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Houses of worship come in different shapes and sizes – cross-shape, circular, square, rectangular. There are places of worship in school halls, converted factories and outdoor spaces. Construction materials can vary too. Each building or location brings its own set of challenges in terms of designing a sound system. In every issue, we’re privileged to cover some of these unique spaces.
St Hedwig’s Cathedral in Berlin has recently reopened after four years of renovation. The stunning circular building was originally modelled on the Pantheon but its cylindrical dome was causing a challenging acoustic
to provide a minimalist and clean solution.
Meanwhile, The Meeting House, a 250-seat HOW in Carlisle, Pennsylvania, was struggling with reflections due to the wide shape of the room with low sides and a high peak in the middle. Here, Danley and DAS Audio speakers have been installed to help the church achieve the clarity it was looking for. These are just a couple of examples of the rich variety of solutions that AV integrators and equipment manufacturers can provide using the advances in technology that are available today. I hope you enjoy the issue.
Richard Lawn General manager rlawn@worshipavl.com
Nick Smith Digital media manager nsmith@worshipavl.com
Sue Gould
sgould@worshipavl.com
Chris Yardley Video editor cyardley@worshipavl.com
Casey Hawkins changed in HOW video technology over the past 30 years
2024 WAS MY 34TH YEAR OF my video and broadcast career, which started when I was 11 years old. I have seen a huge increase in the value of church media over those years, so let me take you on a tour of some of the changes I’ve seen from my perspective.
In 1990, the church I attended was both a church and school in California. I not only went to church there, but I also went to school there five days a week, from the age of five to 14 (K-8). I knew I wanted to be a part of the tech team, as I would watch the eighth graders get a year of reprieve from the annual school Christmas musical. Some of those guys got to run sound, lights or video camera, and I was envious of their “senior” opportunities. But before I could even get to my eighth-grade year, I had the opportunity to run a camera at a church event when a volunteer didn’t show up. I did a good enough job that the media minister asked me to be a regular volunteer.
Acres in Tyler, he spent the past 25 years in broadcast television working for multiple television stations in the US. He has worked as a broadcast technician for a major telecoms company, managing national and international television broadcast signals over a switched fibre optic network. He also owned and operated an independent video production firm in Tulsa, Oklahoma for 10 years before returning to Tyler in 2016.
not as much of it and it was older and not as well maintained. They mastered on ¾-inch videotape, but that didn’t much matter because they broadcast live on the same station we did, at a later time-slot. We were recorded and edited, and they were live. Our edited product looked much better on-air even though it was taped because the quality of 1-inch videotape was good enough to look live. The only real benefit of live back then was that it was over when it was over: no editing. Most people attended church regularly back then so “live” on television was not as big a deal as it is today.
Around 2011, I was living in Oklahoma pursuing my broadcast career, and the church I attended
That church was very contemporary for its time. We had a theatrical lighting system with NSI control boards and a Panasonic two-camera switched video setup complete with a character generator, recording to VHS tape. My favourite was the IMAG system, before IMAG and “words” on a screen were even possible, much less considered necessary. We had two Kodak
Ektagraphic III slide projectors with huge, long-throw lenses and a Clear Light Microdiamond dissolve unit so that we could use a crossdissolve between slides for a nice look – something often taken for granted today. The screen was motorised, and we brought it down and up throughout the service as needed. We would print the song lyrics on a laser printer. Those were fancy and expensive back then. With a camera mounting platform, we would shoot those printouts with a camera loaded with slide film and develop that film in-house in our own darkroom. We developed the slides as a negative, making the words white and the background black. It was
so much fun and so rare for a church back then.
In 1993, my family moved to Texas, so we changed churches. This church was a lot bigger and was televised. With Ampex VPR-80 1-inch videotape machines, Hitachi studio-configured cameras, a Chyron ACG character generator, an Ampex ACE 25 edit controller, an Ampex Vista switcher and a Pinnacle DVE, all of it was broadcast-quality gear. But there was no IMAG. The services were recorded, edited that week, then aired on local television the next week. It was my first foray in broadcast with that level of equipment and I loved it. There was another church in town that had similar-quality gear, but
had a “traditional/blended” and a “contemporary” service. There was a switched IMAG product with camera shots using the Ross Crossover switcher and lyrics from ProPresenter. The services were recorded on a BlackMagic HyperDeck, simple editing done via Adobe Premiere Pro and then the service was uploaded to Vimeo for archiving on the website, which garnered a few views each week. Nothing was televised and nothing was livestreamed.
Generally, the efforts of the media ministry were for internal benefit. The changes to-date were mostly superficial. Technology had vastly improved the quality and simplicity of video production and the cost barrier had been reduced greatly since the
A Kodak Ektagraphic III
An Ampex ACE 25 edit controller
Casey Hawkins
1990s, making it more available and more common.
Five years later, I returned to Texas and the same church I grew up volunteering at in the 1990s. The church had grown significantly over the 18 years I was in Oklahoma. They had two main facilities, one a “traditional” worship centre service and the other, a “modern/ contemporary” service held in a fellowship hall-style venue called CrossWalk. Both services had large IMAG systems with live camera shots and song lyrics. Both had advanced lighting and audio systems. Nothing was live or livestreamed. The worship centre broadcast was delayed for postproduction and re-mastering the audio. Distribution was mainly via delayed local broadcast and Vimeo.
Still, most of the change over the past three decades was in the technology and affordability and not the value of the video product to the church or the community. The television broadcast was essentially the same style as it had been in the 1990s, which was commensurate for mega churches like ours.
By 2020, we had begun livestreaming our “contemporary” services as a novelty offering. Facebook was front-and-centre for many people by this time and around 200 people were watching the livestream each week. Then Covid-19 shut us down. It was obvious that media was the only way to continue church. In a matter of a week, we had to turn our normally packed facilities with thousands of churchgoers each week, into a production studio with only essential staff members and no congregation. We began producing fresh content to keep the church members and the local community engaged with the church via livestream. No longer was media just a luxury to enhance your church experience – it was the church. I have experienced the value of church media grow from a rare novelty to a daily normal. When I started in 1990, technology was very limited and, today, most services would not exist without it. Over the coming issues, I hope to offer you my insights as I not only reflect on the past but look forward to the future and even sometimes compare the two. I hope you take this journey with me.
MAKES THE WONDER HOW
Paddle antennas and diversity
RF Venue’s Don Boomer discusses LPDA (paddle) antennas and the benefits they bring
ANTENNAS ARE TRANSDUCERS, much like microphones and speakers, that convert one form of energy to another form and are critical to the performance of wireless microphones and IEMs. Most commonly, wireless mics ship with ¼- or ½-wave whip antennas, which are inexpensive and can work well under the right circumstances. Paddle antennas, more properly known as LPDAs (log periodic dipole antennas), can greatly improve range and can reduce your RF noise floor which is probably the single most important element of reliable operation. They typically have wide bandwidth, low SWR (standing wave ratio) and are simple to use. If you look at the traces on their circuit boards, you will see multiple antenna elements in a mathematically arranged array. When properly arranged, the benefits are pattern control and additional gain.
Omni whip antennas have a 360° pickup pattern but paddles typically have a more narrow 120° pickup pattern. This is ideal for most users who want to pick up transmitters coming from a stage or a smaller area. Because they are more focused, they have passive gain. In other words, because they pick up roughly one-third of the area in front of them and ignore the two-thirds behind them, the power that would have ordinarily been picked up is moved into the pickup area where it appears as passive gain. This results in improved range and, because it ignores 240° of area, it also ignores the RF noise in that area. Human peripheral vision is generally assumed to be 120° so if you can see all of your desired pickup area without moving your head, so can your paddle antenna.
Diversity systems for wireless mics
Almost all wireless mic systems available these days incorporate spacial diversity (sometimes called true diversity) front ends to help avoid dropouts. That means they use an A and a B antenna pair which typically drive two discreet
radio front ends inside your receiver. A logic circuit switches over to the antenna that has the best signal according to how each manufacturer analyses it. The idea is if one antenna has weak signal, the other antenna hopefully does not. While this scheme is enormously effective, it sometimes fails if both antennas fall too low at the same time caused by multipath reflections as the separated antennas do not see the identical signal.
while receiving RF energy will interfere with each other and cause your RF noise floor to rise. There is no practical advantage to spreading them much farther apart. However, I see some users spreading their antennas by 15m or more. An example of this would be to consider spreading your antennas to either end of a sports field. This could improve your range but that would be at the expense of having the protections offered by diversity as the ratio of the signal strength becomes uneven.
Working with paddle antennas
In order for the diversity system to operate, your antennas must be separated by at least ¼ wavelength (typically 150mm). However, unless antennas are separated by about three wavelengths (typically 3m), the magnetic fields they generate
The use of diversity antennas avoids this problem as this type of antenna sees the exact same signal on both of its elements (but at different levels). In this way, polarisation cross-fade dropouts are eliminated which is not the case for a pair of paddles.
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Loudspeaker specifications for traditional HOWs
Graham Hendry, VP of loudspeaker strategy at AtlasIED, looks at how you can ensure you’re choosing the right speaker for your sanctuary
THE TRADITIONAL HOUSE OF worship market presents unique acoustic challenges that require thoughtful solutions to deliver highquality sound without compromising the aesthetics and heritage of the space. Due to the architectural characteristics often found in these environments – such as reflective surfaces, unique building materials and the desire to preserve the beauty and historical significance –traditional acoustic treatments may not always be feasible. Here, innovative technologies and approaches can help overcome these challenges. Identifying the correct loudspeakers for HOWs can also be challenging because reading and interpreting technical specifications for loudspeakers can be time-consuming and tedious. There is no “one size fits all” loudspeaker solution. Integrators and end users must assess the needs of the space and the congregation, look at the attributes of the loudspeaker and review the measured data rather than accepting a brief quoted dispersion pattern. Most people hone their listening skills in small, acoustically friendly settings. This doesn’t prepare them to work in larger, acoustically difficult spaces. You can get away
with less-than-ideal loudspeaker selection and placement in a small room, but this isn’t even remotely true in a large space. Here, if you make the wrong choices, the congregation won’t understand the words. And all the equalisers and DSP in the world won’t fix it. Here are a few attributes to focus on initially to determine if the given loudspeakers may fit your project. Here’s how sound professionals can address these issues effectively.
Speech intelligibility
Beware of any loudspeaker specification that lists an “intelligible loudspeaker”. There is no such thing. Intelligibility is a product of how a loudspeaker interacts with the room. Intelligibility is the single most important service that can be provided in a traditional house of worship and should be prioritised over everything else. Without intelligibility, the congregation will strain to hear the service, which severely compromises its enjoyment. It is no surprise that people tend to focus on what they hear rather than on what they are not hearing.
The only difference between a well-designed and an indifferent system is completely accounted for by considering only one thing: what happens to the sound that misses the ears of the congregation? That’s the sound that remains trapped in the room, circulating, to be heard again and again. Acoustics is not about the sound from the loudspeaker that is directly heard by the congregation. Acoustics is about the other significant part of the sound, intercepting it and turning it into a sound that is fit to be heard.
Directivity
Understanding loudspeaker directivity is essential for achieving optimal sound quality and coverage in any environment. By considering factors such as polar patterns, frequency dependence and beamwidth, sound professionals can design systems that deliver clear, intelligible audio experiences.
Loudspeaker directivity refers to the way sound radiates from a loudspeaker in different directions, describing how the loudspeaker’s output changes relative to the listener’s angle. Directivity varies with frequency: dispersion is generally wider at low frequencies and narrower at higher frequencies. Ideally, horns or waveguides are designed to generate constant directivity, maintaining a consistent dispersion pattern across frequencies. Larger horns or waveguides offer better control over the frequency spectrum. True constant directivity devices are crucial because they provide consistent and predictable coverage.
Conventional loudspeakers have a fixed radiation pattern, and vertical dispersion can be mechanically adjusted with line arrays. Technologies like digital beam steering allow designers to
Graham Hendry
create directivity patterns tailored to the room, delivering optimal coverage to audience areas while avoiding reflective surfaces. Systems designers should consider three things.
1. The desired directivity response of the loudspeaker must be a design consideration.
2. Comp onents, their relative placement and geometry must be chosen carefully to achieve the desired directivity response.
3. Spe cifications should not be taken at face value – inspect measurements in detail by examining the measurements or the EASE GLL file.
The RT60 (reverberation time) is frequency dependent and tends to peak at lower frequencies in a traditional house of worship environment. Small waveguides in point source loudspeakers and short column arrays, whether passive or steered, will only have an element of directivity control at higher frequencies and may not effectively control the space at all.
Frequency response
Frequency response will be depicted as a graph showing the speaker’s output level in decibels (dB) across the frequency spectrum, typically from 20Hz–20kHz. The frequency response of a loudspeaker is a critical aspect that affects its performance and the listener’s experience. Understanding and evaluating frequency response can help select the right speaker for specific needs. Even highquality speech systems need to cover the frequency range of about 100Hz (for especially deep male voices) to about 10kHz (for best reproduction of consonants, which are crucial to intelligibility). It’s also important for the system response to be reasonably flat throughout its range. The gradual
HOWs can be some of the most acoustically challenging spaces Image courtesy of GABC
high-frequency roll-off that many sound reinforcement professionals favour for many applications will tend to de-emphasise consonants, which are already as much as 20dB quieter than vowels. Likewise, prominent peaks or dips in the response can cause either self-masking or loss of consonant articulation – which is bad for intelligibility.
Sound pressure level (SPL)
The relationship between SPL and intelligible sound is complex and influenced by various factors, including frequency, environment and background noise. Achieving optimal intelligibility requires careful consideration of these elements to ensure that speech and music are clear, understandable and free from distortion. Understanding the interplay between SPL and intelligibility is crucial for designing effective audio systems in any setting. Attainable SPL is a function of loudspeaker sensitivity and power handling.
SPL quantifies the intensity of a sound and is an objective measure of how loud the sound is. In a traditional house of worship, reflections, absorptions and other
acoustic properties of a space can alter SPL, usually to the detriment of intelligibility. SPL decreases with increasing distance from the sound source due to the spreading of sound energy, –6dB per doubling of distance for a point source loudspeaker and –3dB for a column array. A certain level of loudness is required for intelligibility but excessive loudness can lead to distortion.
Since we are discussing a traditional house of worship environment, it’s important to identify the relationship between SPL and intelligibility:
• Minimum threshold: there is a minimum SPL required for speech to be audible and intelligible. Below this level, speech may not be heard or understood.
• Comfortable listening level: typically, an SPL of about 60–70dB is considered ideal for speech intelligibility in a quieter environment.
• Excessive SPL: at very high SPLs (above 90–100dB), intelligibility may decrease due to distortion and listener fatigue.
• Background noise: if the SPL of background noise is close to
or exceeds the SPL of speech, intelligibility decreases.
• Critical distance: the distance at which direct sound and reverberant sound levels are equal. Beyond this, intelligibility declines unless SPL is increased.
• In highly reverberant spaces, higher SPL may help overcome the masking effects of reflected sound but can also exacerbate distortion.
• Signal-to-noise ratio (SNR): a higher SPL can improve the SNR, making speech more intelligible in noisy environments. Ideally, a minimum SNR of about 15dB is recommended for good speech intelligibility.
Final thoughts
Well-designed audio systems are integral to creating truly immersive worship experiences, and onsite listening demos can be instrumental in making the best loudspeaker selection. Traditional houses of worship are often some of the most challenging acoustic environments, so it’s essential that integrators and end users consider the needs of the space, the attributes of the loudspeaker and review the measured data.
AIMLINE SERIES
The acoustic properties of a space can alter SPL Image courtesy of St Nikola Tavelić
Hearing loss and tinnitus
Renowned audiologist , a former audiology specialist for the Royal National Institute for the Deaf, focused on hearing and hearing loss at the recent IPS Pro-Audio Show in London
THE IPS PRO-AUDIO SHOW IS A one-day event catering for everybody working in sound across TV, radio, film, live events, education, recording, streaming and houses of worship. The 2024 event focused on hearing and hearing loss with a curated session from audiologist Louise Hart. With more than 30 years of experience, Hart is the joint director of TJ Audiology Training and specialises in improving standards and education in audiology.
“Although modern audio equipment can show us where our audio sources can be improved, sound professionals don’t mix with their eyes,” says IPS Pro-Audio Show coordinator, Ian Sands. “Our ears are essential tools in how we perform our job, but working in environments with long-term exposure to high sound pressure levels can seriously impact our ability to work and hear clearly. According to the British Medical Journal, professional musicians are almost four times as likely to develop noise-induced hearing loss as the general public, and 57% more likely to
develop tinnitus. Our members work across all pro audio disciplines, and as a registered charity the IPS has a responsibility to educate everyone working in professional sound. We can all benefit from an education on how to care for our hearing.”
According to Hart, it’s usually 10 years from the time people notice their hearing is going to the time they do something about it – research suggests that while people often notice hearing loss in their 50s, it often starts in their 40s. Around 18 million adults in the UK are deaf, have hearing loss or tinnitus. Over half the population aged 55 or older have hearing loss, with that number increasing to 80% for people aged over 70, and one in eight adults live with prolonged tinnitus. As a result of their hearing problems, people are more likely to become isolated and reduce their social interaction. A review of studies on the effects of hearing loss in 2020 found that “hearing loss was associated with loneliness and social isolation in older adults. These results highlight that hearing loss may have important implications for the psychosocial (depression and anxiety) and cognitive health of older adults”. Hart reports that there’s a strong link between hearing loss and
dementia. Research presently is suggesting that social isolation may be part of the cause.
