Worship AVL March-April 2022 by Blank Canvas Publishing Ltd

AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST

March–April 2022

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Overcoming poor speech intelligibility at Putra Mosque UPPING THE LIVESTREAMING GAME

GETTING THE PERFECT CHOIR MIX

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Contents Issue 74

March–April 2022

NEWS MAIDEN VOYAGE Drum and Bass Center turns to FBT at EKL event

MODERN WORSHIP Nexus Christian Fellowship selects Avantis at FOH

STAYING CONNECTED Empower Church embraces modern technology

ONLINE SUPPORT PAC University students learn with Blackmagic

FIT FOR A KING Kings Baptist Church fitted with Adamson solution

HISTORIC UPGRADE Antioch Baptist Church North selects EAW

COMMENT Robert Soo asks, what’s audio got to do with church worship?

PROJECTS THE SERVICE MUST GO ON Prescot Parish Church installs new AV system

360° MAKEOVER SAW designs audio, lighting and rigging at Faith Dome

FLEXIBLE UPGRADE Kairos Multi Jaya futureproofs GIA Lengkong Besar

ACT TWO Acts Church Cape Town stays faithful to Meyer Sound

COVER: TICKLED PINK Acousticon solves uneven audio at Putra Mosque

CHALLENGE ACCEPTED Christ Church Guildford relies on Pan Acoustics

KNOWHOW MIC PERFECTION Mike Dias looks at how to achieve the ideal choir mix

UPPING THE GAME Casey Hawkins builds on GABC’s digital content

LIGHTING ACCESSORIES John Black looks at controlling the light beam

Editor’s note

Email: kwallace@worshipavl.com

As we head a little further into 2022, Worship AVL is privileged to bring you more contributed articles from some familiar experts in our industry. On p.16, Robert Soo has written the first in a new series of articles called “What’s audio got to do with church worship?” Robert is the founder of Cogent Acoustics in Singapore and has worked with numerous houses of worship both in Singapore and abroad for 25 years. His regular column will be joined in the next issue by Acousticon founder, Azizi Ala. If there’s anything new that you would like us to cover, then please do get in touch. Earthworks Audio’s Mike Dias discusses how using the minimum number of microphones placed as close to the choir as possible will avoid feedback, noise and distortion and achieve the perfect choir mix (p.32). And in the latest in our acoustic shaping series, d&b audiotechnik’s Asher Dowson explains how the launch of Soundscape in 2018 has led to a shift in the approach to loudspeaker system design, signal processing and distribution (p.38). My local parish of St Peter’s in Pembury – consisting of the Upper Church and Old Church – is in the process of upgrading the audio and video systems in both buildings. The public notices regarding the faculty application have now been put up for 28 days following the formal Notification of Advice from the Diocesan Advisory Committee, which will pave the way for formal approval of the works. We initially contacted the integrator back in February 2021, so this is a very significant step forwards and we hope the installation can begin in the spring. I hope you enjoy the issue.

IN THIS ISSUE

TECHNOLOGY ACOUSTIC SHAPING d&b reports an uptake in its Soundscape system

HDBASET VS HDMI-OVER-IP A comparison of the two technologies

OUTDOOR LIGHTING How to choose the right IP65 fixture

PRODUCTS Equipment launches and updates

THE TECH VIEW Solving problems with 5 Words Media

Contacts

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SALES ASSOCIATE Carolyn Valliere T: +1 562 746 1790

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PRODUCTION MANAGER Adrian Baker T: +44 1892 676280

DIGITAL MEDIA MANAGER Nick Smith T: +44 1892 676280

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NEWS

Drum and Bass Center calls on FBT for EKL clarity, a unique design and above all the ability to perform were the main considerations with the equipment specification.” Opoku selected an FBT Muse line array for primary reinforcement, deployed in main left/right hangs of 10 Muse 210LA active line array elements per side and flown above ground-stacked pairs of Mitus 218SA active subwoofers (eight in total). Front fill was provided by four stacks of Horizon VHA 406LA cabinets and VHA118SA subwoofers lining the front lip of the stage, while FBT StageMaxX 12MA active monitors provided onstage foldback for performers. Yorkville Psa1 full-

GHANA Drum and Bass Center was recently tasked with providing the audiovisual equipment necessary to power a large-scale maiden event held in Ghana and hosted by the interdenominational evangelical mission group, Evangelism for Kingdom Living (EKL). The event amassed a crowd of more than 30,000 worshippers at the Baba Yara Sports Stadium in Kusami. For Drum and Bass Center, it was the first-time catering to a major outdoor event on a

scale such as this and also its first major event since the pandemic. “We became involved having been referred by a satisfied customer,” recalled Drum and Bass Center CEO, Yaw Opoku. “There was indeed competition from other suppliers but we won because of our proven track record on other successful projects. I love to research top performers and learn about what best matches a customer’s situation. When it came to desirable audio attributes at EKL,

range cabinets with Yorkville es801 subwoofers took care of side fills. “The equipment was arrayed with the subs as front fills to achieve the optimum performance,” noted Opoku. “The venue, being the Kumasi Sports Stadium, allowed the cabinets the ideal distance for it to do long throws, creating an experience that many described as the first of its kind in terms of performance and experience.” It wasn’t all smooth sailing, however. “The weather derailed our setup but this was quickly rectified by our team and we were able to meet all of our deadlines,” added the CEO. “The client was very happy and we exceeded his expectations. He is willing to buy more products from us in the near future, especially FBT speakers.” Following the success of the maiden voyage, EKL has signed a two-year contract with Drum and Bass Center covering all equipment supply and support services for its Ghana-wide tour that will kick off in March. www.drumandbasscenter.com www.fbt.it

Multi-site ministry lights up new Cincinnati campus USA Citygate Church’s new campus Forest Park, located just north of Cincinnati, has invested in a customisable lighting solution by Elation Professional, installed by S&L Integrated Systems. Once a small congregation, Citygate has developed into a multi-ethnic, multi-site ministry, with the Forest Park campus reaching a broader far-north community. The church contacted Nathan Tomberlin, an account executive at S&L Integrated Systems, noting a tight turnaround and a modest budget, specifying the need for high-quality LED lighting that was easy to maintain as well as durable. There were predominately two areas within the 1,500-capacity sanctuary to focus on – a raised band riser that supports a full band and a larger lower deck. Tomberlin compiled a three-point focus

Forest Park package that serves as a foundation design with key lighting and rear wash, which the church can add to over time. Tomberlin used two key luminaires – the Fuze SFX, a multipurpose LED spot and effects fixture, and the WW Profile HP, a LED warm white ellipsoidal. “The catwalk angles stage left and stage right are at about 45° so it was perfect

for key and fill from the WW Profiles,” Tomberlin explained. “We also have them on a 15m stick of truss over FOH for the downstage and altar, and additional fixtures on another truss at proscenium over the altar area for front wash for the band riser. The SFX are on the ground and upstage left, centre and right.” Elation Platinum Wash ZFX

moving head wash fixtures have been transferred from Citygate’s Lebanon campus to supplement the SFX and WW Profiles. S&L Integrated Systems designed, supplied and installed the lighting system along with motors, rigging, structure, audio and comm systems. “Forest Park has given us an opportunity to set a standard for production for our campuses while establishing the look and feel that we want. It’s a system we can translate from one campus to another as we grow,” Dustan White, production director at Citygate Church concluded, noting that the goal next year is to put in the same broadcast and lighting setup in the Lebanon campus. www.elationlighting.com www.slintegratedsystems.com

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New URSA Broadcast G2

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NEWS

Nexus Christian Fellowship connects with Allen & Heath THAILAND With over 20 locations throughout Thailand, the Nexus Christian Fellowship is a growing network of Christian churches that places live music at the heart of weekly services. When work began on a new worship space in Bangkok, its third facility in the capital, Nexus turned to Sonos Libra, Allen & Heath’s distribution partner in the region, to specify and install a new sound system capable of handling the full array of modern worship requirements, but with the ability to be controlled by non-technical operators for day-to-day usage. For the FOH system, a 64-channel Avantis mixer is deployed, fitted with a Dante card for the digital split and livestream feed, plus a Waves 3 card for external processing. The fully customisable Custom Control app was chosen to provide simplified control of the FOH system so that the core functions can be controlled by users of all abilities. At the monitor position, a 48-channel SQ-6 has been selected, which comes with 12 stereo mixes used to feed the IEMs. Additionally,

functions and days, plus a Waves card for additional processing if required.” K Thom, technical manager at the church, added: “We have a lot of volunteers and non-technical staff who are tasked with handling

The SQ-6 at the monitor position, with 12 stereo mixes feeding IEMs performers can control their monitor mixes via the SQ4You personal mixing app for iOS/Android. The SQ-6 is fitted with a 64x64 SQ Dante card which is used for the digital split to the FOH system, as well as providing a feed to the livestream and recording room elsewhere in the church. Onstage I/O is provided by a pair of DX168 audio expanders, delivering 32 analogue inputs and 16 analogue outputs via Allen & Heath’s ultra-lowlatency 96kHz DX protocol.

“Houses of worship are not new for us, so we know how important it is that the system delivers high-quality audio for both speech and music,” said Alfonso Martín, CEO of Sonos Libra. “However, our approach to Nexus Church had a twist with the flexibility options added on – a Dante backbone at 96kHz that could be picked up and expanded to any of the other rooms within the building, Custom Control with easy-to-control presets for different

Dante was used for the main audio backbone, with a Waves card enabling external processing high-performance systems, so the combination of Avantis, which has the in-depth functions for technical users, with the easy-to-use Custom Control App, is a perfect solution.” www.allen-heath.com

Alcons is music to the ears USA

North Metro Church in Marietta, Georgia, is an inclusive house of worship where a dynamic array of music is a key part of its services. Ranging from quiet background ambience to full-on praise rock, the installation of a sound reinforcement system that could reproduce music at all volumes with equal high quality was key. AV specialist Austin Sound Design knew that an Alcons pro-ribbon solution was the best way to cover the large width, depth and height of the North Metro Church auditorium. “I attended a demo hosted by Alcons’ David Rahn and Scott Hough a few years ago,” said Austin Sound Design founder, Chris Austin. “I have always appreciated ribbon technology and was immediately drawn to the superior performance of the Alcons pro-ribbon systems. After years of listening to various premium systems, in both install and live music applications, I knew that Alcons was next-generation technology and I wanted to be a part of it.”

