AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST
July–August 2022
July–August 2022
A HELPING HAND
Wigwam equips Betania Church Dublin
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CREATING THE PERFECT HEADPHONE MIX
ADDING COLOUR TO THE STAGE
Singapore: MICA (P) 031/05/2022 PPS 1644/05/2013(022954)
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Performing Install (HOW).indd 1 WAVL Front Cover.indd 1
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Contents
Welcome
Comment
6 Projects
20
18 Products
July–August 2022
Issue 77
26 44
The Tech View
The house of worship market – like so many other industry sectors – is currently fighting a battle on several fronts: labour shortages, rising costs, the pandemic and supply chain issues. On p.16, Neal Watson reports that while the chip shortage isn’t going away any time soon, with careful planning and preparation, churches can still complete a successful integration without waiting years for supply to catch up with demand. Azizi Ala considers how mosque sounds systems should be designed differently to other houses of worship (p.4), while Robert Soo turns his attention to what video has to do with church worship (p.6). Casey Hawkins considers the dos and don’ts of making a video presentation (p.32) and John Black looks at how adding colour to lighting can transform a space (p.34). Our lead story on p.22 is Betania Church Dublin, where hard work, community spirit and financial generosity have created a new building for the Romanian church, inside of which are a d&b system based on Y-Series speakers and DiGiCo consoles.
Editor Email: kwallace@worshipavl.com
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July–August 2022 WORSHIP AVL 3
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COMMENT
Automating mosque sound systems Azizi Ala considers how audio systems for mosques should be designed differently to other houses of worship WHEN IT COMES TO THE DESIGN requirements of an audio system for a mosque, navigation control is the most important criterion to be considered during the design process. This is because the location of the rack equipment or
Malaysia, there are almost 6,500 mosques and less than 1% have dedicated and trained operators. Due to this situation, human error is often common as a result of two main factors, namely the system is too complex to operate and the
Azizi Ala Founder and technical director at Acousticon Sdn Bhd the desired result. It’s a good idea for each Imam and Bilal in the mosque to have their own vocal preset where their tonal and level configurations have been optimised and stored in the DSP and then displayed on the system’s GUI. The system should be modern and user-friendly, ideally featuring touchscreen technology which has been included to replace common mechanical push buttons, knobs or faders and using a custommade GUI. Buttons and knobs or
A traditional mixing console audio system components in a mosque are usually placed in a space or room away from where the service is being held, as well as the fact that there can be an absence of a dedicated operator for the audio system. Mosques are quite different when compared with other house of worship audio systems where most of the time there is a FOH mixing area operated by a sound technician during the service. Because of this shortfall, audio problems often occur due to the lack of monitoring and control by an operator. In my second article, I will touch on the concept of how audio systems should be designed for mosques.
The concept In general, operators are still needed in mosques to operate the sound system; however, in
operator has a lack of knowledge and skills regarding audio. Mixing consoles have traditionally been used for mixing purposes but they tend to confuse unskilled operators due to the numerous buttons and knobs. Often, manual adjustment is required to resolve technical issues and this can be a serious problem if the operator doesn’t possess any knowledge of the equipment and how to use it. Therefore, an audio system with an “automation” feature should be used to assist these untrained operators. These systems have DSP at the core, which provides automation functions such as auto leveller, auto mute, auto feedback eliminator and more. With the correct settings and parameters, this type of system can react automatically and the settings synchronise with the response received to automatically produce
that preventive measures can be taken before an issue arises. Monitoring features such as microphone status are good for providing microphone detection states and wiring connectivity. Other than that, network status, equipment component status and power status are among some of the great features that are often used to help operators monitor the real-time status when the system is in use. It will also be advantageous for maintenance as repairs can be made early for important issues that require frequent attention, such as horn speaker maintenance. Most speakers are installed in high places and sometimes it’s difficult to access them; nevertheless, the horn speaker status feature simplifies this.
Personal view
Touch panel on an equipment rack faders will show as digital icons on the touch panel and can be arranged to display the dedicated operating modes, such as prayer modes, therefore helping to avoid confusion. A mobile tablet can be used as a secondary touch panel to the main touch panel when the operator is away from the control room during the service. In addition, the monitoring feature is very helpful as it will give a real-time status of what is happening to the system so
However, to acquire the ideal audio system is not easy as various customisations need to be made. Therefore, in my opinion, the ecosystem concept is the best solution because it consists of various types of equipment connected to each other over a dedicated network. It will simplify the integration process with flexible programming between devices. Q-SYS from QSC is a good example of an ecosystem product on the market and has been widely used in prestigious mosques in Malaysia, such as the National Mosque KL and Putra Mosque Putrajaya. In part 3, I’ll touch on the topics of input requirements and speaker selection for mosques. Until we meet again, take care.
4 WORSHIP AVL July–August 2022
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The built in multiview lets you monitor multiple sources on a single monitor. All external SDI inputs, plus all internal video sources can be routed to any view. The multiviews are fully customizable and can be set to 4, 7, 10, 13 or 16 simultaneous views. You can also get a tally indicator, source label and VU meter overlay on each view.
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COMMENT
What’s video got to do with church worship? Robert Soo considers the different types of video systems on the market and the best option for your HOW
IMAG on an LED videowall WELCOME BACK TO THIS SERIES where we discuss what, why and how audio, video and stage lighting systems as well as acoustics matter to church worship services. Having touched on audio systems in the first two articles, we will now move on to its counterpart – video systems. Starting off with video displays, they play an essential supportive role in modern church services, in displaying lyrics for the congregation to worship in songs, providing a means for preachers to creatively present their sermons and allowing worshippers seated at blind spots and far sections of the sanctuary to watch and connect with the ministry team (via Image Magnification or IMAG). Then there’s the growing popularity of confidence monitors, of which I’m a strong proponent of large screens strategically positioned at the rear to allow the preacher and the worship team to read while still maintaining eye contact with the worshippers (instead of constantly looking down at their notes or song sheets). It is clear to see why churches are so dependent on video displays these days – the question is, which display system option to go for? Video projector and screen systems are still by far the most accepted solution for large displays, as they are easy to implement and considered most cost-effective, given that cost is a major consideration for churches.
Lately, many are exploring making the switch to LED videowalls and I often get asked if it’s advisable to do so. Candidly, I would say to just go for it, but only if cost is not an issue, as the upfront cost will be significantly higher than projector systems. However, LED walls do have much longer lifespans and require much less maintenance, so it really depends on whether the church views the upfront or long-term cost to be more important when making the decision. A word of advice for churches that are considering the move to LED walls – do not be enticed by cheaper variants
as there is probably a catch. Always check for track records on reliability and after-sales technical support before signing on the dotted line. Trust me, there is nothing more distracting and annoying than looking at flickering faulty panels for weeks to months when you discover to your horror that the supplier does not carry spares and there is an eternal wait for replacement parts. You would be happier with a basic projector screen system with none of that “wow” factor than an absolutely gorgeous looking LED videowall with defective panels. Speaking of projector screens, many churches ask, “Can we do away with it? Can’t we just project images onto a white wall?” My response is usually both a yes and a no. There are two common reasons behind this question – cost and aesthetics. The first is rather straightforward, and as for the second, well, some simply do not like the look of projector screens, with its black borders (especially tab tensioned screens) and housing, etc. The image quality you get off a white painted wall will never come close to a good, quality screen, so you’re actually not optimising the projector’s output. However, if screens are absolutely unacceptable, then there’s the option of a special screen paint that can be applied which will give pretty good results, on condition that the wall is nicely flat and smooth.
Robert Soo Cogent Acoustics (Singapore) Principal Consultant and Trainer
Video switching and camera management
6 WORSHIP AVL July–August 2022
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C Ik re lite up Ho it he te es dis vid ch pr th to to se ot m ch ba on ar ca re an is re fro de pr lay inf im
o e) er
COMMENT Concerning IMAG, many churches I know abstain from it for various reasons, one of which is they are literally shy of having their face “blown up” on screen (more so in HD or 4K). However, I would strongly recommend it for larger worship venues as it helps the preacher and the worship team better engage the congregation, especially with those seated at a distance. IMAG will of course require video cameras, something most churches never considered as a need previously. But all that changed with the pandemic, where every church had to transform into a “production house” to support virtual and hybrid worship services. Sales of video cameras and other associated peripherals have much to thank the pandemic for as churches had to have at least some basic equipment just to get their online services going. Camera choices are plenty, from professional manual cameras to prosumer camcorders, remote-controlled PTZ cameras, DSLRs and even action cameras. As to which is more suitable and how many are required, it will differ significantly from church to church, as it will again depend on factors such as user preference, quality expectations, venue layout and physical constraints, video infrastructure and, of course, the all- for ai165047642158_Transmitters important budget.
There is a wide choice of video cameras available Another major consideration is settings. Besides the annoying flickering availability of volunteers and required LED wall I mentioned earlier, a bad lipskillset. Manual cameras require sync video image can also be extremely operators, so unless they are static distracting to the congregation. Make cameras, more units would simply mean sure you request a test demo before more manpower needed. As much as committing. how some users dislike PTZ cameras, For the majority of churches who are it is actually a wonderful solution for new to camera systems, investing in churches that are short on volunteers, quality camera equipment doesn’t where just one operator (who may immediately guarantee good visuals even be the same person managing for the viewers, as their operators may song and announcement slides) can not yet have the necessary operational manage several cameras. Unlike their knowledge and skills. So, whether it’s predecessors, newer PTZ models today operating manual or PTZ cameras, the are actually pretty good. What churches church should consider investing in must look for are models with good training, by sending the volunteers for image sensors for better, quality images cameraman and other video production and the all-important criteria that many courses so they are better equipped seldom lookout for – low latency – copy.pdfto execute proper picture framing, Every Purpose_half_horz_WorshipAVL 1 4/20/2022 11:40:29 AM shot especially critical when it’s used in live sizes, camera movement, etc. And
through these production courses, they will also get to learn about the use of proper lighting, an absolute essential for good video capture, so no more tired or sickly looking pastors onscreen. The congregation and especially the online viewers will appreciate it. Churches today operate with multiple input sources, with computers, video cameras and playbacks simultaneously or interchangeably displayed or routed to different displays, locations or to stream. Ranging from 5–10 input sources for most of my church projects, they are managed by either simple video switchers or more sophisticated vision mixers that come loaded with creative effects, transition features and flexible routing. Which option to go for would depend on the operational setup and the usual factors such as user preference and budget. I am often asked, is a 4K switcher/mixer required? Unless you are running a full 4K system of cameras, projectors, recording devices and infrastructure, I’d recommend sticking to just Full HD for the time being, particularly when budget is tight and the church has no plans to upgrade to a 4K system over the next few years. For the next article, I’ll be touching on “What’s stage lighting got to do with church worship?” Till then, take care and God Bless.
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July–August 2022 WORSHIP AVL 7
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TECH FORUM
TECH FORUM A PTZOptics 30X-SDI PTZ
What cameras are you using for livestreaming? This issue’s Tech Forum focuses on the different camera options that are available for livestreaming Chris Lyles, Central Ministries, USA: The pandemic in 2020 showed us how important our livestream is, to both our own attendees and our potential visitors. Fortunately, we were able to purchase some quality broadcast cameras that wouldn’t break our bank but still give our livestream a professional look. Currently, we are using three JVC GY-HM850U camera bodies with Fujinon lenses for our main three-camera setup. We also have a PTZOptics 30X-SDI Gen 2 PTZ camera onstage to get a few additional looks (which we can store in a preset and recall quickly), as well as a small Marshall Electronics SDI camera for our drummer cam. We are planning on adding a few more cameras over the next few months and may try out some Blackmagic Design Studio cameras with different lenses. We’re also looking into a wire cam to give us a jib-like shot without having an actual jib in the room, which would be distracting to most people in a building as small as ours. We’re also excited about the possibility of having mobile cameras on a wireless setup with Teradek transmitters and receivers. Ron Christiansen, East Troy Bible Church, USA: When the state of Wisconsin went into lockdown during the pandemic, our church did not have a video solution or team to address livestreaming needs. I needed a reasonably priced and user-friendly solution. I decided to purchase used gear and split the cost with the church. I settled on three first-generation Sony a7S camera bodies known for their
camera so it creates a more natural feel as well as allowing our camera operators a bit of a break.
Central Ministries uses three JVC GY-HM850U cameras low-light capabilities. I set them up on inexpensive Coman tripods with camera dollies to make them portable and stable. I purchased old Super-Takumar lenses known for their excellent optics. I bought 200mm and 105mm Takumar lenses, which were inexpensive. In addition, I used a Sony 28-70 kit lens for the third camera. I set each camera into a video rig with a follow focus and inexpensive 7-inch HDMI-through field monitors. This was a practical, easy-to-set up, easy-to-use and reliable livestream solution for a church on a budget. I would recommend this used, lower-cost solution for any church wanting to upgrade on a budget – almost all of my purchases were made on eBay. Chris Taylor, Rust City Church, USA: We use five Blackmagic pocket cinema 6K cameras because they add a cinematic and natural feel to our online community
Blackmagic Pocket Cinema Camera 6K as well as clear operating controls for our camera operators. We run two of these on static tripods, one being a head-on shot, the other being a side angle. We run a third as another side angle on a track slider so we can show the room interaction. Cameras 4 and 5 are both wireless rigs we can use to go nearly anywhere to include shots of the congregation, instruments, vocalists and more. We run these with motion in every
Jenny Adams, Christ Our Light Catholic Parish, USA: Connection is important. As we looked to develop a quality livestream for our church services, I was grateful to come across Switcher Studio. Switcher Studio makes it easy for us to stream our church services from multiple angles using iPads. The production value is great: I can edit in real time, adding text on the screen, switch camera angles and even add pre-recorded videos (which we use to welcome people prior to the start of each service). We are able to livestream to YouTube and embed the link on our website and share it on social media. I love that our church services look professionally done and are so easy to run. And since Switcher Studio works entirely with iOS devices, there is no need to exhaust our funds on expensive camera equipment or find/hire camera operators. Reuel Enerio, Grace Communion International, USA: We love using our Panasonic Lumix GH5s paired with the 12-35 and G Vario 100-300. We love the IBIS, sharpness and the 10-bit colour of the GH5. It gives vivid colours and the organic mood when we film our subjects in 4K 60fps. We also hook up an Atomos Ninja to view our GH5 in more detail, add more technical settings in post and have a backup with SSD recording.
8 WORSHIP AVL July–August 2022
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STUDIO HEADPHONES
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PROJECTS
Whitwam delivers ground-up AV upgrade
Each pillar carries a Vyper-KV52
Whitwam solves reduced intelligibility at St George’s Chapel ST GEORGE’S CHAPEL AT Windsor ranks amongst the UK’s most treasured examples of British heritage. Originally built in the 15th century by King Edward IV, the chapel has been the scene of many royal services and weddings and is regarded as one of the most beautiful ecclesiastical buildings in England. It is characterised by large windows and tall, slender pillars giving the impression of grace and elegance, while the quire features outstanding examples of medieval woodwork and ironwork. Whitwam AV Integration has installed a totally modern and sympathetically styled AV system that has transformed the way that words and music are experienced throughout the building, blending imperceptibly with the historically rich setting. The loudspeaker system from Italian manufacturer K-array focuses on providing superior vocal intelligibility in what is a generally challenging acoustic environment with a typical RT60 of 3–4s. Vyper 0.5m-long line arrays form the nucleus of the widely distributed loudspeaker system for the nave, with low-frequency reinforcement from Rumble-KU44 subwoofers hidden behind grilles in the floor where the old heating pipes had once been.
“Our acoustic measurements highlighted that there were areas of seating that suffered from reduced intelligibility, partly because there was only one speaker on every other pillar, and partly due to the age of the original system,” said Whitwam director, Andrew Pymm. “A much better solution was needed which required us to come up with something that was really discreet and visually more acceptable, and which would permit us to place a speaker on every pillar in order to improve the coverage.” Each of the pillars lining the nave carries Vyper-KV52 line arrays – single enclosures on the outside facing into the side aisles and double-stacked enclosures directed at the seating areas to give additional throw towards the middle of the building. Floor-mounted Kobra-KK52 line arrays are placed for additional sound reinforcement in the Bray and Rutland chantry chapels, and left and right of the high altar at the east end of the quire. The heart of the signal processing system is a Dante-enabled QSC Q-SYS Core 510i control processor with analogue audio input and output cards, providing microphone switching and volume level adjustment, all managed by a Crestron system. The building is
split up into 24 zones arranged in several bays down the nave, plus three in the quire as well as the high altar and the side aisles and all of these are individually controlled. Audio distribution from processors to the Yamaha amplifiers driving the speaker systems is accomplished via Dante, while there is also Cat5 infrastructure installed around the building. “Crestron touchscreens provide the intuitive user interface that enables the staff – who are non-technical – to switch on the audio system with one touch and assign sources to various zones using a graphical representation of the building,” said Pymm. “They can adjust volume levels, adjust the mix among a number of live microphones and also control some of the video routing via the touchscreens distributed throughout the building.” The organ loft has its own dedicated sound and vision facility with a Crestron touchscreen, JVC zero latency video monitor and a pair of KEF monitor speakers, allowing the organist to see and hear everything and adjust audio levels if required. A pair of Panasonic AW-UE70 4K PTZ high-definition cameras with preset view positions are installed in the organ loft – one facing west towards the nave and
the other covering the quire – which enable the organist to watch for processions entering the North door and to see the conductor’s cues. Providing voice capture duties are microphones from Audio-Technica – ES935ML6 microline capsules on custom mounts have been installed in various locations around the building and within the woodwork and fabric of the quire. Sennheiser 2000 series radio mics allow for handheld or stand-mounted use anywhere in the building, while for music duties Sennheiser MKH8040 condenser microphones are partially hidden behind the speakers in the nave for picking up the choir so that the organist can hear them clearly. “The key to success at St George’s Chapel has been the way that the technology all fits together so seamlessly to overcome the acoustic and visual challenges they had in the past and the simplicity with which it can be operated given the vast range of different events that routinely happen in the chapel or just in parts of it,” concluded Pymm. “The staff don’t have to worry or even think about the technology, it all just works neatly in the background.” www.k-array.com www.whitwamavi.co.uk
10 WORSHIP AVL July–August 2022
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PROJECTS
Unlimited potential
Church Unlimited’s Mbombela campus receives a full AVL upgrade from DWR Distribution THE CHURCH UNLIMITED branch in Mbombela, South Africa, is an independent church set up to be “Jesus’ hands and feet” in the community. Established in October 1995, the HOW is said to have a heart for people, especially orphans, vulnerable children and widows, supporting around 1,100 children every month through its non-profit organisation called Sinani, which in IsiZulu means “we are with you”. The church recently expanded its building to a capacity of 1,100 people – as part of the upgrade, Church Unlimited has taken delivery of an L-Acoustics A15i system, a DiGiCo S21 audio console, KLANG:kontrollers, a KLANG:vocal, an Absen DW2 2.9mm LED screen and lighting to complement its existing stock, all supplied and installed by DWR Distribution. Kyle Nel of AVS Hire was appointed consultant for the project, working closely with the church’s project manager, Louis Nel. Kyle already had a relationship with the church, his rental company regularly supplying a sound technician or equipment for services. “I’ve been involved at the church in various ways over the last few years, either behind or in front of the sound desk, so I had direct insight into the challenges that had to be eliminated,” shares Kyle. “The main focus was
getting the venue to sound good from any listening position.” The church had an idea of what it wanted in terms of delivering an experience but relied on Kyle to bring everything together. “A technical upgrade had been on their minds since before lockdown and many quotes had been requested and received with various solutions and proposals,” he adds. Kyle recalls a morning meeting where he was asked what he would do if given carte blanche to spec the church in a way that would make it easier behind the console and would make the service sound better. His answer: “It’s simple, an L-Acoustics PA, DiGiCo desk, fully kitted stageboxes, KLANG for immersive IEM with intuitive control and the right people to do it.” At that point, Kyle got in touch with DWR Distribution. “Robert Izzett and I went for a site visit at the end of last year after receiving the basic brief,” explains Richard Smith of DWR, who was project manager and audio system designer for the installation. “We always like to verify rigging, power and so on before doing a final quote. The brief was for basic lighting, audio consisting of a PA, cabling infrastructure, a mixing console and personal monitoring system, and lastly an LED screen.”