“The link between hearing loss and dementia is not fully understood, but one theory relates to overtaxing the brain,” says Hart. “While our ears receive sounds, they send them onto the brain to make sense of them. If the message the brain is receiving from the ears isn’t clear, it has to work harder to understand them. This can result in the brain being overworked and, in time, our long-term working memory that we use for complex tasks becomes weakened.” Parkinson’s, obesity and cardiovascular disease can all increase the risk of hearing loss. Around 12 out of 100 employees in the workplace have a hearing loss. In addition, seven in 10 people with a hearing disability have said that their colleagues have not communicated effectively with them, with one in four deaf people saying that they have quit their jobs due to discrimination. Two-fifths have retired early due to the impact of their hearing loss and
Louise Hart
Sound can reach up to 140dB in front of the speakers at a concert Image courtesy of James Jeremy Beckers
struggles with communication at work. This means that workplaces are losing valuable staff members who are not able to work to their full potential.
Professional musicians in particular are nearly four times as likely to develop noise-induced hearing loss as the general public, and they are 57% more likely to develop tinnitus as a result of their job. UK charity Help Musicians found that 40% of professional musicians across a range of genres have experienced some type of hearing loss as a direct result of their work. Hearing damage can affect everyone in the music industry, including backstage crew, front of house staff as well as bartenders. Sound engineers are
humans can hear is 20dB or lower (about the loudness of a whisper). Normal talking is 40–60dB and a rock concert is between 80dB and 120dB, reaching up to 140dB right in front of the speakers. Headphones at maximum volume are approximately 105dB. The risk of damage to hearing when listening to music depends on how loud the music is and how close you are to the speakers; how long and how often you are exposed to loud music; the headphone type you use; and family history of hearing loss. People who have an increased likelihood of hearing loss are musicians, sound crew members, recording engineers, workers at a night club or people using portable music devices with headphones or ear buds.
from subwoofers can also be damaging as well, but we don’t understand why,” adds Hart. “The temporary threshold shift from low frequencies lasts longer than it would for a loud sound. This is likely to impact sound engineers more than concertgoers or musicians and ear protection doesn’t prevent this – low-frequency sounds travel further than the higher frequencies and it travels through the bones of
So how do we process sound?
“If you have three people with exactly the same hearing loss and exactly the same audiogram, the way hearing loss affects them can be quite different,” explains Hart.
“When we hear a sound, we don’t just hear it, it has to be processed by the brain. Direction, pitch, location, significance, music, feelings and meaning are processed so that the sound can be determined as negative, positive or neutral. When it comes to tinnitus, our brains naturally see it as a negative signal. Our brain registers this as a sound that’s saying that something has damaged my ear and it gets us to attend to the tinnitus – it uses the same neural pathway as pain and anxiety – the more you attend to your tinnitus, the more the brain turns up the volume. And particularly if you’re anxious or having a bad day, tinnitus gets louder. With training, the brain can reduce tinnitus.
“We all hear loudness differently,” continues Hart. “Humans aren’t particularly good at distinguishing potential loud sounds from others. But the real damage depends on dosage – the frequency and length of time that you’re exposed to a loud noise. Generally, it’s fine to enjoy the occasional concert (with effective
or Hart even recommends playing video games that have an auditory focus. Learning another language or an instrument can also help improve the brain’s hearing. If hearing loss is addressed through teaching the brain to listen better and people wear hearing aids, they become part of the community again and stop feeling isolated – addressing hearing loss is to become human again.
“Technology is helping to make life much easier if you have hearing loss,” says Hart. “Auracast bluetooth is now being integrated into hearing aids in the private sector and eventually into NHS hearing aids.
Auracast will start being available in more public spaces over the next few years. You’ll be able to go into a concert hall and the audio will be streamed via Bluetooth directly into your own hearing aid. This will allow people to have a more consistent uninterrupted interaction with what they’re hearing.
or the NIOSH (National Institute for Occupational Safety and Health) app. It’s important to wear ear protection: earplugs for HOW musicians or even better in-ear monitors, even though they can be more expensive. Plus,
“If you have hearing loss, there is a multitude of inventive tools that you can use,” concludes Hart. “There are specialist vibration tuners for equipment such as guitars, while software or digital mixing consoles can provide visual feedback of equalisation adjustments so that you can access multiple bands across the audio spectrum and
people should take the time to give their ears a rest and stay hydrated. Hart recommends that everyone can benefit from training the brain to listen better – if people start listening to talking books or have a little bit of noise in the background, the brain has to focus on what it is hearing. Side-by-side tracking is another technique, where someone reads out loud, they stop and then you have to start reading the next sentence yourself. There are plenty of brain training exercises or apps,
adjust the bandwidth of the filter as required. Some also have automatic feedback suppression algorithms. Adjustments can be saved as presets, giving a repeatable starting place for the next show. And use younger ears to check – they can check sounds you struggle with and they gain from your experience in other areas.”
www.ips.org.uk
www.proaudioshow.uk
www.tjaudiology.com
It’s important for musicians to wear earplugs or in-ear monitors
Image courtesy of Ryan Holloway
Sound engineers have an increased likelihood of hearing loss
Image courtesy of Rob Simmons
Wearing a hearing aid can reduce social isolation
Image courtesy of Mark Paton
Grand restoration
St Hedwig’s Cathedral in Berlin has reopened its doors after an extensive four-year redevelopment with a Holoplot X2 Matrix Array system delivering speech intelligibility
ST HEDWIG’S IS LOCATED IN Bebelplatz in Berlin-Mitte and was the first Catholic church to be built in Protestant Berlin after the Reformation – the Prussian King Frederick the Great allowed the circular building to be modelled on the Pantheon, to pay homage to the Catholic Silesians in Berlin. Between 1747 and 1773, St Hedwig’s was built by Johann Boumann the Elder according to the plans of Georg Wenzeslaus von Knobelsdorff. The church wasn’t originally built as a bishop’s seat, however – in 1930, the Diocese of Berlin was founded and St Hedwig’s was elevated to a cathedral.
Almost entirely destroyed in the Second World War, restoration took until 1963 to complete, during which time the interior was redesigned, including the integration of eight chapels in the lower church and the addition of an organ in 1978. Since 2010, the cathedral has been increasingly in need of
renovation. The Archdiocese of Berlin therefore launched an international competition for a new spatial concept in November 2013. Of the 169 designs submitted, the jury decided in favour of the proposal by Sichau & Walter Architekten and Austrian artist Leo Zogmayer. From May 2020 to 24 November 2024, the cathedral was closed for extensive renovation. One of
the most striking new features is the placement of the altar in the middle of the church interior.
“Catholic churches are normally built in a more traditional shape, so this is why St Hedwig’s is really special,” explains Johannes Rogge, media integration project leader at St Hedwig’s. “The whole interior has been redesigned but now the main focus is on the centre of the building and the new
Holoplot applications engineer Jakob Greif
location for the altar. But with the round shape, it was proving difficult to implement a highquality audio solution and achieve clear speech in the cathedral. The interior is now very minimalistic and clean, so we didn’t want column speakers – we didn’t want to see the technology.”
“The architectural vision was to create a free space for celebration – a move into the 21st century that will appeal to people who have perhaps lost their connection with God or for those who are looking for one,” explains Peter Sichau, founding partner of Sichau & Walter Architekten. “The main theme was that of communion – and community – so that all people can celebrate as equals. That is why the altar has no steps and why it stands on the same level as all the visitors and worshippers.”
Event production and spatial experiences specialist BeWunder first became involved in the project in December 2023 when the company was approached as the potential integrator for the project. “We always strive to deliver the best possible quality and use excellent products in our projects, so this sounded like a very interesting project to us,” explains Benjamin Samuel, key account manager at BeWunder. “It was an exciting opportunity to
combine our technical expertise with an innovative approach to sound design. The project required acoustical clarity in a very challenging space and the most challenging task was that the architects did not want to see any speakers in ‘their’ cathedral. The Holoplot system was the clear choice because of its ability to deliver precise sound control and the required speech intelligibility. Their Beamforming technology
allowed us to tailor the audio to meet those demands. Its ability to manage sound energy with pinpoint accuracy is unmatched, so there was no other solution to be considered.”
It doesn’t take a sound engineer to realise that a building of this shape and size is going to cause difficulties in terms of speech intelligibility. The first challenge faced by the Holoplot team was the very long reverberation time of around 6.5s mid-frequency, which can be typical in houses of worship, but the cylindrical shape of the dome was giving the space a unique and challenging acoustic signature. The second challenge related to the new location of the altar in the centre of the building, and specifically the location of the microphones. Given that the loudspeakers could only be positioned on the outer walls, this created a natural time delay between the loudspeaker and the microphone position and increased the risk of signal feedback.
“During the design phase, one of the main challenges was working within a highly reflective environment,” continues Samuel. “This was addressed by running extensive simulations, doing a test in the cathedral and collaborating closely with the Holoplot team to optimise speaker placement. Installation posed its own challenges, particularly with integrating the system into
the right positions, but our team worked methodically, testing incrementally to ensure everything functioned as intended.”
The Berlin cathedral represents the first time a Holoplot X2 system has been deployed in Europe – and a pleasant coincidence that the location is right on the doorstep of the speaker manufacturer’s Berlin headquarters. “St Hedwig’s is a perfect project to showcase how X2 has the potential to solve some of the key issues around speech intelligibility in acoustically difficult spaces,” shares Jakob Greif, applications engineer at Holoplot. “Crystalclear sound and speech intelligibility were the key requirements of this project but, on top of that, the brief was to hide the loudspeaker technology as much as possible, so we had to come up with a solution that wouldn’t compromise the clean aesthetic of the space.”
Holoplot 3D Audio-Beamforming technology was used to direct the sound precisely where it’s needed. The software takes the exact shape of the space and creates audio beams that ensure that the sound doesn’t hit any reflective surfaces, creating a less reverberant, clearer and more intelligible output.
“The biggest challenge was achieving even sound coverage in a complex space,” adds Samuel. “This required close coordination
The main X2 main array is hidden above the chapel door
PROJECTS
with the design and construction teams, leveraging Holoplot’s own modelling software, Holoplot Plan. By staying adaptable and solution-oriented, we were able to turn these challenges into opportunities for innovation.”
The X2 system has a large main array hidden above the chapel door and contains 18 MD30 audio modules. The setup and Holoplot’s proprietary compensation algorithms compensate for transmission loss through the custom-made screen so that there’s no reduction in audio quality or coverage performance. In addition, two 2x1 arrays in portrait orientation are recessed into the walls either side of the door – also hidden away behind custom-made screens – and act as side fill.
“The main feature of the system
way to the back of the room where the two entrances are located,” adds Greif. “We’re actively avoiding the microphone position in our algorithms to reduce the risk of feedback and maintain audio quality. The accuracy of 3D Audio-Beamforming allowed us to avoid all reverberant surfaces and the microphone position in the centre of the church, delivering the required high-quality speech intelligibility for the entire audience area.”
“I hadn’t heard of Holoplot before, but they convinced us that their solution would be totally invisible,” continues Rogge. “However, we soon realised that it’s not just invisible, it sounds amazing too. I’ve been so impressed with the difference in sound between the places that are covered by the active beams and the places where you hear the sound passively. It will be a new experience for our priests to be speaking from the altar – there’s no active beams covering the altar to prevent feedback from the microphones but, if you step just 3m away, the sound is clear and
the Holoplot system, particularly during the first demos,” he says. “It’s an intelligent, complex but also well-thought-out system and it’s led to this room having exactly the right acoustics without having to include the classic technical elements that we thought we might need. The Holoplot system is the only solution that I’m aware of that can successfully deal with the acoustic difficulties that we had at St Hedwig’s. What we have achieved is not only a spatial experience but a religious one, and it’s made our 14 years of work on this project completely
With over 40 years of experience designing church buildings, Sichau is familiar with the concept of acoustics and the problems surrounding intelligibility. “I was very excited when I heard about
“We are very pleased with how the project turned out,” concludes Samuel. “The system exceeded our expectations in terms of performance, and the feedback so far has been positive. While there are always lessons to be learned, this project demonstrated the power of collaboration and cuttingedge technology like Holoplot to create truly transformative experiences.”
The high dome caused challenging acoustics The organ was added in
Two 2x1 arrays are recessed into the walls
Digital upgrade
Sungrak Church’s 10,000-seat sanctuary in Guro-gu, Seoul has recently acquired a DiGiCo Q5 console for its vibrant services
SUNGRAK CHURCH
WAS established in November 1969 in Yeongdeungpo, Seoul by just eight founding members. Celebrating its 55th anniversary at the end of last year, the church has relocated to three new buildings during this time and is now based at its Guro-gu sanctuary that can host up to 10,000 worshippers. Sungrak Church is currently led by Pastor Sunghyun Kim who graduated from Seoul National University College of Music and holds a Philosophy degree from Oxford University.
The church’s first building was constructed in 1975 in Singil-dong, Yeongdeungpo and could hold about 500–600 people. At that time, it was the tallest building in the area and served as the foundation for the church’s history and growth. The second move came along in 1992, into a building located right next to the first, which had a capacity to hold approximately 4,000 worshippers. This building won a Gold Award at the 11th Seoul Architecture Awards for its beautiful and practical design.
The most recent building was opened in 2008 and is located in Guro-gu, Seoul. It currently serves as the main worship space for Sungrak Church and has the capacity to accommodate over 10,000 members, with various gatherings taking place on different
floors. Currently, there are two main worship services on Sunday mornings, along with a united worship service for all members in the afternoon. All Sunday services are streamed live on YouTube, allowing people around the world to join in worship.
After the services, the edited videos are prepared in various languages for distribution – including English, Spanish, Japanese and Chinese –ensuring that foreign members can worship in their native languages. Recently, a new worship service called Sum Worship has been established, allowing all generations to worship together.
The church broadcasts its main services and united service, as well as its prayer meetings from Tuesday to Friday, live on YouTube. Meyer Sound Milo speakers provide sound in the main hall, with d&b Q-Series speakers installed in the second hall which is located in Singil-dong. Sony cameras and switchers form the basis of the church’s video equipment in the main hall. However, with a focus on modern services with live music, Sungrak Church decided it was time to upgrade its digital console as the HOW was experiencing noise interference due to long signal paths. The church needed a complex and multichannel console to manage live elements, broadcasting,
translation and connections to different floors and rooms. With a requirement for more than 200 channels of in/out resources, Sungrak Church recently turned to Soundus – DiGiCo’s distributor in Korea – to supply a Quantum 5 digital mixing console with its DSP fully loaded for input/output.
The installation took about two weeks in total: one week of preparation before the console was delivered, followed by a second week of transition after it was installed. Following a final rehearsal, Pastor Kim led a Sum Worship service, where all generations of Sungrak Church praised together in a unified sound and voice.
“We wanted to find a popular console –one that is commonly used in popular contemporary churches around the world,” says Pastor Kim. “We’d heard of DiGiCo’s reputation and discussed the possible options with Soundus. Now, the Q5 is playing an important role in helping us grow into a more modern
and passionate community, make our services more vibrant and engaging, and enrich our worship experience. With the optical option infrastructure, there has been a noticeable improvement in signal-to-noise ratio, reducing noise compared to before.”
The church’s musicians, postproduction engineers and operators are all full of praise for the Quantum 5, with everyone recognising a noticeable difference in sound quality and operation. The church has also received positive feedback from worshippers following the services on YouTube.
With plans to slowly update more of the church’s audio equipment in the coming years, it won’t be long before the next piece of DiGiCo equipment will be installed to help Sungrak Church reach new levels of engagement in its services.
www.digico.biz www.soundus.co.kr
ACT-848 / ACT-747
UHF Digital / Analog Wideband Wireless System
72 MHz wide bandwidth allows more interference-free operation.
Industry’s only full-color VFD display for bright, clear viewing in day/night.
7 preset groups with 224 pre-saved channels.
Optional Dante digital network interface.
New transmitters can be powered by two AA alkaline or a Li-ion battery and conveniently recharged via type-C.
One solution to rule them all
A2B Media has supplied The Meeting House’s 250-seat Carlisle, Pennsylvania sanctuary
WITH TWO CAMPUSES IN CARLISLE and Dillsburg, Pennsylvania, The Meeting House has its roots in the Anabaptist, Wesleyan and Pietistic movements. It is a member of the Brethren in Christ denomination, a family of nearly 250 congregations across the United States. Experiencing issues with its existing column array setup, the Carlisle sanctuary turned to AVL production, integration and support specialist A2B Media to solve its audio issues.
“We already had a relationship with the church, so they came to me and asked if we could take a look at their sound system,” explains Alex Beitzel, owner of A2B Media. “The church was struggling with its audio, but it was also struggling with reflections. There was sound going everywhere – it was going to areas they didn’t want it and it wasn’t going to places they did want it. It felt loud because everything was bouncing
everywhere but equally you couldn’t really hear anything anywhere. We talked through some options but the first thing to tackle was getting audio where it needs to be.”
The wide sanctuary has a fairly high peak in the middle but with low sides, making it difficult to achieve an even dispersion. The previous setup consisted of a column array with the aim of controlling sound evenly across the space, but the box had such a wide output that there was no control over directivity – there was just as much sound hitting the back row as there was hitting the ceiling.
