetrical monitor pairing, the Durotect-coated asymmetrical enclosure design promotes flexible mounting on ceilings and walls.

Designed to offer a high output and accurate sub-bass when extending the LF response of any Alcons pro-ribbon

VR8

system deployed in permanent and portable ground-stacked applications, the BC332 is a self-contained cardioid subwoofer. The front and rear located woofer configuration together with dedicated processing promote selectable cardioid LF pattern control and up to 42dB rear rejection without the need for additional cabinets.

Athos R adds to Equipson’s green credentials

DEVELOPED AS a more environmentally friendly loudspeaker range, Equipson has performed a “green” redesign by adapting eco-friendly polymer cabinets. More efficiently manufactured and as durable as fibreglass for outdoor environments, the enclosures are more biodegradable towards the end of their useful life. Manufactured to resemble wood, the material improves the acoustic performance of the loudspeakers. The 250W Athos 6R, the 300W Athos 8R and the 400W Athos 10R make up the existing passive Athos R Series. Created for outdoor applications with sealed connections on the rear panel, the enclosures can be equipped with U, X, Y and fixed position brackets to enhance installation options. The Athos R series front panel now resembles the Entar loudspeaker series.

The Spanish manufacturer has also updated the Pro Zenith amplifier series from its Work range with a switching power supply. Designed to improve airflow, the four Class-D amplifiers sport a remodelled front panel. Operating in stereo, bridge and parallel modes, with power levels between 2x500W @ 4Ω and 2x1,750W @ 4Ω, the amplifiers

are equipped with balanced connections, an input signal sensitivity selector and protections.

The WFS 5 CX two-way loudspeaker incorporates a 10-inch coaxial bassreflex woofer and a 1-inch tweeter. A covered rear panel is equipped with five power tap positions from 12.5W to 200W for 70V/100V line systems in high-impedance applications. Finished in black or white, the IP66rated ABS material enclosure makes it suitable for a multitude of indoor and outdoor applications.

Comprising physical faders, encoders and a separate DMX engine capable of supporting up to five devices simultaneously, the Lightshark range of lighting consoles has received a major software update. The LS-Core and the LS-1 consoles integrate wirelessly with the Lightshark software engine via web-based user interfaces including PCs, smartphones and tablets. The latest software updates include Autosave, an Exclude Fixture, a Freeze Fixture, a Focus Active Cue, Playback exclusion from control by the Grand Master and various improvements to Cue controls.

www.equipson.es

Wharfedale Pro focuses on natural sound

THE GPL Series from Wharfedale Pro is a range of 12 compact point source birch plywood cabinets including bass-reflex and band-pass subwoofers. Integrating coaxial drive units and an original waveguide horn design, the full-range models provide spherical or 80° x 40° (HQ models) dispersion options. The unique horn allows the high-frequency range to be addressed directly to the audience and the HQ models are equipped with a turntable constant directivity horn for more accurate asymmetrical coverage. Available in a black or white finish, the multiple mounting options include yoke brackets, while the rear panel features speakON compatible and barrier strip connections. FIR preset libraries are also available for download.

The UK manufacturer has also refreshed its Sigma series of installation loudspeakers featuring rotatable HF waveguides. Enhancing their installation credentials, the nine Sigma-X enclosures feature speakON and barrier strip connections,

designed front grilles. Also available as a Hi-Z 70V/100V format, the Sigma-XV5 and XV9 columns feature HF compression drivers coupled to a mini-EVO-Fold waveguide utilised in the WLA-1 Hybrid Curvature Array system. EASE GLL files, FIR presets and system diagrams are available for download.

Designed primarily for mobile performers, the IS-48 is an active entertainment system that comprises three interlocking column elements and an 8-inch active subwoofer. In addition to hosting the internal amplification, the subwoofer powers the full-range column element and incorporates an internal mixer and media player module.

Providing four input and eight output channels, the SC-48 FIR Versadrive processor delivers routing and distribution for loudspeaker networks. Independent control of magnitude, EQ and phase optimisation is included with FIR filtering. Remote control editing is possible from a PC via USB connection, a D-sub connector (RS-232/RS-485)

Hortus Audio builds on its LVT series

THE LVT-128 from Hortus Audio features 100° horizontal directivity, two-way integrated amplification and built-in DSP. The line array comes with a 1,550W bass with 800W mid loudspeakers and a 200W treble. It consists of a phase correlating system that can increase the cut-off frequency limit of the midrange loudspeakers and improve the reproduction of frequency responses.