one LA12X and two LA4X amplified controllers. The console is a DiGiCo S21 worksurface with a D2-Rack. “We installed a MOD-DMI-Dante2 Dante Card into the console for integration with the KLANG Personal Monitoring system, and other possible Dante devices,” says Smith. “The Personal Monitoring System consists of a KLANG:vokal processor and six KLANG:kontrollers for the main band members. The church already owned six wireless in-ear systems, and these were fed by the console and controlled wirelessly via the KLANG:app.” The new Absen DW2 2.9mm indoor LED screen, driven by a Novastar VX4S screen processor, is being used as the main media screen at the centre of the stage, with the church’s existing screens, which make use of a projector, positioned on either side. The install includes a new cabling infrastructure and DWR’s Bugs 32A 3-Phase Distro. The lighting request was straightforward. The church already
The DiGiCo S21 and KLANG:app Louis insisted that budget was a consideration. “The greatest challenge was planning the different phases of the new building and installation as finances allowed. We were grateful that we could complete the new audio system together with the media upgrade. We love the new sound and have only had positive comments. It has been a great improvement to what we had in the past.” The new audio system comprises an L-Acoustics A15i system consisting of four hangs of two A15i Focus and an A15i Wide each. Six KS21i 21-inch subwoofers are evenly distributed in front of the stage, all powered by
had some Longman fixtures used as stage washes. DWR added two lighting bars to the church’s existing bar and supplied a further 12 Longman F8UP, four Longman F4UP and a new cabling infrastructure. “Working with Kyle and the team from DWR Distribution has been a pleasant experience,” says Louis. “I was impressed with the professionalism of Richard and his team and would recommend DWR any time.” www.absen.com www.digico.biz www.dwrdistribution.co.za www.l-acoustics.com
12 WORSHIP AVL July–August 2022
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PROJECTS
A glowing result Glow Church’s Gold Coast campus shines with Adamson’s IS7 and Pixapanel LED GLOW CHURCH HAS WORKED with Forefront Productions to upgrade its FOH speaker system and main LED screen at its Gold Coast campus. Founded by pastors Joel and Ellen Cave, the church has grown steadily, establishing multiple locations throughout Australia as well as the UK, South Korea and the US. Clear messaging, communication and an engaging worship experience have always been important elements for Glow. Having worked with Forefront for several years, the church’s journey with Adamson began with an IS7 line
array system that could be wheeled in and out of its Melbourne campus. The choice of Adamson for the Gold Coast location serves a long-term purpose of compatible systems once Glow’s Melbourne campus moves to a larger location. A decision was made to, over time, convert existing campuses including the Gold Coast to Adamson as the need and opportunities arose. “When we heard the Adamson system side by side with the existing system at our Gold Coast campus, it became an easy decision,” says pastor Joel. “With the Adamson
Eight IS7s per side with a further six IS7s per side for out-fill
system, vocalists and musicians are sitting right where you want them to be in the mix and easily distinguishable from one another. The lead vocals can always cut through with ease like a hot knife through butter.” With the flexibility and scalability of the Adamson IS7 system, it means that from Glow’s small and large campuses, the same audio system can be deployed, providing consistency to the experience at every location. CMI Audio, Adamson’s Australian distributor, partnered with Forefront for the installation. Brian Vayler, CMI’s house of worship solutions manager, worked closely with Forefront’s Matt Wever to deliver the final system design for the space. “The worldwide challenges of equipment supply in our industry is ongoing and a daily challenge,” explains Forefront’s managing director, Nick Burns. “You can’t always obtain the products desired for a job in a reasonable timeframe. Fortunately, CMI Audio has great foresight in anticipating our needs, and supply of Adamson equipment has been the most accessible of any product we deal with in this challenging season. Brian and the team at CMI understand our customers’ unique needs and timeframes, and always assist quickly and comprehensively.” The implementation of the Adamson IS7 system at the Gold Coast campus consists of two main L-R arrays each of eight IS7 per side, two out-fill arrays per side of six IS7 units, equalling a total of 28 IS7 line array elements. “The system was designed specifically to eliminate any need for stage lip front-fill, even with
the usual higher level of acoustic energy spilling from the stage for the first rows of seating, which is always tricky to combat in a church setting,” adds Burns. Rounding out the bottom end of the system is the Adamson IS119 sub element, six of which have been deployed in an array under the front of the stage. “The IS119 is a powerful sub with very musical sonic characteristics. In this case, the sub elements provide controlled coverage and consistency throughout the space,” explains Wever. “One of the unique and cost-efficient characteristics of the Adamson IS7 series, in particular, is that the number of speaker elements you can power with a single amp is very impressive – up to 12 boxes. This means that for a growing church or a change to a bigger venue, it’s very cost-effective to just add more speaker elements without having to purchase more amps.” Pastor Joel concludes: “When we made the decision to work exclusively with Forefront across all our campuses, we had some goals that were good in theory. Our experience has been that they weren’t just good in theory, but they’re now even better than we could have imagined. One phone call from our production manager to Forefront from any of our locations and there’s always a quick solution. We found that by choosing to partner with Forefront, we aren’t just getting the best experience, but it feels like the guys are part of our team and also want to see our vision come to life, just as much as we do.” www.adamsonsystems.com www.ffp.com.au
14 WORSHIP AVL July–August 2022
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28.01.2022 15:59:35 30/05/2022 11:38
NEWS: SPECIAL REPORT
Supply chain disruption in the AVL industry
Churches took advantage of empty sanctuaries during the pandemic to complete AVL upgrades
Neal Watson, vice president of integration sales and design at creative event technology company CTS AVL, discusses the ongoing global supply chain issues and how churches can still plan for the future IT’S NO SECRET THAT THE global supply chain is in the midst of a major disruption. And it isn’t just microchips. Shortages of raw materials like steel, timber and plastics, as well as a smaller labour pool and higher freight costs, have contributed to significant manufacturing delays and rampant price increases for AVL equipment. To understand our current AVL supply chain issues and when they might resolve, we’ll first look at what led to where we are today and, then, we’ll discuss what to do in light of the situation. One of the major reasons for our supply chain difficulties today is that demand is far outweighing supply. Even before 2020, booming economies meant a high demand for the chips needed to run everything from automobiles to electric toothbrushes. Manufacturers were already having trouble keeping up. While not widely known, early signs of US trade sanctions against China led technology companies to place large chip orders as a hedge against future disruptions in availability. This put a deeper and more immediate strain on the supply of microchips; however, if life had continued as normal, manufacturers might have been able to replenish their inventory without a great deal of long-
Neal Watson term upset. Shortly thereafter, though, the next domino fell. With the advent of the pandemic and attendant quarantine regulations, chip manufacturing plants shut down for months, shipping and freight companies halted operations and eventually labour shortages erupted. New chips couldn’t be produced to make up for depleted inventories and prepare for the future. At the same time, demand for consumer technology exploded. People were working/learning from home and, while they couldn’t go to the store, they could order new laptops, cameras, speakers and more online, further exhausting the existing chip supply.
Meanwhile, construction was deemed an “essential service”. As a result, churches played a significant role in steadying demand for AVL equipment by taking advantage of empty sanctuaries to complete building upgrades and renovations. This was seen as a positive during challenging times but, because new equipment couldn’t be produced concurrently, stock fell lower and lower. When restrictions relaxed and manufacturing recommenced, certain key chip factories were crippled through unforeseen events, such as fire and severe winter weather, further reducing global production. Today, even functioning factories haven’t resumed their full production capacities,
hampered by labour shortages and continued Covid-19 restrictions. Add to this the geopolitical conflict between Russia and Ukraine and its disruption of raw material supplies, and you have a recipe for escalating shortages. Larry Italia, president, CEO and territories manager for the Americas at d&b audiotechnik, states: “Shortages of chips and raw materials are still the biggest challenges. We had been sourcing timber from Russia but now d&b has suspended all product deliveries and further investment in Russia and will not restart them until the end of the Ukrainian conflict.” Labour also remains a significant issue in the AVL industry. In the US,
Chip shortages could continue into 2024
16 WORSHIP AVL July–August 2022
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NEWS: SPECIAL REPORT for example, pandemic quarantines, enhanced unemployment payments and regulations around live events drove staggering numbers of employees – installers, technicians, engineers – out of the AVL industry. This labour force has not fully returned, creating inflated labour rates along with shortages in AVL integration, concert touring and live event production. In addition, the dramatic shift in revenue streams related to music sales and distribution over the past two decades has taught every musician that to make money, you must tour. After 18 months of governments worldwide restricting or banning large gatherings, almost every artist aimed to get back on the road for autumn 2021 tours. Italia continues: “We may have seen the concert touring market change forever. There is new motivation for every artist to tour, and a new willingness to take offers they would not have in the past if it means touring with a higher level of production.” Such urgent demand led to a spike in AVL equipment purchases as production companies prepared for the return of a very busy touring season. This also altered purchasing behaviours across other sectors of the AVL industry, resulting in stockpiling rather than buying only what’s needed for current projects.
Some products are shipping within weeks, others are being delayed for 12 months The continuing shortages are forcing manufacturers to prioritise certain AVL product lines and, therefore, pause others indefinitely. Some products can ship within weeks, others are on 12-month or longer backorders, and some product lines are simply unavailable at present. Lead times continue to lengthen, and timelines on equipment have become extremely unpredictable, changing even on a weekly basis. We’ve seen a speaker manufacturer operating on an 8–10week lead time in December transition to an 8–12-month lead time in January. Another company went from long-butmanageable lead times on digital consoles to pausing fulfilment entirely
for 12 months. In reality, there’s simply no way to predict lead times once an order is placed. In order to keep pace with all of these constraints, manufacturers are having to increase prices more often and more quickly than we’ve seen in the past. In pre-pandemic years, manufacturers would typically confirm or raise prices on equipment once per year. Due to labour shortages, supply issues and rising freight and shipping costs, we’ve seen prices increase between two and eight times in the past two years, sometimes climbing as much as 25% depending on the equipment and manufacturer. Unfortunately, the chip shortage and other supply chain problems aren’t
going away any time soon. We’ll feel their impact until the end of 2023 or possibly 2024. Intel CEO Pat Gelsinger predicted that it could be a year or two before chip supply would catch up with demand, but that was in the summer of 2021. We’ve seen more global setbacks since then. Despite how it may sound, churches can still build and upgrade systems in this market. If you do, decide which projects have the greatest priority and start on anything critical as soon as possible. Find a trusted firm to partner with that’s committed to bringing you efficient solutions, and consult with them to determine a realistic timeline. Be sure to clearly communicate that expectation to anyone it affects, such as support staff, technicians and the congregation. We recommend being decisive to avoid delaying action and prioritising function over model or brand with respect to new solutions when supply chain problems interfere with plans. Today’s AVL supply chain issues may be dramatic and intimidating but, if you partner and plan well, you can still complete a successful integration without waiting years for supply to catch up with demand. www.ctsavl.com
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PROJECTS
Problem solved Fohhn improves clarity for Gyesan Catholic Church congregants THE CATHOLIC GYESAN GREAT Cathedral Church of Daegu Archdiocese, whose patron saint is Our Lady of Lourdes, is situated in Daegu Metropolitan City in the North Gyeongsang Province of South Korea. With origins dating back to 1885, the church moved to its current building in 1903, which was extensively remodelled when it was elevated to cathedral status in 1911. Today, the HOW is the third-largest Gothic-style cathedral in Korea and designated by the city as one of its most important historic sites. The cathedral is built in a long cruciform shape and has a vaulted ceiling, while the walls and ceiling are finished in white lime. There are 28 pillars propping up the vaulted ceiling and 12 rows of two pillars running down the nave of the church, with a further two pillars per side in the transept. The altar is symbolically placed in the standard position for a cruciform church design, representing the head of the crucified Jesus. The RT60 reverberation time had been around 1.7–1.8s, which was causing problems for the congregation in hearing the priest. In fact, parishioners were staying away from mass because it was proving too difficult to hear the spoken word. Over the past 20 years, the technician in charge of the PA system reported that new equipment had
been installed several times in an attempt to improve the situation, but without any luck. A few years ago, a new setup of two main passive line source speakers driven by a separate amplifier with no DSP had been unsuccessful at improving the STI with audio equalisation. Even the addition of a few more delay speakers and several attempts to readjust the system failed to produce any improvements. Towards the end of last year, the cathedral contacted LNS Corporation CEO, Andrew Park, and requested a
consultation to improve the sound system. LNS was established in 2001 and is the official distributor of Fohhn audio products in Korea. After examining the STI of the cathedral, Park found that the STI was uneven throughout, ranging from 0.4 to 0.55, and falling below 0.4 at the back of the church. Park used the Fohhn Designer in-house simulation tool to create a design that would achieve a maximum SPL of 108dB ±1.75 and an STI of 0.573 ±0.028. “For predicting the performance of the system we designed, the outcome from Fohhn Designer was fantastic,” he says. “It’s a really useful tool for us as it provides us with so much information, not only about the performance of the speakers but also about the entire installation.” The new system consists of two Fohhn Linea Focus DLI-230 ANA line source speakers, 10 LX-100 and three LX-60 passive two-way line source speakers, powered by three DI-4.1000 digital four-channel amplifiers. The two DLI-230 ANA line source speakers have been installed on the two centre pillars in the fourth row. Originally, the plan was to install the speakers in the third row but the change allowed Park to reduce the reverberation caused by the complicated roofline structure and make use of the DLI-230’s strong directional beam.
Referring again to the high reverberation time, Park decided to use more delay speakers than normal for a church of this size. With two on each pillar, the first four LX-100s are positioned on the left and right centre pillars in the third row: two pointing towards the congregation in the front rows and two pointing to the seats in the transept. The remaining six LX-100s have been fixed to the left and right centre pillars in rows six, eight and 10. The first LX-60 has been installed for the pipe organist at the back of the church, with the other two fixed to the left and right pillars in the third row, pointing towards the altar. The three DI.4.100 amplifiers are located in the PA room together with a Midas M32R digital audio mixer. At the first mass following the installation, the priest – wearing a face mask – asked the congregation if they could him. “Yes, we can hear you clearly,” came the reply. Park is equally pleased with the result. “The DSP built into all Fohhn amps and the waveguide of all LX series passive speakers are strong enough to work effectively and overcome reverberation in these types of spaces. In my experience, I wouldn’t recommend anything else.” www.fohhn.co.kr
18 WORSHIP AVL July–August 2022
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Worship AVL Asia_H297xW210.pdf 1 2022/5/16 上午 10:50:21
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PROJECTS
A new approach
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Ingang Audio breaks from tradition and supplies a Meyer Sound point source system to Segwang Church BUILT IN 1978 AND DOUBLING its capacity in 2011 from 600 to 1,200 seats, Segwang Church is located in Eun-Peung-Gu in the northwest of Seoul. Yo-han Choi is vice pastor at the church, in charge of operating the sound, video and lighting equipment in the broadcast room, along with the church’s volunteers. He also sets up and manages the media systems for external events such as spiritual retreats.