The brief from North Metro Church was for a high dynamic range, lowdistortion system with good coverage, clarity and articulation. Austin added: “The church was open to new ideas and brands. Once they experienced a demo of the Alcons 6.5-inch LR7 micro line array system installed at the Greater Atlanta Christian Church in nearby Norcross, they were more than happy to invest in their own Alcons installation.” Austin and his team installed 18 dual 8-inch biamplified, highoutput LR18/90 compact line array modules, four triple 18-inch BC543i (install version) cardioid subwoofers and four double 5-inch SR9 in-fill monitors. Power and control come from five Sentinel10 (4x 2,500W) and one Sentinel3 (4x 750W) amplified loudspeaker controllers. “Our company prides itself on providing the latest in technology and Alcons is a perfect anchor to that. The product line is very well thought out and offers a wide variety

The installation consists of 18 LR18/90, four BC543i and four SR9 units of tools. We use them all and know that we can count on that consistent performance from every Alcons product,” explained Austin. “The installation at North Metro Church is a real showcase for the church, Austin Sound and Alcons Audio. We

anticipate using it as an example of what is possible from church production sound systems.” www.alconsaudio.com www.austinsounddesign.com www.northmetro.org

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NEWS

Pretoria church empowered by modern technology SOUTH AFRICA In order to stay connected to its modern audience through technology, Pretoria-based Empower Church is steadily adding to its audio and lighting repertoire with the help of DWR Distribution. Established in 1996, then known as Hatfield Christian Church North, the church was renamed Empower Church to coincide with the inauguration of pastors Gebhardt and Shannon Berndt. The church runs a private school that offers affordable education to poorer communities, equipping 581 students with life skills. Empower Church’s new equipment is comprised of a grandMA dot2 XL-F, two Robin 300 LEDWashes, two robin LEDBeam 150s, a Louise II 63 distro and a selection of KLANG:technologies products, including a KLANG Immersive Personal Monitoring system, KLANG:vokal and six KLANG:kontrollers. The church

has already started investing in an L-Acoustics system and own a DiGiCo SD12 as well as a Waves LV1 system. In an effort to reach younger people, Empower Church utilises most social media platforms such as YouTube, TikTok and Instagram. Gebhardt insisted: “I want people to say it’s not just a church but a place where they belong. I’m using the cultural language of the day to unlock the hearts of the people for the gospel, and sound and lighting form part of the experience.” Gebhardt started out with a large LED screen onstage, supplied by Theo Papenfus of Stage Effects, as a swift solution to help with the online worship services. After each service, the church’s technical team assess the recorded version of the Sunday service to see where improvements can be made. The process led Gebhardt and his team to investigate

Empower’s worship team

Empower Church’s new KLANG:technologies equipment different elements to create live products and shows. Working alongside DWR’s Jaco Beukes, Duncan Riley, Kevin Stannett and Jacques Pretorius, the church realised that some new lighting fixtures as well as a control board would be beneficial. DWR Distribution installed MA Lighting’s dot2 XL-F, which includes a programming section, master playback section, 14 fader playbacks and 28 individual playback buttons, making it ideal for most services. Empower Church also opted for the Robin LEDWash and LEDBeam 150, particularly where accessibility and space are limited. Jaco Beukes commented: “The church started discussing the possibility of KLANG when the product was launched, but the time was never right to do a demo or get the system into the venue. When Marinus Visser stepped in as audio engineer, he said

that it was very difficult for the sound guys to do monitors and front of house and started pushing the product. He felt that to help the entire technical team, we had to get the musicians in a position to control their own mixes. “That was the main drive for KLANG and I think the ability to create an individual environment for each muso just sealed the deal. When I was there for rehearsals, the musicians said it sounded so good and so real. I think when musicians are in a happy environment where they can hear and feel the music, they just perform so much better because they are not fighting the technical world, but just doing what they are supposed to do better,” he concluded. www.digico.biz www.klang.com www.malighting.com www.waves.com

ROE Visual elevates worshipper engagement USA

Elevate Life Church (ELC) in Frisco, Texas, has chosen ROE Visual for the install of an LED screen, aiming to enhance the live experience for its congregations. ELC is committed to offering people a place where they feel loved and are taught to develop healthy relationships in their lives. Having previously worked with ROE Visual, ELC trusted the manufacturer to deliver a solution that fit the criteria. The church invested in 140 Carbon Series CB3 panels to create a large back screen for this project. The sleek design of the LED panels doesn’t interfere with the church’s existing architecture, which was said to be important for its leadership.

The LED screens blend in with the church’s architecture “Having experienced the visual effects we could create with the help of ROE Visual, we knew that their high-quality products would fulfil our need for other visual

displays,” commented Corey Light, pastor director of operations of ELC. “Having a large video screen in place, we can reach out to people during our events, actively engaging them during our live events and making the experience more valuable for them.” “Having a customer come back to you based on their excellent experience is very rewarding, and it is great to cooperate with Elevate Life Church on this new project. We hope the installation of our products will help ELC to deliver their encouraging messages,” stated Frank Montero, MD of ROE Visual US. www.roevisual.com

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Evolution Wireless Digital

The Sennheiser difference for worship. Embrace the power of a digital UHF system, ready for any RF environment. Evolution Wireless Digital raises the bar by providing the highest dynamic range of any wireless system currently on the market, utilizing advanced features that simplify your setup and guarantee the most reliable connection. www.sennheiser.com/worship #sennheiserforworship

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NEWS

Pan Africa Christian University teaches with Blackmagic Design KENYA

Blackmagic Design has announced that Nairobi-based Pan Africa Christian University (PAC University) is using ATEM Mini Extreme ISO and Blackmagic Studio Camera 4K Pro to stream course content and events. The solution will support the university’s online lectures and study programmes for its 3,500-strong student community, as well as provide video content for its student production team who host orientation and chapel services. Isaac Oyuga, head of the Department of Communications, Language and Linguistics, where the studio facility is housed, worked with Highway Audio Visual in Kenya to specify a flexible solution. “The launch of the Studio Camera 4K Pro came at just the right time in our search,” he explained. “From the outset, we knew that the hardware was going to have to support a variety of content delivery, all of which requires a high level of quality.

Students can gain practical experience during worship services

As well as helping us to make decisions on the workflow, Highway

Audio Visual was instrumental in the initial training for the university, and the team continues to provide ongoing support as our usage evolves.” Lecture capture is set up in a studio space, where teachers can conduct seminars over Zoom or other online video platforms with a single camera, as well as record. “Our studio technician

encourages teaching staff to record all sessions, to establish a body of educational resources,” Oyuga explained. “The cameras integrate seamlessly into the online video sessions we have all become used to and immediately add a professional quality to our teaching staff’s presentation.” Students also take responsibility for producing coverage of PAC University’s weekly chapel services and can stream the output from the ATEM Mini Extreme ISO directly to Facebook. “Learning by doing is a fundamental principle for our faculty and our students have such a sense of pride when they are behind the camera or production desk,” continued Oyuga. “The simplicity and clean design of the camera’s interface has allowed the students to get involved immediately. There are no barriers to gaining practical experience, which is invaluable.” www.blackmagicdesign.com

New KLA system helps to build emotional connections

The KLA system has solved intelligibility problems USA Resurrection Church has called on Texas-based Sound Productions to make over its ageing and inadequate PA system left by its previous owners. In an effort to engage the congregation with sermons and praise band music, pastors Jeremy and Catherine Teague enlisted the help of Sound Productions manager, Derrick Ramirez, who recommended a QSC active line

array system consisting of four KLA12 cabinets and two KLA181 subwoofers. Teague and his wife, who are well versed in audio, arrived at Resurrection Church a little over a year ago. “We were in the process of replacing everything from the board to the loudspeakers. There had been no investment in anything tech-wise in over 20 years, so of course the

priority during the pandemic was to get some sort of video streaming up and running. Next came full audio for services,” he said. Teague noted the extent of the issues with the existing audio system: “The speakers we had before were too small for the space. Our sanctuary is about 840m2 and seats 250 people, and these two little point source speakers were about 300W a pop. They were flown from the ceiling at the wrong angle, so the sound was floating above the congregation. There were a lot of dead spots in the room, as well as a serious problem with intelligibility.” With Easter Sunday fast approaching, Resurrection Church was against the clock and keen to have the new gear delivered and installed in time. Although not everything arrived due to the pandemic affecting supply chains worldwide, the KLA line array did. “We got it up and running, which made for a night-and-day improvement over

what we had been experiencing,” said Teague. “With two KLA12s and one KLA181 sub on each side, we were able to cover the whole room. There are no dead spots or places where the sound isn’t clear anymore. “We definitely feel more of an emotional connection to the congregation,” reflected Teague. “When you’re preaching, one thing you do to hold people’s interest is, you vary the volume and tone of your voice – anything from a stage whisper to all-out hollering. People can experience that dynamic range so much better now. Previously, if we were talking too softly, we weren’t sure if everyone was hearing it. If we were too loud, we weren’t sure they were understanding it. It felt like a wall between us and everyone. The KLA system has broken down that wall and increased participation.” www.qsc.com

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NEWS

ETC brings cathedral An Adamson system fit for a king out of the wilderness USA

AUSTRALIA Adelaide-based Kings Baptist Church has worked with INTLX Productions to install an Adamson system for a multipurpose venue that functions as a church, as well as a production and assembly space for Kings Baptist School next door.

wasn’t the cheapest system, but it was the best for that space. I was able to get five enclosures a side into the venue. And based on the acoustic planning and plotting, the Adamson system was going to give me less than 3dB difference from

The church acts as an assembly space for its neighbouring school Rodney Bates from INTLX Productions noted the church’s leadership were humble enough to admit they had no idea what an audiovisual fit-out involved. Luckily, INTLX was brought in early enough in the process to have some input in architectural tweaks, including a structural beam from which to hang a lighting bar. Kings Baptist’s leadership were clear on one thing though: audio coverage needed to be completely consistent across every seat in the house. “Once I understood that consistent coverage was their prime objective,” recalled Bates, “I asked them to take another look at the venue’s acoustic design. Once we got the balance right and the acoustic treatments in place, then we could justify investing in a high-quality loudspeaker system.” Bates selected an Adamson IS7-based rig, purchased through Adelaide Sound Hire, an Adamson rental partner. “It

the front row to back row and completely consistent coverage horizontally right across the width of the venue. The coverage is exemplary.” The IS7-based arrays are designed to cover every seat except for the first row, which is addressed by front fill. The Adamson hang is trimmed to avoid hitting any hard surfaces, with acoustic absorption aiming to pick up slack where first reflections are unavoidable. “It sounds the same in every seat and there is no excess energy bouncing off the walls,” stated Bates. “So often you’ll see installations where loudspeakers are spraying sound at the walls, which creates unwanted reflections and acoustic issues. In this case, the acoustics have been dealt with in such a way that those reflections are managed. We’ve got every single seat covered.”