Aware the audio needed addressing, the HOW had originally planned on updating the sound system in a year or so, but when one of the amp modules in one of the speakers failed, the upgrade was brought further up the agenda. In addition, the speaker
A2B Media installed two Danley SH69 speakers and one TH118 in the centre
manufacturer was no longer in business, despite the existing system being only 10 years old. The church had also considered fitting acoustic panelling to solve their audio issues.
“The problem with acoustic treatments is that the cost can rise to six figures very easily,” adds Beitzel. “And for a church of this size, it was never going to be a wise use of funds. This became another project for us where we were able to address multiple issues with one solution – a Danley and DAS Audio speaker setup coupled with a few acoustic panels.”
Beitzel specified two Danley SH69 speakers – which provide a wider pattern than the manufacturer’s flagship SH50 model – plus two DAS Audio ARTEC-326 2-way passive full-range loudspeakers for out fill.
The setup is completed by one Danley TH118 subwoofer fitted to the ceiling in the centre of the church. With a recently upgraded audio console and a solid infrastructure, Beitzel’s job of tying in the new speakers to the audio setup proved to be straightforward.
“The SH69s modelled perfectly to fit both the height and depth of the room, but our modelling showed that there was a tiny amount of space that equates to about six seats each side that fell outside of the range of the SH69s,” explains Beitzel. “The mains are covering about 95% of the total space, but we needed the ARTEC-362s to ensure that those seats are now covered. We’re using Danley amplification with all the presets built in along with an Allen & Heath AHM to handle the processing. It’s a really simple solution and shows the importance of choosing the right equipment in the right location otherwise there’s a danger that everything becomes overcomplicated.”
The original plan was to install the new speakers in the same position as the former column arrays. However, Beitzel soon discovered that there were major concerns with the existing rigging. “At that point, we
removed everything and built entirely new rigging. But there was nothing wrong with the positioning of the old speakers, it just wasn’t the right solution for the space.”
Using the acoustic modelling to show where the sound waves would be hitting, Beitzel was able to identify the optimum placement for the panels.
“We knew that there would be a slight issue in the back corners – because of the way the angles work, this was the area where all of the waves were converging at their highest amplitude,” he explains. “Also with the sound booth located in the middle of the church at the back, there were too many reflective surfaces at the back so the panels help cover the middle section as well. It means that they’re not having to push the sound system so loud to get the clarity they’re looking for, and where the sound is hitting is being absorbed by the panels. It was our first project with Auralex Acoustics and we were really impressed.”
With the leadership team – and the worshippers – aware of the problems with the audio, the church had made the decision not to inform its congregants that the audio system was being updated. “There’s a lot of research behind the psychology of not telling people that something is new,” adds Beitzel. “But the change was immediately noticeable – after the first service with the new speakers, several people asked what had changed and why it sounded so much better. The visual impact has also been reduced –although the old column arrays were quite narrow, they were about 2m tall and the church had sacrificed lines of sight to the screens, but the new speakers are only 0.5m tall. Plus, the microphones are now picking up the pastor’s voice rather than the bounce of the audio. It was a win–win solution in every aspect.”
www.a2bpro.media
www.danleysoundlabs.com
www.tmh.church
Silent Operation with a Symphony of Features
Halcyon Silent answers the call for a high-performance fixture with silent operation. For noise-sensitive venues such as theatres and concert halls, the fanless, convection-cooled Halcyon Silent delivers the features you love from the Halcyon family.
etcconnect.com/Halcyon-Silent
Auralex Acoustics panelling has been fitted around the sanctuary
O-Line excels in Tasmania
St John’s Launceston turned to GUZ BOX design + audio to propose an audio
solution that would provide clear intelligibility in the main seating areas
AS THE FIRST EUROPEAN settlements rose out of the virgin landscape of northern Tasmania in the early 19th century, St John’s claimed its stake as the oldest church in Launceston. Celebrating its 200th anniversary in 2024, the church committee decided to conduct extensive refurbishment ahead of the bicentennial celebrations. To enhance speech intelligibility, All Saints Anglican Network tasked GUZ BOX design + audio to propose architectural acoustic and electroacoustic design works in late 2020.
Unlike the intelligibility, the realworld challenges were clear for GUZ BOX design + audio founder, Tim Kuschel. Armed with few documents and hindered by the numerous pandemic restrictions in place at the time, the Canberra-based consultant was forced to work on modelling from point cloud data transferred to him. During a relaxation of pandemic restrictions in March 2021, Kuschel was almost overwhelmed by the heritage-listed architectural constraints
and demanding acoustics, including a 22m-high dome.
“The dome and rising stone pillars combined to create multiple reflections and, with a pipe organ still in use, intelligibility was a major concern,” recalls Kuschel. “A large proportion of the congregants are elderly worshippers, and the majority could not understand the spoken word services. Therefore, the design brief focused on speech intelligibility within the main seating areas. Additionally, the existing audio system was deemed to possess limited flexibility, so I was requested to add enhanced features into the design.”
St John’s also hosts more contemporary music for its youth services and others during weekday evenings. Although the church is one of the oldest-surviving churches in Australia, it has received numerous extensions and modifications over the years. Only the tower and first pair of windows in the nave remain from the original 1824 construction. “Just as the church has added new extensions at various points in time, random
loudspeaker enclosures have also been installed into various zones. The existing loudspeaker system simply did not meet the requirements because it consisted of too many non-compatible enclosures, which were not designed for such a space.”
The proposed works to upgrade and revise the sanctuary, platform and presentation area included an acoustic amenity supporting a modern contemporary worship style. Demanding a minimalist audio reinforcement footprint, the architectural and audio aesthetic for traditional un-amplified musical
performances would need to be adhered to. A flexible AV system was also required to distribute and replay video content, including the broadcast and livestreaming of church activities and special events, from multiple camera locations to presentation screens.
To create detailed acoustic design and modelling using EASE software, Kuschel conducted extensive acoustic measurements. A man driven by detailed figures, Kuschel carefully studied the reflective surfaces and the acoustic materials. Not only was the audio system required to focus its
All images courtesy of Contact Group
The 22m-high dome created demanding acoustics
Active Audio an Arbane Groupe brand
PROJECTS
energies on the main church seating areas, but the loudspeakers would also need to operate within the full frequency range for speech and music. Assuming a two-thirds seating capacity, Kuschel set a desirable Speech Transmission Index (STI) of greater than 0.60 throughout the areas covered by the audio systems. The balcony, chapel, choir, entry and crèche areas were also specified to operate within a minimum frequency response of 150Hz–16kHz (±3dB).
Balloons were used to measure the impulse responses, with the results used to correlate real-world with virtual response measurements. In addition, Kuschel’s ears played a significant role in studying the acoustic behaviour during various services. “For the more social aspects, I listened to the pipe organ and I played the piano to comprehend how a performer perceived the sound onstage. Because my background
is in architecture, I built a model in AutoCAD from the point cloud data before converting it into a virtual acoustic model using AFMG’s EASE version 5 software. For added accuracy, I correlated the physical measurements with the EASE model.”
To minimise the impact on the architectural design and aspects within St John’s, Kuschel worked closely with Cumulus Studio by proposing an extensive acoustic works treatment programme, including ceiling absorbers and wall treatments. “It would be very difficult to remove all the sound defects, including echoes, room nodes and focused reflections from curved surfaces and dome structures. The focused reflections from the
Working closely with Martin Audio distributor Technical Audio Group (TAG), L-R Martin Audio O-Line arrays provide the main FOH coverage. Consisting of 16 elements in each array, each element comprises dual 3.5-inch LF with five 0.6-inch HF drivers. For the ability to reproduce music by enhancing the low-frequency spectrum, six SX110 10-inch directradiating sub bass arrays have been placed under the main platform.
“We could not suspend the O-Line arrays from the 22m-high concrete dome, as it is 16m higher than the optimum speaker placement. For the desired coverage, the modelling suggested that the top speaker of each hang be suspended 6m above the sanctuary floor. To achieve this, customised speaker brackets were designed that extend the distance of the arrays from the wall.”
Fixed to pan and tilt brackets on the main balcony providing controlled 150° x 15° or 30° coverage, L-R QSC AD-S162T column enclosures serve as the main balcony delays.
Several Martin Audio CDD6 and CDD5 cabinets have been fixed in the chapel and choir areas on ball and ceiling brackets. Completing the loudspeaker fulfilment, QSC AD-4T cabinets and AD-C4T 4.5-inch ceiling speakers serve the side entry and under balcony/crèche areas respectively. “To blend in with the décor, the conduits running the cabling to the wallmounted speakers are painted in the same finish. Alternative colours were painted to match the sandstone and the brickwork in some areas.” This was initiated by the builder and integrator to satisfy the requirements of heritage constraints.
Six QSC CX-Q4K8 8-channel amplifiers are integrated into the
Q-SYS design. In addition to powering 48 individual loudspeaker channels –and providing routing, advanced processing and control – the network amplifiers promote efficient channel power distribution with FlexAmp and Flexible Amplifier Summing Technology (FAST).
DSP settings for each O-Line element, the subwoofers and the fill speakers have been set and stored within a Q-SYS Core 110fx 128x128 processor. Mounted on a tabletop, simplified control of the audio parameters can be made, for those with access codes, from a Q-SYS 7-inch PoE touchscreen. The GUI interfaces with the entire Cat6 networkable audio connections courtesy of a Netgear Q-SYS PoE+ 30-port managed switch. Fitted with a Dante card, an Allen & Heath SQ-6 digital console is used for mixing both simple
An Allen & Heath SQ-6 digital console is used for mixing both simple spoken word services and musical performances
Customised speaker brackets were designed that extend the arrays away from the wall
Martin Audio O-Line arrays provide the main FOH coverage
spoken word services and musical performances. A wireless iPad loaded with SQ MixPad app allows the presiding audio technician to independently or simultaneously control the SQ-6 console over a wired or wireless network. Microphone inputs are received via Cat6 connection from the S-Link port on the rear of the 48-channel console from the Allen & Heath DX164-W 4-in/16-out flush-mounted floor box expanders onstage. “When the FOH loudspeaker system is not required, the operator can select one of the Q-SYS presets. More advanced users can access the Dante network on the built-in SQ-6 touchscreen, which runs to a breakout box in the rack.”
Already possessing a large microphone inventory, Kuschel simply insisted on the adoption of a Sennheiser EW-DX wireless system. Boosted by an RF Venue diversity architectural antenna, MMD945 super-cardioid capsules and Que Audio DA12DE head-worn models connected to EW-DX bodypacks transmit to the EM4 4-channel Dante digital full-rack receiver. For spoken word, the lectern is fitted with Audio-Technica U857Q-H gooseneck microphones fitted to shock mounts.
in the balcony. Both live performances and high-definition spoken word services can be better managed.”
Following the acoustic treatment, Kuschel recorded 2.5s of reverberation time, mainly in the mid-frequencies.
Assistive listening is enhanced with the installation of Univox SLS-3 and SLS-5 phased-array induction loop amplifiers. Kuschel designed the placement to be as far from audio, video and data systems as possible. Consideration was also given to interference from under-floor heating systems. “Due to the magnetic field strength of induction loop systems, some of the audio equipment such as dynamic microphones and electric guitar pickups can be affected.”
The acoustic works included the replacement of the raised timber platforms towards the front of the church and in the chapel with 130m2 of recycled hardwood timber linings. Indirectly, the laying of 590m2 of new carpet throughout the ground-level seating areas and balcony sections provides added absorption. In addition to some wall treatments, Kuschel’s decision to apply an aesthetic acoustic treatment of Megasorber 50mm sound absorbing panels to approximately two-thirds of the ceiling over the main seating areas was fully merited during commissioning.
“The reverberant energy over the audience area has been controlled. Following the upgrade, the installed audio system provides a minimum measured STI value of 0.61 from the front row to the last seat of the balcony. The speech clarity is uniformly intelligible, whether you’re sitting in the
energy in the space, and it was pleasing to note that this has been unaffected by the acoustic works. Crucially, however, the reflected energy has been controlled and so the performances of singers and musicians
COSMO
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are no longer marred. There is a good natural reverberant tail which is more defined, but it doesn’t come with the early reflections that affect musicians.” Installation works were carried out by Tasmania-based Contact Group, who have provided an exceptionally high-quality result considering the heritage constraints and detailed, timeconsuming installation. T-Built project manager Joel Taylor managed all the contractors and systems integrators onsite. “During the entire upgrade and refurbishment programme, Joel carefully coordinated all the trades onsite,” explains Kuschel. “The acoustic works and AV fit-out were managed to perfection under him. I cannot rate him highly enough.” A 10 out of 10 perhaps, for Taylor, but some aspects of an AV upgrade cannot be assessed or measured scientifically.
www.contactgroup.com.au
www.guzbox.com.au
www.martin-audio.com
Martin Audio CDD6 cabinets have been fixed in the chapel and choir areas
Rock solid
Soul Church in Norwich has moved into its brand-new sanctuary with a combination of new and existing equipment supplied by Rock-Tech
JON AND CHANTEL NORMAN
met at Bible College in Australia and married in 2006. Initially serving as youth pastors at Mount Zion Family Life Centre on Heartsease Lane in Norwich in the UK, the couple moved to Cape Town to help plant Hillsong South Africa. During this time, a devastating fire forced Mount Zion to move to a converted warehouse on Mason Road. When the Normans returned to Norwich in 2014, they took over the running of Mount Zion, rebranding it as Soul Church. The Normans
also inherited the Heartsease property, originally belonging to Mount Zion.
However, the church quickly outgrew the Mason Road facility, so the decision was made to build an entirely new meeting space for the church on Heartsease Lane. The new building features a 1,200-seat auditorium, nursery, chapel, sensory room, youth hall and a social supermarket that has already provided over 30,000 bags of groceries to local families. Soul Church also runs Soul Nursery, which supports
Pastors Jon and Chantel Norman
HOW AV integration specialist Rock-Tech has been supplying equipment to Soul Church since 2015. For the new property, the company custom-built the main auditorium and youth hall stages, each meticulously constructed from sustainable timber and engineered to allow full accessibility. The entire stage structure was designed with access routes below, ensuring easy and seamless routing of cables, and accommodating technical setups and future maintenance.
However, the integrator’s work didn’t stop at the stage. RockTech custom-built a FOH booth, designed to complement the auditorium’s layout while housing advanced control equipment, enabling the FOH mix engineer to have an accurate representation of the room. A further objective for the FOH booth was to also have three camera locations on the second level; however, to ensure that there was no vibration transfer from the audio, Rock-Tech had to make a custom floating section on
large acoustic tiles have also been fitted with the aim of ensuring that they are aesthetically pleasing and have the most impact.
Another major part of the project was the supply and installation of the LED screens in the main auditorium. Rock-Tech has installed an Absen A3 pro 13m x 3m LED wall across the back of the stage, controlled by a Novastar processor, and re-purposed and relocated the church’s existing Absen LED screens to become IMAG side screens.
audio team can turn on only the PA system without activating the lighting or video setup, and vice versa.
This system has proven to be an invaluable addition to the church’s setup, enhancing both functionality and flexibility. It provides Soul Church with a versatile environment, allowing them to adapt quickly to diverse events and activities, creating a more welcoming, accessible and user-friendly space for both church members and the wider community.
“We have lots of clients who try to find an empty building so there’s always an element of whether this is going to suit the church’s needs in a few years’ time,” says Ben Freer, system designer at Rock-Tech, “but with Soul Church they had the opportunity to put everything together themselves. They’ve really taken the time to think about what they might need over the coming years. It’s a stunning building just down the road from the old premises – completely built from the ground up based on the church’s specifications. We’ve been working with them for several years, so when it was time to fit out the new building, we were grateful and excited to support the church with any opportunity they gave us.”
the floor. The booth also allows for centralised operation and streamlines interaction with the church’s lighting, sound and media systems.
Rock-Tech integrated both new and existing equipment across the facility, addressing the specific technical requirements of each space. The custom acoustic solutions have been designed so that the space delivers clear, quality audio, creating an immersive environment for every attendee. Although Rock-Tech didn’t fulfil the audio for the main auditorium, it worked closely with Solotech to bring an acoustic solution that complemented the L-Acoustics Kara IIi loudspeakers that have been installed. To help control the sound in what was quite a challenging space, 52
Rock-Tech also designed the house lighting system for maximum ease of use and adaptability. At the heart of the setup is a Scene Setter wall plate, a user-friendly, streamlined solution that enables anyone to instantly recall any preprogrammed lighting scene in the youth hall space with the simple press of a button.
With up to 16 customisable presets available, Soul Church can switch between lighting setups tailored to different ministries, events or community hires without needing technical staff present. The Scene Setter doesn’t just manage lighting; it allows for intuitive control over multiple systems. Each scene preset is configured to activate specific power circuits, so that the
Rock-Tech also designed, supplied and installed the illuminated stair nosing in the auditorium, which allows the church to have a low lighting environment while maintaining a high level of safety, but it also provides an ambient feel to the main seating area. The system also has a full emergency power backup, so if there is loss of power to the building, the stair lights stay illuminated on full brightness, allowing everyone to evacuate safely. The system is also fully DMX controllable from the Avolites Tiger Touch II lighting desk.
The integrator was also responsible for a fully bespoke lighting solution for the archways leading up to the building’s entrance, which allows the archways to be fully RBGWW controlled. This provides essential lighting for visitors at nighttime but also creates a welcoming look to the church for anyone who’s driving past, illuminating the dark walkway.