Choi arrived at the church in 2019 to an acoustic setup that he describes as very poor. Problems included frequent feedback, poor intelligibility and the tonal balance in the under-balcony seats was broken. The balcony seats were installed in two rows so it was impossible to control the individual levels and delay, and most of the sound from the main speakers was too sharp. Choi believed that the installation
L–R: Ji-ho Ahn, Yo-han Choi and Min-young Seo
of a new sound system was both needed and inevitable. “It was clear to me that there was a design problem with the previous system,” Choi explains. “It was important for us to choose a competent company which would understand the problem and suggest a reasonably priced solution.” The church received several quotations but, after lengthy discussions, turned to Meyer Sound’s Korean distributor, Ingang
Stacked top to bottom are one UPQ-D1 speaker, one 750-LFC subwoofer and one UPQ-D3 speaker
20 WORSHIP AVL July–August 2022
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PROJECTS Audio. “I wanted to select speakers with good clarity and coverage which would eliminate the blind posts,” continues Choi. “Ingang Audio boldly suggested a point source system to replace our line array speakers because the distance from the stage to the rear of the sanctuary is fairly short, plus there are several pillars in the auditorium. They were the only company to propose a point source solution – all the other people we contacted suggested a line array system. Ingang Audio accurately understood the problems with our equipment and presented a clear solution. In addition, the speaker demonstration was very satisfactory, and I could clearly hear the difference in sound quality with the Meyer speakers.” L-R hangs each comprise one UPQ-D1 speaker on top, one 750-LFC subwoofer and one UPQ-D3 speaker on the bottom, which provides a wide vertical coverage from the first row of seats. The setup also consists of four UP-4slim speakers that fit neatly in the restricted space under the balcony and two UP-4slim delay speakers. DSP is via one Galaxy 816, while an MPS-488HP routes DC power and balanced audio to the speakers. An Allen & Heath GX4816 48-in/16-out portable GX expander
provides high-input remote expansion for the Avantis console at FOH. “The overall phase response is very good in all positions,” adds Choi. “Sometimes, when two fullrange speakers are used together, there is some cancellation in between the two speakers. As the subwoofer is installed in the middle, the cancellation has been decreased and the phase response between the UPQ speakers has been improved.” Alongside the high- and midfrequency sound from the new speakers, Choi explains the impact the new system has had on the praise team. “Instead of using wedge monitor speakers, we have switched to an Allen & Heath ME-1 personal mixer in-ear system,” he adds. “We have also replaced our drums with electronic drums, and the source of the bass and electric guitars is delivered directly to the DI box without an amplifier, so the sound in front of the stage is clearer and we can concentrate more on the main speakers.” Choi was also impressed with the way Ingang Audio listened to some of the suggestions from the church’s volunteers. Ingang manager Min-young Seo and deputy director Ji-ho Ahn took the time to consider
The Allen & Heath Avantis console at FOH some of the suggestions from the congregation regarding the problems they’d been experiencing with the old system. “As a person in charge of the church’s media ministry, I was also very impressed with their sincere after-sales service,” adds Choi. “Ingang Audio employees came to our church several times after the completion of the project to support us and help us to deliver the best sound from the system.” Before the installation of the new equipment, the church upgraded its old projector to a new 200-inch
LED display, but Choi was worried that church members wouldn’t be able to hear the difference in the sound system in conjunction with the new video system. But his fears were unfounded. “There were a lot of worshippers who really noticed a change in the sound,” he confirms. “The quality of the sound from the musicians and singers has improved so much that there is no comparison to the previous system.” www.ingangaudio.com www.meyersound.com
July–August 2022 WORSHIP AVL 21
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PROJECTS
di ha tim re m he I th he “W al eq we th vid vid m By ca wh
A helping hand Hard work, community spirit and financial generosity have created a new building for Betania Church Dublin, which holds services in English and Romanian to cater for the area’s large Romanian population HOUSES OF WORSHIP CAN often be the focal point of the community, bringing together likeminded people from all walks of life. And it’s this sense of community that has played a significant role in the creation of one of Ireland’s newest and largest churches – Betania Church Dublin. Apart from the steel work, the church has been built entirely by volunteers. With very few professional builders employed on the project during the day, it was after 6pm when the site came to life – working people having finished their normal day would arrive at the site and offer for free their time, skills and services to bring the building to fruition. Formerly occupying a building that held a maximum of 600 worshippers and hosting multiple services across the week, the church made the decision to invest in land and brandnew facilities so that everyone could worship together. Central to the new building is a 1,483-seat auditorium. Manchester-based integrator Wigwam
became involved in the project at least three years ago. After consulting with Hillsong in the UK and asking for recommendations, Betania contacted former Wigwam owner Mick Spratt after building work on the ambitious project had started. “After dealing first with Mick, it was about two years ago that I went out to Dublin and we started looking at different speaker options for the auditorium,” explains Tim Mortimer, systems integration project manager at Wigwam. However, considerable work needed to be carried out on the building’s acoustics before the project could go any further. “Mick told the church that he wouldn’t sell them a microphone or a cable, never mind a PA system, if they didn’t address the acoustics,” recalls Mortimer. “It was just a concrete shell. They had an acoustic consultant come in and fit wood panelling all around the walls. I walked in after a lot of the acoustic treatment had been fitted just before we hung the PA and, even just talking in the room, you could hear the
22 WORSHIP AVL July–August 2022
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Th
PROJECTS difference. The acoustic treatment has significantly reduced the reverb times in the auditorium and also removed the reflections from the walls meaning the congregation are now hearing a direct source.” It wasn’t just the construction of the building itself where volunteers helped to bring everything together. “We were originally asked to install all the new sound, lighting and video equipment,” explains Mortimer, “but we only ended up doing the audio in the end. A rigging company hung their videowall but, apart from that, all the video was done in-house and there’s minimal lighting in the auditorium. By the time we arrived onsite, all the cabling had been laid. We’d told them where everything needed to go and so
this became another way for them to save money. Normally, we’d use electrical contractors but some of their tech people are electricians and they pulled the cables themselves.” After considering proposals from two speaker manufacturers, the church settled on an array processed d&b system based on Y-Series speakers. Main left and right hangs contain six Yi12s per side with three Yi-SUBs flown behind each array to “fatten up” sound in the fan-shaped auditorium. Yi10p out-fills and upper out-fill delays cover the far corners of the balcony. XS10SD loudspeakers have been fitted under the balcony downstairs and six Bi6-SUB subwoofers are built into the stage. Seven 44S front-fills have also been
a The DiGiCo Quantum 225 at FOH integrated into the steps leading up to the stage. Three d&b M4 floor monitors have been provided for visiting preachers. The main benefit of the d&b system for sound engineer Sam Biro is that the hangs are array processed. Each element in the array is fed off an amplifier channel so it gives a smoother coverage off the arrays across the room. “It provides a more consistent setup,” explains Mortimer. “Humidity and temperature can alter in the room but Sam has access via the d&b R1 software to every element of the system – whether it’s the line arrays or delays, he can get to every box.” Apart from a couple of new radio mics that Wigwam has supplied, Betania has brought all of its existing microphones across from the old venue, with Mortimer adding an in-ear system consisting of 11 Allen & Heath ME-1 personal mixers. Currently, there’s no monitor desk so the band can control their own monitor mixes on the ME-1s.
At front of house is a DiGiCo Quantum 225, with an SD9 as the broadcast desk. “Sam always wanted DiGiCo so that was the only option for the desk,” explains Mortimer. The SD9 is currently located behind the stage with all the racks but will eventually move into its own broadcast room when it’s ready. Sourced from AVL Systems just 3km from Betania, a 2.8mm pixel pitch videowall from Chinese manufacturer Lightking covers 72m2 behind the main auditorium stage. Further screens from the same manufacturer have been installed elsewhere in the building: a 5.5m x 3m videowall has been fitted in the conference room, with another smaller screen in the reception area, all adding up to around 110m2 in total. Six Blackmagic Design cameras with Blackmagic broadcast equipment are used for all the church’s livestreaming needs. Mortimer was able to order all the new equipment for Betania before the pandemic, but lockdowns in Ireland delayed the construction process by around 12 months. With the first
services held just before Christmas last year, it’s early days for the new building, and Betania Church Dublin is still enjoying the novelty of its new surroundings. The auditorium also has the potential to host corporate work on weekdays, when the building is not used for church services. “Although it’s been built as a church, it’s more like a conference facility and it’s an extra source of income,” explains Mortimer. “That’s one of the reasons why we chose a leading brand – if the space is going to be used for conferences, people want to recognise the manufacturer so they don’t feel they have to bring in their own equipment.” But this isn’t the end of the story for Wigwam. “It’s an ongoing process for us,” explains Mortimer. “They’re hoping to add more equipment, but all the money has gone on the building at the moment. Although the main auditorium is finished, there are other rooms in the complex that still aren’t completed. Moving forwards, the singers are hoping to switch to wireless in-ear monitors but the money isn’t there at the moment. There’s going to be a lot of small jobs coming to us for quite some time.” “It was a big challenge, a long procedure and we needed to make some hard decisions when choosing the right sound system for our worship place,” concludes Daniel Catana, tech coordinator at Betania. “But the d&b sound experience, together with the DiGiCo consoles, proved that it was definitely the right way to go. They provide great sound and awesome coverage. I am glad we could make this happen through Wigwam, a very professional company and a great team.” www.betania.ie www.dbaudio.com www.digico.biz www.wigwam.co.uk
July–August 2022 WORSHIP AVL 23
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PROJECTS
Renewed trust
The Jesuit Community of Marseille has once again turned to Ecclesia Sound for its new chapel and conference room
An ORAY Orion Pro screen and Panasonic PT-VMZ60 projector in the conference room HAVING RECENTLY MOVED TO LA Joliette district, the Jesuit community of Marseille required an audio system for its newly built Maison Saint Ignace chapel and adjoining conference room on the ground floor of a five-storey building. With various locations across the French city, the community made the decision to find a venue where they could all meet altogether. The Jesuits were said to be so impressed by Ecclesia Sound’s recent sound upgrade in their Saint Ferréol church in Marseille – which includes Active Audio column speakers – that they placed their trust in the systems integrator once again for their new chapel. For this project, Ecclesia Sound fitted the cabling prior to construction, ensuring the chapel’s aesthetic would not be compromised. “I started on the project in October 2020, exactly one
year before work started onsite,” says Joachim Fritsch, acoustic engineer and founder of Ecclesia Sound. “I was able to redraw the original wiring plans, which also gave me an opportunity to place all the ducts in the right place. I was also able to run scabbards into the wall at the correct locations for the speakers and the microphone sockets – it must have saved me at least three days of work.” Active Audio, a brand of Arbane Groupe, supplied two of its Ray-On 110 passive column loudspeakers to the chapel to deliver the sound throughout the hexagon shaped-room, which seats up to 60 people. Due to the speaker’s compact size, Fritsch was able to fit the equipment flush with the back-lit stained-glass windows to maintain the integrity and beauty of the space.
“A temporary fabric-ceiling had been fitted awaiting the permanent wooden replacement, so ceiling speakers were not an option,” comments Fritsch. “After speaking with the architect, we agreed that aligning the speakers flush with the windows would work. Importantly, the embedded technology in Ray-On speakers means that there is no need to tilt them, which notably improves sound and aesthetics.” A single Powersoft Mezzo 322A amplifier powers both column loudspeakers. Alongside Active Audio, the audio system is completed by a Shure Microflex MX412 gooseneck microphone, a Sennheiser MEB 114S-W surface microphone, a Shure SLXD/B58 wireless microphone with
The Shure SLXD4, Denon DN-500CB, Yamaha MTX3 and Powersoft Mezzo in the rack
an SLXD4 wireless receiver, a Yamaha MTX3 digital processor, an Apart PCR3000R media player with infrared remote, a Denon DN-500CB media player and a Panasonic PT-VW545 5,500-lumen projector. Once the final building works are complete, Fritsch is scheduled to return to install an ORAY Orion Pro 300cm x 300cm screen with blackout lining in front of the stainedglass window which will be used to display text, pictures and videos for special events. For the chapel’s adjoining conference room, which is open to the public and used for conferences, training sessions and meetings, Ecclesia Sound has installed Yamaha in-ceiling speakers and a subwoofer, all powered by a single Powersoft Mezzo 604a amplifier, along with Shure SLXD/B58 wireless and MX418D conference microphones. An ORAY Orion Pro 169cm x 270cm screen with automatic trigger and a Panasonic PT-VMZ60 6,000-lumen laser projector complete the conference room setup. Priest Michel Joseph, superior of the Jesuit community Notre-Dame-desMissions, Marseille, speaks highly of Ecclesia Sound and the upgrade. “Joachim is so skilled at bringing sound into challenging spaces, such as churches, chapels and open spaces. Thanks to his technical skill, knowledge, patience and excellent after-sales service, we have a reliable system that we’re really pleased with.” www.activeaudio.fr www.ecclesia-sound.com
24 WORSHIP AVL July–August 2022
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3000 Series Network systems are compatible with A-T Wireless Manager
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Scan, Plan, Deploy and Monitor • 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
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Beautifying Bathurst A discreet Bose modular sound system has brought the Cathedral of St Michael and St John in Bathurst into the next century ESTABLISHED IN THE 1860s, the Cathedral of St Michael and St John in Bathurst boasts the accolade of being the second oldest cathedral in Australia. In 2012, the Bishop of Bathurst Michael McKenna commissioned a 10-year restoration project to address structural concerns in the cathedral and breathe new life into the whole precinct, with the goal of sustaining the cathedral for another 100 years. “The cathedral is pretty central to the life of the town – Sunday and weekday masses, weddings, funerals, liturgies, concerts and private prayer,” explains Paul Devitt, vice general and dean of the cathedral. “We leave the cathedral open all day because it’s a lovely place for people to come and spend some quiet time away from the rush of outside.” Part of the restoration project included a new audio system to better manage the cathedral’s range of liturgical requirements. The outgoing system had a loudspeaker hanging from a wire above the main pews which supplied poor coverage and was visually obtrusive.
Clare Communications has worked with the Catholic Diocese of Bathurst for over 30 years. The cathedral called on the integrator’s help to design the right audio system to ensure congregants enjoyed the best possible experience every time they stepped onto the premises. “For effective liturgy in this day and age, people need to be able to hear clearly and they expect good sound,” adds Devitt. “This is a very difficult building to create sound in because it’s got so many nooks and crannies.”
The live acoustics of the cathedral necessitated a loudspeaker system that would focus sound onto the pews and little elsewhere. Clare Communications specified a Bose Panaray MSA12X modular audio system. At the front of the nave are two L-R arrays of three MSA12Xs, with two arrays of two units per side further down the pews. “The Bose MSA modular loudspeakers gave us the capacity to steer the beam and focus the sound where we needed to,” says Matt Donovan, project manager at Clare Communications.
Investing in proven and reliable products was important to diocesan financial administrator Patrick Cooper in a project where longevity was a core objective. “We chose the Bose solution because it had been tried and tested in the Australian market. We’re not very pioneering here – we’re quite risk averse – so we went with a solution that we knew would work. Clare have been able to not only bring forward solutions that work today but take into account changes in the future.” Bose RoomMatch RMU206 utility loudspeakers support the main column arrays by providing sound reinforcement to seating areas which adjoin the nave. Exterior sound reinforcement is handled by Bose DesignMax DM6SE loudspeakers. Aesthetics matter in ornate cathedrals and mounting conspicuous audio reinforcement in prominent sightlines was not an option. The Bose Panaray loudspeakers are visually discreet, with even the tall triple-module MSA12Xs installed to blend into the natural décor of the cathedral’s interior. “The Bose
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PROJECTS and construct project. We understood the requirements and we understood the space – it was an existing space, we knew what worked and we have really achieved a great result with everyone being very happy with the outcome.” Devitt is equally pleased with the result. “The Bose loudspeakers are set up to pitch to certain areas, so we’ve got really good sound all around the cathedral now. No matter where someone is sitting or standing, they get the same quality of sound. The
system copes with soft voices, high voices, music, choirs – it’s quite a brilliant setup. “It’s taken a long time to get here. It’s been a monumental project and we had to make lots of adjustments but now looking back it’s fantastic – the whole thing is a beautifully integrated whole and we’ve had lots of positive feedback from people beyond our congregation.” www.clarecom.com.au pro.bose.com
RoomMatch RMU206s support the main column arrays systems are not intrusive,” Cooper observes. “They actually look like they have always been there.” The cathedral has also taken ownership of a new lighting system – Crestron was chosen as the control automation system for all internal and external lighting, with pre-progammed timer automation for both day and night modes. Crestron DALI lighting interfaces and Crestron relay modules have also been added to interface with the lighting hardware. “What we needed was something that said push this button for a morning mass, push
this button for a funeral, push this button for a wedding, push this button for Sunday afternoon,” adds Cooper. “The lighting and sound schema are pre-programmed – all they need to do is push the button and start the liturgy.” An Earthworks FM360 microphone has been installed on the pulpit and two C30/HC-B microphones have also been suspended overhead for the choir. “This is the third generation of sound system that Clare Communications have been involved with at Bathurst,” describes Donovan. “It was a design
Two arrays of two MSA12Xs per side further down the pews
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PROJECTS
Os in the Square Asimetrik has supplied a Martin Audio O-Line system to Taksim Mosque
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LAST YEAR’S OPENING OF Taksim Mosque in Istanbul finally closed a controversial chapter in recent Turkish history. Traditionally seen as a symbol of the secular Turkish republic, the proposed construction of a religious house of worship on a public space sparked a wave of protests when the plans were first revealed in 2013. Commissioned to provide intelligible speech and audio transmission throughout, prominent systems integrator Asimetrik maintained a low-key presence as one of the main sub-contractors who would successfully bring this politically sensitive project to life. Consecrated on 28 May 2021, architect Şefik Birkiye worked closely with general building contractor Sur Yapi during the four-year construction of the project. With an outer dome that rises 33m over Taksim Square, the triple-storey mosque can hold up to 3,000 worshippers in an open area. In addition to a main prayer hall, the prominent mosque includes
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a conference and cultural exhibition hall, and as such required an audio network to interlink these rooms in addition to providing outside broadcasting during special events. To preserve the area around the mosque, deep ground excavation was avoided by adopting a top-down architecture technique. The interior design fuses traditional with modern touches inspired by architectural Art Deco based on 19th-century buildings in the Beyoğlu district. Accompanied by two 64.8m-high minarets, the titanium-zinc alloy dome is adorned with marbles imported from Bursa and Antalya. Tasked to discreetly integrate a high-quality audio system that would enhance the worship experience while blending in with the architecture, Asimetrik was challenged to fulfil these criteria on a limited budget. “We had to balance the requirement for high SPLs and even coverage with an STI of 0.57 across the entire 2,950m2 space with the interior designer’s demand for blending the
Martin Audio O-Line arrays provide speech intelligibility
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PROJECTS
The outer dome rises up 33m capsules mounted on 24-inch and 18-inch goosenecks. Beyond the main prayer hall, Asimetrik was required to provide a zoned audio control solution. Audio inputs including wired headsets and microphones in various zones are routed to an Extron IPCP Pro 250 control matrix switcher for configuration from a TLP Pro 1225 12-inch touch panel matrix switcher. All the wired and wireless microphones
events. As such, Asimetrik installed a fibre infrastructure terminated with Triax and BNC connections for transmitting services from four internal locations to an OB outlet, in addition to bidirectional transmissions to the adjacent multipurpose hall. The audio reinforcement and broadcast infrastructure include Canare, Fischer and Neutrik cables and connectors, together with custom-made Asimetrik patch panels and adapters. Controlled from a Behringer X32 console interface, a distributed loudspeaker system in the conference and cultural exhibition hall comprises 16 Ecler Arqis 205 dual 5-inch enclosures. Powered by four Ecler LPA-350 dual 350W amplifiers, the wall-suspended enclosures provide even dispersion and sufficient audio reinforcement, while elegantly blending into the décor. Managed from the interface of another 12-inch Extron touch panel, a similar Sennheiser EW 100 UHF wireless package utilises e 835 dynamic handheld microphones. The outdoor audio solution comprises Community (Biamp) MPL32T-G 6.5-inch IP66 horns, Ecler Motus 8 OD 8-inch and Audeo 106 6.5-inch IP65 enclosures powered by Ecler HSA4-250 amplifiers.
The minbar and pulpit are equipped with Sennheiser goosenecks hosting ME 36 capsules enclosures into the architectural style,” explains Asimetrik audio designer, Turgay Durak. “All mosques require some natural reverberation, but EASE simulations and measurements confirmed how unintelligible most proposed traditional speaker locations would be.” As the Turkish distributor for Martin Audio, Asimetrik proposed an unobtrusive audio design incorporating Martin Audio O-Line arrays as the main loudspeaker output. Weighing just 3.6kg with 246mm x 115mm x 198m (WxHxD) dimensions, each module comprises dual 3.5-inch woofers and five 0.55-inch tweeters to provide 100° x 5° dispersion. Having demonstrated the results of the software prediction analysis, Durak received approval for 44 enclosures finished in white to be suspended in arrays of four in 11 locations. Powered by Lab Gruppen PDX3000 dual 1,450W (@ 4Ω) amplifiers, intelligibility has been fulfilled and enhanced by the buff-coloured carpets
woven in the province of western Manisa. Mixed from a Behringer X32 32-channel digital console, ease-ofuse functionality has been provided by DSP presets stored in a Martin Audio DX4.0 matrix processor. Room reverberation has been further tamed with the addition of a Klark Teknik DM8000 digital audio processor with stored DSP and routing settings together with auto mixing. “The Imam demanded a high-quality microphone system to recite the Koran in addition to leading prayers,” adds Durak. Dual Sennheiser EW 100 UHF wireless transmission is boosted by an ASA 214 antenna splitter and 1031 UHF antennas. A small inventory of ME2-II lavaliers and e 835 dynamic handheld transmitters are available, together with an e 901 boundary. An 8.5m-high mihrab with a minbar facing in the direction of Mecca and a pulpit similarly incorporate ME 36
The ornate chandelier hanging from the dome adds to the audio complexities are individually identified for each Imam and microphone levels have been set and stored as presets. “Although the younger Imams tend to be more technically savvy, a simple user interface eliminates potential technical problems,” explains Durak. Further 7-inch touch panels have been installed for prayers to be led from local locations, including the outdoor area. Having featured prominently in international news agencies for its inauguration, the high-profile house of worship demanded a broadcast infrastructure to be added for special
High above, the two minarets draw the masses to prayer courtesy of four Community R.35-3896 horns powered by a Lab Gruppen PDX3000 that receive their main input from a Sennheiser X1 wireless handheld in each tower. The high-quality audio system that Asimetrik has conceived delicately balances a restricted budget, interior design constraints and a high-quality audio system that enhances the worship experience, all the while blending in with the architecture. www.asimetrik.com.tr
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KnowHOW
Creating the perfect headphone mix Three experts from Allen & Heath, KLANG:technologies and PreSonus provide advice and tips on equipment and the obstacles to look out for What equipment is needed to provide a stage headphone mix for performers? WESLEY ELIANNA DEVORE, marketing manager at PreSonus: An onstage headphone mix can be created as easily as connecting a headphone amplifier to an aux bus output on your mixer. Adding a personal monitoring system provides further control onstage without the need for a monitor engineer because the musicians are in charge of their own mix. This can be as simple as an app on a mobile device that is controlling the aux mix on the
suppression on the IEMs. Another factor would be that a stage performance requires ambience mics which “open up the mix”, as well as allow artists to communicate with the audience. Last but not least, many performers require freedom of movement, which would replace hardwired headphone amplifiers with wireless beltpacks.