Located in downtown Denver, Saint John’s Cathedral is the centre of the Episcopal Diocese of Colorado. It was originally called Saint John’s in the Wilderness – when it was founded in 1860, the nearest Episcopal church was located more than 700 miles away. Last updated in the 1960s, church leaders knew they needed new lighting and controls but, being a cathedral (and on the National Register of Historic Places), they wanted to keep the upgrades as unobtrusive as possible to maintain the sanctity of the space. They decided on a retrofit that would install LED engines in housings installed in the 1960s and change out the sconce lighting along the walls to LED sources as well. And even though they are a traditional church, they also installed two of ETC’s ColorSource PARs to light the chancel. The ColorSource fixtures are hidden from public view and add colour to the lighting for feast day services, its weekly Wilderness liturgy, midweek Communion services, small burials, intimate weddings and other special occasions. “They’re not using them as spots, they don’t light the priests with them,” explained Jared Canada, the project manager for the upgrade at GLS Lighting and Controls. “They’re used as fill lights. With ColorSource, the whites look really great but, when they want to, they have easy access to colour to give the service a different feel.” It was important to keep the newer lights and any controls hidden. “The concerns were not to interrupt the architecture and the service with intrusive fixtures and controls,” added Canada. “Nothing can look modern in there.” A relay panel is hidden in an old vestment closet. Button stations were

Saint Martin’s Chapel shows off its intricate woodwork thanks to ETC built into existing cabinets and colourmatched to blend in with existing décor. A portable Paradigm Handheld Touchscreen offers more custom control for the priests and staff but can be safely stored away after use. Attached to the cathedral is a smaller worship space named Saint Martin’s Chapel. Built in the 1930s, it’s full of ornate woodwork and hand-painted details. Due to poor lighting, those details were nearly invisible for years. GLS and Canada changed the chandelier bulbs to LED and added new uplights to illuminate the ceiling and ColorSource PARs to wash the altar, a carving of the nativity scene, stained glass and other artwork in the chapel. www.etcconnect.com

www.adamsonsystems.com www.cmi.com.au

ETC fixtures add a modern look to Saint John’s Cathedral

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Historic sanctuary undergoes audio upgrade USA The Antioch Baptist Church North has stood in Atlanta as a place of refuge since 1877, and recently got the green light for a full remodel, choosing AEE Productions to design and integrate new audio, video and lighting systems. As part of the audio upgrade, AEE’s Yergan Jones chose the new KF810P system from Eastern Acoustic Works (EAW). “With its quality of sound and versatility, we knew EAW would be the perfect solution for the Antioch Baptist Church North project,” said Jones. “We have been using EAW gear for years on all of our projects, including our high-profiled touring productions and permanent installations, and have complete faith in their products and team.” The AEE team’s design, headed by vice president of operations Mark Howard, called for the installation of three EAW KF810P line arrays and three MKD1096 loudspeakers for the gallery/choir fill. The project also incorporated three SB828P subs. The EAW PA system will run through a new Allen & Heath digital console. In addition to the audio system, the historic space also recently

Howard. “Everything went extremely smoothly. It all came together as drawn and we love the durability, crystal-clear sound and SPL levels that this system provides. In addition, the flexibility of the EAW system is wonderful. From spoken word, to singing to musical performance, it just sounds great. There is no bad seat in the building.” Leaders at the 14,000-member church echoed Jones’ and Howard’s sentiments. “Many of the components of our AV system were 30 years old or older,” said Pastor Alexander. “Our sanctuary had ‘dead sound’ areas and places we could not see in the choir stand. Yergan Jones understood our congregation and facility. Their comprehension of the authentic worship experience is incomparable. Their combined knowledge of current technology and praise and worship was exactly the professionalism we needed. The upgraded space looks and sounds great.” completed its video and lighting upgrade as well.

“The audio installation was, for a lack of a better term, easy,” added

www.aeeproductions.com www.eaw.com

Lifestyle AV assists St Patrick’s in finding a voice NEW ZEALAND Completed in 1918, St Patrick’s Basilica is often regarded as the best design of renowned architect Francis Petre. Located in the South Island town of Oamaru and constructed of the locally quarried limestone, the Roman architecture includes ornate columns, arches, a classic portico entrance and three large domes. The sensitively constructed landmark required a new audio system. Lifestyle AV’s Mark Patterson was commissioned to undertake the upgrade following a powerful demonstration of a small d&b PA setup that fitted in his car. An intelligible audio system was required to delicately amplify the pulpit sermons together with a variety of wireless microphones for reinforcing musicians and a choir. In addition, the outputs would need to be routed into a live virtual broadcast stream and visual projection within the venue. With a significant amount of technological

The speakers are colour-matched to the limestone façade AV equipment envisaged for the project, there was genuine concern for the historical aesthetics of the basilica.

Providing clarity and SPL where needed across the main audience area, the unobtrusive column speaker setup comprises four d&b 24C passive speakers. Measuring 1m x 124mm x 124mm (HxWxD), each 9kg enclosure comprises six 4-inch neodymium drivers and an HF array including six 1.1-inch dome tweeters providing a nominal horizontal dispersion of 90°. The HF array offers 20° nominal vertical dispersion, which can be finely adjusted between 0° and –14°, while the beam produced by the 4-inch drivers can be tilted downwards by 5° for directivity down to 370Hz. “I wanted all the technology to be borderline invisible so that people could still enjoy the building,” commented Patterson. Fortunately, the Roman Renaissance design assisted the AV design. The myriad of carved ledges and decorative stonework created a series of

hideaways for the cabling to be discreetly removed from view. A single 8S 8-inch unit was placed at the very front as a stage fill monitor and a d&b 12S 12-inch subwoofer extends the LF response during musical performances down to 45Hz. A single d&b 10D four-channel amplifier powers the entire loudspeaker system. Loaded with up to 31 preset locations, digital signal management control and configuration is provided by an Ashly Protea ne24.24.M processor. d&b audiotechnik distributor NAS Solutions was praised by Patterson for going “above and beyond” the call of duty by delivering the shipment at a time when a historical church refit did not rate as an “essential service”. www.cdd.org.nz www.dbaudio.com www.lifestyleaudiovisual.co.nz www.nas.com.au

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COMMENT

What’s audio got to do with church worship?

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Part 1

Robert Soo, principal consultant and trainer at Cogent Acoustics (Singapore), introduces his first article in a new series written exclusively for Worship AVL WHAT’S AUDIO GOT TO DO WITH church worship? Lots. But often not in the way we think. Hello everyone and welcome to my first article in a series titled “What’s ______ got to do with church worship?” where I will share my thoughts and experiences about how AVL systems (audio, video and lighting, including acoustics) play a vital role in churches and how they affect the experience for both onsite and online worshippers. As a magazine that focuses extensively on AVL technologies for houses of worship, I feel we should also address questions like what, why and how does it really matter to churches? And how do they actually meet the needs and objectives of a worship service? So, I’m starting off this series by focusing on audio and will subsequently follow up with topics on video, lighting and acoustics in the following editions. First and foremost, I want to emphasise that the main purpose of any church AVL setup is to support the platform ministry and provide the right conducive environment for members

both onsite and online to worship and commune with God. Should it at any point in time become a distraction to the members and visitors, my advice is for the leadership to review and reconsider its options and implementations of its AVL systems to be more in line with the church’s objectives. Church audio encompasses a whole multitude of areas, ranging from audio equipment, accessories and infrastructure, to sound mixing techniques, system troubleshooting and operator training. And since the dawn of the pandemic, the addition of streaming requirements for virtual and hybrid services has further extended the list of needs and complexities. Let’s address the major areas and discuss their implications for onsite and online services. At the top of my list is loudspeaker systems. As loudspeakers have been around and used in countless venues for so many decades, we would assume that everyone already knows the correct way to implement them. On the contrary, it isn’t the case, as seen in so many

church installations today. And I don’t think it is sheer coincidence that while writing this article I received a text from a church seeking help on fixing issues with their existing loudspeaker system. But why is it so particularly important? For a typical church service that runs between 1–2 hours, the ministry team has only this short window of time to reach out and connect with its members through a time of worship and the spoken word, both of which rely heavily on proper sound delivery. A bad setup can result in an unintelligible or unengaging sound, or worse, be distracting or disruptive to the service, so it’s imperative that the loudspeaker system is well designed and set up correctly to ensure a smooth and effective session. A good loudspeaker setup should provide a natural sound and an even coverage, with consistent sound level and tonality to at least 90% of the seating area, and this can be achieved through the right selection and number of respective loudspeaker types, calculated positioning and angling

Robert Soo Cogent Acoustics (Singapore) Principal Consultant and Trainer

A good loudspeaker setup should provide consistent sound to at least 90% of the seating area

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COMMENT of individual cabinets (with careful consideration to the seating areas, structural constraints and especially room acoustics) and setting just the right tone, balance and alignment between cabinets. The fundamental goal to achieve in every church loudspeaker installation is that there are no bad seats in the house. As it is so important that every worshipper receives a good, similar aural experience, I have set “Because Everyone Matters” as my company’s tagline and design criteria behind every AV project. With the need to livestream worship services, FOH loudspeakers may now have to serve an additional role as broadcast mix reference, especially in churches that do not have the luxury of setting up a separate dedicated sound mix. In such cases, the loudspeakers must be tuned appropriately to support both live sound reinforcement and broadcast reference functions (a Herculean challenge), otherwise it will result in a very skewed sounding mix for the online worshippers. In part 2 of this series, I will expound on the unique requirements and critical areas to look out for when it comes to audio streaming. Lessons learned from 30 years of engineering practice is that having good, quality tools for the job is

Churches should consider investing a little more in the audio mixer highly essential for getting the right results and, in the case of a church audio system, it could range from microphones, DIs, to cables and connectors. The last thing we want to hear during a worship service are acoustic feedback, hum and intermittent sound interruptions, which are not only distracting to the congregation but also extremely annoying to the preacher and worship team. As a minister myself for many years, I can certainly attest to that. The main and most pricey single item in most sound systems is usually the audio mixer, and is also the component

that has the biggest effect on shaping the final sound production. Though every device and piece of infrastructure in a sound system is important and should never be compromised on quality, my advice to churches is that the two items they should invest a little more on are loudspeakers and the audio mixer. A mixer with good mic preamps, powerful EQ and signal processing features, and especially with flexible and extensive routing capabilities, is extremely beneficial to supporting worship services, more so with today’s need for multi-venue hybrid services and streaming.