“We’re proud to have partnered with Soul Church on this state-ofthe-art project,” concludes Freer. “We’ve been able to transform the church’s vision into a technical and architectural reality that will serve their growing community for years to come. Aside from having more space, the church wanted to be at the forefront of the technology it could be using and they’ve certainly managed to achieve this. It’s been an amazing project to work on – we were able to respond to any queries they had regarding different parts of the venue and, whenever they ran into any issues, we were able to support them with anything that they needed with a fast turnaround. The opening was highly anticipated and was a great success. We were honoured to be a part of it.”
www.rock-tech.co.uk www.soulchurch.com
Rock-Tech built the stage in the main auditorium
Projection partnership
MGG has used its recently purchased Christie M 4K25 RGB laser projectors to help CFC Johannesburg celebrate its 45th anniversary
CHRISTIAN FAMILY CHURCH
(CFC) Johannesburg, founded by Drs Theo and Beverley Wolmarans, was established in 1979 with a mission to help people know God, find freedom and live purposeful lives. Over the following decades, CFC has grown into a prominent institution, encompassing various ministries, including small groups, missions and a Bible college. The church is committed to community outreach, spiritual growth and leadership development, with a focus on helping individuals discover their talents and make a positive impact.
With annual celebrations held every year, CFC decided that it wanted to put on a visually impressive experience for its parishioners for its recent 45th anniversary. Enter MGG, a provider of audiovisual services in South Africa, which had recently invested in four Christie M 4K25 RGB pure laser projectors from long-term partner CineAV. MGG was first introduced to the projectors back in December 2023, when CineAV played a crucial role in a high-profile projection mapping project. The fact that MGG would be able to use lenses from its existing projectors with the new Christie units made the purchase from CineAV an easy decision to make.
the-art laser projectors,” says Clwyd Jones, technical manager at CineAV.
“This investment underscores MGG’s commitment to delivering extraordinary visual experiences and we’re proud to be part of this journey.”
“We are thrilled to continue supporting MGG as they expand their capabilities with Christie’s state-of-
“As one of South Africa’s leading rental and staging companies, it’s vital for us to stay at the forefront of technology,” continues Mark Gaylard, managing director at MGG. “Our investment in these Christie projectors, backed by CineAV’s unwavering support, ensures we can consistently deliver superior visual experiences to our customers. We’ve previously used 30K projectors for house of worship clients and now see the M 4K25 units as a better choice due to their lower running costs and laser technology, eliminating the need for lamp replacements.”
The relationship between the two companies initially began when the church approached CineAV to service its existing Christie HD14K-M projectors. In turn, the distributor proposed last year that MGG help the HOW with its evolving needs. It has now supported CFC on multiple events. For the 45th anniversary, CFC asked MGG to supply two extra side screens (11m x 4m) for visual effects and live video feeds and two projector blends using the M 4K25 units. It was a bigger ambition than imagined and MGG worked hard to provide a solution that included designing and building a structure to support the rigging. This involved extending the truss to reach a stabilising point and consulting with engineers to ensure safety requirements were met.
The setup also featured a lighting rig including eight Robin Sharpies, four Robin Pointes and eight Robin 600 LED washes from Robe, eight Philips Vari-Lite Nitros, eight JSPR Cityscapes, and an S3 Compact and expandable Event Master processor for blending from Barco. An Absen rig with 54 PL 2.9mm panels was also used, along with 1m x 500mm sections for branding and logos.
“The aim of the event was to create a grand and memorable celebration, and this was successfully achieved,” adds Gaylard. “The event received high praise, with both local and international attendees commenting on the professionalism and visual impact. The M 4K25 projectors performed exceptionally, delivering rich colours and powerful visuals.
The event showcased the value of collaboration between CFC and MGG, with both teams working together to overcome structural challenges and push creative boundaries.
MGG and CFC are planning further collaborations, including a potential event next year, continuing to build their relationship while delivering highquality services to the church.”
www.christianfamilychurch.co.za
www.christiedigital.com
www.cineavs.com
www.mgg.co.za
Christian Family Church has celebrated its 45th anniversary
MGG supplied two extra side screens for the event
The perfect mix (maybe)
GABC’s Guy Bugg looks at some of the tips and tricks for creating “the perfect mix”
AT THE END OF MY PREVIOUS article, I asked “how do you get a perfect mix?” Well, I have bad news … you can’t! I say that because everyone out there will tell you what they think – it’s too loud or not loud enough. What I’m trying to say is that a perfect mix isn’t accenting any one thing, it is a smooth balance of all the vocals, percussion and instruments. Now let’s talk about how to achieve this perfect mix. The first thing to understand is that you are mixing one of many styles of music and they all have a different mix to them. There’s heavy metal, rock, soft rock, red dirt country, country, country western and church music (classical, hymnal, progressive), so you have to understand what your target mix is supposed to sound like.
So how do you achieve a generic, smooth balanced mix? If you were in my studio, I could play you some multi-tracks and change the mix on them so you could
hear the different styles but, unfortunately, I can’t do that in this article. The best way to give you an idea of what you are trying to achieve is with a couple of pie charts that I’ve created. Chart 1 is a basic mix of the two components in a simplified setup: vocals and band. In the vocal component, there is a solo vocal singer and, usually, some occasional harmony singers. In the band component, there are three basic segments: percussion (drums), bass and all other instruments (keyboards, guitars). This chart is laid out with the vocal and band components at equal volume with each other (remember, we are talking about a very generic, easy listening mix). This 50/50 balance can be adjusted, one way or the other, depending on the
style of music you are mixing for. Older country, church or easy listening music may be heavier on the vocal side, whereas rock and progressive church music may be
heavier on the band side.
Now let’s talk about how these two components divide up, depending on your target mix (chart 2). In this generic mix, your solo singer is 50% of the entire chart and the band is the other 50%.
In the vocal half, you may also have extra singers. These extra singers can be “harmony” singers, in which case they are only about one-third of the vocal component, or they can be duet singers in which the two singers are 50/50 of the vocal component with each other. Before we get any further, remember that this 50/50 mix of vocals and band can vary depending on the style of music that you are mixing.
Chart 1
The mix of vocals and band will vary depending on what style of music you’re mixing for Image courtesy of New Life Austin
• Class-leading, extremely wide 60 MHz UHF tuning bandwidth for maximum versatility
• Unique multifunction button on the handheld and body-pack transmitters can be used to switch to a backup frequency should interference be encountered
• Automatically adjusts squelch setting to maximize range while minimizing interference
• Optional network transmitter charging docks
•
• Frequency scan and IR sync for ease of setup Handheld transmitter offers industry-standard thread mount for use with six interchangeable A-T microphone capsules, as well as other compatible capsules
Now, in the band half of the mix, there are basically three segments: bass, percussion (drums) and rhythm instruments (piano, keyboards, guitars). These three segments should be fairly evenly balanced with each other. In the bass segment, you can almost include the kick drum if the mix should have a heavy, bass-y kick drum tone. The percussion section would be the drum kit along with congas, bongos, etc. With just these subsegments that I have mentioned, the actual amount of any one instrument in the mix is not really that much. If the band as a whole is 50%, then the instrument segment is one-third of that, and the piano, keyboard and single guitar are only one-ninth of the mix each. Add an extra guitar or two and the guitars are an even smaller part. The more things you add, the smaller the slice of the pie they take up.
This doesn’t mean you can’t hear them – this just means that this is their “default” status when any particular instrument isn’t being featured.
So, what happens when an instrument isn’t in that default status of the mix? Sometimes the best part of a song is when an instrumentalist takes a lead. Normally during a guitar or
keyboard lead or a drum solo, the vocals have dropped out. In a balanced mix, the instrument that is taking the lead has replaced the whole vocal segment’s volume level. This puts the soloist where they can be heard but not completely drowning out the rest of the band. When the lead is over, it reverts back to its original mix level and the vocals or other lead
first and the simplest thing you can do is to set up an equaliser for the track that you’re working on. Normally I would take a midrange frequency, about 400Hz, give it a two-thirds Q sweep (this is the width of frequency that the EQ point effects) and then drop it down at least 9dB. Next, as the track is playing, move that frequency point up and down the range like an old antique radio dial. Go back and forth and you will hear a “sweet spot” emerge. Now, leave the frequency there and raise or lower the dB level until you hear that right amount of sweet spot, not too washed out and not too dry. You can also narrow or widen the Q width until you get the best results. Next, bring in a “low-end roll-off” until you hear it start to remove too much of the lower frequencies. With male vocals, that is about 80–100Hz. With female vocals, it can be up to 250Hz depending on their pitch range. For a bass guitar, it can be around 50Hz. Finally, bass frequencies build up on each other and make a mess. These are the low notes of a bass guitar, kick drum and lower notes of a piano/keyboard. Back in the day, we would put some stage tape over the keys on the keyboard that we didn’t want them to play. Not only would this clean up the bass tone of the mix but it also kept the keyboard player from duplicating the same notes that the bass player was playing. Contrast between the different segments makes the segments easier to distinguish and hear. When different instruments are playing the same part and at the same pitch range, it just makes a mess and you can’t tell one part from another. This can also happen between the bass guitar and the kick drum. A deep-toned bass doesn’t need such a deep-toned kick drum, and visa-versa.
instrument take over. If you look at chart 2 again, you’ll see that the fewer instruments that are there, the easier it will be to hear them in their default status in the mix. One bass guitar, one keyboard and one or two guitars can be easily distinguished in the mix. The more you add, not so much.
In terms of getting a good “tone” out of your vocals and band, the
None of these points are chiselled in stone – they are just meant to be a starting point for a mix, especially for people that are just beginning to learn how to mix. Maybe in another article we can talk about how to use compression, equalisers, limiting, gating, reverb and echo, whether it be outboard gear or plugins. And remember: mix for about 30 or so minutes and then take a break – your ears will change the longer you mix, especially on louder volumes.
The band half of the mix normally includes bass, percussion and rhythm instruments Image courtesy of Good Gifts Christian Church Chart 2
The power of storytelling to connect with your church community
Media Mentoring’s Graeme Spencer considers how video can be used to enhance the idea of storytelling in services
STORYTELLING IS AS OLD AS humanity itself. Since the dawn of time, we’ve used stories to pass down wisdom, values and a sense of identity from one generation to the next. It could even be argued that the Bible, the book so central to the Christian faith, is one long story (it is much more than that, but it is a story nonetheless). Even if you don’t want to give me that, there is no denying that Jesus was a master storyteller. There are over 40 stories attributed to him through the four Gospels. Story is at the heart of the Christian faith. But storytelling is far more than a tool for preserving tradition or examining and enjoying how it was used in the past. It can also be a bridge to connection, especially within the church today. I recently had the opportunity to speak at the CFX conference in the US on the power of storytelling through video. I was thrilled to see how many people wanted to learn how to tell great
stories through video, as this is my passion.
Let me challenge you to consider how vital this is. As Christian leaders, we have a unique role and opportunity to connect deeply and authentically with those we serve. Storytelling is one of the most potent ways to do that. Let’s explore why storytelling is so impactful, and I’ll share four ways that any church can use it effectively in ministry.
Sharing personal stories: bridging
the gap
When you open up and share your personal journey – your highs and lows, your struggles and victories –you’re no longer just a “pastor” or “leader” in the eyes of your congregation. You’re a real person who’s walking the same road they are. This vulnerability can be challenging, but it’s worth it. Realness resonates. It builds trust and a
remember about your message is the story you shared – that is the power of story at work.
you’re on this journey with them.
Practical tip: consider weaving a brief personal anecdote into each sermon. Even a small story or video can make a significant impact. Don’t be surprised if the main thing people
convey profound truths in a way that people understand and remember. By using relatable, story-based videos, we can help our congregations grasp
choose great stories or create your own to illustrate complex stories might make a hard truth easier to digest. This is also where the role of video can be powerful; a great video story in the middle of your message will keep people engaged at a level where just continuing to talk “at them” never would.
Using video in your service is a powerful way of delivering your message Image courtesy of Desert Reign Church
Graeme Spencer
Invite others to share their stories: building a sense of community
When we create space for others to share their stories, we create a profoundly unifying environment. Giving people within
congregation feel heard, they feel like they belong, strengthening their connection with the church.
Practical tip: try incorporating testimonies or story-sharing moments into your regular services or small groups. You’ll be amazed
Filming and editing their stories eradicates this challenge and helps you control what’s shared and how long it takes for them to share it.
Connecting stories to a larger mission: inspiring action
the congregation the opportunity to share their testimonies, challenges and breakthroughs fosters a sense of inclusivity and community. It also sends a clear message: we value your voice. When members of your
at how these shared experiences cultivate a more united and compassionate community. Again, this is a fantastic area to use video. Many people struggle to share succinctly in front of an audience.
Stories don’t just build connection –they inspire change and inspire people to become agents of change. When Martin Luther King Jnr shared his “Dream”, or perhaps we could say he told a story of what he thought society could look like, he sowed a passion into the people who listened to become agents of change. That is the power of story. Bringing this back to your church, when you link personal or congregational stories with the church’s larger mission, you’re not just moving hearts; you’re mobilising hands and feet. Videos that highlight the impact of serving others or show how faith is changing lives often inspire people to get involved, whether it’s through service projects, evangelism or simply reaching out to their neighbours.
Practical tip: share stories that connect your congregation to the church’s mission. Remind them that their actions can make a real
difference. Once again, video is a powerful tool in your armoury here, as it shows what is possible and makes it real for the viewers.
A final encouragement: use stories to cultivate community, trust and belonging
In the end, storytelling is about more than finding a clever way to illustrate a point – it’s about fostering a culture where people feel they belong. When you share a story, you invite others into a shared experience, vision and purpose. And in a world where people often feel isolated, that sense of belonging is priceless.
So, consider adding a video to tell a story or two as you prepare your next sermon or small group meeting. It doesn’t have to be dramatic or perfectly polished. Just make it real, make it honest and make it meaningful. You might find that your words create deeper connections than you ever expected. However, it’s important that any video you use does this effectively. Spoken stories are great – if that is where you are at –but video is a more powerful way of achieving this.
www.mediamentoring.net
Filming your own content can make a significant impact Image courtesy of GABC
Backup solutions – planning before it’s too late
John Black considers the importance of having a plan in place to tackle technical issues when they occur
WE’VE ALL EXPERIENCED
technical issues. It may have been the dreaded blue screen of death on your PC, a frozen application on a phone or tablet, or the inability to connect to a Wi-Fi or cellular network. Technology is great, but at some point in time –usually when it is the most inconvenient – it will fail.
Lighting systems are no different. The lighting console after all is nothing more than a task-specific computer. LED and automated instruments house processing chipsets and software controlling the internal systems. Control data is typically sent throughout a venue over a distribution system, often now a digital network. What could go wrong?
If you’ve never experienced a technical issue with your lighting system, consider yourself blessed. But let me also warn you: it may and very likely will happen at some point. These systems are not immune to experiencing technical issues. What can set you apart as a lighting technician/director is ensuring you have a plan in place for when this happens.
Let’s take a look at some of the options that you can have in your tool bag specifically for dealing with lighting console technical issues.
Multiple file storage locations
When I first started to use early computerised lighting consoles, I would carry around with me a 3.5-inch floppy disk carrier with a minimum of five disks. Local storage of show files was not available on the console, so they needed to be saved to an external disk. Automated versioning of show files was not available, so I would label and clearly note the
3.5-inch floppy disks
disk files, rotating disks throughout the programming process and saving periodically so that if I ever needed to revert back due to a programming issue, I’d have at least a few “versions” of the show file available, saving me hours and hours of programming time. Thankfully technology has greatly improved over time. Most, if not all, consoles available today include local file storage space for show files on the console itself. Additionally, when re-saving the same show file, most consoles will actually create a new file,
automatically creating “versions” so that you can step back to an earlier version if needed. But be warned – just because the console handles your show files and versioning for you, it doesn’t mean that you are “safe” from losing your programming. After all, the lighting console is just a computer. If the computer should fail, it is still possible that you may lose all of your locally stored files. Therefore, I recommend always having a USB thumb drive (or two) available at your console and that you build the habit of (1) saving
ETC’s Hog 4 PC software
ETC’s EOS Fader Wing
often and (2) saving to multiple file storage locations. I will always save the show to the console local storage as well as to an external drive. This provides protections for my work if something should happen to either the internal storage or the external storage. If needing to factory reset the console, or if needing to bring in a completely different console, this will ensure that you are able to transfer your show file and programming seamlessly, saving all the hours of programming that had been done.
And while it is extremely rare for a USB thumb drive to stop working, I also keep an additional (third) thumb drive with a “console default” show file that I keep up to date. It is easy to move from event to event, building on prior programming. But over time, things can get messy and disorganised, especially if you have multiple people programming or using the console. If I ever want to clear the console while keeping customised default settings that I’ve set up –such as custom fixture profiles, default patches, etc. – then I also have that readily available on a third drive that sits in the control booth.
It’s important to establish – and enforce – good saving habits regarding both frequency and location. This has saved me many times and should not be overlooked.
Relationships with local rental shops
When a lighting console fails, sometimes all it takes is a hard reboot and all will be well again. Or you may find that doing a factory reset will fix any issues that may have developed. If neither of these are the case and you don’t happen to have a backup console available in-house, it’s important to know who you can turn to quickly to get a replacement in your hands. Picking up a rental comes at a cost, but if the failure happens at a time-critical moment, it will see you through the service or event while you continue to troubleshoot your console.
When working with organisations looking to purchase a new console, I always recommend that they select a product that they can (1) get serviced locally and (2) be able to get a replacement/rental at short notice. Houses of worship in particular, along with educational
organisations, often do not have the means to be able to stock a backup console in-house, so being able to turn to a local shop quickly is vital.