What challenges/ obstacles/constraints should you be aware of? NIC BERETTA, head of product at Allen & Heath: As more artists use in-ears with good insulation from
How does your technology help engineers improve the headphone mix? KAMP: Imagine you’re at a cocktail party with lots of conversations in the room. We can virtually steer our hearing in the direction of the most important information for us and blend out the rest. When you mix instruments in mono or standard stereo, this spatial information is lost, and our brain is forced to try other separation techniques which are not nearly as good or efficient. As a consequence, we get tired really quickly and it feels even harder to focus. KLANG’s immersive processing enables our brain to use its efficient “cocktail party focus functionality” by simulating the natural 3D acoustic markers into the IEM signal. This makes the mix natural and intuitive, and also helps to reduce the overall sound level significantly. In this way, you can benefit from the IEM’s main advantages and overcome one of their major drawbacks at the same time. The musicians can focus on their art and not on their monitor sound.
The EarMix 16M personal monitor mixer from PreSonus digital console or as complex as a completely separate system. The ideal solution is to have a dedicated monitor mixer and an engineer whose only objective is to ensure the best mix possible for every musician onstage.
How does a headphone mix for stage use differ from a headphone mix in a recording studio in the way it’s set up and managed? PHIL KAMP, head of sales at KLANG:technologies: Not very much in terms of the mix itself, but more in the technical requirements. In many cases, a stage is typically louder than a studio environment. This calls for more noise
stage sound, often the engineer needs to restore ambient sound in the mix, enabling the artist to connect with the audience. Latency is another factor that needs to be considered. Wireless microphones, mixing consoles, external processing or plugins, and wireless transmitters can easily add up to several milliseconds of latency, and while this might be perfectly fine for the FOH system, it can create discomfort for the artist and be detrimental to the performance. Also, if the monitor mixer is sharing preamps with the FOH desk, it’s essential that the two engineers agree on a good practice for gain management, to avoid gain changes on one side affecting the mix on the other.
DEVORE: For restricted budgets, we’ve been making headphone amps for over two decades. If these headphone amps are connected to a StudioLive Series III mixer’s FlexMix outputs, the musicians onstage can control their own mixes using our QMix-UC or UC Surface
software, depending on their competence level. PreSonus pioneered the use of mobile devices to control digital mixers, and our apps offer flexible workflows that can be as simple as “more me” or as complicated as full control over the aux mix and Fat Channel processor settings. Our EarMix 16M personal monitor mixer offers tactile control over headphone mixes when paired with a StudioLive Series III mixer. These flexible AVB-networkable systems create powerful personalmonitor solutions. While advanced integration features are available when used in conjunction with a complete StudioLive Series III ecosystem, EarMix 16M monitor mixers with a StudioLive Series III rack mixer can be used with any FOH mixing solution. BERETTA: The 96kHz FPGA core in our dLive, Avantis and SQ mixers ensure sub-millisecond latency input to output, which is ideal for monitor mixing. Our processing models including DEEP compressors and graphic equalisers don’t add any latency either and are great tools for carving the perfect monitor mix. For example, the Source Expander and Dual Threshold Expander in dLive V1.9 can go a long way to reducing unwanted noise into a stage microphone, the Mighty compressor is ideal for punchy
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KLANG:kontroller is compatible with all KLANG immersive in-ear mixing processors
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KnowHOW What are the benefits of headphones over stage monitors?
kickdrums that you need to cut through the mix and the Hybrid GEQ is a favourite for ringing wedge monitors. Beyond the mix itself, mixing desks need to aid the monitor engineer’s workflow in several ways. The Gain Sharing and Gain Tracking options in dLive allow FOH and monitor engineers to share preamps with peace of mind, Tie Line patching makes monitor splits much easier and Talkback Groups allow the engineer to select multiple talkback destinations in a heartbeat, for example “guitars” and “backline technicians”.
KAMP: Headphones offer individualised mixes for each artist which do not interfere with any other artist. This is particularly true of customised in-ears which come with built-in sound isolation. This also provides better control over levels going into the artist’s ears and, if used cautiously with an immersive mix, the overall sound level for the artist can be significantly reduced. Furthermore, the elimination of wedges reduces the sound levels onstage and especially bleeding into the instrument mics. Therefore, not only does the stage look cleaner but the microphone signals are cleaner too, and the FOH sound benefits as well.
Can you offer any tips for volunteers or inexperienced users who are just learning how to mix? BERETTA: As with any type of mix, start with a good gain structure and rough balance before you get too bogged down with individual channel processing. You might spend 20 minutes on the perfect compressor and EQ settings for a snare drum, but it means nothing if you are not listening to it in context. Add the rest of the drumkit and the bass, and you often need to start again. The same applies to monitor mixing. If using wedges, save yourself some stress by ringing the monitors beforehand, whereas with in-ears, it pays to have a similar set of phones as your PFL output, so you can monitor what the artist will be hearing. Always prepare some rough mixes for each artist beforehand. Try to anticipate what they’ll want to hear – if you’re a musician, you can draw from your own experience. Once the artists are onstage, you should be in a position to deal with minor changes only, a few dBs here and there, a bit more reverb or delay.
Is it better to let a monitoring engineer or a musician take charge of the mix? DEVORE: If the monitor engineer is experienced and creating mixes for the artists is their only responsibility, then this is the ideal situation, as it frees the artists to focus on creating the best possible performance. However, if access to those with more experience isn’t available, it’s always best to give control to the people who won’t be able to hear themselves properly if their mix isn’t what they need.
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KnowHOW
Video for the sake of video
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Casey Hawkins talks through the dos and don’ts of making a video presentation that limit video duration, the world has become increasingly hooked on short video clips that engage the mind quickly. In fact, I recently read that this reality is becoming a problem for the film and television industries because children’s brains are conditioned to be stimulated and then satisfied in just a few seconds, and now they are unable to stay focused on a movie and get to the conclusion. I see way too many 7+-minute videos at events and I recommend that you make every effort to limit the duration of your
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Keep videos short and focused HOW MANY EVENTS DO YOU GO to each year? Now think, how many of those had a video presentation? If you are like me, then the answer to that question is almost all of them. I started to think about this reality recently when working events at my church. I asked myself, why do all these people feel the need to have a video at their event? I love videos but, in my career, I have become very picky on when a pre-produced video should be a part of a live event. I am speaking about non-profit fundraising events and church ministry events, specifically. Over the past few years, I have worked hundreds of events and almost all of them have some sort of video presentation. Most of the videos have a few things in common. One, they are almost always finished last-minute. I rarely get a video a week ahead of an event. It seems like all these things are hot off the press every time. This creates a bit of stress for me to prepare the file for presentation appropriately. Two, they all seem to be the same video. They are not very interesting, generally, and they don’t usually seem to capture the audience attention in the way I think they were hoping for. Finally, they are almost always way too long in duration. I don’t know why, but I never seem to have the discussion anymore about how long a video should be in duration. I have a tip: it is not 7+ minutes!
If you are tasked with making a video for your house of worship, I would like to recommend a few tips on how to make it more interesting and inviting for the viewer.
Keep it short When I had my video production firm in 2007–2017, the average duration quoted for how long a promotional or
company informational video should be was a maximum of 2.5–3.5 minutes. That was the determined longest amount of time a viewer would engage in the message you were sending. There were exceptions to the rule, of course, but that was the industry-quoted duration. In 2022, I would imagine that amount has dwindled to a minute or less. Thanks to social media platforms
Recording a video with Green Acres Baptist
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Use quality audio and lighting and frame the shots well
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videos to 2 minutes, no matter how exciting your content and message is.
Keep it focused Create an outline for the video message and stick to it. I see a lot of videos that show people talking about something and they don’t have much to say, or they don’t say it with the emotion or enthusiasm that a viewer will react well to. A lot of times it seems that these videos show things or tell stories that aren’t very great promotionally. Interviews for a video can end up with less than stellar content and messages that weren’t originally planned for. They key is to know the story of the people and only interview those who can tell a story that is focused to the message you want your video to tell.
is to show the viewer your message and engage their minds. If all you are going to have is a talking head, then just ask that person to speak at your event if possible.
Get it done Before you begin to produce your video, plan it out. Develop a production schedule and ask everyone involved to help you stick to it. Give yourself plenty of time to shoot, reshoot if necessary and edit several versions, because there will be several versions. Do not leave out a completion date and make sure you allow plenty of time to deliver it to whoever needs it so that they can proof it, check it for any issues and have it ready for its final distribution point. It is not a good idea to wait until
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Church’s pastor using two camera angles One solid testimony is better than a dozen flat ones. Sometimes a testimony video is what people think they need because they saw other churches who had one, so they think that is the box they need to tick. A nicely scripted and well-shot video with a lot of great B-roll for a minute or two will go a lot further than a 7-minute rambler.
Keep it clean Have you ever watched a video where you can’t even hear what the person is saying? Acquire good-quality audio, light the subjects well, frame the shots well, use camera stabilisation and, even though it seems trendy right now, avoid the jump cuts. Shoot with two camera angles and edit between them when you are cutting up the narrative. Show adequate and relevant B-roll over people talking whenever you can. One of the main purposes of a video
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the morning of an event to deliver the video to the venue or AV system who needs to show it. I would like to add one last point, but it isn’t enough to have a paragraph on its own: ask yourself if a video is even needed. I think society is starting to get tired of watching videos at events unless it truly impacts them. If you can’t make an award-winner, then perhaps skip the effort altogether. If you are looking for a company to produce a video for an event or a promo, then make sure you find a good one. Finding the person who will do it for free is not always the best idea. Think about your viewer. If you are planning to show this video at a church event you are hosting, then ask yourself if they really came to your event to watch a video or are they expecting to be informed and entertained in person. I think you will find that this is a great question to ask.
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30/05/2022 10:20
KnowHOW
Colour – adding mood to your stage
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John Black considers how lighting can transform a space and the way that we experience it The auditorium is bathed in warm, orange light at the Hillsong Convention Centre in Sydney YOU KNOW THE INSTRUMENTS that you have. You understand the various accessories that you can use. And now you’ve got your instruments hung so that your entire stage is lit. Let’s now dive into some tips for creating various looks on your stage. One of the primary functions of stage lighting is visibility, true. But we’ll assume that the front wash you have set up provides nice, even front lighting for your entire stage. Another primary function with a high return value is that of setting the mood, which is most often achieved through adding colour. A multitude of studies have been conducted pertaining to the influence that colour has on emotions and human psychological responses. We wrestle over colour selections for paint and décor in our homes, interior design for retail, education spaces, business offices and every other environment created by and experienced by humans. It’s no wonder that colour is one of the four main functions of lighting, a tool in the lighting designer’s belt that can be used to enhance – or distract if improperly implemented – an environment for worship. Whereas selecting a paint colour for interior walls is a decision that will last for many years, lighting designers have the ability to select and manipulate colour palettes in their lighting of services on a weekly basis – or even between programme
items in a service. The most important thing to keep in mind is to support and enhance the message being shared in the service as lighting can quickly become a distraction. But, when skillfully and artfully implemented, it can transform a space and the way that we experience it.
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Describing colour – warm vs cool For many, the discussion surrounding the lighting terms “warm” and “cool” revolves mainly around the topics of lamps (light sources). The easiest comparison can be seen in that tungsten sources emit a “warm” light, while fluorescent sources emit a “cool” light. Many lighting manufacturers sell instruments using LED sources and give you the option of selecting a warm or cool option. These terms, while associated with degrees of colour temperature, are also describing the quality of the colour emitted by each source. Tungsten light sources emit an orange/yellow colour light, while fluorescent light sources emit a green/ blue colour light. Warm colours exist on the left half of the spectrum of visible light, such as red, orange and yellow. These colours are described as warm because they cause most people to feel a sense of relative warmth. The right half of the spectrum of visible light, such as
Lighting is projected onto the ceiling and walls at Holy Cross Lutheran, Texas green, purple and blue, are described as cool colours. They cause most people to feel a sense of coolness. Perhaps the easiest way to think about whether an environment feels warm or cool is to consider the difference in feeling when in a department store or theatre compared to a medical facility. The department store or theatre wants you to feel warm, welcomed and comfortable in that environment, while a medical facility wants you to feel a sense of sterility that we associate with cleanliness. In a house of worship setting, the feelings of being welcomed and comfortable are most often more desirable when a worshipper walks into the auditorium. The easiest way to achieve this is to ensure that the
auditorium itself is lit with warmcoloured house lighting.
The meaning of colour Have you ever thought about a colour and what it means to you? Humans have psychological responses to different colours. Sometimes these are the same and sometimes these are on opposite sides of the spectrum. For example, if you wash the stage in red, some people may feel a sense of love or comfort. On the other hand, some may feel a sense of hate, danger or warning. Just as two people can look at the same piece of art and have different reactions and interpretations to the work, the meaning of colour is very individualistic as shown in this
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KnowHOW example. There are some meanings, however, that are commonly accepted amongst lighting designers and these can usually be relied upon when trying to convey mood. The range of warm colours typically evoke stronger moods and feelings. As already mentioned, red often conveys love, affection, excitement and intensity. At the same time, it can also convey hostility and aggressiveness. Orange conveys warmth, excitement and happiness; but it can also evoke feelings of being distressed or disturbed. Yellow can convey cheerfulness and joy but, like red, aggression and hostility. In contrast, the range of cool colours typically conveys more peaceful moods and feelings. Violet often conveys dignity, but also sadness and melancholy. Blue conveys coolness, pleasantness and tenderness, but it can also convey sadness. Green often conveys leisure, security and freshness, but also illness. What often separates the way that a person interprets these colours is the direction from which the light is focused and illuminating a subject. In houses of worship, coloured lighting is most often used as back or top colour washes with the subjects onstage lit naturally from the front, so some of the more negative interpretations of colour are less likely to be felt.
Using colour There are a number of tools and techniques available to use colour to create environments in which worshippers are moved to feel or experience a certain mood. The specific tools available to you will vary depending on the lighting equipment that you have in your particular venue but, if your lighting rig is relatively modern, chances are you have LED colour-mixing instruments
At Grace City Church in Florida, lighting is emitted from the back of the stage over the worshippers’ heads to draw them in or tungsten instruments that feature colour wheels or a CMY colour-mixing system (in the case of automated instruments). These tools are great in that the colour parameters can be programmed and recalled directly from the lighting console. This means that you have the flexibility to change colours throughout a service if desired. For example, you may want to use a particular colour during the worship music to set one mood and then transition into another colour during the message. These types of instruments also are beneficial because you have the freedom and flexibility to dial in very specific hues and saturations as desired. If your lighting rig is older, for example made up of conventional instruments such as tungsten ellipsoidals, Fresnels or PARs, colour is added through the use of colour filters. The advantage of using colour filters is that they are inexpensive and usually easy to obtain. Several companies produce large catalogues of colours from which to choose. The disadvantage is that you won’t be able to physically colour filters during the run of a service, so each instrument will only be able to be used for one colour. Therefore, if your goal is to have your stage washed in three
colours but you only have conventional instruments, you will need three times the quantity of instruments dedicated solely to providing colour washes. There are a variety of creative ways that you can incorporate colour into your services beyond simply using it as a back or top wash on the stage. One technique that I like to use, especially if the auditorium is larger, is to use coloured lighting to help create a more intimate space and connect the auditorium with what is happening onstage. This can be achieved by using the interior walls and ceiling of your space as surfaces onto which you can project coloured or textured light that matches what is visually happening on the stage. This helps to engage those in the auditorium more than congregants experiencing what is onstage through the “fourth wall” as it is referred to in theatre. I also like to wash the auditorium area in coloured light as a way of further establishing mood. Many lighting manufacturers are featuring auditorium lighting that is driven by LED sources as a means of “going green”. These can include colourmixing LED auditorium instruments so that instead of dimming the lights to indicate the start of a programme,
the auditorium lighting can change colour to indicate the start while at the same time establishing a mood. If your auditorium lighting is older and you have instruments to spare, using any type of wash fixture can help you bathe the auditorium in coloured light to achieve this as well. Another technique is to place lighting instruments on the stage itself behind any musicians or presenters and use coloured light focused up and out over the worshippers’ heads as a way of drawing them in. If your worship space uses haze, this will allow you to use coloured light to wash the “air” in colour, further reinforcing a particular mood that you are trying to portray. This probably isn’t a technique that you would use during the message or speaking portion of your services but it can be effective in parts that are more interactive, such as worship.
In conclusion So, as you are approaching a service, begin by defining the desired mood that you are wanting to convey, whether that be throughout the entire service or individual service items. Consider if that mood is best achieved through the application of warm or cool colours. Once decided, select specific colours whose meaning and colour temperature support the mood that has been defined. Read through studies that discuss human interpretations of colour and look at images of lighting that others are doing to get inspiration. Or, if you have the luxury, go ahead and apply the colour and ask for feedback from others on your technical team or congregation. In most circumstances, many worshippers won’t even notice the lighting decisions that have been made as part of this process. But, when carefully and thoughtfully selected, they will feel it.