I can totally appreciate the challenges faced when it comes to justifying the need for better quality equipment. I once stood before a 30-member church council who asked: “What is the advantage of having a digital audio mixer that has better processing capabilities over a more basic (and cheaper) model?” Now how do I explain this to a nontechnical clergy? In a moment of divine inspiration, I drew the analogy of two equally skilled sculptors, one provided with sledge hammers and axes versus the other who is equipped with the right craftsman sculpting tools like chisels, mallets and grinders. Thankfully, they understood that the latter helps produce results with better form and details. They eventually went with the better model. In the follow-up part 2 of this article, I’ll be discussing the difference in equipment, process and mixing requirements between streaming audio and live sound, as well as why putting church audio operators through proper training should be of high priority and can sometimes be an even better investment than upgrading an audio system to improve the overall worship sound experience. Till then, take care and God Bless. www.cogentacoustics.com

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PROJECTS

The service must go on Adlib has supplied Prescot Parish Church with an integrated speaker and streaming solution

Prescot Parish Church was consecrated in 1610 ECONOMIC SURVIVAL HAS reshaped many careers and businesses during the pandemic. Dating back to 1984, renowned events specialist Adlib has provided the audio, lighting, video and rigging for some of the most prestigious concerts, festivals and tours throughout Europe. Having inherited a “show must go on” attitude from these stages, the Liverpool-based company is today ensuring that the Sunday service can go on for a growing number of UK houses of worship. “Prior to March 2020, Adlib’s installation business was relatively small in comparison to our touring and events division,” testifies Adlib installation designer, Tim Robinson. Adlib’s Installation Department has a rich history of suppling systems to event venues, bars, restaurants, hotels, educational establishments, museums and, of course, churches. Like other prominent systems integrators, the Adlib team quickly adapted to provide solutions that enable communities to participate online where physical congregation is prohibited. “We have seen many churches take a forward-thinking approach. The government-mandated closures became an opportunity to upgrade in-house systems that provide a better experience for congregants when they can return to worship in person.” Adlib was requested to tender an AV upgrade proposal for a prominent church

within 10 miles of its headquarters. Serving the Merseyside town in the borough of Knowsley, Prescot Parish Church was consecrated in 1610, with some features dating back to AngloSaxon times. “When Covid struck, we had to find new ways of becoming a community church,” explains Reverend Kimberley Mannings. A short-term streaming solution was quickly adopted, but the Reverend and her colleagues quickly came to the realisation that a professional, easy-touse video system would be required. “The need for streaming became very strong to get services out to people who could tune in to watch. We’d been recommended the services of Adlib, so I asked them to look at the church and between us we made a wish list.” In addition, treasurer and trustee Keith Porter identified the urgent need to replace the loudspeaker system. “Worshippers towards the rear of the church had struggled for years to hear the services within the stonewalled, gothic-style architecture,” he comments. “However, as the church is a Grade I listed building, there were severe restrictions with regards to what we could and couldn’t do. Given their experience in listed buildings, Adlib assured us that we would be able to upgrade the audio system without disturbing the architectural features dating back to 1610.”

Reverend Kimberley Mannings conducting Having carefully listened to Reverend Mannings, Porter and the other church officials, Robinson created an AV design. “Following a site visit, it soon became apparent that in addition to wanting to develop a streaming capability that previously didn’t exist, one of the church’s key requirements was a new loudspeaker system,” explains Robinson. “Because Prescot Parish Church made a request for a loudspeaker system and a streaming camera system at the same time, Adlib could approach them from a holistic perspective and deliver an integrated solution.” As is the norm, Robinson was tasked to strike a good balance between price and performance. Visually, the key component of the streaming system is a Panasonic

AW-HN40HW full HD NDI PTZ camera. “One of the key features of a Panasonic PTZ camera is the excellent zoom it provides for a close-up of someone speaking at the opposite end of the church. OBS [Open Broadcaster Software] provides the platform to cut between the camera feeds and the various title and holding slides. Based on the locations where people were likely to regularly speak from, we programmed preset positions for the PTZ. These can be easily recalled from an Elgato Stream Deck XL controller, which is used with the Companion software to trigger presets through OBS.” Despite its discreet size, Adlib installation manager Richard Murphy was faced with the challenge of fixing

Streaming is enabled with a Panasonic AW-HN40HW full HD PTZ camera

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PROJECTS

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Ease-of-use video management is provided by an Elgato Stream Deck XL controller

as fills for the front pews, maintaining an even dispersion throughout the worship space. The entire loudspeaker system is driven from a single Linea Research 88C6 DSP amplifier. The seats to the west are tiered, under which there is an accessible void. As the production area was designated to be within one of these seating blocks, it was convenient to install an equipment rack including the dbx ZonePro 1261m processor under these seats. The outputs from the church’s existing mixing console are summed up together with two new DPA 2006C twin diaphragm microphones to provide an ambient feed for the broadcast mix.

a sermon the PTZ camera to the ornate west wall of the church, which is itself listed in its own right. “There was only one place where a single camera could go and provide the sort of coverage that the church needed,” describes Robinson. “Fortunately, someone in the past had fixed an emergency exit sign to that wall. We designed a bracket, temporarily removed the exit sign and now the bracket shares the same fixings. No damage was caused to the church and the additional element is removeable. We can, do and should use our experience of how similar spaces are used to ensure that something is put in place which future users of a space will come into and be impressed by and satisfied with.” For the audio system, Robinson dedicated his research to establish the optimum loudspeaker form factor and locations. “One brand immediately stood out as having an appropriate offering whatever conclusion I reached – and that was RCF,” confirms Robinson. “I identified a midrange option from the L-Series of the installation products as being the most appropriate. The rising pillars struck me as the ideal place to fix four L2406 fully passive column enclosures. With the church being a listed building, we had to mount the 826mm-high enclosures non-destructively using Bandit strapping. We have used this

RCF L2406 passive enclosures are fixed to rising columns with Bandit strapping successfully on previous works as it can be threaded around a column, then tightened and used to hold the bracket in place without drilling holes.” Comprising six 5-inch woofers and four 1-inch tweeters, the three-way models offer 150° x 30° constant directivity. As the 200W RMS-rated columns were specified for speech intelligibility, low-frequency extension for live music has been added in the form of four RCF S12 12-inch subwoofers. An additional four RCF Compact M04 coaxial models cater

Parish member Suzanne immediately detected the marked improvement in audio quality. “I help usher people to their seats. Some used to panic as they didn’t want to sit anywhere near the front as they could not hear the service. With the new speakers, this is no longer the case, and they feel comfortable sitting anywhere in the church and being able to hear perfectly. I think the positive impact this has made on a Sunday morning service has taken us by surprise.” Following five days onsite fully installing the AV cabling and equipment, programming was followed by training of the church’s volunteers. “It’s just remarkably simple and easy to use,” furthers Reverend Mannings.

Four floor-standing RCF S12 subwoofers extend the lower frequencies “Our volunteers appreciate how straightforward it is to operate when they see what is in front of them. Every aspect of the church that we want to show on video is labelled and the camera zooms in at the touch of a button. Our current operators aren’t necessarily people who would have had the confidence before to do that. The upgrade is proving to be extremely good value for money and, more importantly, it is going to be a superb asset for the community, both now and into the future.” An ambient feed for broadcast is provided by DPA 2006C twin diaphragm mics

www.adlib.co.uk www.prescotparish.org.uk

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PROJECTS

360° makeover

Stage Audio Works (SAW) has been called upon to design and integrate an audio, lighting and rigging solution for Faith Dome’s main arena in South Africa

OVER THE LAST 20 YEARS, FAITH Broadcasting Network has consolidated a vast following of approximately 264m viewers worldwide, connecting with worshippers via satellite, terrestrial and digital broadcasts. With headquarters in South Africa, USA and the UK, MyFaithTV claims to be the largest religious broadcaster on the African continent. The ministry’s base in South Africa, formerly a wool warehouse, has been undergoing renovations for many years and now houses television studios, humanitarian aid warehouses, activity spaces as well as its main broadcasting studio. In 2015, work commenced on the 18m-high ceiling to replace it with the recognisable dome seen today. With the Faith Dome complete as of early 2021, the indoor arena holds 10,500 attendees at maximum capacity. SAW’s brief was to provide the Faith Dome with audio and lighting solutions to support its existing broadcasting channels, as well as live events. Despite SAW being involved in the Faith Dome’s construction since 2013, the client had only recently specified that the solutions must be in line with its 360° vision, which places the stage and PA system in the centre of the large arena. Dr Andre Robert, founder and

CEO of the River Group, explains: “It was important for us to have a central stage in the Faith Dome as it truly places the focus of worship in the midst of our congregation. It’s more democratic than a traditional front-to-back organisation and allows everyone to remain connected and involved with the worship experience.” Although visually appealing for live production, the arena posed a challenge to the audiovisual integration. “From an acoustic perspective, the sheer size of the space is a factor to be reckoned with, in particular the extreme height of the room which necessitates a PA system that provides comprehensive vertical coverage,” observes Nathan Ihlenfeldt, CTO of SAW. “We ruled out a traditional line array, as the number of speakers required would have interfered with the client’s broadcasting setup and stretched the budget. For this installation, d&b’s A-Series augmented array technology was the perfect fit in terms of directivity control, sonic quality and price range.” Typically with the A-Series, fewer cabinets are required to cover the same area, making it suitable for the Faith Dome where sightlines were an issue. SAW opted for eight augmented arrays of three AL60s

Eight arrays of three AL60s are flown from a custom-built square truss flown from a custom-built square truss, itself flown from the ceiling at a height of 13m. To handle low end, four hangs of four V-SUBs are flown from a second square truss inside the first. In order to reduce cable runs, the amplifiers for the subs and

the main PA are neatly housed in amp racks situated on top of their respective trusses. “It’s an unusual solution but, given the constraints we were working with, keeping everything together solved a number of issues,” admits Ihlenfeldt.

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PROJECTS “One of the most crucial elements of our brief was to ensure that the PA would not impinge on camera sightlines,” he continues. “Consequently, the system is 13m above the floor. In fact, the bottom of the PA is higher than the top of the screens.” Four large screens are housed in a custom-built cuboid truss structure flown over the centre of the stage. The sub array is flown directly above that. “The height was a defining factor in our choice of A-Series as our priority was vertical coverage over long throw. Just three cabinets per array gave us the coverage we needed for the first two rows. The rest of the arena is covered by 16 high-performance 10S point source loudspeakers flown at strategic locations throughout the space, along with several more for front The Cameo lighting rig is interspersed with Zenit floodlights fills on the central stage.” A further consideration was routing Cape Town-based creative and an outer rectangle to house flexibility. “The design enables production company, Bad Weather, the PA and the lighting, as well parts of the system to be muted or designed the lighting system, as the central cuboid structure to switched off completely to keep the which was then integrated by SAW. accommodate the screens, based sound focused where it’s needed A Cameo solution illuminates the on Stage Plus OV truss. and not playing out to empty parts main arena, further supported by “Even though this was a tricky of the building which would cause interspersed Zenit floodlights, project to execute, we are proud unnecessary reflections,” says selected for their wide-angle of the outcome,” concludes Ihlenfeldt. “It also means we can beams. In terms of lighting Ihlenfeldt. “It stands as a manage signal output in relation control, ETC’s Hog 4 Console testament to our team’s ability to the band so they aren’t hearing was specified. SAW designed and to improvise and adapt within the themselves through the arraysListening_horz_live directly manufactured a trussing solution constraints of aPMspecific brief and ai16370899847_Always _updated_Worship AVL.pdf 1 11/16/2021 12:13:14 facing them.” comprising two concentric squares budget. Our industry expertise and

wide experience in the worship market means that we are well positioned to provide solutions to ministries of all sizes. We look forward to when restrictions ease and people are able to experience the magnitude of the Faith Dome first-hand.” www.cameolight.com www.dbaudio.com www.etcconnect.com www.stageaudioworks.com

s y a w l A ning! Liste C

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PROJECTS

Digital routes to the higher plateaus Kairos Multi Jaya has futureproofed GIA Lengkong Besar with a flexible and user-friendly upgrade