The frequency range of 60Hz–18kHz (±3dB) and nominal sound pressure level of 135dB flow from

the bass section’s 6th-order bandpass enclosure as well as from its 1,300W

AES 12-inch loudspeaker. While the 700W medium section has a bass reflex of 2 x 8 inches regulated by top notch phasing signal controllers, the 120W treble section is powered by a 1.5-inch dual compression driver. The box is made out of Baltic birch wood and the line array is also available as a two-way passive version.

www.hortusaudio.eu

GPL Series

The Athos R family

WITH THE Digiface Ravenna, RME and DirectOut have jointly created a mobile audio interface based on the Digiface Dante but featuring a Ravenna module. The device allows the transmission of 128 audio channels coming from Ravenna and MADI as an option via a single USB 3.0 connection for USB and standalone operation.

The fusion of RME’s drivers (Mac/ Windows) and DirectOut’s Ravenna implementation are said to combine to produce a reliable and flexible networked computer audio interface. DSP-based TotalMix FX can be used

Ravenna

stack with AES67 and ST2110-30/31 support and redundant audio-overIP streaming as per ST 2022-7. In addition, the interface can be used as a mobile 64-channel Ravenna/MADI converter without a USB connection to a computer. The coaxial MADI I/O connectors may also be configured to work as word clock sync I/O. Either an external power supply connector or USB bus power can be used for operation.

www.directout.eu www.rme-usa.com

arrival of HelixNet at Arcadia Central Station

CLEAR-COM HAS announced new features for the Arcadia Central Station including integration with HelixNet Partyline Digital. Capable of providing an intercom system that

can support over 100 beltpacks and 180 ports of mixing capability, the 1U package combines wireless analogue and digital intercoms in addition to Dante connectivity.

The latest features include a 5GHz scanning tool for FreeSpeak Edge systems, together with increased beltpack capacity for FreeSpeak systems and an increase in licensed port capacity. With support for up to

and promotes open-frequency channels for FreeSpeak Edge transceivers and beltpacks.

Expanding on the existing 96 IP port capacity, Arcadia now offers an extra 32 IP ports for an additional

Listen Everywhere further extends its reach

LISTEN TECHNOLOGIES has extended the Listen Everywhere series with the development of a dedicated receiver. By streaming audio over Wi-Fi, personal smart devices can function as receivers by allowing guests to use their smartphones and headphones. Alternatively, audio can be transmitted to Bluetooth-enabled speakers, headphones or hearing aids.

The Listen Everywhere receivers support hearing aid telecoils when used with a neck loop. The LWR-1020 receiver is ADA-compliant and is available as an add-on to existing Listen Everywhere servers. Available in a bundled assistive listening system, the SKU (LWS-10) includes a twochannel server, rack mount kit, two LWR-1020 receivers, two protective receiver cases, two neck loops, two ear speakers and a signage kit.

The Listen Everywhere series has been further enhanced with a Danteenabled Wi-Fi audio server. Equipped with a Dante input on the rear panel, the LW-150P-D two-channel server promotes the routing and management

of Listen Everywhere audio via Dante Controller software. Integrating existing IT infrastructures, Dante enables monitoring and user access controls. The two-channel server is available with or without Dante in an SKU (LWS-10-D) bundle that includes a rack mount kit, two LWR-1020 receivers with protective cases, two neck loops, two ear speakers and a signage kit.

www.listentech.com

WITH THE release of the SP-0108-SCL, WyreStorm Technologies has upgraded the HDMI splitter to replace the SP-618. Purporting to be smarter and more powerful, the 1:8 4K HDR HDMI splitter comes with scaling outputs, audio breakout, EDID management and CEC. Providing added tools for troubleshooting, such as testing API commands and the uploading of EDID files, the downloadable PC software eliminates the need for a control system.

Allowing for mixed resolution displays to be used simultaneously without suffering from compatibility limitations, each of the eight HDMI outputs has a 4K to 1080p down-scaling capability.

Featuring both an analogue and digital S/PDIF, HDMI input audio can be de-embedded to a secondary audio distribution system without external adapters or converters.