It is understandable that there may be circumstances or locations where rental is not an option. Fear not, there is another option in lieu of purchasing a second console that I highly recommend as a backup solution.
PC-based console software
Most console manufacturers have offered offline editors to allow programmers to have the ability to open, edit and save show files when away from the physical console. Offline editor software can be downloaded and installed from the manufacturer’s website and is most often available free-of-charge. Many of these offline editors now also allow you to send control data from a personal computer when output is enabled through the use of a purchased accessory, often in the form of a USB dongle or other hardware.
For example, if your facility uses ETC or Hog consoles, you can enable output from your personal computer by purchasing an ETCnomad USB key and connect the network port of your computer to the lighting network (of course ensuring correct IP addresses and network settings). The ETCnomad USB key is available in two versions, either 1K or 6K, enabling output of up to 12 universes. If your facility uses MA Lighting consoles, you can enable output from your personal computer by purchasing any onPC hardware and connecting it to your personal
computer. A variety of hardware options are available (only one is required to enable software output), which unlocks output of up to eight universes.
Why do I highly recommend these solutions as a backup option? No matter what brand of lighting console you have installed, these solutions not only allow you to open, edit and save show files when away from your console, but they
of buttons and faders otherwise available making programming and operation easy and efficient. Many manufacturers sell programming/ control wings as external hardware devices to make programming and control PC-based console software more user-friendly. But note that these aren’t necessarily required for enabling control data output. If you can run your service or event using keyboard shortcuts and a mouse, then you have the full console software available and can connect your computer directly to your rig. I personally think the value of PCbased console software is underrated. It doesn’t replace the need to practise good habits regarding show file storage, but output-enabled, PC-based console software solutions can provide peace of mind in stressful situations that could possibly come up, such as a console failure. And not only that, they also then provide lighting control for smaller, secondary lighting rigs in secondary spaces and they can be used as training tools for volunteers with offline visualisation software or simply for offline editing of show files.
In conclusion
Not only does this give you a very portable console replacement option, but you can even set up your computer to run as a client or backup console, tracking your main console, ready to take over in the case that you run into an issue during a service or event.
For obvious reasons, there are some inconveniences to running console software on your computer. Perhaps most notably is the lack
Failure can happen at any time. It may occur during the preparation for a service or event or even during the service or event itself. It’s important to have a backup solution plan in place so that when failure happens, you are equipped to quickly pivot and continue on with what needs to get done. Failing to plan is planning to fail, which is not a position anyone wants to find themselves in. If you are reading this and have a plan in place, make sure that your entire team knows the plan and is trained accordingly. If you are reading this and don’t have a backup plan in place, now is the time to work that out because when, not if, an issue arises, it will be too late.
MA Lighting’s onPC Command Wing
ETCnomad USB key
Solving feedback woes with a zero-latency plugin
Have we finally solved the problem of gain before feedback? Alpha Sound lead engineer Devin Sheets claims to have done so with a new zero-latency AI plugin
SALEM, OREGON-BASED
Alpha Sound has been involved in the house of worship installation market since the 1970s. Run by father–son duo Duane and Devin Sheets, the company has been successfully managing live sound events and installing permanent AV setups at churches around the US for over 50 years. Working closely with what the company believes to be tried-and-tested, high-end brands – such as Nexo, DPA Microphones, Shure and Yamaha – Devin Sheets has also been developing a customised artificial intelligence (AI) software that prevents audio feedback from occurring.
“A couple of years ago, I started getting really frustrated with standard feedback reduction products – I was struggling with
some lapel mics at an event and I thought, this is 2023 –why haven’t we solved this problem yet?” explains Sheets. “Technology today is so amazing but we still can’t easily get gain out of microphones. I had an epiphany – I realised that we need to solve this problem once and for all and I think we can only do it using AI.”
Sheets began asking around, talking to people who knew anything about computer coding and AI, and he stumbled across a group of computer coders in Hong Kong via a Facebook chat group. Pretty quickly, the coders were able to produce a couple of mathematical models that represented what might be possible. “I’d set a couple of criteria,” adds Sheets. “I said that
it mustn’t change anything about the sound of the human vocal and there mustn’t be any latency. Even the best versions of similar technology that are currently available often sound strange and they have lots of latency and so you can’t really use them live.”
Over the next three months, Sheets developed a custom-built AI computer and gave the Hong Kong coders the remote log-in details, along with as much an, usable AI training data as possible by measuring the impulse responses of rooms where Sheets had recently installed AV systems. “When they sent me the first iteration, I started using it with a microphone and speaker and it was amazing –I couldn’t believe what we had achieved.”
Devin Sheets
Getting gain before feedback at Queen of Peace Catholic Church was challenging because of the location of the mics, speakers and seats
Sheets and the coders spent the next few months fine-tuning the system to the point where Sheets was happy with how things were progressing. “It doesn’t just have to work, it has to always work – it’s live sound so it can’t ever fail. I used it all throughout the summer with my live events, with my finger timidly hovering over a backup fader just in case,” he laughs. The first venue where Sheets has used the new algorithm is Queen of Peace Catholic Church, a mediumsized HOW close to his home in Salem, where he has installed two Nexo P8 speakers with a Yamaha DM3 mixer and MRX7-D matrix processor, a DPA Microphones 4011 cardioid microphone at the ambo, 4099 goosenecks inside the grand piano and a 4080 lavalier microphone for the priest.
“The microphones at the altar, the speakers and the seats are all really close to each other,” explains Sheets. “It’s a challenge because you’re trying to get gain before feedback, particularly when the priest likes to walk around the sanctuary. It’s not a long, traditional-style Catholic church, it’s more of a wide C-shaped room, and when the priest interacts with the parishioners, he’s right in front of the speakers. It’s nearly impossible to get gain out of that situation – you’d either have to tell the church they can’t turn the speakers up very much or we’d have to EQ it half to death to get any usable gain.”
In the past, Sheets would use the Neve 5045 primary resource enhancer along with some tricks on the Dugan auto mixer and some specific EQing and calibration. He
would avoid trying to achieve gain before feedback by pitch shifting as he felt that it would alter the sound if you listen to it closely, particularly in the livestream. This process is
thing running on that computer is the plugin.”
However, there’s clearly more work to be done before the plugin is ready to be fully released. “I
many drawbacks and imperfections, but has been the best option available. While the aforementioned units and techniques are still valuable assets in many ways, Sheets knew that AI technology could do a better job specifically with de-feedback in an even simpler way.
“With the church being just a few minutes away, I knew this was the perfect opportunity to put it to the test,” adds Sheets. “It’s now been in use for three months. We put the plugin on a uniquely configured headless computer that sits there with an associated analogue audio interface and it just passes the main microphones through it via a subgroup from the console. It’s like an outboard piece of gear – you just insert it into the system. The only
options we’ve tested and verified will work for smaller plugin counts, similar to the setup we recently installed at Queen of Peace Catholic Church,” adds Sheets. He explains that some users might only need one plugin, not eight or more. Once turned on and activated, users just patch in their microphones and it’s ready to go. No calibration or live operation are needed – it works right out of the gate. “We’ve really tried to expand it out to the widest range of possible applications,” continues Sheets. “It can be used by someone speaking in a small conference room, right up to large reverberant spaces or even an outdoor show.
“We want to release in three stages – good, better and best,” continues Sheets. “I believe the first iteration will be better than anything else that’s currently on the market but it can still be defeated –if the gain ratio in the system is too high, then potentially you could defeat the AI and it will go into feedback. It doesn’t particularly handle explicit echoes very well yet so we’ll be looking into this in future versions. In the second iteration, which will maybe launch later in 2025, we’re looking into stopping feedback entirely. And then the final version – and I’ve no idea how long this will take – is to expand it beyond the human vocal and include things like instruments. But that gets really tricky, really fast –some instruments make noises that sound like feedback so it’s difficult to get an AI to distinguish between those.”
the coders originally told me wasn’t possible without sacrificing performance, but I kept twisting their arm and finally they figured out a way to do it. The only latency you have to worry about is the actual I/O latency of the hardware you’re going to run it on. The plugin is extremely CPU intense – for example, a Waves or Fourier Audio unit can potentially run hundreds of normal plugins but you’d only be able to run about eight of these plugins before the buffer would become too high for live sound. And the CPU load is only going to get more intense as we develop it further.
“People can choose whatever hardware they want to use to run the plugin, but for those not wanting to buy such an expensive unit, we’re also offering two more affordable
The original goal was to get gain before feedback but Sheets has also found that as a byproduct of this, the plugin also achieves other things, such as anti-reverberation, drying up the signal and reducing background noise and some echo. “There’s so much more that it can do, and I’m hoping that it’s something that can be incorporated into every church installation that we work on going forward,” he says. “I recently did a demo of the plugin for a beautiful, large Catholic church because they were sceptical, having had many previous audio companies try to solve their microphone feedback problems and lack of vocal clarity, and I wish I could’ve recorded their reaction. They immediately asked to place an order. It’s rewarding to know that it works and we’ve achieved what we set out to do.”
A highly customised NUC computer running the plugin is connected to a Focusrite interface
The Yamaha DM3 mixer at Queen of Peace Catholic Church
Diving into Dante video
AUDINATE’S DANTE TECHNOLOGY
has transformed the field of AV networking, offering a manufactureragnostic, easy-to-use, high-quality solution for the digital transmission of audio signals (initially) and now audio and video signals over standard IP networks. Its widespread adoption in various industries, from live events to broadcast to commercial installation environments, is a testament to its reliability and effectiveness.
Dante also has a rich history in houses of worship. As the industry standard for networked audio, it has transformed how audio professionals install and manage their audio systems. The scale and depth of the Dante ecosystem in audio have been instrumental in driving rapid growth in video.
Why Audinate moved into video
low-latency digital audio distribution over standard IT networks. The technology was designed to be plug-and-play, ensuring ease of use and broad compatibility with existing infrastructure.
Dante’s expansion into video was a natural evolution of the protocol. The framework of packetised transmission was already established with audio; video follows the same principle but with a higher volume of packets due to its larger data size.
For years, customers had been requesting a video solution that could
be configured and routed with the same simplicity as Dante audio, all from a single software interface. They wanted video routing and configuration to mirror Dante’s audio capabilities, minimising the learning curve and enabling seamless AV signal routing between all Dante-enabled devices on the network. Additionally, they needed configurations – including video routes – to be saved directly to the devices, ensuring stable performance across power cycles, disconnections and system reconfigurations. Another challenge in converged audio and video networks has been managing the different networking
requirements for each type of signal. Dante AV solves this by using the same network management protocols for both. This consistency makes installing Dante AV on networks already configured for Dante audio much easier, allowing seamless integration and leveraging existing multicast management and QoS prioritisation settings.
How Dante evolved as a standard
Dante was officially launched in 2006. Its primary goal was to provide interoperable, high-quality, ultra-
As an Ethernet-based transmission, Dante was developed based on IEEE standards to be more flexible and non-disruptive to other forms of network traffic. Dante’s adaptability is a key feature, as it evolves with the standards to maintain compliance and keep up with infrastructure advancements. In simplistic terms, networks move data from one point to another (or several points simultaneously) via a defined series of guidelines and constraints. These rules allowed Audinate to easily wrap video data into a Dante package for control and management, like Dante audio.
Interoperability has been critical to Dante’s success, not only among the thousands of Dante-enabled devices but with other standards as well. For example, Dante’s interoperability with AES67 and SMPTE 2110 audio and synchronisation has significantly increased its reach in broadcast applications. In broadcast, for instance, Dante’s compatibility with these standards allows for seamless
Grace Community Church in California has chosen a large Dante-based networked AV system throughout its campus
integration with existing equipment, simplifying setup and reducing costs.
Houses of worship video needs and Dante’s role
Houses of worship are unique in that small- to mid-sized venues are often staffed entirely by volunteers, so the AV system’s ease of use and reliability are paramount. Training is also critical, as volunteer staff are timeconstrained in learning about system operation and often go days between touching the equipment, so “muscle memory” can be lost.
As houses of worship extend their reach via simulcasting worship services over the internet or archive them for later playback, live video has become a significant factor in the AV setup and a natural progression of HOW offerings. However, video is not one size fits all. What a house of worship plans for its video has significant implications on the types of devices and video codec it uses for its services. For example, broadcasting internally to overflow rooms, the children’s nursery or around campus is far different from streaming the worship live across the internet. Many houses of worship continue to rely on SDI video and have yet to make the shift to IP-based video, which can pose challenges when expanding their AV systems. Point-to-point connections for sending video to multiple devices necessitate additional distribution hardware. Furthermore, as congregations grow, transmitting SDI video over longer distances – such as across a building or campus – can lead to spiralling cabling costs. Videoover-IP addresses both issues by enabling multicast transmission at the click of a button, allowing video to be sent over existing or more affordable infrastructure.
One standard to rule them all?
It’s unlikely we’ll see a single standard for transmitting AV signals over networks anytime soon. User preferences – like a favourite mixing console, the sound profile of specific speakers or the optical zoom on a camera – often hold more sway than protocol compatibility. Fortunately, a wide range of products are available
specific application and available network capacity. With new codecs emerging regularly, the industry remains dynamic, making universal standardisation more difficult to achieve.
Forecasting the future
Dante continues to expand its capabilities beyond AV signal transmission and routing. From its inception in 2006 to its current status,
that allow AV professionals to seamlessly bridge protocols. Standardising video-over-IP remains a complex challenge. Unlike audio, video requires compression – through a codec – to fit within 1Gb network limitations. As previously noted, there’s no one-size-fits-all solution for video transmission. Codecs like JPEG 2000 prioritise high visual quality and low latency, while others, such as H.264, are tailored for lower bandwidth needs. The choice of codec depends heavily on the
Dante has evolved into a complete, easy-to-use, AV-over-IP platform. A recent enhancement to the Dante platform is its ability to route audio to and from the cloud. This allows for remote mixing of worship services and facilitates the transfer of highquality audio between campuses. The broadcast industry has already embraced cloud production, and we’re now seeing growing interest from the house of worship vertical as well. Additionally, active efforts are underway to enhance control and
monitoring capabilities for more device functions through Dante. Currently, the Dante API allows for straightforward tasks, such as changing the routing of audio and video devices via third-party controllers like a Stream Deck. Looking ahead, we envision expanded device-level control, including features like PTZ operation and volume adjustments through custom-built apps or integration with existing control systems. Additionally, monitoring capabilities could extend to amplifier faults and dead wireless mic batteries. Audinate recognises that robust device control and management are crucial pillars of the Dante platform.
Final thoughts
Dante’s evolution from an interoperability standard for audio transport to a complete AV-over-IP platform has been a years-long strategy in the making, seamlessly integrating best-in-class audio, video, control and management features. Dante’s strength lies in being manufacturer-agnostic, allowing customers to use their preferred devices from over 600 Dante licensees. Dante’s versatility is evident in its ability to cater to a wide range of applications, from high performance to maximum flexibility and cost. Audinate is well-positioned to continue driving advancements in audio and video networking. The ongoing development of new features and capabilities of the Dante platform, along with a rapidly growing ecosystem of Dante-enabled devices, promises a future full of exciting possibilities. This ensures that Dante will remain at the forefront of AV networking technology for years to come.
www.audinate.com
Guildford Baptist Church uses a pair of DT168 Dante-equipped audio expanders
In the final part of this three-part series, ETC’s Declan Randall (outreach and training specialist II) and Wendy Luedtke (product technology specialist II) discuss individual emitter colours with mint and then transition to white light
Mint LEDs
WRAPPING UP OUR COLOUR exploration, mint is a broadband emitter (similar to lime) that can easily pull saturated cooler colours into more pastel tones. It is commonly deployed in arrays used for mixing to white.
The technical bit: mint’s phosphorconverted broadband spectrum is really well-suited to helping “tune” whites to desired CCTs (Correlated Colour Temperatures) in the 1,900–10,000K range. Using it in a complex colour array allows far more control over the subtleties of the colour mix versus a simpler array like RGBW or RGBM. For example, users of complex arrays can easily adjust for a green/ magenta shift, which is particularly useful for camera work.
The arty bit: the only broadband emitter in an RGBW mix is white. In RGBM, the only broadband is mint. In a more complex array, the cyan, blue and mint emitters are broad. The result is a fuller-spectrum light source at any colour temperature. There is nothing wrong with lights that use one combination of
emitters over another. The key lies in understanding the differences in how one vs another will make things
look and what options each has if something needs to be adjusted in the moment.
The many colours of white
Colour temperature is a technical term that describes the “colour” of a nominally white light source. Why is colour temperature important? We experience changes in colour temperature throughout the day, such as warm amber sunrises and sunsets, neutral or cool white afternoons and cold blue twilights. Colour temperature (like many attributes) can help us set the mood.
Rather than using non-specific descriptors like warm, neutral or cool in specifications, though, using colour temperature measurements keeps specifications… well… specific – also repeatable and matchable* (yep, that’s an asterisk to be explained shortly). Designers often need to match multiple white light sources in an installation, and specifying colour temperature is one common way to create consistency.
A quick review of colour temperature before we explain that asterisk: think of a steel rod in a furnace. As it heats up, it starts to change colour – first red, then orange, to yellow, then white and then blue. This same principle is applied to colour
Blackbody curve shown on CIE 1931 chromaticity diagram
Colour temperature can set the mood onstage
temperature, except instead of a steel rod, we use a “theoretical blackbody radiator”. It would not be physically possible to heat an object to infinity, so the theoretical model plus the wonders of maths give us our standardised reference scale. As the blackbody is heating up, the electromagnetic energy it radiates is directly linked to its changing temperature. That temperature is expressed in kelvin (K), an absolute thermodynamic temperature scale. The corresponding chromaticities are plotted on a graph forming the blackbody locus or Planckian curve.