A panoramic view of the sanctuary OF ALL THE ROUTES TAKEN BY Kairos Multi Jaya in Java, the uphill road to Bandung from Jakarta is perhaps the most frequently travelled. Following a successful meeting and demonstration with the church leaders at GIA Lengkong Besar (Church of Christ), the Indonesian distributor was contracted to install a fully digital, self-powered audio system into the main sanctuary. Rather than drive six hours per day along the overfamiliar AH2, Kairos Multi Jaya’s crew of five installers and two engineers opted to book accommodation in the West Java capital. The road to GIA Lengkong Besar was paved by the sale of an Allen & Heath GL2400 analogue console in the early millennium. Having faithfully served the audio fulfilments for the church’s spoken word and contemporary worship music, the preferred brand’s digital credentials shone through. The 300-capacity venue hosts several Sunday services for which the worship leaders are backed by two singers and a band of musicians, including a drummer, pianist, keyboard player, guitarist and bassist. Combining reliability with ease-ofuse features, the church specified a dLive C1500 for its digital mixing requirements. “It’s very different from the GL2400 they were used to for so many years,” explains Kairos Multi Jaya’s technical engineer, Damaran Kristanto. Impressed with its intuitive layout and digital credentials, the compact control surface’s powerful mixing tools further cemented the 12-fader C1500’s berth at FOH for the

Four RCF ART 708-A speakers serve as side fill audio operators. “They particularly liked the analogue modelling compressor, effects, gates and limiters together with the multitrack USB recording facility that is included.” Unlike the GL2400, the operators no longer need to be rooted to their FOH position during a service. Wireless connectivity allows the operators to simultaneously control the audio functionality from the dLive MixPad App loaded on an iPad touchscreen, should they so require. “One volunteer can operate the C1500 to mix front of house and another can use the user-friendly iPad with its easy-to-recall presets to mix monitors onstage,” adds Kristanto. The flexible Allen & Heath dLive C1500 ecosystem extends beyond the mix to the stage. “With the

adoption of an Allen & Heath CDM32 digital I/O rack, we have eliminated snake cabling, floor boxes and wall plates via a single Cat6 cable connection running from the C1500 console to the CDM32 rack at stage right.” Housing the XCVI processing core with 32 mic inputs together with control and audio networking ports, the MixRack has also played a role in creating cleaner stage aesthetics. The wedge stage monitors previously relied upon by the two singers and musicians have been replaced by an Allen & Heath ME-1 personal monitor system. “Individual monitor mixes are output from the console and MixRack via the ME-HUB to each musician, who can set their monitor level without assistance from the FOH audio operator,” explains Kristanto. “Audio signals are routed along the IP-based network to the individual ME-1 units. This carries a dual advantage as the musicians can assess and personally adjust their individual mix in their headsets or headphone monitors, while the FOH operator can concentrate on the main FOH mix without distractions.” Acoustic defractors and diffusers help to alleviate reverberation emitting from the upper glass windows, tiles and plaster of the rectangle room. As such, a gently amplified loudspeaker system was sought to enhance both sermons and songs of praise. Intelligibility, ease of operation and efficiency were the overriding factors cited for the church’s audio loudspeakers, with an RCF selfpowered system ticking all the boxes. Suspended from the 10m-high ceiling as an L-R stereo pair, two TT 1-A dual 10-inch two-way enclosures serve as the main speakers. Operating within a frequency response of 55Hz–20kHz and capable of outputting 131dB SPL, the TT 1-As are powered by an internal Class-D 400W RMS power amplifier. “The TT series has been a successful product within the HOW sector. Not only is it compact and easy to install, the bonus of FiRPHASE technology within the DSP settings really enhances its reputation, whereby we can simply adjust the delay and phase

parameters.” Rear fills have been added in the form of L-R TT 08-A II 8-inch models, while low-frequency extension down to 30Hz (–10dB) is provided by two floor-mounted RCF Sub 8004-AS 18-inch subwoofers.

Lower frequencies are extended with floor-standing RCF 8004-AS subwoofers The self-powered theme continues with the addition of four wall-mounted RCF ART 708-A 8-inch cabinets that serve as side and under-balcony fills. “Although RDNet technology is included within the RCF DSP, we opted to further enhance the signal processing capabilities by adding an XTA DP448 unit,” adds Kristanto. “Audio settings can be changed in an instant. For spoken word, the church leaders are highly impressed with the clarity, while the music can be enjoyed in full range with impressive lows and detailed highs.” For now, the other rooms within GIA Lengkong Besar remain unconnected to the digital audio network. However, the high audio quality provided by Kairos Multi Jaya within the sanctuary can easily be transported to cry rooms and overflows in future, should the demand be made. Unlike the AH2, the RDNet, DX and GigaACE connections will ensure speedy routes for project manager Mr Samanto, installation supervisor Arief Adi Pramudianto and their technicians. www.allen-heath.com www.kairosmultijaya.com www.rcf.it

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PROJECTS

fu lo an try po “ be sm ve Ul en de lo

Act two

Delivering the same sound experience enjoyed in Johannesburg at the new smaller Cape Town branch was the challenge faced by Acts Church WITH A BIG-BAND DRIVEN STYLE of worship, sound is a vital element for Acts Church. As the Johannesburgbased church has grown, its main Midrand campus has been developed and upgraded many times over the years. With all this change, one thing has remained consistent: the use of Meyer Sound loudspeakers. “Acts Church is a long-term Meyer Sound partner, and we have been servicing them since day one,” says Mark Malherbe, technical director at Prosound, Acts Church’s long-standing audio partner. “They have upgraded their Meyer systems many times over the years and now have a Leopard line array solution to cover their sizable 2,800-capacity main worship auditorium in Midrand.” This decades-long use of the same brand ensures that the church has grown up associated with a certain quality of sound. This has created an audio standard that doubles as a sonic signature for the organisation and is something that its congregation now expects. As such, when Acts Church

decided to open a satellite campus in Cape Town, getting that familiar voicing was a crucial element. “Planting a church in Cape Town was an important move for us. We have felt for a while that a church with the Acts culture and message was needed here and, with members already in the area, the move has been seamless,” says Pastor Peter de Fin, lead pastor at Acts Church and former touring sound engineer. “I also wanted the sound quality and experience to be on par with our main campus.” At 300 seats, the new Cape Town site is considerably smaller than the main Midrand campus, so mirroring the Leopard system was not a suitable way to achieve the same sound. However, Pastor Peter did have an alternative solution. “We had previously invested in a portable Meyer Sound Ultra-X40 system as a touring rig to be used for our outreach programmes,” he explains. Under pandemic conditions, there was less call for these events and a new use for the system became obvious. “We found that the Ultra-X40 has very similar

Despite its small size, audio quality was of the utmost importance for Acts Church leaders voicing to the Leopard, so it made sense to us to install it into the new Cape Town campus.” At this point, the Acts Church team once again turned to Prosound for support. While the church had the technical skillset to be able to install the left-right pair of Ultra-X40 loudspeakers either side of the stage to form the main PA and the 750-LFC subwoofers beneath the stage for low-frequency support, Prosound provided the technical consultation to assist with the smooth running of the project. “They were led by the senior sound engineer from the church’s

Johannesburg branch who is very experienced,” notes Prosound’s Pepe Khumalo. “They came to us, and we spoke about how they planned to do everything. We imported special Meyer Sound Ultra-X40 brackets to turn the touring rig into an installed solution, and these were put to use in the new campus.” With its knowledgeable in-house team and the technical support of Prosound, the installation process itself ran smoothly. “They used the Meyer Sound MAPP XT software, integrating it with the venue and making calculations,”

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PROJECTS furthers Khumalo. “This allowed the loudspeaker placement to be easy and performed only once, instead of trying multiple times to find the right position.” “The most important thing was being able to get a sound that was smooth because it is a smaller venue,” adds Pastor Peter. “The Ultra-X40s have the power in the low end that allows a big sound but still delivered the smooth audio we were looking for.”

As a further method to maintain consistent voicing across its campuses, the church team also looked at the other end of the signal chain for a matching mic system. “Pastor Peter uses a DPA headset at the Midrand branch and he recommended it to Pastor Sam who leads the Cape Town campus,” recalls Khumalo. “As a result, we supplied them with DPA Series 6000 headsets to make sure that the Cape Town congregation experiences the same

audio quality as members of any of Acts Church’s other branches.” With the audio solution installed, Acts Church Cape Town was able to welcome its congregation for the first time towards the end of 2021. The reaction to the new site and its sound have been universally positive. “It’s going very well, it’s only been running for a few months and there has been a great response and a good turnout,” says Pastor Peter. “Despite the obvious

difference in size, it sounds the same as our Midrand campus.” Perhaps the biggest compliment though has come from members of the new congregation who have moved to Cape Town from Johannesburg. “We’ve been told that it sounds and feels like home, and we couldn’t ask for more than that,” Pastor Peter concludes. www.dpamicrophones.com www.meyersound.com www.prosound.co.za

The Meyer Sound Leopard setup used at the Midrand campus

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PROJECTS

Politicians’ ears tickled pink Acousticon Sdn Bhd has solved uneven audio directivity, poor speech intelligibility and inefficient power management at the 15,000-capacity Putra Mosque REGARDED AS A SPECIALIST FOR enhancing audio intelligibility in Malaysian mosques, Acousticon Sdn Bhd continues to adopt an analytical approach when mitigating the effects of reverberance. Over 10 years of operation, its status was elevated following the successful integration of a user-friendly AES67 protocol network into the National Mosque of Malaysia (Masjid Negara Malaysia) in 2019. Having taken careful note of Acousticon’s attributes, the department of Islamic Development Malaysia (JAKIM) requested the open-minded AV consultant to enhance the audio intelligibility within Masjid Putra. As the principal mosque of Putrajaya, Putra Mosque opened its doors to 15,000 worshippers in 1999. Located next to Perdana Putra, which houses the Malaysian Prime Minister’s office and man-made Putrajaya Lake, the pinkdomed Putra Mosque is constructed with rose-tinted granite and consists of three main functional areas – the prayer hall, the Sahn (courtyard) and various learning facilities and function rooms. Over the past two decades, prayers and public address systems within the mosque have been amplified by three different suppliers. None, to date, had fulfilled the client’s fulfilments, as Acousticon’s founder Azizi Ala confirms. “The most current steerable speakers were not fully functioning and could not be repaired as the spare parts such as the power supply modules had been discontinued. In addition to inefficient power management, speech intelligibility was a problem in some sections of the main prayer hall and other zones and the audio directivity across the main prayer hall was uneven.” Like most Malaysian mosques, Putra Mosque required an audio technician to manage the analogue mixer and other aspects of the audio signal chain. “The setup in many ways was similar to that of the National Mosque when we arrived to assess the inherent audio problems,” furthers Ala. “The overriding problem with mosques is that they are highly reverberant spaces. Although the dome is always seen as the main