Shipping with mounting brackets, the more compact SP-0108-SCL HDMI splitter can be discreetly mounted locally close to the source within a variety of settings. Users can distribute the same HD content over eight simultaneous display outputs. The splitter supports full 18Gbps 4K60 4:4:4 video content compatible with the latest HDR video standards, including HDR10, HDR10+ Dolby Vision and HLG.

www.wyrestorm.com

DESIGNED TO simplify digital workflows by delivering a scalable UHF system, Sennheiser has expanded the Evolution Wireless digital microphone series. Aiming to remove the complexities of wireless, the EW-DX has been engineered to not generate any significant intermodulation products. At the press of a button, the Auto Scan function can automatically assign frequencies using an equidistant tuning grid that allows more channels to be packed into a

clip-on and headset mics, Neumann miniature mics and instrument cables. Other features include a programmable mute switch and cable emulation for guitarists and bassists.

Available in two versions, the handheld transmitter comes with an optional, programmable mute switch (RF mute, AF mute, no function).

Fitted with Sennheiser’s standard capsule interface, the handheld can be connected to 14 Sennheiser and

CODA releases System Optimiser v0.6

THE LATEST version of System Optimiser includes the addition of the manufacturer’s proprietary realSPL technology. CODA realSPL helps users to predict the achievable sound pressure level of CODA loudspeaker setups more accurately. It uses a combined hybrid timeand-frequency-domain approach and creates a digital twin of the loudspeaker setup to precisely calculate the behaviour of the entire signal chain. Users are presented

with a detailed analysis of both peak and RMS headroom for a collection of industry-standard stimuli, such as Pink Noise, White Noise, AES75-2022 or Speech Noise, together with advanced post-processing features. This allows for improving the fidelity for every listener at concerts or designing safer EVAC systems in fixed installations.

To coincide with the release, the manufacturer has also

Allen & Heath debuts V1.2 firmware for Avantis

V1.2 FIRMWARE for Allen & Heath’s Avantis mixing consoles has introduced new tools to the platform, including a next-generation RTA engine, Sennheiser wireless integration and a trio of new dPack bundles of DEEP processors.

In V1.2 is the new RTA engine, which has been built around a 61band bar or line display which can be displayed behind the parametric EQ curve to enable swift and accurate EQ decisions. Additionally, a sonogram view is provided, making it simpler to identify room resonances or mix imbalances. With all RTA views also visible on an iPad and Director, engineers can access visual feedback anywhere in the venue.

The dPack bundle in V1.2 has been expanded to include three new DEEP processors from the manufacturer’s flagship dLive system. Bus is modelled on a legendary hardware compressor renowned for its ability to glue together mixes, Source Expander offers quick control of threshold and depth

for set-and-forget operation and Threshold Expander is for challenging environments where expert audio control is required. Additionally, the existing OptTronik compressor has been updated to include Model B for a new flavour of classic 2A-style optical compression. Existing dPack owners receive all new dPack updates and models free of charge.

Avantis’s wireless integration has been extended to include Sennheiser’s 300/500, 2000 and 2050 wireless microphones, which can now be monitored from both the mixer and Director software. Key wireless information, including mutes, signal level and battery bars, is visible from the Bank view, with detailed information and control accessible via the Preamp page.

The firmware release is rounded off with multiple workflow improvements, including extended functionality for the iOS apps, enhanced DCA spill functionality and new SoftKey options.

www.allen-heath.com

is now available online at codasystemoptimiser.com. Documentation for offline use as

can be accessed on the site. www.codaaudio.com

MC2 provides quick rearpanel configuration

MC2 AUDIO has launched two new amplifier models – the i-64 and i-68 – aimed at satisfying the needs of contractors requiring quick rear-panel configuration of 70V/100V line sources. Low impedance and bridging mean the

amplifiers. globcon is a global control software platform for the management of professional entertainment production equipment that already controls DirectOut products. XTA, MC2 and globcon have partnered to produce

same models are able to cover subs in clubs, ceiling loudspeakers or high-end residential cinema requirements. They deliver scalable power with changes in load of 325W@8Ω, 650W@4Ω and 750W@2.7Ω, with 500W@100V and 600W@70V. The models have universal power supplies, barrier strip speaker outputs and phoenix-type analogue inputs, while integration is made possible with GPIO for control and monitoring by a third-party control system or simply a remote switch. Load monitoring, a Dante option and an auto-sleep mode complete the feature set.