Now about that asterisk: fixed white light sources, like a white LED emitter, typically are not actually a chromaticity that plots on that curve. There are
tolerances, but all ~4,100K. How big is the tolerance? That 100% depends on the manufacturer, make and model.
If a light source does not plot exactly on the blackbody curve, a perpendicular line is drawn from the source’s chromaticity coordinates through the blackbody curve. Where they intersect is the correlated colour temperature.
Where a source plots precisely relative to that curve is expressed using Duv. A positive Duv indicates a shift above the curve towards yellow/ green and a negative Duv indicates a shift towards magenta. Just like CCT, a published Duv value typically has a manufacturing tolerance.
Readers who have washed gallery walls with Halogen MR-16s or tried to use open white on a rig of rented
Attention seekers scan here:
The console that deserves ALL THE ATTENTION
Representing a dramatic leap forward in power and connectivity within a remarkably compact format, Quantum 338 Pulse follows the Quantum 7 in defining the future of audio mixing. Boasting a wealth of new design features and enhancements to create ultimate flexibility of use plus the speed of operation that only Quantum can deliver, Quantum 338 Pulse is based on seventh generation FPGAs with an entirely new system architecture.
Main Features:
• 156 Input Channels
• 72 Aux / Sub-Group Busses
• LR/LCR/LCRS/5.1 Master Buss
• 24 x 24 Full Processing Matrix
• 330 Dynamic Equalizers
• 48/96 kHz Sample Rate
A solution ahead of its time finds its rightful home in HOWs
Houses of worship and their parishioners worldwide have found solace in Barix’s proven assisted
listening technology
THE PROFESSIONAL AV industry has always found inspiration through the changing needs of its customers. The industry’s enduring brands listen to their customers and apply what they learn to their innovation cycles. Naturally, the manufacturers that create and bring these innovations to market don’t rely on reactive responses alone. We collectively work to identify emerging trends and proactively innovate products and solutions that are fully formed when those end user requirements surface.
Both scenarios represent hallmarks of the “problem solver” –the companies that integrators and end users trust to solve problems old and new. Barix rests comfortably in both camps and, with 25 years of audio-over-IP innovation, we have learned that every solution we bring to market has a unique purpose. Sometimes, the technology is genuinely ahead of its time, and the path to fulfil that unique purpose isn’t immediately clear.
Eleven years after its introduction, our AudioPoint audio-to-mobile streaming platform is now fulfilling its unique purpose: providing the HOW vertical with a proven and affordable solution to deliver clear audio to parishioners inside worship facilities.
AudioPoint’s purpose in HOWs
AudioPoint was developed to provide public audiences with personal audio feeds. The experience is common today as delivered through modern assisted listening technologies, many of which were developed in the AV space.
While the concept itself was not unique in 2013, Barix’s approach broke new ground through the convergence of audio and mobile technology. Initial use cases for digital signage audio feeds even inspired a new product category, Audio Signage, and similar solutions followed AudioPoint to market. Most of them quickly faded. AudioPoint found staying power through its specialised approach to personal audio. Using standard Wi-Fi networks to push live audio feeds from source to destination, AudioPoint’s first true success was in the museums and exhibitions community where personal audio feeds elevate the visitor experience. Upon scanning a QR code and initiating the service, AudioPoint’s low-latency technology streams audio to the consumer’s personal device in real time, ensuring synchronisation with the visual presentation.
While that classic “Audio Signage” use case applies for synchronised delivery with video in worship facilities, AudioPoint truly shines for synchronised live worship experiences. Those real-time streams of the spoken word also reach the user with pristine quality, leveraging built-in audio processing technology to eliminate the natural echo produced through live voice in most worship environments.
In simple terms, AudioPoint essentially offers what most professional assisted listening systems do but at a much lower price. The solution pairs a US$500 professional audio encoder with free iOS and Android apps for direct-tolistener streams over Wi-Fi, and can support up to 250 simultaneous listeners with bandwidth-efficient, point-to-point streams. With AudioPoint worship installations now live on three continents, its message of efficiency is being received.
Simple architecture, simple setup
AudioPoint’s capacity is itself a gamechanger for the modest technology budgets that most worship facilities face. The $500
investment is a far more affordable option than hearing loop systems that can cost up to $35,000, and require a cabling infrastructure to support the magnetic field that pulls the signal into the hearing loop’s telecoil. That process will almost always require outside assistance for design, integration and maintenance to ensure that the system functions properly.
The AudioPoint infrastructure has a far simpler foundation that requires no outside assistance. For those that choose to work with AV integrators, a professional installation takes virtually no time at all. The same applies for an in-house technology director with AV/IT experience. Often, the worship leader personally installs the system in one hour or less without issue, requiring only one wired and one wireless connection. Those familiar with Barix will immediately recognise that the AudioPoint encoder shares the same form factor as our Instreamer/ Exstreamer devices, used worldwide in AV and broadcast environments. Those devices typically move audio over the public internet, whether within a single building, across a large campus or between two or more distant points. The Instreamer plugs into a mixer or computer, encodes the signal and places it on the network for carriage to the receive point, often a corresponding Exstreamer, to decode the signal for audience consumption.
AudioPoint simplifies matters by wirelessly connecting the same encoder to a standard IT router. Visitors connect their mobile devices to the same Wi-Fi access point on the same network, and the Barix app immediately enables the livestream upon scanning the QR code. For worship events involving video, parishioners can select between audio channels in the app if other languages are available. That is Barix adding a little “multicast” magic to a unicast solution. It’s our way of being just a little bit different while fulfilling a purpose for all.
We invite you to learn more about how AudioPoint can offer more to your congregation at www.audiopoint.barix.com
NEWPRODUCTS
Sennheiser unleashes the power of Spectera
Adopting Wireless Multichannel Audio Systems (WMAS) technology, Spectera ushers in a new era of digital wireless audio transmission for Sennheiser
TOUTED AS the world’s first wideband, bidirectional, low-latency digital wireless ecosystem, Spectera increases capability, promotes time-saving workflows, reduces wireless complexity and incorporates remote control features including permanent spectrum sensing. The Spectera SEK bodypack handles both mic and IEM audio, plus control data, within the same wideband RF channel. The newly conceived bidirectional digital wideband transmission addresses the historic challenges of overly complex frequency coordination, complicated rack cabling for high channel counts and large multichannel wireless footprints. Adopting a single wideband RF channel for bidirectional transmission of audio and control data, Sennheiser developers compared the wideband approach to standard narrowband technology. The wideband RF channel is a TV channel of 6MHz or 8MHz, depending on local regulations. With the WMAS system organising its audio links within this channel, every mic or IEM link is assigned specific time slots for transmitting its audio information in the very same TV channel. Corresponding to a 40-fold diversity for an 8MHz RF channel and a 30-fold diversity for a 6MHz TV channel, the audio links use the full width of the RF channel when prompted. The low spectral density makes it easier to reuse frequencies in congested areas, including neighbouring theatres or large concert festivals.
Replacing a rack-full of wireless mic receivers and IEM transmitters, the single rack unit base station is equipped with 32 inputs and 32 outputs – or 64 audio links. Following the activation of the respective local licence, the base station will automatically load the authorised frequency ranges. Redundancy features include two PSUs, primary and secondary Dante connections, two slots for optional redundant MADI connections (optical
or BNC) and four antenna ports for extended, synchronised antenna zone coverage or higher system capacity by using additional frequency ranges.
With the bodypacks simultaneously handling mic/line and IEM/IFB requirements, performers
required. Featuring a three-pin connector for a lavalier or headset microphone or an instrument, the bodypack is available in a UHF (470–608MHz and 630–698MHz) and 1G4 (1,350–1,400MHz and 1,435–1,525MHz) frequency variant. In addition to a 3.5mm jack for connecting in-ear phones, the SEK is fitted with a persistent display, where device information is retained even when a unit has been powered down. Powered by a BA 70 rechargeable battery, the bodypack can operate for up to seven hours.
release of its new Q-SYS control plugin for the TeamConnect Ceiling Medium (TCC M). As part of the Q-SYS Ecosystem, software and hardware manufacturers collaborate with Q-SYS to create solutions that integrate with its cloudmanageable audio, video and control platform. The Sennheiser TCC M plugin integration has been fully
and
by Q-SYS with a Q-SYS Certified badge.
Our philosophy isn’t just a motto, it’s the guiding principle behind everything we do. Our systems deliver signature sound with coverage and consistency that truly connects the fans and the artist.
Scaling up to 20
AUDIO-TECHNICA HAS announced the debut of the System 20 PRO, a self-managing, plug-and-play, 2.4GHz digital wireless system that is scalable to 20 channels and has been designed to deliver “dependable, highquality audio”, regardless of location. Designed for hassle-free deployment, the system is said to overcome the challenges of conventional wireless microphones, such as interference and frequency coordination, complex intermodulation calculations and remote antenna cabling. Capable of receiving up to four transmitters, the system features
the ATW-R1440 which can remain docked in the half-rack chassis or, adding versatility, be mounted remotely (up to 100m away) and connected via Ethernet-standard cabling. Up to five chasses can be linked using included RJ12 cables, creating a stable, multichannel system with the simultaneous use of up to 20 channels. The user can also choose the most effective operation mode for a given situation: standard mode (10 channels) to minimise latency or HD mode (20 channels) to maximise channel count. Audio can be submixed within each receiver for
AVE Stuttgart steers towards Ascolto
THE FULL-RANGE Ascolto FF Series digitally steerable coaxial loudspeakers from AVE Stuttgart feature a 4-inch woofer and a 1-inch dome tweeter, both made from neodymium. With a design that aims to closely integrate with cuttingedge technology, the FF Series has been created to provide even more precise, clear and refined sound behaviour. The series focuses on natural sound reproduction and clarity, particularly in acoustically challenging environments such as churches and mosques, where conventional active line array speakers often fall short.
The Ascolto FF Series is available in three different sizes: the FF0870, FF1670 and FF2470. The FF0870 model is more suited for short distances, while the FF1670 and FF2470 are recommended for longer distances. With a pronounced bass presence, all three can be effectively supplemented with a subwoofer for enhanced musical performance. Meanwhile, the German manufacturer has also released its AT-N series of column loudspeakers. With up to 30 2-inch drivers, the analogue speakers
situations with limited mixer input channels. Chassis displays show system ID, RF signal level, transmitter battery level and system link status. Seamless setup and management are controlled via Audio-Technica’s Wireless Manager software, which can manage multiple UHF, 2.4GHz and DECT wireless systems from a single screen. In addition, AES128 encryption comes standard for security. The transmitters included in each system are paired and ready to use out of the box, and offer all-day operation on a full charge. Each receiver channel can be paired with
have been specifically designed for acoustically problematic rooms. The units come with a slim profile, meaning they can be easily integrated into any space. The speakers come with a variety of power levels, with a choice of two, five, 10, 15, 20 or 30 drivers, each with 15Wrms.
www.ave-stuttgart.de
up to four transmitters, allowing users to instantly switch between different transmitter configurations.
The System 20 PRO transmitters are available in bodypack and handheld microphone configurations for performance and presentation. Both have two antennas built into the transmitters, OLED displays and slide-to-mute switches. The bodypack transmitters are fitted with water- and sweat-resistant cW-style locking fourpin connectors for use with a variety of Audio-Technica microphones.
www.audio-technica.com
Short setup for long throw
DESIGNED FOR daily use on live stages as well as for long-lasting fixed installations, the Contour X 210 LT from HK Audio adds a passive point source loudspeaker to the company’s Contour X series. It can be used not only as a front PA system, but also for side, front and out fill in larger systems. Enabling horizontal arrays to be set up with ease, HK Audio says large events can be covered by the Contour X 210 LT cost-effectively and with little effort. The 210 represents the speaker’s two 10-inch mid/high drivers, which form a homogeneous and powerful foundation. Its large 60° x 25° horn can be rotated for cluster operation, while its 1.4-inch driver with 3-inch voice coil and MCT (Multicell Transformer) delivers precise dispersion and even and defined coverage. Made from highstrength birch multiplex with a hardwearing PU coating, the CX 210 LT also features HK Audio’s Integrated Cluster and Flyware (ICF) mechanism built into the housing. Designed to simplify handling, ICF means no additional cluster or flyware is required, enabling cluster setups to be created quickly and easily.
For Lab Gruppen and Powersoft amplifiers, pre-configured FIR filters with linearised phase response are available
for all HK Audio Concert Sound models and IIR filters for latency-critical applications. Another practical detail is the inclusion of NL 4 sockets with pin selector switch allowing two separate speaker groups to be connected with just one NL 4 cable.
www.hkaudio.com
Ascolto FF0870
EVerywhere and anywhere for Electro-Voice’s LRC Series
EXPANDING THE installed sound portfolio with three passive column loudspeakers, Electro-Voice has launched the Line Radiator Column (LRC) Series. Based around purposebuilt 2.5-inch drivers and proprietary PaSS dispersion control technology, the 580mm-high LRC-1060 and the 950mm-high LRC-1100 and LRC-2100 provide controlled vertical dispersion and a smooth frequency response.
LRC driver and waveguide configurations are optimised for fullbandwidth clarity and coverage in large or reverberant areas, with key features that allow output to be tailored to the space. Maximising intelligibility, PaSS technology features custom-designed phase plugs that extend lobe-free, high-frequency outputs beyond the range of human speech. Promoting their use for musical applications, unique passive radiators integrated into the LRC-1060 and LRC-1100 models can extend the low-frequency output below 100Hz.
Adopting a two-way design with dual 6.5-inch woofers to extend
LF response, the higher-output LRC-2100 extends down to 45Hz. Focusing acoustic energy on the audience without physically tilting the loudspeaker, both the LRC-1100 and LRC-2100 columns include switchable wide/narrow vertical coverage control settings and a passive acoustic down-tilt.
The two transformer-equipped models feature EV’s Automatic Saturation Compensation (ASC) technology, which preserves lowfrequency response while protecting system electronics from unstable loads when the transformer is engaged. This promotes the LRC-1060 and LRC-1100 in applications where both music playback and EN54-24 certified performance are required, or any scenario requiring both linear performance and Hi-Z deployments. Avoiding the complexity of external Hi-Z adapters or active steerable systems, the passive designs incorporate 70V/100V + Lo-Z transformers (LRC-1060 and
Increased frequency
LECTROSONICS HAS announced that its DCHT digital stereo miniature transmitter and DCHR portable digital stereo receiver are now available in the B1C1 frequency range. The DCHT and DCHR can be employed as both a wireless audio link from a bag or cart system to cameras, and as part of a digital IEM or IFB system with M2Ra receiver packs.
The DCHT/E01-B1C1 (international version) can tune 537–691MHz in 25kHz steps, offering more than 6,000 frequencies, and its RF output can be set to 10mW, 25mW
BOASTING THE same power and versatility as DiGiCo’s Quantum338 console, the Quantum326 aims to extend the company’s Quantum experience to smaller performance spaces and touring productions with tighter logistics constraints. Retaining all the features of the Quantum338, the 326 is a more compact two-screen model based on DiGiCo’s latest seventh-generation FPGAs. It offers 128 input channels with 64 busses and a 24x24 matrix, all with full channel processing. Twenty-six 100mm touch-sensitive faders are laid out in two blocks of 12
Fle
options are enhanced by the included SwifTilt System hardware. The compact flush/pan/tilt bracket enables the LRC models to be mounted as flush to the wall as possible, while keeping cables and hardware out of sight. Each model supports inverted mounting and up-tilt and is equipped with multiple rear fly points for suspension. Designed to provide an optimal combination
fader banks, plus two dedicated userassignable faders, each complete with high-resolution metering. The desk also features a pair of 17-inch, 1,000-nit highbrightness multitouch screens, plus 58 individual TFT channel displays. Other amenities include “Ultimate Stadius” 32-bit ADC and DAC conversion, six single MADI connections and dual DMI slots.
spectrum that are restricted for use with this type of device. This allows access to the guard band (614.050–615.950MHz) and Duplex Gap (653.050–662.950MHz).
The North American version has RF power selections at 10mW and 20mW to conform to regulations. It accepts two channels of mic or line level analogue signals or an AES digital signal from a mixer, and transmits to a receiver in a pure digital format.
of audio performance and aesthetic refinement, the white or black paintable enclosures blend into the surrounding décor, in both indoor and outdoor settings. The LRC-1060 and LRC-1100 are certified to IP56c and EN54-24 type B; the LRC-2100 is certified to IP55.
www.electrovoice.com
Meanwhile, the DCHR offers analogue or digital outputs from a locking TA5 jack, and includes a headphone jack for signal monitoring. The DCHR can be used with any mono or stereo Lectrosonics digital transmitter.
Both the DCHT and DCHR can be powered with AA batteries or DC power, and both allow AES256-CTR signal encryption for use in a range of applications where information security is critical.
www.lectrosonics.com
The Quantum326 may also be upgraded with DiGiCo’s Pulse software update, providing mix-
console’s number of standard input channels to 156, busses to 72, Mustard Processors to 48 and Nodal Processors to 72. A Quantum326T version equipped with a theatrespecific software package comes with the Pulse upgrade already installed as standard, further supplying the user with a generous 36x36 matrix.