Acousticon founder, Azizi Ala

An NTI Audio XL2 Acoustic Analyser in use during the acoustic assessment

challenge, the building surfaces are hard, the prayer areas are expansive and there are many pillars.” Despite Acousticon’s glowing credentials among Malaysia’s mosque fraternity, Ala had to tender for the project through Putrajaya’s JKR (Malaysian public works department). “I had to submit a 60-page method of statement document with detailed drawings and explanations on how to mount the column speakers including the type and lengths of screws. The marble façade was a concern for fixing these speakers. Upon analysis, we discovered that there was a 300mm depth cladding frame directly behind the marble in some parts including the Mihrab wall, ensuring a switch from Hexagon nut screws with nylon wall plugs to M8 studs and threaded rods.” Following a site assessment, a proposal was created and submitted to the director of Putrajaya’s Asha’ari Bin Hi Hasan who assumed responsibility for the construction and maintenance of public infrastructure. Having stipulated a tight three-month timeframe for the upgrade to be completed, Acousticon’s works were rendered almost impossible with the imposed Movement Control Order (MCO), a stay-at-home order placed on all Malaysian citizens in the wake of the Delta variant. As a result,

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th te Ri or wo pla be T re re ho Th bo co th inc fo co D sim sa ev th lou re int no un de no RT re sim “ we an an On Is fo a W pr 0. co by co m hig su lon T th th th an ch re ne m “N tim lac tu a T sy ar an qu

”

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PROJECTS the team – including Hadi (senior technical), Rahmat (senior installer), Ricky (designer), Nobeli and Fadhil (coordinators) – spent two months at home working remotely to draw up precise plans and schedule upgrades that could be executed once allowed onsite. The extensive works for the mosque’s renovations included architectural restorations throughout the extensive house of worship, including the dome. The main prayer hall remained out of bounds to Acousticon until the other construction contractors had cleared the site. In addition, the worshippers – including the Prime Minister – were forced to pray in the outdoor covered corridors. Despite obvious architectural similarities, no two mosques are the same. Undertaking evaluations of every aspect of the signal chain from the microphone inputs to the multiple loudspeaker outputs, the upgrade also required new cabling, conduits and interfaces to be installed. Determined not to leave any stone unturned, Ala undertook tests and measurements to determine the directivity, background noise, frequency response, distortion, RT60, SPL signal-to-noise and STI readings, in addition to basic acoustic simulation measurements. “For the electroacoustic assessment, we use NTI Audio products, including an XL2 Acoustic Analyser set, Talkbox and a DS2 Dodecahedron speaker set. Once all the data had been collated, I submitted an analytic report, which forms the base for an assessment and a proposal using EASE 4.3 modelling.” With average STI readings in the main prayer hall falling below the required 0.52, the covered corridors and open courtyard (Sahn) were also plagued by poor intelligibility. The existing column-mounted speakers had been malfunctioning because of damaged high-frequency drivers and power supplies, plus spare parts were no longer available for the delisted models. To achieve the long throw required, the existing steerable speaker height in the main hall needed to be 5m above the floor. The dated audio system and acoustics were not exclusive challenges. “Prior to prayers and recitals, various imams and bilals all needed a competent technician to manually operate the PA,” furthers Ala. “Naturally, this led to human errors at times. The analogue audio system also lacked processing features for system tuning and matrix routing, in addition to a power conditioner and sequencer.” The audio designs needed to be sympathetic to the façade and its architecture. “Modifying columns and interior designs was out of the question, so a discreet solution was

Speech intelligibility had plagued some sections of the main prayer hall

A network of Bose MSA12X units maintain a consistent SPL throughout the main prayer hall

Critically assessing the nearfield audio qualities of the 5m-high Bose MSA12X enclosures

paramount,” furthers Ala. “We also had to be mindful that there was a limited budget.” Following evaluations, Bose Professional Panaray MSA12X and MA12 loudspeakers were selected for Putra Mosque. Launched in 2019, the inclusion of this model of self-powered digital beam-steering loudspeaker served as a debut for Bose in Malaysia. Aesthetically, the slim, low-profile white matt enclosures are mounted close to the walls and blend in with the mosque’s vertical columns. The 3D Bose Modeler prediction software was used to simulate the speaker design, setup and control of the beam coverage, including advanced steering and acoustic coverage. Following the visualisation of the rendered spaces, the Auditioner playback hardware allowed Ala to listen to the spaces he had simulated.

“The proposed Bose steerable solution improved the STIs in critical areas of the main prayer hall, which previously fell below the required 0.52 STI by focusing its acoustic energies onto the audience area away from the walls and floor. The SPL readings were consistent from the front to the rear of the room, including the under-balcony areas, which recorded close to 0.7. Overall, I was quietly surprised by the price-performance characteristics of the Bose speakers as they exhibit consistent audio coverage across the entire room.” With vertical coverage controlled digitally, the need for protruding pitch brackets was eliminated. “The MSA12X’s articulated array configuration produces a very wide 160° horizontal dispersion with sufficient throw without any loss in decibels.

The interior design objectives were also enhanced with the integrated mounting brackets allowing up to 90° of horizontal adjustment.” During the demonstration, the client was impressed by the vocal intelligibility and tonal consistency qualities offered by the Bose column speaker proposal. Comprising 12 2.25-inch full-range transducers, onboard DSP and 600W amplification, the digital beam-steering line array operates within a 75Hz–17kHz frequency range. “The modular design also ensured its inclusion as we could fix more than one module on one vertical array. Last, but not least, the Dante digital audio network interface completes input to output Ethernet network management and control with the other Dante-enabled products.” One of the greatest challenges facing Acousticon was fixing the columns to the wall over 5m above the floor level. “Scaffolding was used to fix the 43.5kg enclosures and we painted the surface conduits to match the marble façade. Fortunately, cable could be fixed to the outer surfaces as we did not want to drill through the walls unless it was necessary with the mosque carrying no spare stores of marble. The rear wall of the main hall has two stereo arrangements with three columns in each that cover a depth of 40m. The Mihrab wall also has two further stereo arrays, each consisting of two enclosures and throwing out to 20m without any loss in decibels. Minimising nearfield losses would always pose a challenge, but we overcame this with the Bose solution. For the covered corridors, four layers of MS12A delay speakers cover the 60m distance perfectly.”

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PROJECTS Until recently, all mosque audio operations in Malaysia have operated in the analogue domain, but Ala is upgrading all the mosques he serves with digital solutions. “I love the analogue sound but, unfortunately, so many users are inquisitive and want to play around with the settings. Over time, this leads to a degradation of sound, as the system is not reset.” “Central to the DSP solution in Putra Mosque is a user-friendly interface,” he continues, highlighting the 12.9-inch iPad Pro integrated at eye level at the top of the rack. “I generally propose the Q-SYS platform for larger mosques with a simplistic touchpanel concept using Q-SYS iPad control. The GUI can be fully customised to a mosque’s particular needs with zoning capabilities built in. With this digital solution and the preset features integrated into it, settings can be returned to traditional levels.” Just as he had performed for the National Mosque, Ala programmed individual, intuitive GUI display icons for the imams and bilals. Once the icon of the selected imam or bilal has been selected, the technician simply needs to decide which zones are output for broadcast and adjust the levels. Of the three months that Acousticon spent working on the project, this centrepiece took just one week. “Q-SYS programming is straightforward, but it took me some time to photoshop the images and create the exact presets. I really enjoy working with Q-SYS.” The panel is triggered within the control room and then activated externally. “Consequently, the vocal tones of the imams and bilals are naturally crisp and crystal clear. The imams can be quite particular about how they sound, so I had to adjust the

The AV rack loaded with QSC network amplifiers and the Q-SYS Core 110f

Monitoring the simulations using the Bose Auditioner

dB levels and tonals for all of them. Following our works in Kuala Lumpur, I have enhanced some aspects of the software programming. The new menu includes microphone profiles that offer the user a selection of microphone type, brand and model to use for specific microphone inputs. All settings including gain, EQ and response, are automatically loaded onto their selection of microphone profile, which removes the need to tweak anything manually.” Although the client requested Acousticon to replicate the National Mosque design, Ala was keen to integrate two recently created design features within Q-SYS that will bring further peace of mind to operators. Mic monitoring detection now alerts the operator when a mic has been switched off accidently. Furthermore, a microphone gain and profile have been added to the head-worn, clip-on

Renovations to the building included the 36m-high dome gooseneck and dynamic models for transferring the individual settings when changing to a gooseneck, dynamic or head-worn model.” Feeding the 41 Bose MA12 outputs, a combination of six QSC CXD4.3Q and CXQ4X4 four-channel amplifiers receive the audio signal from a Q-SYS Core 110f processor over a Cat6 network. Shure Microflex wireless microphone systems are complemented with SM35 head-worn and SM58 hand-held dynamic transmitters and wired models, including MX418 goosenecks installed into the Mimbar. A Tascam CD-200SB player can also be selected as a source. One-touch on/off operation of the entire equipment rack is triggered by two Furman CN3600SE power sequencers. “This project is unique in the respect that we combined the QLAN, AES67 and Dante network protocols through the same DGS Series network switcher. The Shure Microflex wireless system operates over the AES67 network and Q-SYS integrates the entire audio into the same switch. All eight input channels of the Q-SYS Core 110f were used and so there was no spare capacity for the eight channels of Shure MXWANI4 audio network interface. As a result, we added Dante into the switch and the AES67 network to increase the network audio capacity.” The familiar call to prayer is amplified by four TOA DH-120 long-throw horn speakers installed into the main minaret, in addition to a further four short-throw TOA TH-652 and TH-652M horns fixed inside the dome. Following successful tuning and programming using Smaart v8.0 software, Acousticon’s three-month project concluded. And with an STI reading boasting up to 0.59 with an average of 0.56 in the terraces and open pillar area, Acousticon is confident

Bose MS12A speakers are delayed over 60m distances in the outside corridors that it will not be called to site very often given the traffic congestion around the capital city. “On such a prestigious project, the improved capabilities of Q-SYS provide me with the utmost confidence. The status of a system can be monitored and controlled, while alerts can be triggered with emails sent to remote engineers when a fault is detected. This is a great monitoring system for all mosques as we can remotely access, manage and configure the DSP parameters without having to drive to the site. The interfaces can also be updated remotely.” Astute politicians worshipping in the covered walkways have taken note of the audible improvements provided by Acousticon’s works. Intelligibility could well be enhanced along the neighbouring corridors of power. www.acousticon.com.my

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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.