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July–August 2022 WORSHIP AVL 35
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TECHNOLOGY
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Added authenticity L-Acoustics house of worship specialist Josh Maichele explains how L-ISA technology differs from other immersive solutions on the market CONTINUING OUR EXPLORATION of the variety of immersive audio solutions currently on offer in the professional audio market, attention quickly turns to L-ISA, the comprehensive ecosystem created by French loudspeaker manufacturer L-Acoustics to deliver new multidimensional sound experiences to audiences of all sizes. The brainchild of L-Acoustics founder and president Dr Christian Heil, L-ISA Immersive Hyperreal Sound technology debuted back in 2016 as one of the first 3D audio processing engines intended for live sound. Since then, the system has evolved greatly and earned a reputation as one of the industry’s flagship solutions of its kind. The L-Acoustics approach to immersive audio makes use of the L-ISA processing engine to provide object-based mixing for up to 96
audio objects based on speaker positioning information and mixing parameters. The second generation of the L-ISA engine, the L-ISA Processor II has just been released into the market, doubling the original unit’s potential output count of up to 64 outputs to 128 in order to facilitate larger and more complex events. L-Acoustics is offering L-ISA Processor II in a choice of four output counts – 16, 32, 64 or 128 – from the same device, via different lifetime licences at tiered pricing levels. For example, a mid-sized house of worship might require as many as 32 outputs and this way, they pay only for the capacity they need. “In terms of hardware, the system is quite simple,” explains Josh Maichele, L-Acoustics application project manager – house of worship. “You need a
The brain of the system, the L-ISA multichannel audio processor
mixing console, you need an L-ISA Processor, a computer running the L-ISA Controller and at least five loudspeakers spanning the stage. Beyond that, there are also some really cool things we can do, such as extensions to make the panorama wider and clever things we can do with surrounds and overheads. For example, you can take the singing during a house of worship service and put it overhead to make it feel like there are 2,000 congregants instead of just 300. That’s a great way to break down barriers – people tend to get very apprehensive to worship when it feels like it’s just them.” L-ISA is compatible with DeskLink, which places direct control of L-ISA objects on the channel strips of DiGiCo, SSL and Yamaha mixing consoles, popular inside many houses of worship. Audio can be brought in as mono or stereo, with stereo tracks adjusted inside the soundscape, so that they can each have their own spread in the overall output. This makes it easy to retain the benefit of stereo effects and instruments but keeps them in check and gives them a localised area to sit in, preventing muddy
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L-Acoustics house of worship specialist Josh Maichele output. The files are also speaker agnostic, so you can take projects to different venues safe in the knowledge that the experiences will remain the same. So, what makes L-ISA different than the other immersive audio solutions we’ve explored in previous Worship AVL issues? “The difference between L-ISA and other platforms is that we’re very different technologies as a whole, firstly in our deployment, but ultimately in our purpose,” says Maichele. “When Dr Heil first came up with this idea, the word hyperrealism was something that we talked about a lot. What we’re really trying to do is create a connection between what can be seen onstage and what the audience is hearing. It’s not all about spatialisation of a mix. It’s
36 WORSHIP AVL July–August 2022
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TECHNOLOGY about what happens in our brains when what we see onstage connects audibly to what we’re hearing. I think that’s a vastly different approach from other solutions, which typically offer immersion under the guise of surrounding the listener.” In a spoken world setting, the acoustic goal often becomes less about spatial immersion and more about spatial “authenticity”. This lends itself perfectly for the dual spoken-word and music-based format so popular in many contemporary houses of worship. “For a HOW, we create immersion by the fact that we’re breaking down the wall that exists between the congregation and the stage. That barrier comes from the fact that we are seeing all of these bands and seeing pastors
FBCW’s Worship Center is now home to the world’s largest permanently installed L-ISA setup
A pair of L-ISA Processors with an Avid VENUE S6L mixing console
image magnification walls, and it’s why we’re trying to layer lighting to be able to have the pastor stand out from all of the other things happening onstage,” Maichele furthers. “It gives us precedence to understand that this is real and not just a video.” Since the platform’s initial unveiling in 2016, plenty of churches have taken the plunge and installed L-ISA technology for their weekly services. “I was in Pittsburgh at one of our venues recently speaking to their technical director and this was exactly how our initial conversation two years ago went,” recalls Maichele. “I asked
speaking, but we’re hearing it from a skewed perspective. Ultimately, the technology has been creating a block in the ability to be truly immersed. In venues with big videowalls, if you watch the audience, their attention tends to be focused on the walls rather than the presenter. In this case, the experience is really more like watching TV and feels entirely passive.” As if often the case with audio, this is likely not something the audience or congregation will necessarily vocalise, or even be aware of, until they stop and carefully think about the conundrum or are presented with a better solution. “Hyperrealism – is it something that was missing in churches?” questions Maichele. “And are people aware of a problem? I don’t think they typically are, and that’s where the education activities we do at L-Acoustics become important, so that we can help potential users get a better understanding of the ‘vision’ of the technology. When you look at what churches are doing – how they build
him to watch his congregation and watch where their attention went. Just two weeks after switching to an L-ISA setup, he calls me back saying ‘I get it now!’ Previously their technology was forming more of a distraction than a benefit.” Atlanta’s First Baptist Church Woodstock (FBCW) is another
Josh Belokonny mixing on the DiGiCo Quantum338 console and L-ISA Controller at First Baptist Church Woodstock (FBCW) rooms and what they’re typically doing with video and lighting – all those aspects intentionally are to break down a wall and make everything seem more real.” It also gives the ability to steer audience attention according to the service’s programme. “It’s why we have multiple camera shots for
excellent example of a house of worship that’s recently undertaken such a journey of discovery in order to transform its main auditorium of 17 years into a brand-new space. The Diversified team that handled the church’s audio integration strongly felt that the L-Acoustics immersive solution would best fit the congregation’s needs. “They needed a system that would be able to give dimension to what they were doing in each service, as well as make their massive room feel small, intimate and engaging,” explains Diversified account executive and audio lead, Nick Geiger. “We knew that L-ISA would do both, and also allow them to essentially flip a switch to move between their two performance setups.” FBCW production director Josh Belokonny had also identified several other existing audio issues that could all be remedied with L-ISA. “We had volume and tone inconsistencies throughout the room that made it hard to establish a consistent experience for everyone. There’s a lot of architecture that is very specific to the space here, and we had to take that into account. Standard left and right arrays in this room were an obstacle from a video standpoint because they would cause a lot of sightline issues.” There will be lots of HOW technical managers nodding their heads in solidarity with Belokonny’s plight. The changes introduced to the worship experience brought on by the pandemic have left ministries searching for a new direction, one that L-Acoustics strongly believes L-ISA can provide. www.l-acoustics.com
July–August 2022 WORSHIP AVL 37
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TECHNOLOGY
SPONSORED BY
Preparing for the age of hybrid worshipping with innovative technology creation tools; TalkShow, for live interviews with remotely located guests; NewTek Remote Storage, for larger organisations with expansive libraries of stored media assets; and NDI|HX and UHD PTZ (pan-tilt-zoom) cameras.
Appealing to a different demographic Director of communication of the South Carolina Synod of the Evangelical Lutheran Church in America (ELCA), Neal Fischer, wanted his church to be adaptive, relevant and able to deliver The need for “broadcast-quality” video production on a limited budget among houses of worship (HOWs) continues to expand. Congregations recognise the value in livestreaming and production workflows that are reliable and simple to implement. However, that technology must be user-friendly because most AV teams are volunteers with wide-ranging production skills. Many HOWs have upgraded to IP-based video production, which has had a profound effect on media programmes in the market. This has brought significant flexibility in how churches set up their systems and where pieces of technology can be located and easily accessed. IMAG projection, multichannel audio and hands-free talent tracking have also lent a professional quality to service productions.
Simple, scalable, seamless With this scalable and easy-toinstall IP network, congregations of all sizes are now simultaneously serving overflow areas in worship venues and congregants at home by streaming to other venues. They are also making services available as on-demand videos and streaming them on social platforms like YouTube and Instagram. If a church or temple hosts a special event, social media sites can be seamlessly paired with live video
production to increase community engagement and participation. By expanding streaming to these channels, congregations can cast a wider net to attract and engage existing and new members. For years, NewTek, with NDI, has worked with religious organisations across the globe to make IP workflows simple, and highly affordable. This includes installing TriCaster integrated production systems, NDI-compatible cameras and other tools that help deliver congregations’ critical messages. NewTek multi-camera live video production solutions spotlight HOW storytelling to reach more worshippers – with innovative technology at the heart. The full suite of HOW-specific technology from NewTek includes the TriCaster series, with built-in graphics
38 WORSHIP AVL July–August 2022
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its message to a demographic that lives much of its life on the internet. Fischer now livestreams services with a NewTek TriCaster Mini system, which he said has saved the church a lot of effort and money. “Working with a small budget can make it seem like your capabilities are limited but, with the right equipment and some creative thinking, you can get a high-quality, professional result,” Fischer states. HOWs like Fischer’s use graphics and videos to help tell and escalate the stories told each week to creatively develop a level of engagement with patrons tuning in remotely that more primitive technologies could never achieve. When used in conjunction with well-programmed lighting, networked audio sources and video, this nextgeneration AV system can help create an immersive experience that takes the
congregation on a journey from passive observer to active participant. Distributing services online has also become a major tool in keeping congregations together, despite being physically apart. When the pandemic hit, many churches relied heavily on the NewTek TriCaster to reach younger generations in a meaningful (and costeffective) way. To improve online presentations, the TriCaster offers audio and video tools, various chroma key backdrops and virtual sets, which are built-in, for better live multi-camera productions. Using a product like NewTek’s TalkShow lets users add live video calls from global guests, strengthening messaging while adding production values that rival programming congregants see daily on broadcast TV. And as the only professional, multichannel video calling production system for SDI and IP workflows, TalkShow can handle multiple live, production-ready video calls from most communication apps. Adding two or three NDI PTZ UHD cameras to a HOW live production setup is now easier. Volunteer staff members can plug them into a standard IP network, enabling the capture and delivery of 4K video (and audio, control and Tally) over a single Ethernet cable.
Futureproofing worship for the digital era Using all this broadcast-quality production equipment from NewTek can have a lasting, positive influence on a church or temple’s followers. Video technology does more than expand services, it brings new life to the message and fosters retention from digital worshippers. There’s no production too big or too small to benefit from NewTek’s proven technology for the HOW market. For volunteer staff, some aspects of the digital age can seem daunting but creatively implementing user-friendly, trusted, guaranteed video production, a congregation’s reach can soar further than ever before. www.newtek.com
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EM-362 Neck-worn Microphone TOA EM-362, neck-worn microphone specially developed for the use by Iman during prayer. Unique design suspends the microphone in front of the speaker’s mouth optimizing speech pick up and avoid being brushed against during prayer. We supply sound, not equipment. www.toa.com.sg
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TECHNOLOGY Image courtesy of Eric Natividad
Efficacy in stage lighting A higher wattage fixture isn’t necessarily brighter or more efficient – Robe FORTE LEDs at Saddleback Church
Elation’s Bob Mentele asks, does luminous efficacy matter in stage lighting? IF YOU’RE STILL FOCUSING ON a lighting fixture’s wattage to gauge brightness, you’re missing the point. We’re used to thinking, “the more watts, the brighter the fixture” but, with today’s highly efficient LED engines, the rules have changed. Fixture wattage is only half the story. Watts is a measurement of energy use, not brightness, and the total power draw of a lighting fixture doesn’t always equate to it being brighter. Two lighting fixtures may have the same wattage going in but have very different lumens measurements coming out. Luminous efficacy, or lumen output per watt, is what’s important. A 250W LED engine that outputs 10,000 lumens is twice as efficient as a 500W luminaire that outputs the same. A more efficient light source can add up to significant savings in energy and money. There are a lot of factors that go into realising the output performance of any lighting fixture – but it’s especially true with stage lighting fixtures. PARs, battens,
floods, even moving lights often use multiple sets of optics. The quality of the optics, the overall optical design, even electronics like power supplies and LED drivers, can all significantly affect output. While efficacy relates to total lumens/watt, that doesn’t always translate or give the full picture when it comes to stage lighting. Maximum beam candela can often be more important when you are painting air with light vs lighting a stage or scenery. For example, a “beam” fixture can have a very low total lumen output because the beam angle is around 2–3° but the centre beam candela can be very high and give a very effective result when moving beams across an arena. As another example, you might see a show with 1,200W lamp/25,000-lumen fixtures and a 189W lamp/9,000-lumen beam
Elation’s WW Profile HP produces a light efficacy of 67 lumens per watt fixture holds its own on the same stage with 21,000 lux for the 1,200W and 40,000 lux for the 189W in the centre beam. For example, Elation’s WW Profile HP fixture has a max total lumens of 10,075 lumens at 151W with
a peak candela of 48,536 lux using a 50° lens. This produces a light efficacy of 67 lumens/ watt. A competitor unit has a max total lumens of 9,607 lumens at 212W with a peak candela of 30,663 lux using a 50° lens which produces a light efficacy of 46 lumens/watt. So, when you read a headline that a fixture has a 180W LED or 230W LED engine, that’s great but it doesn’t mean the higher wattage one is brighter or certainly not more efficient. Moral of the story, if you are going to read spec sheets, ask for an IES file from the manufacturer which is the closest standard to compare true performance. Plus, it’s always best to get a product demo and bring your own light meter as your own eyes are often the best judge of light quality and efficacy. www.elationlighting.com
40 WORSHIP AVL July–August 2022
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PROFESSIONAL
PANARAY MSA12X DIGITAL BEAM-STEERING LOUDSPEAKER BOLD SOUND. HIDDEN IN PLAIN SIGHT. Whether it’s an auditorium, place of worship, lecture hall, or museum, sound is a critical part of the experience. Because the right audio solution can bring a space together — and enhance an experience — like nothing else. But loudspeakers often get in the way visually and lack the features and flexibility to fully support these kinds of spaces. Panaray loudspeakers from Bose Professional are the answer. They offer a slim, attractive design and deliver a bold audio experience: full-range sound, outstanding vocal intelligibility, and agile coverage control to conquer even the most acoustically challenging spaces.
Learn more at PRO.BOSE.COM Bose Singapore Pte Ltd | Phone: +65 6513 4859 | Email: Bose_Professional_SEAD@bose.com © 2021 Bose Corporation. Bose and Panaray are trademarks of Bose Corporation.
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PRODUCT SPOTLIGHT
KGEAR releases the GH4 and GP12A The size-to-performance ratio and flexibility of the GH4 and GP12A make them effective solutions for houses of worship K-ARRAY BRAND KGEAR HAS added two products to its growing catalogue. First is the GH4 ultracompact point source 4-inch satellite that features a high-performance, full-range driver. Thanks to the cabinet design in the shape of a cube, the GH4’s dispersion pattern reportedly guarantees a much lower emission on the back side of the speaker, improving sound control and preventing loss of energy in unwanted directions. The robust stainless steel enclosure design with IP64 rating provides durability even in the worst outdoor conditions, while the matte black or white textured finish gives the GH4 a sleek look to match any environment. The unit can be used as a single point source speaker, as well as mounted to create an array with multiple units to obtain even higher performance and directivity. The size-to-performance ratio and flexibility make the GH4 suitable for a wide range of fixed installations, such as small- and medium-sized houses of worship as well as larger-scale deployments. Second is the GP12A, a portable high-performance subwoofer and column system that features a 12-inch subwoofer with a ferrite magnet and a modular line array column with 16 2-inch drivers with neodymium magnets, a combination that KGEAR has engineered to deliver a high SPL in a compact format. The active version has a 4x 750W RMS Class-D amplifier with programmable DSP and it can drive up to three full GP12 passive systems at the same time. The column drivers feature an alternating angle pattern that increases the dispersion up to 140° on the horizontal plane to provide an immersive sound field while reportedly assuring a long throw and a narrow vertical dispersion. The GP12A comes with four factory presets to adapt to any needs. Thanks to its flexibility, quick setup and compact form factor, the GP12A/GP12 is said to be an effective solution for small and medium temporary and fixed applications where performance-to-size ratio is important. www.kgear.it
GH4
GP12
42 WORSHIP AVL July–August 2022
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Listen EVERYWHERE FROM LISTEN TECHNOLOGIES
/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / Create meaningful connections with your congregation when your audio is accessible to everyone using an audio over Wi-Fi assistive listening system.
Did you know? For an estimated 466 million people worldwide with hearing loss, traditional sound systems are not enough. Listen EVERYWHERE from Listen Technologies is a simple and affordable Wi-Fi streaming solution that allows people to use their smartphones for assistive listening.
Innovative Technology Stream audio over your existing Wi-Fi network using the latest technology.
Budget Friendly Listen EVERYWHERE is an affordable solution with options for every budget.
Virtually No Latency No lip-sync issues! Low latency means the audio does not lag.
Bluetooth® Enabled Connect to the audio using wireless headphones, earbuds, or hearing aids.
Easy to Use Customizable App, Fully brand and customize the free app with your colors, messages, and labels.
T-Coil Friendly Listen EVERYWHERE is compatible with t-coil enabled hearing aids and cochlear implants.
Visit www.listentech.com/listen-everywhere to learn more or call +1.801.233.8992 for a free quote.
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NEWPRODUCTS
AV • LIGHTING • LIVE SOUND • INSTALLATION • BROADCAST • RECORDING
A–ZCONTENTS Adamson
Load Library 5.3
55
ADJ
Encore Lime Par Series
47
AJA
Ki Pro GO v4.0
52
Amate Audio
X14FD
54
Ashly Audio
SP-8.1P
55
Audinate
Dante Studio
55
Avolites
Titan 15.1
48
Ayrton
Domino LT
48
Broadcast Solutions
meshLINK
51
Cameo
OTOS H5
47
Chauvet
WELL STX
48
Christie
DWU880-GS
50
DirectOut
ANDIAMO update
57
Elation
Fuze Max Spot and Profile 46
ETC
Eos Apex
44
High End Systems
Talen
48
Hitachi Kokusai
SK-UHD7000
52
JVC
KY-PZ510
50
Key Digital
KD-MLV4x4Pro
51
KV2 Audio
ESM312
54
Listen Technologies
LW-150P-02-D
56
Magewell
USB Fusion
51
ETC offers complete control with Eos Apex
Martin Professional
Martin ERA 150 Wash
50
NDI
NDI|HX 3
52
NEXT Audiocom
T Series
54
PreSonus
AudioBox Go
57
Prolights
EclPanel TWC Jr 4x1
49
QSC
AD-DWL / QIO Series
53
RF Venue
Wireless Upgrade Packs
56
With three sizes to choose from – the Eos Apex 5, 10 and 20 – the latest lighting control desk from ETC is said to prioritise the user experience for long hours behind the desk
Robe
PAINTE / iBeam 250
46
Eos Apex 5, 10 and 20
THE MULTITOUCH displays offer “generous screen real estate” for Magic Sheets, Direct Selects and Augment3d models, and feature eye-strain-reducing 4K resolution. The displays articulate on a dual axis and feature a 160° viewing angle, so users can see all tools and data from anywhere along the programming surface. Additional features include an ergonomically redesigned wrist-rest, book lights built into the sides of the desk, hand-holds for easy carrying, and drawers and charging ports for accessories. On the programming surface, programmers have access to their most-used tools, right on the face panel. The familiar Eos Family programming keypad has been enhanced with a touchscreen that thumps with haptic feedback when you press your soft keys or mapped content. Eos Apex also introduces customisable Target Keys for Direct Selects, which boast individual OLED displays that can be customised with images, icons and text. The encoder area from the Eos Ti console has been expanded to
include eight mini-encoders and a navigation dial to easily switch between parameters. The five, 10 and 20 motorised Playbacks on each Apex console respectively now boast an additional, separately mappable scroll wheel for on-the-fly programming. The Eos Apex Processor provides the power of an Eos Apex console in a portable, rackmountable box which can be used as a primary or backup controller or remote programming station. When a portal into a lighting system is needed but not the processing power, the new Eos Remote Interface lets users view and edit systems from anywhere in the venue. It’s also possible to mix and match DMX and show control ports on a per-show basis using customisable widgets. In addition to standard etherCON Gigabit connections, all Apex-class controllers also feature SFP+ ports that are compatible with the latest high-speed copper and fibre networks. Eos Apex consoles and Processors provide 24K output, allowing them to control complex rigs with ease.