Dynacord’s U Series balances Watts and Cents
FOLLOWING THE launch of the multichannel V Series amplifiers, Dynacord has followed up with the introduction of the U Series lineup of compact, single-channel mixer and power amplifiers. Ideally suited for background music and paging applications
two aux inputs are available to connect external devices such as microphones, a paging station or music players. The models can drive Hi-Z or Lo-Z speaker lines, feature phantom power for the microphone inputs and a switchable high-pass filter at
Focusrite completes fourthgen Scarlett range
FOCUSRITE HAS added the Scarlett 16i16, 18i16 and 18i20 to its existing range of Scarlett audio interfaces. The latest additions bring more analogue inputs and outputs, front-panel monitor switching and mute control, S/PDIF and ADAT connectivity, additional headphone outputs and a built-in talkback mic on the Scarlett 18i20.
complex networking or higher SPL levels, the U Series is described as a cost-effective alternative to Dynacord’s other commercial amplifier lines.
With versatile power output options, the U Series delivers Class-D amplification for single zones in high-impedance installations in smaller spaces. The series consists of six models offering a variety of power options to ensure optimal performance across different settings: four mixer amplifiers with 30W, 60W, 120W and 240W, and two power amplifiers with 120W and 240W. The U Series can be deployed in standalone applications or can be seamlessly integrated into existing installations.
The U Series mixer amplifiers sport front access for main gain, channel levels and tone adjustments. Two mic/line and
an emergency override input for integration with a PA/VA system, a chime when used with a paging station and VOX ducking. The configuration is performed with DIP switches located on the rear of the devices. Designed to prevent unintended changes, the controls for the two models are located on the rear of the chassis. Measuring a single rack unit in height and half a rack in width, the two amplifiers require minimal space and can be operated as a rack-mount, table-top or an under-table installation. The included brackets facilitate single or dual rack-mount options. The U Series amplifiers are equipped with overload and short-circuit protections and a limiter to prevent accidental overdriving.
www.dynacord.com
Sustainable audio
D&B HAS announced the latest update to its cloud-based sustainability management software for the live event industry, SustainSymphony. The update now aligns the platform with the 17 Sustainable Development Goals (SDG) set by the United Nations to address a wide range of global sustainability and equality issues. The integration of the SDGs into SustainSymphony includes a new
The models feature a 122dB dynamic range, using the flagship RedNet converters and remote-controlled preamps with 69dB of gain for studio sound from any mic. They pair Focusrite Control 2 for desktop with Focusrite’s new mobile app, reportedly providing full wireless control over inputs and monitoring mixes, allowing the adjustment of settings without being tethered by cables. A re-engineered Air mode with Presence and the new Harmonic Drive are said to add rich harmonics to recordings by emulating the characteristics of vintage preamps. New Auto Gain and Clip Safe modes can handle up to eight microphones at a time, while redesigned Dynamic Gain Halos now come with output as well as input metering.
Professional studio features include
talkback mic on the 18i20, MIDI in/ out plus S/PDIF and ADAT in/out, a refreshed Easy Start tool, along with Ableton Live Lite, Pro Tools Artist for three months and FL Studio Producer Edition for six months. Customers also benefit from a bundle of plugin instruments and effects, including Antares Auto Tune, Marshall Amp Modelling, synths, keys, drums, EQ, compression and reverb.
The Scarlett 18i20 is a rackmountable USB audio interface featuring 18 inputs, including eight advanced fourth-generation Scarlett preamps, and 20 outputs. Eight channels of LED bar metering can be assigned to inputs or outputs as well as master output metering. The Scarlett 18i16 is a desktop-format USB audio interface with 18 inputs, including four fourth-generation Scarlett preamps and 16 outputs, while the Scarlett 16i16 is a desktopformat USB audio interface which shares the same feature set as the 18i16 but is slightly more compact, with 16 inputs, including two fourthgeneration Scarlett preamps and 16 outputs.
process for users integrating sustainability goals into their event planning. Furthermore, an SDG matrix has been added to the event reports, providing organisers with a detailed overview of how their event activities align with each of the 17 SDGs. The update is available now to all users of SustainSymphony at no additional
www.dbaudio.com
RTS takes NEO into the matrix
GERMAN INTERCOM manufacturer
RTS has completed the global launch of its NEO intercom management platform, its next-generation software ecosystem for configuring OMNEObased intercom systems. NEO supports ADAM, ADAM-M and ODIN matrices, as well as OMS from the RTS Digital Partyline family.
The NEO intercom management suite is an interface that reportedly puts every aspect of intercom system orchestration in front of the user. It works in tandem with the existing AZedit software platform for RTS matrix systems, enhancing the AZedit feature set and user experience. A range of new tools enable professionals to optimise their communications workflows for efficiency and effectiveness, no matter how complex the system. These include an intercom manager,
The manufacturer has also announced the launch of the PH+ series, a line of ultra-lightweight passive noise reduction headsets designed specifically for broadcast professionals. As the latest addition to the LH and PH headset family, the PH+ series is said to be the ideal choice for those seeking superior comfort, durability and acoustic performance.
Inspired by the Telex Airman headsets, the PH+ models are designed for directors, floor managers and cameramen who require a headset that can keep up with the demands of a live broadcast environment, and reportedly stand out
CLEAR-COM’S E-IPA-HX is an AoIP interface card that provides multiple IP connection types for Eclipse HX Matrix intercom systems, including support for AES67 and SMPTE ST 2110 audio and up to 64 Clear-Com intercom devices. The interface card can be used with the Eclipse HX-Delta Lite, HX-Delta, HX-Median and HX-Omega matrix frames. Eclipse HX (EHX) Configuration Software configures each port for its intended application and provides a dedicated IP Manager screen to monitor connections and add users.
The E-IPA-HX card connects to FreeSpeak II beltpacks (1.9 or 2.4) in E1 mode via fibre to the FSII-SPL for the FSII-TCVR-24 or FSII-TCVR-19-XX transceivers. This allows up to 50 beltpacks and 10 transceivers per card. The card also connects FreeSpeak II or FreeSpeak Edge devices via AES67 protocol to EHX frames. A single E-IPA card can connect up to 64 FSII-TCVRIP-19 or FSE-TCVR-50-IP transceivers in any combination, supporting up to 64 FreeSpeak II or FreeSpeak Edge beltpacks. Each FreeSpeak beltpack uses one card port and each IP transceiver supports a maximum of 10 beltpacks. Multiple E-IPA-HX cards
for their passive noise reduction capabilities. Larger ear cushions provide an acoustic seal, ensuring that ambient noise is minimised while conversations and critical sounds remain audible. The models also feature larger head and ear cushions, inwardly angled glider arms and earcup rotation stabilisation for a secure and comfortable fit, while the headband and dual-axis pivot points are crafted from stainless steel, ensuring long-term durability. The boom-mounted microphone can be headset
Fohhn launches immersive audio solution
can support larger wireless systems if required.
All V-Series user keypanels can connect to an EHX host matrix by means of either an Ethernet or analogue-based connection. With the E-IPA-HX card, V-Series Iris panels can be configured to connect using a low-latency AES67 audio channel or the I.V. Core G.722 voice codec. Ethernet connectivity allows a diverse range infrastructure to be used, including local LANs/ VLANs or cellular networks. Furthermore, the card supports licensed connection of up to 64 smartphones or tablets running the Agent-IC Mobile App. Audio is encrypted to AES128 and silence suppression is an available option to reduce data usage. Agent-IC clients are typically connected over Wi-Fi, 3G, 4G, 5G or LTE networks. Also supported is connection to the manufacturer’s Station-IC Virtual Desktop Client and LQ Series.
The E-IPA-HX card supports N+1 card redundancy, allowing primary cards to have one or more backups. It can also be licensed to support redundant IP networks. Both of these redundant features support either IVC or AES67-type connections.
www.clearcom.com
FOHHN AUDIO has announced its Fohhn Gallery platform for immersive audio applications. In addition to Fohhn loudspeaker systems, at the heart of the solution is the company’s new processor which handles rendering and signal management. The system has been designed to enable the realisation of threedimensional sound worlds and complex multichannel projects.
The software installed on the 19-inch processor server can be operated without a separate PC and enables the control, placement
the use of various input and output formats from binaural headphone playback, 5.1, Dolby Atmos, IMAX 3D to full dome environments with 128 channels is possible. For connection with Fohhn amplifiers, the device is equipped with a Dante interface and supports the OSC and EMBER+ remote control protocols.
Fohhn Gallery is the result of a collaboration with Tom Ammermann from New Audio Technology.
The German company develops software and hardware for the production and playback of immersive audio content.
PH+ series
PRODUCTS
Instant replay with Magewell’s Director Mini
DESCRIBED AS its most extensive feature update yet for the Director Mini, Magewell has reportedly added more than 50 enhancements in the version 3.0 firmware upgrade for the
The Director Mini combines multi-input switching, graphics, streaming, recording and monitoring in one compact device. Version 3.0 enhancements to its production toolset, remote control capabilities and input flexibility include new scene presets – including picture-inpicture, side-by-side and quadsplits – and more versatile remote control options. The free Director Utility mobile app now incorporates live programme video and audio monitoring, multi-step shortcut creation and editing, instant replay control and replay event sharing. The Director Mini’s browser-based web UI has also been expanded to include instant replay controls.
inputs – has been further expanded with support for RTSP streams and HTML webpage sources. Version 3.0 can also use NDI High Bandwidth sources with alpha channel as motion overlays in the Director Mini’s graphics engine.
The manufacturer has also expanded its USB capture product line with the USB Capture HDMI 4K Pro, a plug-and-play 4K/60fps model that captures video sources up to 4K resolution. The company’s range of compact USB Capture devices enables computers to capture highquality AV signals through a USB interface, with no requirement for an additional power source. Leveraging 20Gbps USB transfer performance on compatible host systems, the USB
Scanning all channels
The Director Mini’s input flexibility –which already included HDMI, USB, NDI, SRT, RTMP and mobile camera
capable of capturing HDMI inputs up to 4096x2160 (including 3840x2160 Ultra HD) at 60fps with 4:4:4 chroma fidelity.
www.magewell.com
WISYCOM HAS unveiled the integrated RF scanner for its MRK16 multichannel receiver system. To complement the functionalities of the MRK16, the RF scanner offers the ability to manage up to 16 true diversity, multiband channels in a 19-inch 1U rack. Now, the MRK16 can be daisy-chained up to four times, for 64 channels of audio. In addition, the MRK16 accepts up to four MCR54 receivers, providing antenna distribution, RF filtering and advanced audio routing. The dual-zone matrix function allows users to select and combine two diversity zones using an antenna booster and smart remote control of the Wisycom LFA/ADFA/BFA. The new RF scanner enables users to monitor RF activity and optimise frequency deployment without sacrificing an MCR54 to do so. Operating from 470–1,260MHz, the ultra-wideband receiver system is equipped with 10 automatically selected band-pass filters. The RF-over-fibre functionality of the MRK16 has been designed to enable pristine reception without distance limits or heavy signal loss, while the optional EXP3 fibre module and BFLT1 transmitter make it possible to place coaxial cables and antennas miles away.
KLANG gives IEM mixes a boost
SIGNIFICANTLY INCREASING its input channel count from 24 to 64 channels for all 12 binaural mixes, the :vokal+ software upgrade for KLANG:technologies’ :vokal immersive in-ear monitor (IEM) mixing setup forms part of KLANG’s updated KOS 5.6 operating system. It brings the same rootintensity EQs found in KLANG’s :vokal system to DiGiCo console worksurfaces via the DMI-KLANG card and is the result of a redesign and optimisation of the FPGA immersive audio core. The company
says the launch of KOS 5.6 and the :vokal+ software upgrade delivers the same input channel count on both systems with the original mix count of each product.
With the increased channel count on :vokal+, KOS 5.6 also introduces Group Spill on its :kontroller to provide users with easy access to all channels in a group through :kontroller’s channel banks. To make this easier for the user, KOS 5.6 also introduces several Quick Setup Wizards, such as the Setup and IP Wizards.
Meanwhile, the MTH610 handheld wireless microphone transmitter is the latest addition to the brand’s Symphony line of products. Designed for professional wireless microphone applications, the handheld features dual-band capability in the 470–1,260MHz range, which is essential for global events that
five-pin connector provides USB high-speed connection, power, battery charging and linear timecode (LTC) sync.
www.wisycom.com
Housed in a compact 1U chassis, the KLANG:vokal (and :vokal+) allows up to 12 musicians to pick up to 24 mono or stereo channels out of 64 Dante and MADI inputs. Based on KLANG’s ultra-low latency FPGA core, KLANG:vokal offers 12 mixes of 24 mono or stereo inputs at 48kHz and 96kHz.
KLANG KOS 5.6 is available as a free update for all KLANG immersive processors from the company’s website.
www.klang.com
Director Mini USB Capture HDMI 4K
RF scanner for MRK16
DPA launches easy-to-use 2061 lavalier
A SOLUTION intended for professional-level sound capture in a variety of applications including houses of worship, DPA Microphones’ 2061 lavalier is described as an easy-to-use solution for any live or recording setup. In contrast to some of DPA’s higher-end solutions, the 2061 has a fixed cap and includes permanent connector options that are compatible with three-pin LEMO, TA4F and Mini-Jack. These features are meant to provide an easier-to-use solution, especially in chaotic work
128dB peak SPL. The manufacturer also claims the model offers best-in-
VocoPro releases wireless mic system for HOWs
FOR SMALL or large HOWs needing clear vocals with an easy setup, VocoPro has released an eight-user digital wireless system with several mic choices. The UDX-Worship is an eightuser PLL digital wireless microphone system consisting of an UDX-OCTO eight-user PLL Digital Wireless receiver, two wireless conference microphones
for the podium, four wireless handheld microphones and two headset microphones with wireless bodypacks. The system has been designed for small to large houses of worship with everything needed to deliver crystalclear vocals without running cables.
www.vocopro.com
with a soft 3dB boost at 8–16kHz. The mic is not pre-tailored to
compensate for any specific position in which a lavalier is commonly placed, which allows a sound engineer to capture sound from any arrangement.
Furthermore, the manufacturer states the mic offers the same durability, reliability and repairability that users have come to expect of DPA, exemplified in the 1.5m-long Kevlar reinforced cable, as well as the microphone’s advanced sweat-repelling capabilities and IP57 certification for exposure to water, dust and makeup. It is available in black, white, beige and brown, with black and white clip options.
www.dpamicrophones.com
2061 with clip
Avolites’ new Prism is the One
FOLLOWING ON from the introduction of Prism Player and Prism Zero, Avolites has announced the latest version of Prism. Named Prism One, it’s a development
Created predominantly for lighting designers, key features include an added preview window, cross fade on a layer, hardware decode acceleration
Riedel gives users more of the SAME
company has added control to surface and layers, NDI previews, cross fade duration and speed control, as well as updates to improve playback performance on
www.avolites.com
Unified control
SHURE HAS announced the release of ShureCloud, designed to provide unified control and management of Shure Microflex Ecosystem devices and IntelliMix Room DSP software licences from a single user interface. The cloud-enabled centralised management platform brings “intuitive workflows” that IT managers and AV integrators will be familiar with, while real-time remote management access allows users to manage, monitor, remotely update and control devices and licences from anywhere.
are running on the latest firmware and will receive instant alerts of issues, enabling quick resolutions with minimal downtime. The Shure Wireless Workbench Scan Library application is also now accessible within ShureCloud.
AN ALL-NEW audio processing software suite that the company says will “redefine the broadcast audio landscape with unparalleled workflow automation and flexibility”, the SAME Smart Audio & Mixing Engine has been unveiled by Riedel. SAME is based on the latest commercial off-the-shelf (COTS) server cluster technology to deliver processing capabilities that scale with production needs.
With a suite of over 30 audio processing tools and mixers, the solution caters to a wide range of applications such as voiceover, automated mixing, audio monitoring or in-line process insertion. In combination with the universal inputs of Riedel’s range of Network Stream Adapters (NSA), users will be able to create a fully automated signal path from mic to ear.
SAME’s Audio Pilot is intended to give a “big picture” of all running productions, offering a view of multilocation productions for centralised monitoring and management. The Audio Pilot also introduces a process- and mixerindependent audio monitoring system with fully automated monitoring path switching. The company’s new management platform, Riedel STAGE, is said to simplify the mixing and matching of devices, roles and
personnel without the need for protocol or IP knowledge, streamlining operations and reducing setup and training times.
Beyond SAME, the German brand has also launched the new Virtual SmartPanel (VSP), a software solution enabling users to leverage their mobile devices for remote intercom connections. The VSP introduces a virtual hybrid infrastructure that seamlessly integrates with the Artist-1024 platform and is characterised by a user-centric design that is as functional as it is intuitive. The VSP also leverages the Riedel STAGE management platform. Lastly, the company has announced two new additions to its NSA series: the NSA-003A and NSA-006A. The interfaces are designed to advance IP-based audio and intercom workflows, offering flexibility, reliability and seamless integration for professionals in broadcast and live events. The NSA-006A is designed specifically for audio workplace environments, offering a set of features tailored to modern IP-centric workflows. The NSA-003A, on the other hand, is a two-wire analogue intercom adapter that combines a compact design with advanced functionality.
www.riedel.net
and an expanded monitored device portfolio, will be introduced in the coming months.