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PROJECTS

All the pews were removed following a church reordering

Challenge accepted

m fre T co Pa sp he in of wh th Th au PB wi ca

Hazelwood Sound & Vision rises to its latest challenge at Christ Church Guildford DEVOID OF AV TECHNOLOGY IN the 19th century, Anglican houses of worship in the UK were specifically designed to resonate the spoken word of the Gospel and hymns. As a classic parish church, Christ Church in central Guildford may be traditional in appearance but has taken on a more modern and family-oriented outlook. Welcoming around 150 worshippers to its main Sunday morning service, the church has embraced AV as it developed over the course of a decade. Following a chance meeting at a small church trade fair, Ian Kenyon, a member of Christ Church’s Parochial Church Council, set Graham Wood from Hazelwood Sound & Vision a range of challenges. Back in 2012, the church decided to upgrade its visual system, but was unsure as to where they could suspend or fix a projection screen. The conversation resulted in Kenyon commissioning Hazelwood to install a 3m-wide suspended glass screen weighing 120kg, supported by four steel wires fixed to the roof. The Pro Display Smart Glass “magic” screen displays high-definition images but, when not in use, appears transparent so that worshippers get a clear view of the stained-glass windows behind the screen. Following the screen installation, the church realised that the audio also

needed addressing. Initially choosing to upgrade just the mixing console, Hazelwood supplied an Allen & Heath Qu-24 with a 24-way stagebox and connection via Cat6 cable under the platform. “Then, about three years later following a church reordering, Ian contacted me again to install a new hearing loop,” explains Wood. Two loops were installed – one in the main seating area and the second in the platform area – far enough away for them not to interfere with each other. As part of the reordering, all the pews were removed, leaving a floor that is part wood and part tiled. This resulted in the newly exposed hard surfaces adding more reverberation. “One of the challenges we gave Graham was how we could use more directional loudspeakers to overcome the reverberation and make sure there was a more even spread of sound,” says Kenyon. “Following the church reordering, the reverberation had gone up quite significantly,” continues Wood. “Measurements showed a reverb time of about 3s – when you walked halfway down the church, you couldn’t hear what the person at the front was saying.” Wood had previously specified Pan Acoustics beam-steering speakers at a church in Farnham with similar reverberation issues. “Stuart Cunningham at CUK Audio advised

The Pro Display screen is transparent when not in use us on the project in Farnham. As the problems at Christ Church were similar, he helped us with this project too and it made sense to specify Pan Acoustics again,” adds Wood, who has developed a strong working relationship with Cunningham when faced with a challenging installation. Following a demonstration with CUK Audio, the decision was made to upgrade the speakers. Just at that point, however, the pandemic struck in early 2020 and everything went on hold for 18 months. “In June last year, just as we were starting

to talk to churches again, Christ Church asked if we could organise another demonstration,” continues Wood. “The first demonstration was in a less reverberant space before the pews had been removed, so the second was important to show that the solution still worked in the more reverberant environment they had now. It was a jaw-dropping moment when I walked in front of the column speakers and there was no feedback. By choosing two 16-driver columns, we have more reserve power, but it also means the projection is

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Tw ei on

fos/4 and Source Four LED Series 3 Create reality for every studio studio.etcconnect.com

Pan Acoustics PB04s serve as fill speakers for the side aisles more controlled to a slightly lower frequency.” The new speaker installation consists of two digitally steerable Pan Acoustics PB-16C column speakers. Measuring 1,812mm in height, the top eight 3.5-inch drivers in the enclosure project to the rear of the space with a focused beam, while the lower eight drivers cover the front half of the congregation. The main L-R line columns are augmented by two Pan Acoustics PB04 side fill speakers together with two Audac BAS012/B sub-bass cabinets at the front for lower-

k. Two Pan Acoustics PB-16C eight-column speakers stacked on top of each other

frequency extension. Connected to the audio console via Cat6 cabling, a Powersoft Mezzo 602AD amplifier drives the two sub-basses. “If I can find a reason to use a Powersoft amp in a church, I will,” says Wood. “They give us the opportunity to have remote access and diagnose problems without being onsite.” The reverberation time remains largely unchanged with the new loudspeakers at around 3s in the 200Hz–2.5kHz range. However, where the previous system delivered unintelligible speech, the directional attributes of the new beam-steering speakers prioritise the sound coming from the platform in addition to providing even volume coverage from the front to the back of the seating area. “The thing we like most is the fact that the speakers are amazingly discreet and yet they provide ideal sound coverage,” adds Kenyon. “The last eight years has made things easier because the equipment is more reliable and, between the musicians and the sound and vision operators, we have worked out how best to use it all. As a result, there is very rarely any panic before a service about the technology – so we can focus on the service itself.” Having exposed the audio demons within the church in recent years, the church can focus on maximising the new equipment’s potential. “We are really looking forward to using the screen and speakers for something like a movie night in the future or a large children’s event.” www.christchurchguildford.com www.hazelwoodsv.co.uk

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KnowHOW

Getting the perfect choir mix Mike Dias, VP of sales for Earthworks Audio and executive director for the IEMITO, looks at how to achieve the perfect choir mix EASTER IS THE TIME TO CELEBRATE renewal and rebirth and this year our undaunted community spirit will be on full display – all over the world. We will come together and sing together. And our voices will be louder and more triumphant than years before. Plus, we’ll have fully integrated hybrid services so let’s make sure our choir mics and miking techniques are up to the task. I’m going to focus on the philosophy behind achieving the perfect choir mix. Volunteers and live sound professionals alike often find that amplifying their choir artfully can be a difficult task. What should be straightforward often isn’t since the microphones, their placement, the PA system and the processing are all interconnected. When they don’t all work in tandem, you will hear the following symptoms: • •

•

Feedback, noise and distortion. An amplified choir sound that doesn’t blend well with the actual acoustical sound of the choir in the room or something that sounds thin and artificial on recordings, livestreams and in overflow rooms. Spotlighting of the choir members located directly in front of the microphones, which makes the choir sound a lot smaller than it really is. Low intelligibility and lack of detail.

So, let’s start by organising our sound goals into something resembling “Maslow’s hierarchy of choir miking needs”. You can’t get to the top level until you master each phase below. At the Base Level, you simply need to avoid bad things like feedback, noise and distortion. Use the minimum number of microphones placed as close to the choir as possible with minor corrective processing (like a high-pass filter somewhere around 100Hz to block low frequencies that aren’t

Maslow’s hierarchy of choir miking needs

important for choir sound and can cause feedback from subwoofers). Additionally, the microphones of choice should have the largest amount of rear rejection possible and the null should be aimed towards the PA. The PA should be optimised for even and controlled coverage across the room while avoiding splashing the stage with sound. It’s worth noting that if large amounts of corrective processing are necessary just to avoid feedback, then this might be as good as it gets for the time being. You’re going to be staying at this Base Level until you upgrade the signal chain in order to achieve the higher-level goals.

Level Two is all about maintaining control. Don’t overdo it. Simplicity rules. Your live sound goal is to simply cover the space evenly – to let the collective voice wash over everyone without unwittingly boosting the band, the orchestra or the audience. Your main tools here are mic choice and placement but processing, such as EQ, filtering and gates or expanders can help as well. When you nail this, you’re most of the way to a good mix. Everything up from here is just the icing on the cake. Level Three is intelligibility but not in the same sense as when you’re mixing for speech. We want the blended harmonies of the total group voice. We don’t want any individuals to stand out. We want the intelligibility of everyone around the microphone to be heard clearly and equally. The better we do this, the more we convey a sense of size. To achieve this, lean into microphones with the flattest and most consistent off-axis frequency response possible. Level Four is all about presence. Focus on blending the choir’s acoustic output seamlessly with the PA so that in-person guests can’t tell where one sound source ends and the other begins. Your goal is to make the sound bigger, not louder. To do this

well, you’ll need microphones with a gentle proximity effect and with the least amount of colour (or else you’ll be wasting a lot of corrective processing that will prevent you from moving up to Level Five). Here’s a pro tip for your remote guests once you’ve achieved this natural, lifelike sound. Add a pair of omnidirectional room mics for your broadcast mix. Blend those in softly to invite your streamers into the room with you and to make them feel that they are right there sharing the same experience as everyone else. They may not be able to pinpoint what sounds different or why, but they will feel it and, in a blind A/B test, your remote audience will pick your room mic mix every time. And, finally, now that all the fundamentals are in place, it’s time to have some fun, just don’t overdo it and blow all the work you just did. Level Five is where you can subtly enhance the sound. Add a bit of richness and fullness to the bass section. Add air and enhance clarity and articulation by carefully boosting high frequencies. Cut out low-mids to improve the way the choir fits into the mix with lead vocals and instruments. And that’s it. That’s the best way that you and your skills can be of service. www.earthworksaudio.com

32 WORSHIP AVL March–April 2022

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27/01/2022 10:27

3000 Series Network systems are compatible with A-T Wireless Manager

3000 Series Network Systems

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

Audio-Technica (S.E.A) Pte Ltd 11 Ubi Rd 1, #06-01, Singapore 408723 Tel: +65 6749 5686 | Fax: +65 6749 5689 | sales@audio-technica.com.sg | sea.audio-technica.com

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KnowHOW

Upping the livestreaming game GABC livestream control

Casey Hawkins plans to build on Green Acres Baptist Church’s digital offerings in 2022 BECAUSE WE HAVE TELEVISED our services for 40 years, we never saw the need for livestreaming. But television and livestreaming became the only way to have church services during lockdown. In 2022, we are working to “up” our livestreaming game with new hardware and platforms that provide us with more support which, when combined with a new dedicated control room and staff, will deliver a much higher level and more polished production with greater success for our “Digital Campus” (what we call our livestream) product. When I was younger, I found myself mesmerised by church on television. I was also fascinated with television news for some reason. But that has turned into a successful and fulfilling career of over 30 years so I can’t make too much fun of it. But it is unusual for a child to like television church and news. I say that because for most of my life and going back to a time when televised church was only for the mega churches, I have been very familiar with a style often unseen from today’s average livestreaming churches because of what it takes to accomplish it. I am going to specifically refer to The