Studio Technologies
Model 5204
57
Vidami
Vidami Blue
52
Yamaha
RUio16-D
56
And because shows keep getting bigger and bigger, expansion processing options are already in the works as the next phase of Eos development. ETC has also unveiled the Cyberlight LED, a moving mirror fixture created as a result of industry feedback. Manufactured in the US, Cyberlight LED is said to surpass moving head luminaires in several respects, including its high-speed pan/tilt movement and the ability to hide lighting fixtures in permanent installations. Furthermore, customers with existing mirror fixtures can retrofit those products with Cyberlight LED for more energyefficient operation and servicing. The 470W bright white LED engine combines with a highquality optical system to deliver 12,750 field lumens with 90+ CRI signifying its colour-rendering capabilities. A full complement of features include colour mixing plus colour wheel, dual rotating pattern wheels, zoom, focus, iris, prism and diffusion. CyberLight LED
www.etcconnect.com
44 WORSHIP AVL July–August 2022
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YOUR MESSAGE.
SPIRITUAL.
M ORE THAN JUST SPEE C H
K&F PIA M CONVEYS YOUR MESSAGE It has always been our main goal to deliver clear, natural sound to ensure every word is heard throughout the whole audience. Especially in places of spiritual contemplation it is particularly important to not just transmit speech. Using K&F PIA M makes room for the most important thing: the message. Loud, crystal clear and natural. www.kling-freitag.com
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PRODUCTS
Robe reignites the stage ROBE HAS announced the addition of five products to its catalogue. PAINTE is a compact moving light that delivers a quiet profile solution for short- and medium-throw scenarios. The 12,000-lumen fixture output is said to have a sparkling, clear white light, with “boundless” colours via the advanced CMY colour-mixing system. Designed for noise-sensitive environments, PAINTE features a TE 310W HP White LED engine from Robe’s Transferable Engine technology range and a motorised 8–48° zoom. The iBeam 250 is the latest addition to the manufacturer’s IP65 iSeries. Suitable for outdoor events or unpredictable weather scenarios, the iBeam 250 also has all the features of its indoor relative, the LEDBeam 150. Ingress protection is
iBeam 250
TetraX
PAINTE
specifically designed and developed to ensure the fixture is completely sealed and IP65 compliant. An aluminium housing provides a dust-free environment for the optics, eliminating the need for frequent cleaning, routine maintenance and UV damage to plastic parts. NFC (NearField Communication) technology,
C setup, diagnostic and performance features can be accessed directly from a mobile device, even when the fixture is not powered via the Robe Com app. Developed following the success of the Tetra1 and Tetra2 products, the TetraX comes with a dynamic pan movement and an extremely highspeed continuous rotation, increasing the sweep-effect possibilities of the fixture. Each of the nine evenly spaced pixels generates an ultratight 4° beam and these combine to produce a bright, defined “sheet” of light. The homogenised beams and smooth 11:1 motorised zoom provide ultra-smooth washes out to 45°. The TetraX comes with three patented MCFEs – Multi-Coloured Flower Effects – emitting sharp, multi-coloured spikes of light, with variable speed and rotation direction control to further boost the impact of in-air animations. Retaining the fast-moving, compact design of the original, the Spikie+ reportedly generates 25% more lumens from its single 60W RGBW source. The fixture has a specifically designed 110mm front lens and a moving zoom that produces beams from a tight 4° to a soft and wide 28° wash. The Spikie+ also incorporates the MCFEs to create sharp multicoloured spikes of light, rotating
bidirectionally with variable speed. The Beam Effects Engine transforms the output into three piercing rays of narrow beams, while continuous pan and tilt movement are said to add a further layer of dynamism. Colour
Spikie+ management includes CMY or RGBW mixing modes. Small and compact, weighing just 7.3kg, Spikie+ can be rigged at any angle. Finally, the Calumma Series has been designed to continue the success of the Anolis ArcSource family. The Floodlights are described as powerful, efficient and well rounded and are suitable for a variety of applications. Calumma luminaires provide durability in harsh outdoor environments as well as a pleasing design to complement indoor applications. www.robe.cz
Elation hits a new high with Fuze Max AVAILABLE IN Spot and Profile framing versions, the Fuze Max has been designed for precision lighting applications. The automated LED moving heads offer full-spectrum performance from a 92 CRI engine that draws upon an 800W five-colour homogenised LED array of red, green, blue, mint and amber sources. Delivering an output of 21,000 total fixture lumens, the RGBMA LED engine produces fully blended colours across a wide spectrum with pure dynamic whites that are tunable from 2,400–8,500K. The addition of amber and mint emitters extends the range of colours, including warmer tones, theatrical whites and pastels that blend quickly yet smoothly with natural transitions. Control over green and magenta enhances colour accuracy. Virtual colour temperature and CMY
emulation provide immediate access to the LED colour array, while a variety of premixed shades can be recalled from a virtual gel library.
Dimming of the LED engine is smooth and stepless with variable 16-bit dimming curve modes available to suit any application. Incorporating
advanced optics for sharp, crisp projections, both the Spot and the Profile LEDs house a motorised zoom for beam angle adjustment from 7–53° wide. The Profile is equipped with a full blackout framing system with four rotating blades and ±60° indexing for full control of the beam shape when required. The FX package includes 19 gobos across three gobo wheels in the Fuze Max Spot and 13 gobos across two gobo wheels in the Fuze Max Profile. Ideal for aerials, textures or breakups, both fixtures offer rotating and fixed glass gobos together with an animation wheel to bring graphics to life. Effects can be multiplied via dual prisms and a dual variable frost filter can be employed to diffuse the light for softer gobo or wash effects. www.elationlighting.com
46 WORSHIP AVL July–August 2022
WAVL Pg44-57 Products.indd 46
27/05/2022 16:36
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Cameo lights the way with OTOS H5 CAMEO HAS unveiled several fixtures, with the new Cameo OTOS H5 hybrid moving head for outdoor use taking the lead. With the OTOS H5, the German brand is targeting the needs of professional lighting designers and rental companies who are looking for a fully road and riderready hybrid fixture for both indoor and outdoor use. The OTOS H5 combines a high light output of 19,000 lumens, with IP65 certification, three-in-one hybrid flexibility and a low weight of 33kg, reportedly making it the lightest product in its performance class. Coupled with a large zoom range of 2–42°, continuous CMY colour mixing and flexible control options based on the integrated W-DMX transceiver, the fixture can be deployed creatively in almost any application. In addition, Cameo also introduced the P2 Series, its first profilers for the events sector, LUXIS FC and a second-generation STUDIO PAR G2. The P2 Series includes LED profile spotlights in Tungsten (3,200K), Daylight (5,600K) and Full Colour (RGBAL) versions, and boasts high CRI (96) and TLCI values for trueto-life colour rendering. With a light output of up to 15,000 lumens, the P2 models have been designed as
G2, STUDIO PAR 6 G2 and STUDIO PAR TW G2 models, and have been designed as versatile all-round LED PAR spotlights. Even with the smallest model, the STUDIO PAR 4 G2 includes integrated full colour mixing, while the STUDIO PAR 6 G2 extends the possibilities further with amber and UV colour and light variants. The series is rounded off by the STUDIO PAR TW G2 tunable white variant, which features 12 white light LEDs. In addition to optional wireless DMX control via the Cameo iDMX STICK, the new G2 Series is compatible with the patented SPIN16 technology. LUXIS FC OTOS H5 a replacement for conventional 1kW profile spotlights. In addition to their selectable pulse width modulation of up to 25kHz for flicker-free operation, the RDM-capable profilers can be flexibly adjusted in their beam angle (15–50°) via optional interchangeable lenses. For wireless control via W-DMX, the P2 profilers can be equipped with a Cameo iDMX STICK. The LUXIS FC is equipped with a 200W RGBALC six-in-one COB LED and combines colour rendering
www.cameolight.com
(CRI > 92) and a high light output (7,750 lumens). Thanks to the QuickChange mechanism – for fast and easy lens changes – the beam angle of the LED spotlight can be adjusted without separate tools. For wireless DMX control, the LUXIS FC can also be equipped with the optional Cameo iDMX STICK. The patented SPIN16 technology also enables flexible mounting based on the 16mm TV spigot integrated in the mounting bracket. Second-generation models in the P2 Series include the STUDIO PAR 4
STUDIO PAR G2
ADJ adds a dash of lime THE ENCORE Lime Par Series of IP65-rated LED wash fixtures from ADJ features quad colour (RGB + lime) LEDs that offer a very high CRI. Three models are available – the Encore LP7IP, Encore LP12IP and Encore LP18IP – with seven, 12 and 18 LEDs respectively. Each LED is rated at 20W and, combined in multiples, generates an even, soft-edged beam. Through precise dimming control over the four primary LED colours – red, green, blue and lime – the fixtures are able to generate a large gamut of colours and hues. The inclusion of the lime LED chip is said to help certain colours appear more vivid and boost the CRI to 86.2. In addition to full RGBL colourmixing control, the fixtures feature 64 built-in colour macros, five preset white colour temperatures and linear colour temperature control (between 2,700K and 6,500K) to aid with quick setup and programming. They also offer an adjustable refresh rate (14 presets between 900Hz
Encore Lime Par Series and 25kHz) for flicker-free operation when used for video recording and broadcast, as well as six selectable dimming modes (Standard, Stage, TV, Architectural, Theatre and Stage 2) and four selectable dimming curves (Linear, Square, Inverse Square and S-Curve). ADJ has also expanded its portfolio of stage lighting fixtures with the
addition of the Encore FR Pro Color. Combining motorised focus with a potent LED light engine that offers enhanced colour-mixing potential and a high CRI, the Fresnel fixture is designed to illuminate various stages, including theatres, houses of worship and concert venues. Positioned behind a 7-inch Fresnel lens, the 9.45kg unit’s 400W LED
light source delivers a maximum output of 9,237 lumens. Combining red, green, blue, amber, cyan and lime LED chips in addition to white light with a variable colour temperature of between 2,400K and 8,500K, the unit’s light source offers an average life expectancy of 50,000 hours. To aid with programming in varied situations, a virtual CMY colourmixing mode allows control using CMY colour palette tools alongside native CMY fixtures. It also features a tunable white colour temperature control, allowing a single DMX channel to be used to fade through the fixture’s white light colour temperature range. Featuring 62 preset white colour temperatures, 60 virtual colour wheel presets and 64 RGBA colour macros, the fixture also offers independent colourmixing control over the LED source’s six primary colours. www.adj.com
July–August 2022 WORSHIP AVL 47
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27/05/2022 16:36
PRODUCTS
Ayrton launches Domino LT Chauvet adds to allweather line-up
THE DOMINO LT is the first a triple corrector for variable colour long-throw, IP65-rated fixture in temperature that allows adjustment Ayrton’s 9 Series and forms part of from 2,700–15,000K as well as a the manufacturer’s LT (long-throw) “significant” CRI improvement. range. The fixture is Outfitted with multiple described as an optical tools for all-terrain LED shaping light, the for long-distance Domino LT is factoryapplications where equipped with a linear high precision is progressive frost required. It is also system, a lightweight able to cope with frost filter and two the most extreme image-multiplying conditions and rotating prisms: one acclimatise to linear with four facets and endure rapid and the other circular climate changes. with five facets. The It combines the framing section minimalist design of enables positioning the Domino Profile with the of each shutter colour-mixing capabilities of the blade on a 100% Huracán Profile and the surface area. The Domino LT IP65 weather-proofing of effects section includes the Perseo. two superimposed Equipped with a high-efficiency rotating gobo wheels each with 1,000W LED module, the Domino LT seven gobos, a 15-blade iris delivers a luminous flux of 51,000 diaphragm, a monochromatic lumens at a colour temperature of multi-position effects wheel and 6,700K. The fixture’s colour-mixing an RGB and CMY effects wheel for system offers a double level of multicolour effects. CMY saturation that can obtain 281 www.ayrton.eu trillion colours (patent pending) and
CHAUVET PROFESSIONAL is continuing to broaden its weatherproof line-up of batterypowered lighting fixtures with the addition of WELL STX, a pair of IP65-rated LED tubes intended to serve as decoration both around stages and to stages and in broadcast applications, indoors or outside. Available in two models, the RGBWW fixture produces either 360° (WELL STX 360) or 180° (WELL STX 180) of bright, even, pixel-mappable illumination which is capable of being oriented in multiple directions, mounted on floor stands or flown from different hanging points. Adding to the visual capabilities are the fixture’s 16 zones of control, which can be run wirelessly to create chase sequences. WELL STX fixtures are controllable via W-DMX, which can be used with nearly all standard lighting controllers, including the WELL COM with its built-in W-DMX receiver. Both fixtures use the
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same DMX personalities for control, which makes it simple to change them out for one another to meet the needs of different applications without reprogramming. Measuring 1.5m in length, the WELL STX 360 tubes are sold in sets of four and include four eyebolts for hanging options and four folding floor stands, as well as one remote and one charging flightcase. Its filter can be removed from the 360° option to reveal its individual LEDs if desired. The smaller, 1m-long WELL STX 180 is packaged as part of a complete kit that includes six fixtures. Each kit also features 12 magnetic brackets for attaching to metal surfaces, six eyebolts for hanging options, six folding floor stands, one remote and one ABS plastic charging case. A stealth black diffuse filter ships with the product that helps “hide” the fixture when it’s not activated. www.chauvetprofessional.com
Avolites adds fixed install capabilities to Titan control Talen brings flexibility to the rig
AVOLITES HAS released an incremental software update to its Titan lighting and integrated media control. Designed to accelerate the programming process of a time-coded show, Titan’s Timeline has proved successful in both live production and fixed installation settings. Offering a visual approach to programming, users quickly capture their actions manually via the UI or by using the live record feature. With Titan 15.1, a Venue Mode Workspace allows users to choose a workspace that will display on the screen when the console is locked.
This can be used to display selected playbacks on the lock screen, allowing for basic control by venue staff when the lighting operator is not present with password control enabled in publicly accessible places. Additionally, the console can now be configured to start in different lock modes, protecting the show from accidental editing. Other new features in Titan 15.1 include the merging of Titan Mobile into the Titan Go application and the ability to put Titan Go into full screen mode.
HIGH END Systems has introduced Talen, an automated luminaire that adds “visual excitement and big looks to any show”. The fixture’s high-intensity beams are created with full additive colour RGBW emitters and a large front aperture, resulting in an extremely narrow 3° beam with high centre beam candlepower. With infinite pan and tilt movement, Talen is said to move beyond the positioning limitations of other luminaires – its footprint is small enough to fit anywhere in a lighting rig but it can
also be used in creative hanging positions. The fixtures can be easily configured and addressed through ETC’s Set Light App. The luminaire can be used to add movement to conventional rigs and supplement bigger rigs. Additional features include a TIR lens for producing a tight beam of light, wireless fixture configuration via iPhone and Android devices and a versatile hinge. www.etcconnect.com
www.avolites.com
48 WORSHIP AVL July–August 2022
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27/05/2022 16:42
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PRODUCTS
EclPanel gains two soft lights PROLIGHTS HAS added two soft light fixtures to its EclPanel range: the EclPanel TWC Jr 4x1 and the EclPanel TWC Mini 2x1. The units include the same features as their siblings, including an RGB+WW source, a CCT range from 2,200–15,000K (in film mode), colour modes like HSI, RGBW, gels, source emulation and XY coordinates, plus they are equipped with W-DMX and CRMX. The panels have an Ethernet connection for ArtNet and s/CAN, a 24–36VDC input for connecting to external batteries and an alternative 48VDC input for an external power supply.
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In terms of size, the EclPanel TWC Jr 4x1 has the same length as its flagship version, but half the width, making it suitable for low-ceiling environments, while the Mini version is one-quarter the size of the flagship fixture. With a 230W source, the EclPanel TWC Jr 4x1 has a total output of nearly 16,000 lumens at 4,000K, and the same high CRI, TCLI and TM30 values as the rest of the range. Despite its small form factor, the Mini has a 115W source, outputting almost 7,000 lumens at the same colour temperature. Onboard software features include a
wide PWM range up to 40kHz, lower fan noises for silent applications, a high-resolution mode at low dimmer value and a new dimming curve that offers a 16-bit dimming experience while using an 8-bit dimmer. Turning to the EclProfile range, Prolights has also released its EclProfile CT+IP, a tunable white and full-colour ellipsoidal designed for exterior applications. The CT+IP has the same features as its indoor version, including a six-colour LED array (red, green, blue, royal blue, mint and PC amber), linear white CCT from 2,800–10,000K, RGB/CMY/HSI control, colour gel presets, tungsten emulation on dimming, colour and tint control. The manufacturer has also added raw and xy control modes for the CT+ and CT+IP ellipsoidals, allowing users to pick a colour in the CIE 1931 chromaticity diagram straight from their consoles. In brief, Prolights has released a fourth Astra moving wash, the largest in the series: the Astra Wash37Pix. This is a 37x 40W OSRAM RGBW fixture, with a wide zoom range of
Mosaico L 4–54° and capable of outputting nearly 18,000 lumens. Just like the Astra Wash19Pix, the bigger version comes with an external pixel ring for added pixel effects. Finally, the Italian manufacturer has extended its range of image projectors with the Mosaico L joining the Mosaico Jr, Mosaico and Mosaico XL models. Designed for long-range images, textures and logo projections, the latest white LED source outputs 11,700 lumens and comes with an IP66 rating for outdoor installations. www.prolights.it
30/05/2022 16:46
PRODUCTS
The Rush is over as Martin Professional heralds a new ERA WITH THE Martin ERA 150 Wash moving head and Martin ELP PAR static LED wash, Martin Professional testifies to have developed next-generation lighting fixtures for rentals, installations and touring. As the successor to the Martin Rush MH 6 moving head LED, the Martin ERA 150 Wash delivers 3,900 lumens from its seven 40W RGBW light engine and optical system. Ideal for covering larger stages that require long throw distances, the ELP PAR succeeds the Rush PAR 2 static LED. Capable of outputting twice the output of the previous model, the ELP PAR incorporates the same RGBW light engine and optical system. Supporting a dedicated colour temperature control channel for adjusting the colour space from the desired colour temperature, the ERA 150 Wash and ELP PAR feature full-gamut colour calibration systems for producing consistent colour reproduction from fixture to fixture. With a zoom range of 4.2–58°, the ERA 150 Wash and ELP PAR produce broad washes
and high-intensity mid-air effects. Streamline setup is included with the ELP PAR’s smart rigging and control features, including omega bracket connectivity and clear angleprojection indicators. Projection and focus can be instantly confirmed at the touch of a button by temporarily switching from full-power to openwhite to adjustable-zoom settings.