XTA and MC2 have also announced a major collaboration with globcon alongside the launch of two new multichannel installation

a new software control module for XTA DPA and MC2 Delta DSP amplifiers that allows MC2 and XTA amps to be monitored and controlled along with DirectOut products and the Rational Acoustics Smaart measurement system.

This will enable XTA and MC2 users the benefit of control via PCs and Macs, multiple window control and floating faders. The XTA/MC2 grouping system gets a major upgrade as well, adding a crosspoint matrix for quick group assignment and group spill feature, allowing an engineer to drill down quickly to individual members of groups.

www.mc2-audio.co.uk www.xta.co.uk

DiGiCo releases software update for S-Series consoles

VERSION 3.0 software has been developed by DiGiCo to increase the power of its small footprint S-Series consoles. The update offers an optional software expansion that increases the channel count from 48 to 60 flexi channels and 24 flexi busses, turning S-Series consoles into an S21+ or an S31+. Version 3.0 also includes two new Master Bus configurations: LCR (Left Centre Right) or LRM (Left Right Mono), providing additional control on the channels over the LCR blend or the LRM Mono Gain. LCR or LRM are suitable for running an expanded speaker setup or sending out a mono mix alongside a stereo mix.

Software version 2.2 introduced OSC Control of Snapshots. Version 3.0 extends the OSC control capabilities to channel processing controls. With the ability to control many aspects of channel and bus processing, including EQ and dynamics, the update adds flexibility when integrating an S-Series console with external remote-control

systems. Version 3.0 also adds compatibility for MADI Sample Rate Conversion on the DMIMADI-B and DMI-MADI-C. SRC allows the S21 or S31 to run at a different sample rate to connected MADI devices, providing flexibility when connecting to external MADI devices. This is commonly used for recording

and virtual soundchecks, and, for maximum compatibility, both Hi-Speed and SMUX 96k MADI modes are supported.

Compatibility for DiGiCo’s Dantebased DQ-Rack is also included. When connecting an S-Series console via a Dante64@96 DMI Card, this provides cost-effective expansion, suitable for both touring and installation applications. The S-Series now makes use of GPIO (General Purpose Inputs and Outputs), with both the S21 and S31 featuring a ¼-inch GPI and ¼-inch GPO on the back for connection to external devices.

www.digico.biz

disguise unlocks scalability in production with r22

DEVELOPED TO save time on manual processes including media distribution or spatial calibration, the disguise r22 software release adds features that enhance content

resolution, production setups and media file management. Intelligent Media Distribution synchronises and distributes those media files within the video layers that are needed

across each disguise server. Single Large Canvas (SLC) combines multiple video fragments into a single view output when used alongside multiple projectors. The result is a single canvas that can be used for everything from live event projections to immersive installations, without limitations to the overall resolution of the video. In addition, spatial calibration can be completed in less than half the time of previous releases, helping users save hours setting up their extended reality stages. With the acquisition of Polygon Labs, disguise has launched its first integrated hardware and software solution for cloud-native broadcast graphics production. Comprising the

Porta 2.0 cloud app and px hardware, broadcasters can create, control and collaborate on real-time graphics directly from a web browser. Porta 2.0 and px will automatically match studio lighting conditions to graphics, manage tracking and control LEDs all in one place. With Porta 2.0 and px’s template features, templates can be built of Unreal Engine graphics, including text, images, 3D objects and trigger commands without blueprints or coding. Creative and operational teams can collaborate on virtual sets with a web-based interface accessible on a phone, tablet, laptop or desktop.

www.disguise.one

NEXO updates NS-1 software to integrate Yamaha speakers

THE LATEST version of NEXO’s NS-1 system configuration and simulation software supports a wide range of Yamaha professional audio speakers and includes AFC Design Assistant, which works closely with Yamaha’s AFC Image to deliver high-end immersive audio. NS-1 allows users of NEXO speaker systems to optimise performance and ensure uniform SPL coverage.

NS-1 version 4 supports several Yamaha professional audio speakers, from the VXL line array, VXS surface mount and VXC ceiling speakers to the CZR, CHR, CBR and CXS ranges of speakers and subwoofers. The Yamaha speaker data includes all the necessary

information, such as maximum SPL, giving systems designers the tools they need to choose from a much greater range of NEXO and

applications.