ShureCloud combines an offpremises platform to remotely monitor, update and manage Shure hardware and software products across a broad spectrum of applications and industries. According to the manufacturer, the foremost advantage of ShureCloud is the ability to manage all Shure devices from one, easyto-use platform. Device monitoring enables users to view device status and performance in real time to ensure optimal operation. Users can also push updates to ensure all devices
The platform’s interface is described as simple and familiar, especially for customers who regularly work in a variety of cloud platforms. Designed for both desktop and mobile use, ShureCloud’s navigation is said to be simple and information.
A user management application within the platform lets customers invite, manage and control internal access to specific parts of the ShureCloud platform. Each individual user can customise the site layout and tailor the interface to meet their specific needs, highlighting key metrics and controls. ShureCloud provides a suite of security features using accepted standards such as GDPR, TLS 1.2 MQTT and HTTPS. Data encryption ensures secure communication between devices.
www.shure.com
SAME Audio Pilot
AJA removes bottlenecks
SEVERAL NEW developments have been added to AJA’s catalogue, including the company’s next-gen KONA IP25 video and audio I/O card featuring bidirectional SMPTE ST 2110
OG-C10DA openGear distribution amplifier card.
The KONA IP25 IP video and audio I/O card boasts 10/25GbE SFP connectivity, multichannel UltraHD support and other features that match the demands of full and hybrid SMPTE ST 2110 ecosystems. Designed for a variety of applications including houses of worship, the eight-lane PCIe Gen 4.0 card adopts the latest IP standards. It provides uncompressed bidirectional SMPTE ST 2110 support and is compatible with many third-party creative and streaming apps.
Designing ColorBox’s colour management and conversion toolset into an openGear form factor, the OG-ColorBox delivers ultra-low latency, high-density 4K/UltraHD high dynamic range
Elite shooting
(HDR) wide colour gamut (WCG) video processing, extensive HDR/WCG conversion options, colour correction and custom LUT processing for live production. It supports “nearly any live production colour needs”, from colour correcting
cameras to processing camera Log and real-time SDR/HDR transforms. The rBox v3.0 update on the AJA Support Page brings improvements such as an SDR to Dolby Vision Preview mode, ARRI Alexa 35 LogC4 Wide Gamut 4 WVO support in Live Mode via the Colorfront licence, a configurable ACES AMF pipeline, support for .CLF and .CTF files and the ability to configure the SDI and HDMI outputs for colour space and bit depth.
A hot-swappable openGear distribution amplifier card for analogue signals, the OG-C10DA features eight BNC outputs, plus one BNC output with an option for loop out or processing. It supports NTSC or PAL analogue video, bi- and tri-level video reference, AES3-id digital unbalanced audio and LTC signal-type distribution. Built-in compatibility with Ross DashBoard software assists remote OGC10DA configuration and control, so production teams can distribute multiple copies of a signal and extend the composite video content with gain adjustment for long cable runs.
www.aja.com
Carbonite Ultra Solo targets small-scale operators
DESIGNED TO deliver professional switching in a cost-effective package that means smaller operators can still create compelling and eye-catching content, Ross Video has launched the Carbonite Ultra Solo. The device is a compact UHD production switcher available in two versions: an all-in-one system that incorporates the frame and control surface electronics within
with repeatable elements within live production. In addition to Memory or Custom Control macro operations, the sequencer allows operators to link a series of tasks, events or device controls together for repeatable playback.
In addition to the compact switcher, Ross has also announced the launch of the Ultricore Tally,
performance and ease of use of the Carbonite mid-sized production switcher to the small switcher market. Key features of Carbonite Ultra Solo include full support for HD and UHD operations, with input, output, ME and MiniME count identical regardless of the switcher format.
The full ME provides six keyers, while the MiniMEs, with two independent keyers each, support the feeding of on-set monitors or IMAG displays. An internal RAVE audio mixer is integrated, delivering a professional toolset for audio processing, mixing and routing, while the Production Sequencer tool assists operators
VADDIO HAS introduced its RoboSHOT Elite series with HDBT, HDMI, USB, SDI and NDI variants. Designed with a 1/2.5-type Exmor R CMOS sensor, Elite cameras have been designed to deliver high-definition video image quality. The units’ image signal processing (ISP) reportedly results in better light-gathering capabilities and sharp 1080p/60 video, even in dim lighting conditions. areas in video more visible and detailed. Livestream and Facebook.
Ultricore BCS, the Ultricore Tally can be used either as a standalone tally solution or in conjunction with other functionality from Ultricore to deliver a comprehensive control experience. It is said to go beyond the basic functionality of tracing on-air signals from origin to monitoring point and offers a range of interoperability, scalability and configuration flexibility. This includes direct support for an extensive collection of industrystandard communication protocols to interface in real time with Ross equipment and third-party devices.
www.rossvideo.com
A web-based user interface gives the user camera control with a web browser from anywhere in the world over an IP network. To watch the IP stream, all customers need to do is enter the camera’s streaming URL into any standards-based (H.264, RTSP format) media player. The units can be used for remote management, network operating centres and overall IT control.
www.legrandav.com
Carbonite Ultra Solo
The Ultimate for large spaces
SPECIALLY DESIGNED for use in large spaces, the Veloce Profile is the second ultra-equipped luminaire in Ayrton’s “Ultimate” family and has an IP65 rating for use in all conditions, including saline-heavy environments.
The Veloce Profile features a sealed monoblock 850W high-efficiency LED module that is calibrated at 6,500K and offers a luminous flux of 43,000 lumens with optimum positioning on the black body to achieve better light neutrality. Meanwhile, its proprietary 13-lens optical system offers a zoom ratio of 13:1 and a zoom range from 4–52°, while its 180mm front lens is capable of delivering an ultra-intensive 4° beam.
Like all the luminaires in Ayrton’s Ultimate range, the Veloce Profile adopts a CMY colour mixing system with ultra-fast high-definition discs that enable precise colour temperature adjustment from 2,700–6,500K, while a sevenposition colour wheel with special filters completes the palette of colour creation tools. For specific applications requiring perfect colour reproduction, the Veloce Profile also offers adjustment of the colour rendering index from 70–86.
Its framing module makes it possible to isolate any object thanks to the surgical positioning
of each shutter blade over 100% of the surface with ±90° rotation.
A fast 15-blade iris diaphragm with an aperture range of 15–100%
Elation has its finger on the Pulse
THE PULSE Bar L and Pulse Bar S are the first two products in stage lighting specialist Elation’s Pulse range of strobe lights. Ideal for direct view applications, the company says both can enhance the energy of any moment with white or coloured rhythmic flashes that synchronise with the music, as well as craft special effects that make for a more visually stimulating experience.
At 1m in length, the Pulse Bar L incorporates 960 1.5W RGB LEDs distributed across 40 zones along its perimeter. It features a central strobe line equipped with 400 5W cool-white LEDs across 40 zones, complemented by 160 1.5W RGB LEDs arranged in 20 zones at its core. When combined, these components deliver an output exceeding 25,191 total lumens. The Pulse Bar S is half the length of the Pulse Bar L and
optimises the beam at tight angles, and the luminaire comes with infinite continuous rotation on both pan and tilt axes as standard. Weighing just 40.5kg, the Veloce Profile also features two superimposed rotating gobo wheels, each equipped with seven interchangeable high-definition glass gobos. The effects section is equipped with a monochromatic animation wheel and two rotatable prisms that can be combined, including a circular five-facet prism and a linear four-facet prism for creating 3D effects.
www.ayrton.eu
incorporates 480 1.5W RGB LEDs across 20 zones, while its central strobe line is equipped with 200 5W cool-white LEDs across 20 zones. It is complemented by 80 1.5W RGB LEDs arranged in 10 zones at its core, which deliver an output exceeding 13,327 total lumens when combined. Both include a library of customisable RGB and CW strobe effects, variable dimming modes and curves for quick programming.
ETC moves 4WRD
ETC HAS released an RJ45 to XLR Adapter for all Source 4WRD fixtures, designed for users who are converting their incandescent Source Four luminaires to LEDs with ETC’s Source 4WRD family of options. The RJ45 to XLR Adapter allows the connection of DMX in and DMX thru using an XLR connector instead of an RJ45. This ensures these fixtures can expand into even more venues than before, letting them use their normal DMX cable stock.
Designed in an eight-cell, fanned format, the SolaPix Fan 8 extends the company’s SolaPix family with a range of new design options. In keeping
Their IP65-rated housing makes them suitable for outdoor use, while a marine-grade coating adds additional protection for harsher environments. Meanwhile, fanless convection cooling promotes silent operation, and an integrated accessory slot accommodates optional diffusion filters, ND filters and other optics.
The Pulse Bar’s housing also allows for end-to-end interconnection and includes integrated L track for
RJ45 to XLR Adapter
with the rest of the SolaPix range, the Fan 8 features RGBW colour mixing, tuned colour temperature
from 2,800–8,000K and 4.5–60° zoom, as well as ETC’s patented HaloGraphic Pixel Definition. The
flexible mounting and positioning, while trunnions for the L track can be fixed at multiple points to optimise positioning around objects or obstacles. The Pulse Bars can be controlled via DMX/RDM, Art-Net, sACN and KlingNet protocols, and also boast proprietary Aria x2 wireless device management for simplified system setup and maintenance.
www.elationlighting.com
SolaPix Fan 8 adds individual pixel control, paired with the company’s FleX Effects Engine for quick and accessible macros.
The manufacturer has also announced a new patch release for the Hog 4 OS v4.2.1 that addresses a variety of issues discovered in the field, including fixes with importing v3.x show files directly into v4.2.1 software, a compound fixture builder fix, improved cooling of the console electronics for Hog 4 users and issues when backing up shows on HPU units.
www.etcconnect.com
Pulse Bar L
LightShark gets to the core
JOINING THE LightShark range –which comprises the LS-1 hardware console with assignable faders and rotary controls, the more affordable LS-Core, the LS-Wing Open Sound Control (OSC) hardware controller and three multiprotocol DMX streaming devices collectively referred to as LS-NODE – is the LS W1 remote control. It completes LightShark systems by providing a wall-mount touch device with eight programmable buttons to control scenes and trigger any other action from the console. With this device, which is configurable from the console, end users don’t have to access the software interface to execute common scenes and commands.
LightShark’s latest software upgrade (version 1.5.25) has also been released, which applies to all products in the range. Among the
UI that automatically rearranges to fit any screen regardless of its shape or size, plus new functions such as HighLight/LowLight and Fixture Grouping. There are also new time-saving features such as Record Merge and Record Remove, which make it possible for programmers to include or remove their information in the selected Cue – or in all the Cues of a playback – without having to use the EDIT+UPDATE function.
Other key features include the implementation of ArtNet v4, the inclusion of Digital Patch, the introduction of Unicast and the inclusion of a WEB user manual within LightShark, which gives users access to step-by-step video tutorials and screen recordings so that they can learn new ways to control and enhance their light shows.
Small is beautiful
ROBE HAS added to its growing inventory with the PAINTE Fresnel, the SVOPATT and the SVB1. The PAINTE Fresnel is a quiet wash solution for short- and medium-throw applications. Its colour palettes use an advanced CMY colour mixing system, and the unit is equipped with a wheel with nine dichroic colours, variable CTO and Robe’s ChromaTint patented ±green. The unit has been designed for noise-sensitive environments with multiple fan controls and a choice of a TE 310W HP (High Performance) white LED engine for maximised output or
TE 310W HCF (High Colour Fidelity) engine for optimal colour rendition with an inherent CRI of 96.
The SVOPATT features a contemporary housing with nine individual modules, each containing seven 40W RGBW multichips and a centre pixel also containing a 200W white LED strobe. An RLCT lens coating helps maintain high performance and protects against scratches and scuffs while also preventing particle adhesion. Multiple modes and protocols include Art-Net and sACN for easy pixel mapping. Features include a
Performance on the dot
SUITABLE FOR a range of outdoor and indoor fixed installations, Martin’s Exterior Dot Pro family of outdoor-rated RGBW LED dots is designed for both indirect and direct view creative video applications and includes three stringbased dots: Exterior Dot-1 Pro, Exterior Dot-4 Pro and Exterior Dot-9 Pro. Each model offers full configurability in dot
Exterior Dot-1, -4 and -9 Pro
count, distance between dots and lead-in cable length. Additionally, the family features the connector-based Exterior Dot-HP Pro. Equipped with efficient RGBW LEDs, Martin says the range delivers high-intensity and “exceptional” lumen output, while its integrated colour boost technology enhances output for mixed and saturated colours. All models are fully gamut colour-calibrated, and calibrated dots feature a dedicated colour temperature channel to allow easy adjustments to create
ambience and mood.
Boasting versatile mounting and integration options, its open control interface allows control via Art-Net, sACN and Martin’s P3 protocol. For smaller configurations, Exterior Dot Pro systems can operate with standalone control, eliminating the need for an external controller. In addition, Martin has introduced a family of P3 PowerPort Power+Data distribution components, delivering power and data for the Exterior Dot Pro family as well as other upcoming Martin Creative LED fixtures. The units combine stable power delivery with high-speed, high-capacity processing. They require no local setup, support long cable distances and allow more fixtures per daisy-chain.
www.martin.com
choice of RGB or CMY colour mixing modes, a variable CCT range, an onboard DataSwatch colour library with 66 preset colours and tungsten lamp emulation. Each individual module contains a noise-dampened motorised zoom, while the 3.8–50° zoom range enables the creation of tight beams or wide washes from each individual module.
The SVB1 is a multifunctional effect, beam and wash luminaire that delivers high-output and “extreme speed” with continuous pan and tilt rotation. With seven individual 40W RGBW LED cells plus a central pixel with both RGBW and a 200W white strobe LED module, the SVB1 offers full pixel mapping. The motorised zoom range offers precise
3.8° beams, up to expansive 50° washes, and the rapid speed and wide coverage are further enhanced by 360° continuous pan and rotation. Colour mixing modes can be RGB or CMY, plus there is a variable CCT range and an onboard DataSwatch colour library with 66 preset colours, tungsten lamp emulation and full colour control.
www.robe.cz
PAINTE Fresnel SVOPATT
Multitasking in multifaith communities
Heath, working on developing commercial integration audio for restaurants, stadiums, theatres, theme parks and beyond, Samantha Potter delivers training to churches across the US, writes articles for worship magazines and records her Church Sound Podcast.
Potter’s involvement with HOW training began in 2013. “I didn’t grow up in a particularly religious or spiritual household but, when I was in Junior College, I was recommended by a professor to help at a local mega church,” she notes. “It had 20,000 members across several campuses, a graduate school and seminary and was leasing part of their campus to host their classes. They brought me on to help facilitate the technology connecting their campuses in Kansas City and Oklahoma.”
After a matter of weeks, she began volunteering on the church’s large production team, doing broadcast mixing, among other things, before the job developed into more of a management position which she assumed for seven years. “I would help design, implement and test the
magazine and becoming an editor and author for the publication’s worship sector. She also developed curriculums for the graduate school she was helping, as well as for the magazine to help them supply classes for students. As if that wasn’t enough, she’s also hosts her own Church Sound Podcast. Taking up a large portion of her notso-free time is Potter’s HOW training programme which she runs with Nancy Howell and Casey Sigmon. “In the seminary, I was in constant contact with people who already have their own houses of worship or were going to get one,” she explains. “So, I started doing consultations with them. I’d go and see their church to help them fix
many in the US – but we also work with Catholic, Judaic and Muslim houses of worship. However, as they typically feature less production, we focus on how little we can put in to make the space function. I think being scaled down is almost better – sometimes people don’t realise they don’t need all of the gear and it’s easy to get lost throwing technology at the problem and hope it will fix it.”
For ease, Potter can deliver the Theotechnics training completely remotely. “I set up calls and have a full list of questions that need to be answered,” she says. “I then need certain pictures of the worship space and the tech and from there we’ll have a video call to go over it. Once I have seen what needs updating/changing, I send over a list of things to work on and then they report back to me. It’s much easier and quicker to say ‘here’s all the things that you need’ and ask somebody locally to check on this, rather than going up and seeing it in-person.”
new technologies that we were putting into the building and work as the producer for events. I’d get involved in the production of various events like funerals and weddings, weekend services and programmes for people in recovery from assorted addictions or life hardships.”
Realising she wanted to start writing more, Potter began creating pieces about house of worship technology for the non-profit organisation Sound Girls, which helps women get into the pro audio space. This led to her submitting several pieces to Church Sound
into Theotechnics. We go around different seminaries and programmes offering education about technology, how it affects what they’re doing from their perspective as pastors or spiritual leaders, and how we can improve their current situations and help staff.”
Theotechnics helps churches all over the US, with Potter covering the technical side, Sigmon covering preaching theory and how to approach new ways of worship, and Howell providing her expertise as a storied researcher. “We work on a lot of different worship spaces, mainly
With a busy schedule juggling her day-to-day job at Allen & Heath with her various HOW ventures, Potter shares how the two intertwine: “I’ve been so involved with HOW communities that I understand what’s important to them and how they communicate – I know what they’re looking for. Because my job at Allen & Heath is in the commercial and install space, my main focus is on the integration side of projects, so I feel I know what the customer is looking for in those circumstances. When we’re talking about building a system processor, whether for a house of worship or otherwise, I know what the client needs, what they’re struggling with and where their difficulties lie. This especially helps with houses of worship because there aren’t many resources around.”
Samantha Potter
Samantha Potter shares how she juggles a worship podcast, HOW training programme and writing around her job as installation and commercial audio manager at Allen & Heath
Potter consulted on implementing accessibility measures for the congregants of Heritage Presbyterian Church in Lincoln, Nebraska
Potter uses her knowledge and her role at A&H to help HOWs develop their use of technology