Both lights feature a low-noise Theatre mode operating at 33dB. An ELP PAR IP sealed design variant will be in production later in
2022 for deployment in IP65-rated outdoor settings. A free software update for Martin P3 System Controllers has introduced a number of features and improvements that
benefit both new and old models in the line-up. The main highlights of software version 5.3.0 include the fact that the P3-PC System Controller now supports the NDI protocol, allowing the P3-PC to receive
video-over-IP from various sources, such as media servers, webcams and media players, and also that sACN has been added as an input protocol on all P3 System Controllers, alongside DMX and Art-Net. Support for multi-universe Art-Net Sync and sACN Sync has been added as well. Other notable enhancements include the fact that Background Image Opacity Control, New Tools Menu, Workspace Size Tooltips, the Renumber Tool and Quick Addressing Tool have been updated to improve workflows, and support for Active PDE Junction Box has been added. Enable Magnified Fixtures now supports MAC Aura PXL, MAC Ultra and VDO Atomic Bold fixtures. DMX and Motion View has been updated to include a re-patch functionality and incoming universe status window. Additionally, it is now possible to run fixtures in “pure video mode”, not requiring any DMX controls to be patched. www.martin.com
Christie expands GS Series JVC Professional connects with PTZ cameras with two new models
DWU1100-GS TWO MODELS have joined Christie’s GS series of 1DLP projectors. Outputting 9,000 ISO lumens and 10,600 ISO lumens respectively, the DWU880-GS and DWU1100-GS projectors have been designed for use in a variety of settings, including houses of worship. The projectors feature laser illumination capable of delivering 20,000 hours of consistent illumination to 50% brightness, with no need for lamp or filter replacements. Christie Twist warping and blending tools are built in, enabling alignment onto irregular screens for multiprojector
blending. With Christie Mystique Lite, an optional camera-based alignment software that works with an inexpensive webcam, up to three horizontal projectors can be automatically stacked and aligned on a flat screen or surface. Mystique Lite is available for download at no additional cost and can be upgraded to other tiers of Mystique software, to warp, stack and blend larger projection arrays on a more complex screen or surface. For installation flexibility, the GS Series includes DVI, HDMI, HDBaseT and 3G-SDI inputs.
DESIGNED FOR a large variety of venues including houses of worship, JVC has unveiled the KY-PZ510 series of PTZ cameras. Available in black and white finishes, the KY-PZ510 and KY-PZ510N (with NDI 5 support) models offer enhanced SMART auto-tracking for automatically following one person within its field of view. The inclusion of Vertical Interval Time Code (VITC) technology with Network Time Protocol (NTP) promotes multicamera synchronisation for seamless live event production. The four models incorporate 4K60P HEVC SRT streaming with multi-slice encoding technology to reduce latency. As
the latest addition to the Connected Cam remote production solutions, the cameras support H.264 encoding for increased compatibility with a variety of hardware and software applications. The cameras’ 80° horizontal angle of view and focal length of 21.8– 261.8mm promote their use in live events. All models support Secure Reliable Transport (SRT), which is resilient to bandwidth fluctuations, data loss and intermittent connectivity. The KY-PZ510N can simultaneously output NDI, SRT and RTMPS for hybrid local and remote workflows for distribution to the most popular CDNs. pro.jvc.com
www.christiedigital.com
50 WORSHIP AVL July–August 2022
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27/05/2022 16:43
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PRODUCTS
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Broadcast Solutions looks to mesh networking
MAGEWELL IS looking to create more engaging online presentations with its latest multi-input USB video capture device. Building on the ease-of-use credentials of the company’s other capture devices, USB Fusion features two HDMI inputs and one USB webcam input, letting users switch between 1080p60 HD sources or combine two inputs into one output in either a picture-inpicture or side-by-side view before
HIGH-QUALITY WIRELESS video transmission has been made possible with meshLINK from Broadcast Solutions. The platform combines UHD HEVC video encoding with full duplex IP and mesh networking to deliver high-quality transmission with low latency down to 45ms in HD and 75ms in 4K, in addition to 100Mbit maximum data throughput and 1–4 HD encoding channels per frequency. meshLINK is a true duplex IP-based wireless system, allowing a wide range of functions during live broadcasting. Further on, intercom, return video, prompter and other functions can also be integrated as in any other IP-based application. In a basic configuration, it can be seen as a Tx/Rx wireless point-topoint product, with the fundamental difference being that it allows bidirectional IP traffic and complete monitoring of the link. In this configuration, meshLINK works with a radio and encoder on the Tx side, combined with a radio and decoder on the Rx side. Adding more radios (dubbed nodes) to the system creates a mesh network, a single-frequency, highly scalable, self-forming and self-healing wireless network.
browser-based web interface offers scene switching, volume adjustments and device configuration. The full presentation power of the device is unlocked through the third control option – the free USB Fusion companion app for iOS and Android tablets – which provides expanded layout controls for combining any two of the three input sources and lets users add pictures, video clips, background music and handwritten
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being brought into software via the USB 3.0 interface. The device is said to be ideal for houses of worship that wish to combine a camera signal with supporting visuals – such as lyrics displayed from a separate laptop – into a single livestream. On-device buttons allow users to switch between full-screen sources or select a combined scene layout, while a
notes into their presentations. Presenters can set up playlists incorporating live video and other media in advance, and record or take screenshots of the combined output onto the hardware’s built-in storage. Annotations can also be exported to files for archiving or subsequent sharing. www.magewell.com
Placing nodes on the fly allows ad hoc transmissions from virtually any position. Using the mesh functionality, a radio is a transmitter, receiver and repeater simultaneously, adding flexibility to the system and uninterrupted signal transport. Signal routing is automatically and dynamically selected for optimal performance. In addition, data can be entered and retrieved at every node in the network. In case one Tx/Rx line is blocked, all other nodes in the mesh can take over the delivery of the signal by acting as a relay. www.broadcast-solutions.de
Key Digital makes the switch
KEY DIGITAL has developed the KD-MLV4x4Pro 4x4 4K UHD HDMI multi-view tiling processor with seamless matrix switching. Integrating HDMI signal extension and control options, the KD-MLV4x4Pro is a complete solution for multisource, multi-screen applications in houses of worship. The KD-MLV4x4 offers seamless switching for uninterrupted screen transitions from any of the four HDMI inputs to feed any of the four HDMI outputs while in full-screen
mode. Image layering allows stacked images with customisable priority settings per output. The four inputs can also be tiled in one of five preset layouts and fed to any output set to multi-view mode. Custom-matrixed outputs can be created, allowing picture-in-picture display and user-mapped combinations of live content and graphics with selectable bezel size on each window. Where on-screen source identification is desired, each source can be overlaid with up to 16 characters of text with
variable sizing and on-screen location settings. The KD-MLV4x4Pro natively accommodates 4K inputs and outputs together with selectable output down-conversion to 1080p and 720p for support of legacy displays and projectors. The four HDMI outputs are mirrored to RJ45 ports for signal extension up to 40m using Ultra High Definition over Twisted Pair (UHDoTP) technology. The HDMI and UHDoTP outputs can be used simultaneously to feed up
to eight displays. To feed displays at a distance, four KD-EXMLVRx UHDoTP receivers are included with the KD-MLV4x4Pro with Power over Cat (PoC). In addition to front panel buttons, the KD-MLV4x4Pro can be controlled from the Key Digital iOS app and Key Digital Management Software Pro (KDMS Pro) from TCP/IP control systems via open API and its integrated web UI. Audio output ports may be routed separately from the HDMI and UHDoTP ports for which audio from any source may be selected while in multi-view mode. Audio can be de-embedded with twochannel analogue audio output on a six-pin balanced/unbalanced output connector and two-channel to 5.1 digital output. www.keydigital.com
July–August 2022 WORSHIP AVL 51
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27/05/2022 16:43
PRODUCTS
Hitachi 4K Ultra HD camera widens the spectrum AS A follow-up to the SK-UHD4000 4K studio and field production camera, Hitachi has developed the SK-UHD7000 live production and broadcast model for the creation of 3840x2160 Ultra HD video. Retaining compatibility with existing Hitachi control panels and third-party control systems, the second-generation 4K Ultra HD model incorporates three 2 ⁄3 -inch global shutter CMOS image sensors with native 4K resolution. Complying with all international
video assignments. Other features include an integrated prompter power, video monitoring and intercom connectivity at the camera body, together with a motorised, optical ND filter turret and a lens mount that does not require a mechanical or optical adapter for standard B4 interchangeable lenses. Full-bandwidth, uncompressed, native 4K signals are transported from the SKUHD7000 camera head to the
colourimetry specifications, the prism design incorporates an expanded spectral range. The sensors and prism combine to enable full-range BT.2020 UHD Wide Colour Gamut (WCG) capture. A dual 4K and HDTV workflow supports separate controls for Hybrid Log Gamma (HLG), High Dynamic Range (HDR) and standard dynamic range (SDR). A sensitivity of F11 at 59.94fps enables enhanced acquisition with limited lighting, while a signal-to-noise ratio of 62dB provides quiet images. Operational features including focus assist and viewfinder zoom simplify critical focus at 4K resolution. The SK-UHD7000’s streamlined camera chassis has a low centre of gravity presenting a light load on the camera operator’s shoulder for handheld
new CU-UHD7000 camera control unit (CCU) via SMPTE 311M hybrid fibre-optic cable over distances up to 2km. Single-link, 12G-SDI connectivity also provides 4K output directly from the camera head, while integrated HD down-conversion offers 1080p, 1080i or 720p output for multi-format production applications. Embedded audio is available on all SDI outputs and as listen-channels on the intercom connections. A trunk data interface supports video transport and control of TCP/IP-capable devices connected directly to the SK-UHD7000 camera head, enabling applications ranging from robotic movement and IP-based prompting to VR/AR 3D space positioning.
Vidami foot pedal gains Bluetooth connectivity VIDAMI HAS developed a wireless control pedal that can be used to perform on-the-fly video and audio editing. The Vidami Blue can connect to both computers and iOS mobile devices via Bluetooth and is compatible with all major DAW platforms, allowing users to record, loop or set markers using five foot switches and without having to fumble around with computer controls. The Vidami Blue features the same Video Mode functionality as the original Vidami unit, with the ability to loop, slow down and control playback of videos on more than 35 compatible online video learning platforms. The additional Bluetooth connectivity gives players the ability to use Video Mode with their iPhone or iPad on
Safari iOS 15 and Vidami’s iOS Safari extension. It can also be paired with Mac and PC desktop computers using Vidami’s Chrome and Safari browser extensions. The next generation “Blue” footswitch also adds two modes: DAW Mode and Page Turning/Tab Mode. In DAW Mode, players can record, loop, add tracks and set markers on workstations running GarageBand, Logic Pro, Reaper, Pro Tools, Studio One, Cubase and Ableton Live. Described as a natural extension to Video Mode, Page Turning/Tab Mode enables players to turn pages, scroll tabs/ lyrics and use other functions on their preferred digital sheet music apps and tab sites. www.vidami.com
Ki Pro GO v4.0 firmware increases flexibility
www.hitachi-kokusai.co.jp
NDI|HX 3 standard combines added quality with lower latency WITH THE availability of NDI|HX 3, the latest version of NDI enhances video quality with reduced latency. Reportedly using a fraction of the bandwidth of NDI high bandwidth, NDI|HX 3 is an option for developers wishing to add flexibility without needing to change or upgrade hardware. Released in 2015, NDI technology helps users with
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creating content and moving video “without limitations”. NDI|HX 3 combines low-latency transmission with reduced bandwidth, while maintaining the visually lossless standards to deliver broadcastquality video without the need to upgrade equipment. www.ndi.tv
VERSION 4.0 firmware for AJA Video Systems’ Ki Pro GO multichannel H.264 recorder brings enhanced playback and control functionality to increase flexibility in the field. The free update introduces third-party file playback support alongside a host of new settings and improvements to help provide more seamless setups and operation across production, post and pro AV environments. Highlights of the new firmware include the playback of mp4 files originating from supported
third-party applications, including Adobe Premiere Pro, Apple Final Cut Pro, Avid Media Composer and Blackmagic Design DaVinci Resolve, as well as the ability to set each device to generate zero, one, two, three or four B-frames individually on each channel for smaller file sizes. New alarm functionality reportedly makes it easy to clear outdated alerts after errors are corrected and an updated REST API enables remote device shut-off. www.aja.com
52 WORSHIP AVL July–August 2022
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27/05/2022 16:44
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PRODUCTS
Q-SYS to the Core WITH THE introduction of the AcousticDesign Direct Weather Landscape (AD-DWL) family of loudspeakers, QSC has created an impact-resistant enclosure that does not compromise sound quality. Displaying the same sonic characteristics as other AD Series speakers, the AD-DWL.180 (180° directional coverage) and the AD-DWL.360 (360° directional coverage) loudspeakers can be augmented in the lower frequencies by a companion AD-DWL.SUB subwoofer. All models feature tamper-resistant base support and a subtle green enclosure to match most landscaping, which is also paintable to allow for further customisation. For ease of installation, all loudspeakers in the AD-DWL Series share the same footprint for easy adjustments and provide a direct-toconcrete or in-earth base support for a secure permanent installation. In addition, the loudspeakers are built to endure the harshest outdoor environments with a durable polypropylene/fibreglass construction and stainless-steel hardware featuring an IP55 rating.
AD-DWL The series offers the same sonic characteristics as the rest of the AcousticDesign units, making it possible for users to mix-and-match between form factors to fit their needs. Integrators can also take advantage of QSC Intrinsic Correction to simplify the tuning process with built-in custom QSC loudspeaker voicings via the Q-SYS cloud-manageable audio, video and control platform or CXD Series amplifier platforms.
QSC has also announced the QIO Series network I/O expanders for the Q-SYS cloud-manageable audio, video and control platform. Comprising the QIO-ML4 (four mic/line inputs), QIO-L4o (four line outputs) and QIO-ML2x2 (two mic/line inputs and two line outputs), the three rack- or surface-mounted Audio I/O models are equipped with mic/line-level inputs with +48 VDC phantom power and/or line outputs together with microphone
detection on inputs to enable monitoring, usage statistics and failure notifications. The QIO-IR1x4, QIO-S4 and QIOGP8x8 Control I/O models add IR, serial or GPIO connectivity to integrate control over a wide variety of devices into any Q-SYS system. Up to four Q-SYS QIO devices can be daisychained on a single network run to consume fewer network ports and expand future I/O without adding network cables. Alternatively, the QIO Series is also PoE capable, providing single cable connectivity when devices are not daisy-chained. In brief, Q-SYS Scaling licences allow integrators and IT administrators to expand DSP processing power and application-specific features on the Q-SYS Core Nano and Core 8 Flex. The Q-SYS Collaboration Bundle Scaling Licence for the Q-SYS Core Nano and Core 8 Flex increases Q-SYS capabilities, while the Q-SYS for the Q-SYS Core Nano and Core 8 Flex is tailored for BGM and paging applications where medium/largersized Core processors are required. www.qsc.com
reach everyone
in the audience ® MAUI i1 PASSIVE INDOOR/OUTDOOR INSTALLATION COLUMN LOUDSPEAKER
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For acoustically challenging interiors where music and speech must be clearly understood, even in the rearmost rows, there is one solution - MAUI® i1.
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For outdoor use, MAUI® i1 features weather treated cones, an aluminum loudspeaker grille and a weatherproof cover for the connection panel.
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DESIGNED & ENGINEERED IN GERMANY LD Systems® is a registered brand of the Adam Hall Group.
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PRODUCTS
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NEXT Audiocom introduces T Series PORTUGUESE MANUFACTURER NEXT Audiocom has unveiled the IP65-rated T Series, two-way loudspeakers with a built-in 100V transformer and 8Ω power tap said to be “perfect” for both distributed and near-field applications in environments such as houses of worship. The T Series speakers are housed in a weatherproof cabinet capable of architectural integration, indoor and outdoor. The range consists of three models: the T4, which offers a 4-inch low-frequency transducer and a 0.8-inch dome tweeter; the T6, which has a 6-inch LF driver with a 1-inch HF Driver; and the T8, which is composed of an 8-inch LF transducer and 1-inch HF driver.
All three models are equipped with a four-position (in+/in- and link+/link-) Phoenix connector located on the back plate. The screw connector is said to provide a faster and easier way to wire the system, allowing the speaker to perfectly fit the wall shape while keeping the cables invisible. The speaker includes a back cover that allows it to be exposed to rain or highly humid environments. All the T Series models are available in black and white to match an installation’s décor. They also ship with a U-Bracket included. Other wall brackets, with pan and tilt capabilities, are available. www.nextaudiocom.com
The stage beckons for KV2’s latest three-way monitor AIMED FOR large-scale stage monitoring applications, the threeway ESM312 is the latest addition to KV2 Audio’s range of fullrange, high-output, passive stage monitors. The Czech manufacturer’s most powerful stage monitor to date delivers 133dB sustained output and 136dB peak with a very high dynamic range. The dual 12-inch front-loaded, bass-reflex woofers incorporate sophisticated voice coil technology and a neodymium magnetic motor structure for lower distortion, added force and increased frequency response linearity down to 40Hz (–3dB). Attached to a 90° x 40° (HxV) horn, the 6-inch midrange woofer addresses the vocal range and
a 1-inch compression driver with a geometry phase plug and neodymium magnetic structure provides extended frequency response to 20kHz. Housed in a compact 398mm x 585mm x 553mm Baltic birch cabinet, the ESM312 provides a low-profile monitoring solution. Weighing 42kg, the wedge-shaped design incorporates recessed handles on each side panel and rear-mounted flip-out stands allow for 35° or 45° angles as required. Finished in a wear-resistant polymer coating, a custom designed acoustic fabric protects the inside of the grille against liquid spillage. www.kv2audio.com
Amate Audio delivers more from less SAID TO be the latest and most powerful iteration of its coaxialbased, dual-purpose designs, the X14FD from Amate Audio is its latest Xcellence series self-powered active system intended to serve as a front of house PA and stage monitor system. Its 14-inch coaxial driver is said to combine the LF response of a conventional 15-inch but with midband resolution of a 12-inch, resulting in an “extraordinary output signal from a diminutive package”. The use of a single driver also enables the design of an enclosure with a greatly reduced form factor relative to its power and frequency range. Additionally, the system incorporates Amate’s uprated Active+ digital power and control platform with high-order FIR filtering and Dante audio networking. The asymmetric X14FD cabinet can be hung, flown, stacked or pole
mounted in FOH, front and side-fill PA applications, or floor-standing on its horizontal axis, deployed as a stage monitor. Portability and handling are aided with top and bottom flush carry handles. Integrated rigging points and pole-mount socket facilitate rigging or stacking of the cabinet, which boasts a “tour-proof” construction of reinforced Baltic plywood and weather-resistant polyurea coating with integrated protective rubber profiles. Onboard power and control from the Active+ electronics include 1,500W Class-D biamplification and DSP system management, with LCD colour touchscreen operation and monitoring. Active+ offers a suite of tools to set up and tune the loudspeaker system in a fraction of the time required for conventional active systems. Features include
high-order FIR filtering, fully phase coherent PEQ adjustment and absolute phase alignment of common cabinet couplings, independent dual limiting (RMS thermal and peak) on each power channel, highorder crossovers, delays of up to 300ms/100m and EcoMode power settings (including auto input signal detection). Included system presets, extensively researched by the Spanish manufacturer’s engineering
team, optimise control parameters for configurations with other Xcellence series loudspeaker systems in commonly occurring applications. Additional parameter adjustments are storable in PINprotected user settings. Dante audio networking and full Ethernet remote control, via the company’s DSP Studio 3 software, are facilitated via dual Ethernet ports. Wi-Fi remote control is possible with the CWK-D Wireless Communication Kit. www.amateaudio.com
54 WORSHIP AVL July–August 2022
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HDL 26-A SYSTEM
SOUND SOLUTIONS FOR INSTALLATION
HDL 26-A
133 dB max SPL 2000 W peak 2-way Class-D 55 ÷ 20000 Hz Frequency Range 100° x 10° coverage angle 3” Titanium Compression Driver 2 x 6” Neodymium Woofers
HDL 35-AS
Flyable complement for the HDL 26-A 134 dB max SPL 2200 W peak 2-way Class-D 40 ÷ 140 Hz Frequency Range 15” Neodymium Woofer
Networked Management FiRPHASE Technology
Lightweight and easy to deploy, HDL 26-A Array module feature RCF transducers, Class-D amplifiers, and proprietary FiRPHASE DSP processing for a natural sound at any volume. Incredibly even SPL, consistent coverage, and flexibility for an extended market of professional installations and integrations. The complete integration of all elements provides users the freedom to adapt the system to the location, with powerful software tools for system design, tuning, and management.