This latest update also includes AFC Design Assistant, giving NEXO users

the resources to work with Yamaha’s AFC Enhance and AFC Image immersive audio systems. When the user specifies parameters such as venue dimensions, stage dimensions and aisle width, AFC Design Assistant provides the necessary guidelines for the required number and placement of speakers to provide a full immersive audio experience for an entire audience. When the system design is complete, the design file can be exported from NS-1 and imported to AFC Image Editor, making the whole process from studio design through to venue performance as quick, easy and accurate as possible.

ARRI launches Orbiter Projection Optics into new spaces

DESIGNED FOR live productions, ARRI has launched the Orbiter Projection Optics 25° and 35°. Combined with Orbiter’s ARRI Spectra light engine, the optical system provides precise detail allowing for crisp projection of a light spot, in addition to gobo projection and precise shutter cuts. With an

even field of light without colour aberration, the projection has no visible hot spot or drop to the edge.

The four manually adjustable shutter blades of the Projection Optics 25° and 35° produce a beam where the shutter blade cut projection and the beam’s edge are simultaneously in focus. Both

optics have a standard iris slot and a motorised focus adjustment. With the latest update of Orbiter’s Lighting Operating System, LiOS2, the focus can be controlled locally via Orbiter’s Control Panel or remotely by DMX/ RDM or an IP-based setup (ArtNet or sACN). Once set, the focus is kept in place and not compromised by locking the lens tube into place. A standard B-size metal or glass gobo can be added, with the ARRI gobo holder keeping the gobo securely in place. The produced gobo pattern is made visible, eliminating the need to adjust the focus between gobo and open gate. Compact and lightweight, the Orbiter Projection Optic 25° and 35° models both measure 287mm x 287mm and weigh 5.45kg and 4.35kg respectively. The Quick Lighting Mount (QLM) system promotes

quick and safe mounting with a 90° rotation. Available in black, the optic’s cooling fan can be controlled via Orbiter’s Light Control setting through the Control Panel.

www.arri.com

Ayrton issues Huracán warning as Wash makes landfall

THE HURACÁN Wash is Ayrton’s first wash-type fixture to be designed around a Fresnel lens for rapid scene changes. Available in three 1,000W LED sources (S, ST and TC), the Huracán Wash has a zoom range of 6.2–75° around a 13-element zoom lens system. The Fresnel lens’s optical structure is specially developed for use with framing shutter blades, and with geometric gobos or ovalisation lenses, allowing it to operate free from constraints.

A progressive diffusion system allows the diffusion level to be adapted according to the application and accessories or optical elements used. The Fresnel Optimisation System reportedly improves the

colour mix providing up to 10% more intensity than a conventional Fresnel lens.

The proprietary optical system of the Huracán Wash delivers a 12:1 zoom ratio and a zoom range of 6.2° at half peak to 75° at onetenth peak. Having adopted the colour mixing system of the Huracán Profile, the Huracán Wash provides a double level of CMY saturation and a triple corrector for variable colour temperature adjustment from 2,700–15,000K in addition to significant CRI improvement.

Three versions exist for various stage applications. Developed for studio and theatre applications, the Huracán Wash ST integrates

a 1,000W monochromatic LED 6,000K.

S Series makes a Cameo appearance

DESIGNED FOR

events and livestreams, Cameo has expanded its product portfolio with IP65certified LED soft panels with the S Series. Creating a limelight with a natural, diffuse light, the S4 IP model features colour rendering. Drawing upon a wide range of accessories,

of four. In combination with the integrated calibration chip, the S4 IP exudes natural colour rendering (CRI 95, TLCI 91) in addition to an extended Rec. 2020 colour space of 85%. With its wide range of 1,800–10,000K, the adjustable colour temperature promotes its use in all environments.

Fixed handles on the sides allow the panels to be quickly aligned with objects on set. In accordance with the IP65 certification, the soft panel is equipped with waterproof and lockable powerCON TRUE1 device

Other features include a framing www.ayrton.eu

connectors. The fixture can be controlled via DMX, W-DMX, ArtNet, sACN or RDM on the unit itself, or via EZRemote using the optional UNICON DMX/RDM controller.