www.rcf.it
PRODUCTS
Ashly completes dynamic range passive subwoofer line WITH 150W power handling at 8Ω, the SP-8.1P passive subwoofer forms the latest addition to Ashly Audio’s compact subwoofer line. Boasting an 8-inch low-frequency driver with ferrite magnet, front loaded into a bass reflex and a 0.6-inch reinforced plywood enclosure, the SP-8.1P has a sensitivity of 95dB (1W@1m) and a frequency response of 43Hz–180Hz (–10dB). The subwoofer’s DSP voice presets provide frequency response tailoring, as well as delay and crossover settings with Ashly’s
IS and AW series speakers when used with AquaControl and Proteaequipped processors. For maximum
effect, the manufacturer suggests pairing the subwoofer with its nXp 400 or higher or Pêma 4125,
4250, 8125 and 8250 amplifiers. The cabinet is available with a textured paint finish in both black or white to match a variety of installations. With recessed handles on either side and rubber feet on the bottom and sides, transporting and stacking the sound system is simple. For greater flexibility, the subwoofer can be hung with the SP-8.1P’s 10mm threaded bolt holes along the top, sides and rear to accommodate optional hanging eye-bolts. www.ashly.com
Audinate reveals Dante Studio AUDINATE HAS introduced the Dante Studio platform solution for advancing AV production capabilities and streamlining workflows. Resident on this platform, apps from Audinate will provide integrators with professional-grade tools for improved, specialised video networks. As the first tool on Dante Studio, Dante Video RX enables Windows PCs to receive video simply and seamlessly from any Dante AVenabled source. Dante Studio comprises an array of software solutions that bring Dante video features to PCs. Integrating within Dante-based environments that operate on standard 1Gb Ethernet networks, computers loaded with Dante Video RX can receive a video signal from Dante AV transmitters or Dante AV cameras. Supporting 1080p resolution, 60fps and synchronisation together with separate routing of video and audio elements, Dante Video RX will soon support 4K video.
By downloading the Dante Studio installer, the Dante Video RX trial licence is activated and the system can then be configured using standard Dante Controller software. Aimed at conferencing, houses of worship and educational applications, Dante Video RX can facilitate the use of video streams from anywhere on the network. Video feeds from a legacy camera may be fed through a Dante AV encoder before being patched to Dante Video RX for conferencing, streaming and recording applications. Dante Video RX can also be used with OBS software or with platforms such as Microsoft Teams, Skype, Zoom, vMix or Panopto to provide a cinematic look to presentations, lectures and lessons. New tools within Dante Studio, including Dante Video TX, a virtual transmitter and the Dante Video Viewer virtual monitor, are currently in development for late 2022 release. Audinate has also announced the availability a new licensing programme that gives customers the
ability to purchase and add channels of Dante audio to supported products in the field. Dante Ready allows makers to lower costs at the time of manufacture and gives customers the ability to purchase only the channels that are required for an application. Available for devices using a Dante Embedded Platform, Dante Ready is activated as software online while devices are in the field. Once activated, the product licence never expires and can be expanded as needed through later purchases. The Dante Virtual Soundcard software has been optimised for Apple M1, M1 Pro and M1 Max
as well as Microsoft Windows 11 operating systems. By transforming a Mac or Windows computer into a Dante workstation, the soundcard connects Dante audio devices on an Ethernet-based network for recording, processing and playout of up to 64x64 channels using any combination of Dante-enabled devices. Dante Virtual Soundcard 4.2 supports Windows 11 and Apple Silicon-based macOS computers, while Dante Virtual Soundcard 4.1.2 is recommended for Intel-based macOS computers. www.audinate.com
Adamson releases Load Library 5.3
OPTIMISING THE ease of use of both linear phase and conventional crossover settings
by introducing a uniform preset naming scheme, Adamson Systems Engineering has released Adamson Load Library 5.3 for Lake Processor. In the new software, default settings for E-, S- and IS-Series cabinets use linear phase crossovers with subwoofer presets using corresponding latency
compensation, and are timealigned when placed equidistantly to the reference position. Additional settings for S- and IS-Series point source cabinets offer 5ms less latency by using conventional crossovers. For full flexibility, additional subwoofer presets time-aligned to conventional crossover presets are now included in the subs folder. These can also be deployed when subwoofers
are positioned further back from the reference position to avoid applying additional delay to line arrays or point sources. Conventional Crossover and corresponding subwoofer settings are marked with “CC” in the preset name. Adamson Load Library 5.3 is included in the new Lake Controller v7.0.7 release. www.adamsonsystems.com
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PRODUCTS
Listen Technologies unveils new Listen EVERYWHERE server Yamaha adds VST3 plugins to Dante YAMAHA HAS launched its RUio16-D/VST Rack Pro solution, which allows users to add VST3 plugins to any Dante-based audio system. Measuring 180mm x 125mm x 42mm, the low-latency RUio16-D operates seamlessly with VST Rack Pro software when connected via USB to a Windows PC or Apple Mac computer. By expanding the range of sound creation options in live sound scenarios, streaming and other digital audio applications, VST3 can also be used with analogue mixing consoles. In addition to managing custom presets by rack, effect and scene, the PC/Mac user interface of the VST Rack Pro provides ease-ofuse operations, such as allowing performers to use the same plugins when recording. VST Rack Pro is bundled with more than 30 Yamaha and Steinberg plugins,
including hardware emulations of classic compressors and EQs using Yamaha Virtual Circuitry Modeling (VCM) and REV-X reverbs. Bundled Steinberg plugins include soundshapers like Quadrafuzz v2, the REVerence sampling reverb and VST Amp Rack together with visual monitoring tools including the Cloner, MultibandEnvelopeShaper and SuperVision. Providing 16 Dante I/Os, a mic preamp and two inputs and outputs for analogue audio with phantom power, the RUio16-D serves as an interface for acoustic measurements. It also features an independent gain control with pad switch for each analogue input, switched monitor/Dante/ USB output level controls and a headphone output with volume control.
ADDING TO its Listen EVERYWHERE product line, Listen Technologies has introduced its LW-150P-02-D two-channel server with a Dante input on the rear panel, which is said to enable easy routing and management of Listen EVERYWHERE audio on a network via Dante Controller software. Listen EVERYWHERE is Listen Technologies’ audio over Wi-Fi solution that streams audio over a Wi-Fi network to personal smart devices or the LWR-1020 receiver currently available in the US. The smart devices function as receivers for the assistive listening system. In venues offering Listen EVERYWHERE, guests can listen to the audio from their smartphones using headphones or earbuds. They also can stream sound directly to Bluetooth-enabled headphones or hearing aids. The LW-150P-02-D is also available in the US in a bundled ADAcompliant assistive listening system SKU (LWS-10-D)
that includes the Dante-enabled twochannel server, rackmount kit, two LWR-1020 receivers, two protective cases for the receivers, two neck loops, two ear speakers and a signage kit. The Listen EVERYWHERE server with onboard Dante is compatible with all Dante-enabled products. The two-channel server is also available without Dante. Both servers offer the lowest latency in the industry and are easy for venues to install on their existing wireless networks. The LW-150P-02-D server with Dante on board is available in the US, Canada, Europe and Australia. The LWS-10-D Dante-enabled system with LWR-1020 receivers is available in the US. www.listentech.com
uc.yamaha.com
RF Venue eliminates dropouts INTENDED TO deal with interference by effectively eliminating wireless signal dropouts in houses of worship, RF Venue has released its Wireless Upgrade Packs. Including all the cables and hardware necessary for wireless mic and in-ear monitor systems with no tuning or adjustments, RF Venue’s Wireless Microphone and In-Ear Monitor Upgrade Packs provide a complete wireless reliability system. Designed to be simple to implement, the packs operate with all wireless mic and monitor systems, regardless of brand. For combating high interference levels, HOWs can plug in a pair of Bandpass Interference Filters to mitigate interference from LED lighting, videowalls and 5G cell phones. Engineered as a complete system with DISTRO4 and DISTRO9 HDR RF distribution amplifiers, RF Venue’s Diversity antennas and cabling, the upgrade packs can be ordered with multiple types
of antennas to fit any specific HOW requirement. For a wireless system using up to five wireless microphones, the 4 Channel Wireless Microphone Upgrade Pack can connect five
wireless receivers with its four diversity output connections and a cascade output pair. When more channels of wireless microphones are requested, RF Venue offers the 9 Channel
Wireless Microphone Upgrade Pack featuring the DISTRO9 HDR Antenna Distribution system for connection to nine wireless microphones. With the DISTRO9’s higher dynamic range, a HOW’s wireless is futureproofed as increasing wireless devices compete for less RF spectrum. When larger systems are needed, additional DISTRO4s or DISTRO9s can be cascaded. Covering large areas, multiple rooms, or indoor and outdoor areas, the DISTRO9 HDR can create multi-zone installations by providing two separate zone antenna inputs. For wireless in-ear monitor systems, RF Venue offers both four-channel and eight-channel upgrade packs to avoid dropouts and static noises. IEM upgrade packs feature the CP Beam Antenna, including the COMBINE4 and COMBINE8 IEM combiners with cabling for the transmitters and antenna. www.rfvenue.com
56 WORSHIP AVL July–August 2022
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PreSonus heads out on the road BILLED AS its smallest, lightest and most portable audio interface to date, the PreSonus AudioBox Go has been designed for recording both on-the-go and in fixed installations. The bus-powered interface connects via USB-C directly to iOS and Android devices, as well as desktop and laptop computers, requiring no drivers or special applications. Boasting 24-bit/96kHz resolution recording, the AudioBox Go has a combo mic/line input that can be used to connect microphones or synths and integrates the manufacturer’s proprietary XMAX-L
microphone. Like the PD-70, the Revelator Dynamic is designed to capture the human voice cleanly and clearly by eliminating breathiness, unwanted reverberance and ambient room noise. This reportedly allows the Revelator Dynamic to be used in virtually any space, allowing recordists to set up their studio just about anywhere. Following in the footsteps of the Revelator io24 audio interface, the Revelator io44 fits into the palm of the hand. The four-in/two-out audio interface is bus-powered via its USB-C compatible jack and can
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An ANDIAMO evolution DIRECTOUT HAS released the third generation of its ANDIAMO series with newly designed AD/DA converters, as well as networkbased audio and remote control.
features eight summing busses, input and output gains and TRIM, hardware monitoring for PSU status and temperature, and redundant power supplies. Network remote
With a higher channel count compared to the third-generation ANDIAMO, the device provides up to 288 inputs and 288 outputs with an internal routing matrix and failover redundancy using EARS. The device
control is available via globcon and the device comes with optional support for the Ravenna, Dante or SoundGrid network audio formats. www.directout.eu
Model 5204 intercom station puts focus on Dante AudioBox Go preamp design. A second instrument input is provided to track guitar or bass simultaneously. A pair of balanced TRS ¼-inch outputs can feed studio monitors, while a high-powered headphone output provides zero-latency monitoring. The device ships with a licence for the manufacturer’s Studio One Prime software. PreSonus has added two products to its Revelator portfolio. As with other Revelator products, the Revelator Dynamic USB vocal microphone and Revelator io44 audio interface combine studiograde audio recording quality with onboard processing and a simple software-controlled mixer that can blend sound from multiple applications for monitoring and livestreaming. Like its sibling, the Revelator USB large diaphragm condenser microphone, the Revelator Dynamic mic offers easy-to-use presets that let vocalists customise their sound and create a polished mix for recording, livestreaming and podcasting. The Revelator Dynamic uses the same custom-built dynamic microphone capsule found in the PreSonus PD-70 broadcast
serve as the heart of a mobile setup as well as the core of a streaming rig. The Revelator io44 features a combo mic/instrument input with the sound of PreSonus’ XMAX-L mic preamp, as well as a ¼-inch linelevel stereo input for DJ mixers and mobile devices, making it suitable for electronic musicians, guitarists and streamers. A high-powered ¼-inch stereo headphone output works with regular headphones (mic in, stereo out). Balanced ¼-inch stereo main outputs are provided to connect to professional studio monitors. Revelator USB microphones and audio interfaces are said to offer extensive onboard signal processing, with the same Fat Channel EQ, compressor, gate and limiter algorithms found in PreSonus’ StudioLive Series III mixers, plus reverb and voice effects such as delay and vocoder. PreSonus’ UC Surface software for macOS and Windows provides access to the processor settings, allowing users to create their own unique sound and save them as presets for instant access. www.presonus.com
THE STUDIO Technologies Model 5204 is a two line input, portable, general-purpose audio intercom station supporting Dante. It has been
features to be configured. Versions of STcontroller are available free of charge for use with Windows and macOS operating systems. Single-
designed to serve as a user interface for a variety of applications, including live events and houses of worship. The device allows the establishment of four independent talk and listen channels with just a headset and a Dante connection. Party-line intercom applications can be created using standard IP networks along with a Dante-enabled audio processing device, such as the Model 5421 or Model 5422A Dante intercom audio engine. A range of resources allows production personnel to incorporate the Model 5304 locally or as part of a remote application. The Model 5304 is supported by the STcontroller software application, which allows for a range of operating
and dual-ear broadcast headsets are directly supported. A low-noise, wide dynamic range microphone preamplifier supports both dynamic and electret microphones. Additionally, an analogue dynamics controller circuit ensures microphone audio quality and minimises the chance of signal overload. A single PoE connection supplies the Model 5304 with both power and network data. Housed in a lightweight ½U aluminium enclosure, the unit accommodates optional mounting kits that allow one or two units to be mounted in a 1U rack space. www.studio-tech.com
July–August 2022 WORSHIP AVL 57
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THE TECH VIEW
A change of focus Hazelwood Sound & Vision’s Graham Wood is keeping a close eye on house of worship trends – past, present and future Graham Wood
IT’S NOT BEEN UNCOMMON over the past two years to hear how the pandemic has led businesses to diversify or focus their attention on new approaches. And it’s also not been uncommon for houses of worship to place much more of an emphasis on livestreaming to keep in touch with their at-home worshippers. Hazelwood Sound & Vision, a specialist AV company that designs, installs and maintains bespoke sound and visual systems, has noticed a change in focus over the past two years towards video streaming, in addition to sound and visual display upgrades. “The pandemic has certainly changed the company’s focus,” explains owner, Graham Wood. “With little interest in streaming pre-Covid, we have seen a major shift in market demand towards streaming since the pandemic started, plus we have seen churches upgrade older sound systems with DSP-based technology that can be remotely controlled as the cost of this technology has come down to an affordable level. For example, we recently upgraded our installation at Notre Dame de France in central London to give us remote support to the church’s networked DSP equipment, giving us immediate
access for adjustments as well as saving us a four-hour journey.” Based in the UK, the company moved into the house of worship installation market in 2003 and operates within a 50-mile radius of its base in Basingstoke, Hampshire. Typical projects fit into four main areas: live sound, video display/projection, streaming and hearing loop systems. HOW installations vary in size from small villages to medium-sized town churches and in budget from a few thousand pounds to upwards of £60,000, depending on what breadth of technology is required, the size of the venue and, of course, the allimportant budget. “‘How much will it cost?’ is the one question that we always receive from a new house of worship client nowadays,” says Wood. “In the past two years, this has been a real issue, perhaps more so now than after the first lockdown as church giving has not been maintained and running costs have continued to draw on depleted church funds.” The company’s solution has been to ascertain each church’s requirements, then match the budget with the technology that’s available and produce a phased approach to implementation.
Remote system access at Notre Dame de France, London
As an example, if a church wants to produce video presentations, stream its services and already has an outdated sound system with no remote control, Wood would agree the overall solution, then work back to identify the benefits of the sub-systems (such as external streaming versus in-house video versus sound system upgrade) before looking at the cost/benefit options of individual areas (type/number/location of video streaming cameras, location of displays/projection screen(s) and level of user interaction to control the sound system). “Our approach is
Looking at future trends, Wood believes larger houses of worship will adopt more AVoIP technologies which will increase flexibility with typically less installation costs. For smaller churches, he believes it will be down to manufacturers to develop cost-effective integrated mixer amplifiers with enough DSP capability to also support remote control. “There has been one product that we have used extensively for the past 10 years in smaller churches, but it needs a refresh/replacement with a more intuitive GUI, it needs
Beam-steering loudspeakers at Christ Church, Guildford based on simplicity of operation and intuitive control for the (often volunteer) sound operator in a dynamic music environment,” explains Wood. The company has also been involved in HOW installations featuring beamsteering technology. While the cost can initially look more expensive compared to passive, fixed beam loudspeakers, Wood believes they are a step up for larger churches without the extra cost of distributed speakers and their installation and the extra amplifiers with delay capabilities for multiple time alignment. “You can model a space, but you still need to fine-tune where the sound projects to and how even the sound pressure is,” says Wood. “Beam steering gives you this flexibility in a way that mechanical speaker adjustments alone cannot.”
to be networkable, with the addition of remote (tablet/computer) control and a Class-D (transformer-less) power amplifier to drive 100V line or low-impedance speakers, and all in a rack-mountable package,” adds Wood, “but so far no manufacturer has come up with anything suitable.” With an increasing proportion of business coming through word of mouth, Wood is also looking for a new partner to help grow the company. “They could already be in the HOW market, but as the technology we use overlaps with commercial and home entertainment installations, this would enable a partner to share already common technical knowledge and installation resources.” www.hazelwoodsv.co.uk
58 WORSHIP AVL July–August 2022
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GREAT THINGS REALLY CAN COME IN
S MALL
PACKAG ES!
IS213 IS5c
Introducing Adamson's new IS-Series family additions, bringing our renowned performance into some of the smallest form factors we've ever created. Visit www.adamsonsystems.com for more information.
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LA7.16 i AMPLIFY DIFFERENTLY Think differently about how amplifiers should work: Explicitly designed for installation environments, LA7.16i is a multitasker with 16 output channels, each able to produce 1300w at 8 ohms. Multi-Channel, Multi-Type, Multi-Time, Multi-Signal.
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