In addition to the supplied Omega bracket and the standard diffuser, the spectrum ranges from Honey Combs, with 30° and 60° beam angles, to Intensifiers and Heavy Diffusers, to Barndoors, a Centre Mount Yoke or a V-Mount adapter for battery operation.

www.cameolight.com

Two new fixtures join Elation’s IP65 Proteus line-up

DESCRIBED AS an extraordinarily powerful 70,000-lumen LED wash fixture, the Proteus Brutus is an IP65rated moving head fixture capable of producing piercing beams and highintensity washes and forms the latest addition to the Proteus line-up along with the Proteus Rayzor 1960 wash effects fixture.

framing module is also available. With a zoom range from 4–45° and a 220mm front lens, the Proteus Brutus has sufficient power to cut through at great distances in any outdoor concert or special events and, with its fully dust and waterproof design, is said to be an ideal fixture for any application that benefits from its sealed IP65 housing.

Harman unveils Martin MAC Aura XIP

HARMAN PROFESSIONAL

Suitable for any outdoor application requiring superior output, bright and powerful wash, and quiet operation, the Proteus Brutus houses a 1,200W 6,500K white LED engine offering CMY colour mixing, variable CTO and a sixposition colour wheel, with an effects system that features rotating gobos, animation, iris and frost. An optional indexable

The Proteus Rayzor 1960 is a compact yet powerful LED wash effects fixture with a 5.6–44° zoom capable of projecting well-defined mid-air beams, as well as wide and even wash coverage. Driven by 19 independently controlled 60W RGBW LEDs, the Proteus Rayzor 1960 provides a powerful beam (over 17,000 lumens) that stands out on any stage. The fixture’s oversized front lenses create a large surface enhanced by Elation’s SparkLED technology for an additional layer of effects. Continuous, speedadjustable pan and tilt rotation adds a further layer of dynamic effects.

www.elationlighting.com

introduced the Martin MAC Aura XIP, a premium moving head wash light that it states “raises the bar for optical quality” while featuring an even wash field with a soft edge, minimal stray light and high-intensity mid-air beams.

The fixture houses an aura filament effect, with improved light engine control and an outdoor rating with reportedly close to zero compromises in weight, size and aesthetics.

The MAC Aura XIP’s 12 Radical RGBW filaments are said to deliver a brighter aura backlight effect as well as the ability to show iconic aura filaments, promising new and exciting stage effects. The feature package covers both indoor and outdoor applications with optional high CRI, TM-30 and TLCI modes, LED frequency control for a flickerfree even wash light, RGBW colour mixing and multiple control options. Also included are variable calibrated colour temperature control, more than 200 built-in effects macros,

rapid movement and 8.8–49.3° zoom range. The fixture weighs 8.9kg. Featuring pixel control with video mapping capabilities onto beam, aura or both with simple setup mapping and addressing via a Martin P3 controller, the fixture promises new and exciting eye candy looks.

The manufacturer has also debuted a new line of exterior architectural lighting fixtures that combine high output with low power consumption. The Martin Exterior Linear Pro series models are intended for use by architects, systems integrators, electrical contractors and any other professionals needing both direct and indirect illumination of walls, ceilings, textured and decorative surfaces. To meet a wide range of needs, the series is available in Cove, Graze and Direct View (DV) models in QUAD colour and tuneable white (CTC) light engines and in 30cm and 120cm lengths.

Robe adds IP65 weather protection to Forte

AN IP65 variant of the Robe Forte moving light has been unveiled by the Czech manufacturer. The iForte combines the same high output as the original model, as it uses the same Transferable Engine LED, and combines its outdoor protection in a package that’s just 1.5kg heavier. The ingress protection system

integrated into the fixture reportedly allows standard maintenance and preparation procedures – such a Transferable Engine exchange or gobo replacement – to be conducted onsite and without any additional tools.

The onboard RAINS (Robe Automatic Ingress Neutralisation

System) manages humidity, temperature and pressure control, using active monitoring to automatically remove any moisture detected within the fixture. Ongoing monitoring also ensures peak performance of the fixture.

www.robe.cz

SIGNIFY BRAND Vari-Lite has announced the launch of the Neo X15 and Neo X5, a family of high-performance lighting consoles designed for mixed-use facilities. The X15 serves as the manufacturer’s new flagship, high-performance lighting console, offering 15 multifunctional motorised playbacks and backlit

encoders and the ability to output over 50,000 channels out of the box.

The X15’s hardware layout includes two built-in monitors, a soft touch

connectivity that makes it possible to integrate lighting cues with sound effects and videos. The smaller five-fader X5 console shares the same processor, build quality and ability to deliver 100 universes of DMX as the X15. The X Series consoles run Neo 4.0 software, which includes an advanced effects engine that supports pixel mapping, media playback and timelines. www.vari-lite.com

MAC Aura XIP

Proteus Brutus

Proteus Rayzor Blade L and S

Christian ethos

Specialist church sound and AV installation company DM Music has held Christian beliefs at the core of its business for over three decades

DM MUSIC WAS ESTABLISHED IN 1992 for the sole purpose of supplying sound systems to churches. Named after its founders Dave and Debbie Moore, the company has gone through a variety of name changes over the years. “We originally started as DM Music for Churches,” explains Graham Bennewith, installation director at DM Music. “Then the ‘for Churches’ was dropped, even though we carried on just doing church installations. Then, when dealing with architects, they started using the name DM Installation Projects or DMIP, because architects thought ‘Music’ meant music stands and musical instruments. Next, that got abbreviated to DM Installations or DMI. Now, we’ve dropped the DMI and DMIP names and most people just know us as DM.”

Dave Moore had a career in the music industry and worked for Yamaha as a sales rep, selling musical instruments and PA equipment. As he was also a Christian, he was often approached by friends who knew he worked in the industry and wanted advice on where they could get a PA

system for their churches. He soon realised that there weren’t many places at the time where the two came together: a practising Christian who was also knowledgeable about church audio systems. In 1991, Moore left his job at Yamaha and set up DM Music purely to supply sound systems to churches.

Around 14 years ago, the Moores emigrated to Canada and a management buyout by three longstanding employees ensured that the Christian ethos of the company would continue into the future. Alongside Bennewith are Jon Miles in the role of projects director who spends his time with customers and designing new systems and Iain Harvey-Smith as communications director based in the office. “Dave didn’t want to see the company become anything but a resource for churches,” says Bennewith. “Today, 99% of our business is churches. We do the odd village hall, but that’s normally because the hall is run by the parochial church committee. We also do a few universities and colleges such as Oxford University, but they’ve

come to us because of the experience we have in dealing with historical buildings.”

A large proportion of Harvey-Smith’s time is spent offering free advice to churches. “During the pandemic, we were taking 50 phone calls a day from churches wanting to livestream,” continues Bennewith. “A lot of those calls were explaining to vicars how to set up their laptops in their living room and broadcast to their congregation. And because we spend so much time offering free advice, customers come to us knowing that we’re not going to abandon them and we’re not going to stop giving advice because they can’t afford to buy something.”

While the advice offered may lead to a contract to install new equipment somewhere further down the line, that’s not what the company is about. “A lot of the time, we work with customers on how not to spend money,” explains Bennewith. “One of the services we offer is what we refer to as an MOT. One of our engineers will go in and do a system health check. We will frequently go into a church and spend two hours tweaking

the EQ settings, changing the gain structure or reangling the speakers, and the church comes away with a better-sounding system without the need for any new equipment.”

The phone hasn’t stopped ringing now that churches are fully open for worship again. “We are still busier than before the pandemic and a lot of it is still just offering advice and telling people the things that they don’t necessarily know. One day we can be talking to the church warden in a little village church who knows nothing about technology, and the next day we can be talking to an experienced front-of-house engineer – it’s about working out what each person needs and building longstanding and honest relationships with our customers.”

Having completed over 3,000 church and cathedral installations, DM Music has accrued years of invaluable advice and experience, and it’s refreshing to encounter a company that’s happy sharing its knowledge and expertise with anyone who needs it.

Graham Bennewith, installation director at DM Music

DM Music installed K-array Vyper KV50 column arrays in Guildford Cathedral

LICENSE II SCALE

L-ISA PROCESSOR II

Utilizing state-of-the-art object-based mixing technology, L-ISA Processor II provides sound creatives the ability to scale to their project by choosing the license that fits best. Upgrade from the standard 16 outputs license to either 32 for bigger events, 64 for large-scale installations and musicals, or hit the most significant projects at 128 outputs - all at 96 kHz for premium quality sound. As a Milan-certified device, L-ISA Processor II streamlines and secures audio distribution with a redundant AVB and elevates its reliability with a ruggedized 3U chassis and redundant PSU. Unlock the sound possibilities. l-acoustics.com