Primary and backup Resi encoders Hour of Power from the then Crystal Cathedral Ministries. Ed Arnold was the host of that programme for decades. He was the “face” of it. I always liked that because he separated the viewer from the pastor and others involved in the actual worship programme and really invited them into the broadcast. I always felt as though watching their programme was an “experience”. Without stealing the show, he was the “main anchor”. That is a concept that we want to add to our Digital Campus moving forward. Instead of focusing our efforts on just having a livestream and spending

a considerable amount of time simply facilitating it and making it happen, we want to increase our efforts and increase the production level with pre-recorded content and other livestream-specific content just for the live viewer. We want to take the existing “fly-on-the-wall” livestream and turn it into a true production of its own. Part of what we have done so far to steer in that direction is to replace our traditional streaming platforms with new, managed services from Resi. Resi provides turnkey solutions from the hardware encoder to the end user video player and chat platform. Soon, we will

have one central chat area where viewers can comment and engage with church staff live. They also provide church-sensitive support on Sunday mornings should we have any equipment or content delivery network (CDN) issues that are impeding our live broadcasts. We have recently experienced issues with Facebook livestreams, so we are very excited to have someone “on our side” when it comes to resolving these types of issues that normally go unresolved or simply resolve themselves eventually without actual isolation because there is little to no support from the platform. When we switched to Resi, we abandoned our existing software encoder system that was provided by the previous CDN. While I much prefer hardware encoders over software encoders, I do miss the built-in video playback and source switching as well as audio mixing and graphics capabilities of that software encoder. So now, we need to build a bigger control room just for the livestream. We will need to design a signal flow that will include multiple additional sources for content other than just our switched programme

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KnowHOW feed from our main control room. We will need to add media playback capabilities, and live sources such as a studio dedicated to the live audience where perhaps we have a live host. We will need to add a video switcher into the mix and graphics capabilities – all just for the livestream. We have already added a specific audio mixing station and operator especially for it. We have a lot of work to do to get to where we want to be, but we have made some very important steps already. Traditionally, we just “went live” when we were ready, and then “stopped streaming” when we were done. We also fed to Facebook Live separately with an AJA Helo encoder and we scheduled each live event through our Facebook page. We managed our Facebook Live feeds separately from our main livestream, which went to our website and mobile apps through a major CDN. We were physically initiating all livestreams for Facebook and everywhere else at the same time. On the scheduling side, Resi allows us to schedule our encoder and our live events to kick off automatically without the need for us to consciously do so, and it manages all the social media outlets behind the scenes, too. That will free us up to manage the production of

the livestream and not wasting efforts initiating them. As we advance with multiple campuses and grow our subscription with Resi, we will be able to install encoders and decoders at our remote campuses and then we can do feeds to and from all locations. The decoders can also trim in and out points (that can be sent from the encoding source) so that our remote campuses can do a “virtual live” as it continues to receive and play back simultaneously in real time (like using a 3Play device, which we have done for many years at two of our campus locations). We could also take other campuses live onto the Digital Campus should we desire, adding diversity to what the viewer experiences. This will create the need for a “master control” room, which will be solely responsible for initiating and monitoring the quality of all audio and video coming in and out of multiple campuses. Our church has a new goal of 10 campuses in 10 years, so that is a lot of transmissions coming in and out of the main campus at the same time. The system can alert users and managers when equipment and network issues arise, and otherwise when our attention is required. This makes the system so much more

Resi livestream page monitoring the different destinations proactive when it comes to fault isolation and management as we grow into a large network. In the future, I will update this as we build on our design to operate a multi-campus video network and a high-end managed livestream product for our Digital Campus viewers. While writing this, I have yet to operate our new network much as we literally signed onto it days ago, but I am very much looking forward to the future of broadcast at our church. Managing forward distribution of live events to our audiences as well as managing

campus-to-campus transmissions is going to take our ministry to a whole new level. It will be like managing and operating a television network, but at church. I get asked all the time how people should set up and manage their livestreams for Sundays. For years, we have kept it simple and, for many, that is the way to go. But simple is not the way for us anymore and I enjoy being able to design and execute the systems we use to deliver the Word of God to our main Worship Center, satellite campuses, Digital Campus members and to the world.

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Theatres

Bars & Restaurants

Houses of Worship

Immersive Audio

Thinking. Inside the box. 24/01/2022 12:18

March–April 2022 WORSHIP AVL 35

27/01/2022 10:52

KnowHOW

Lighting accessories – controlling the light beam John Black continues looking at lighting instruments and the accessories that are available to control the projected beam of light IN THE PREVIOUS ARTICLE Lighting instruments – the right tool for the job, we looked at the different “flavours” of lighting instruments commonly used to illuminate the stage. Instruments were defined as being either conventional or intelligent, projecting a soft- or hard-edged beam of light, and utilising various lamp technologies. We then took a brief look at specific instrument types, their features and why you would choose one instrument over another. In this article, we’re going to take a look at some of the accessories that you can use with lighting instruments to control the projected light beam itself. This is where the artistry and fun come into lighting. After all, anyone can shine a light to illuminate a person or object on a stage. By using colour, shape, texture, direction and intensity, the lighting designer or technician can add drama, emotion and energy to the lighting that can deeply influence the way we perceive and respond to the light.

Lonestar from High End Systems contains a full-curtain framing system for control of beam shaping

Many lighting accessories can be used across different types of instruments. They may be shaped and sized differently to fit the specific instrument, but the purpose of the accessory is the same. Rather than discussing each accessory individually, let’s look at them according to the ways in which they affect the light beam.

Coloured light Perhaps the most easily identifiable characteristics of light, and the easiest method to create mood and atmosphere, is the use of colour. We see colour in the natural world every day in the various hues that make up a sunrise or sunset. We know that different colours create certain psychological and emotional responses, which lighting designers and technicians can take advantage of in their lighting designs. How is coloured light created? If you are working with a lighting instrument that uses an incandescent or HID lamp source, a lighting filter, or gel, will need to be placed into the light beam itself. White light contains all of the different visible wavelengths of colour, so gels are referred to as filters because they are filtering the light and allowing only certain wavelengths to pass through the material. Gels are inserted into a colour filter frame that is usually inserted into accessory slots on the front of the instrument. Gels are made from a plastic material that can easily melt, so the accessory is not installed inside of the instrument body itself. Ellipsoidal, Fresnel, strip or border, cyc and PAR instruments all can be coloured using gels cut to different sizes according to the specific frame size required. Keep in mind that any wavelengths being filtered and not passing through the gel are being blocked and transferred into

Elation’s KL Panel comes with a virtual gel library heat energy. Over time, the gel will begin to lose its pigment and may even melt. Be sure to keep on hand any gels that you frequently use and be sure to check periodically if any need to be replaced. Many intelligent lighting instruments also allow you to colour the light beam, but they use a different method. Instead of manually having to place a gel on the instrument, they use glass filters inside the instrument body which are controlled by the lighting control console. Glass is used as it can handle the high temperature inside the instrument. These filters will either consist of a colour wheel with a fixed number of colour options, or CMY (cyan, magenta and yellow) colour mixing filters that can be rotated into and out of the light beam gradually to mix and produce any colour the designer may want. While instruments that use gels can hold a single colour at a time, a single intelligent instrument can therefore produce any number of coloured light beams throughout a single event. One additional accessory that is available for ellipsoidal, Fresnel and PAR instruments is the colour changer, which is a controllable device with a roll of several gel colours attached to each other. Similar to a colour wheel on an intelligent instrument, this allows a single instrument’s light beam to be coloured in a fixed number of different colours. If you are working with multi-coloured LED lighting instruments, you will not have a need for gels, colour wheels or colour changers as the coloured light

sources themselves can be used to add colour to the light beam. If your instrument uses RGB LEDs for example, you will be able to individually control the intensity of the red, green and blue LEDs to “mix” whatever colour you desire. The colour theory is a bit different for these instruments in that rather than filtering out wavelengths of light, you are adding different wavelengths of light together. Whichever method you use, adding colour to the light beam can be useful in portraying specific emotions and creating certain moods and atmospheres. It is important to brush up on some colour theory to ensure that the colour(s) you decide to use portray the mood and emotions you are intending to communicate.

Beam shaping Perhaps the two most important purposes of any lighting design are to illuminate and provide focus for the audience or congregation. In other words, it is just as important to provide light in certain areas as it is to remove light and leave certain areas unlit or in shadow. This is where beam shaping accessories come to the rescue as they allow you to block, or shutter, portions of the light beam so that you are able to control what is – and isn’t – lit. Beam shaping is a dominant feature of hard-edged lighting instruments, allowing them to excel in this area over their soft-edged counterparts. In

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KnowHOW particular, ellipsoidal instruments have excellent beam shaping capabilities. To do this, they most often include a set of shutters that are permanently installed in the instrument body, allowing the technician to insert or remove them from the light beam as needed. Without shuttering, the pool of light projected by the instrument is round. Using the shutters, it is possible to create shapes limited only by the position limitations of the shutter blades themselves. This means that you can create squares, rectangles, triangles and half-moon beams of light as needed. A second beam shaping accessory, called an iris, also consists of a large quantity of shutter blades positioned in a circular shape. When closed, an iris narrows the size of the beam of light being projected from the instrument. Irises are external accessories that are inserted into accessory slots in the instrument body between the lamp housing and the lenses.

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While irises are not new to hard-edged intelligent lighting instruments, many are now on the market featuring installed shutter blades as well. This allows a designer or technician to be able to shape the beam of these instruments remotely through the lighting control console. Though beam shaping is best executed using hard-edged lighting instruments, it is possible to shape the beam of select soft-edged instruments, though not with the same sharpness and precision. An accessory called a barn door can be added to the end of some instruments, such as the Fresnel. This is an external unit with shutter blades that can be pivoted into and out of the light beam that has exited the instrument lens. The barn door allows you to shutter off portions of the light beam, though the edges will still be soft and have a feathering effect. It is important to remember that it is not possible to shutter portions of the light beam projected from cyc, border/strip or flood lights.

Texture

The Martin ERA 800 Profile features dual rotating gobo wheels

One of my favourite ways to control the light beam is through the use of patterns, or gobos, to create texture or project images. These accessories are exclusively limited to hard-edged instruments as the ability to focus the beam is necessary for

The manual shuttering system in Robe’s T11 Profile functions as an internal barn door projecting patterns. Gobos may be made out of metal or glass and are inserted into the instrument body using a pattern holder and placed into an accessory slot. Metal gobos work similarly to shutters in that the gobo blocks portions of the light beam from passing through in order to shape the light beam. Metal gobos come in a wide variety of images and patterns that can be abstract, architectural, nature, text-based or completely customised if you have a specific pattern in mind. You can project them onto a vertical surface to create an abstract or two-dimensional image, or you can project them onto the stage itself to create a textured appearance on the stage floor and the performers and objects on the stage (think about the light and shadows that exist when sitting under a tree at midday). If you are using haze, gobos can also be used to create texture and beam patterns in the air, which can be

very effective in creating mood and atmosphere. Glass gobos work similarly to metal gobos except that they may or may not include colour and much more high-resolution imagery. These are typically used for projecting imagery/ scenery onto a vertical surface due to their increased detail. The pattern holders for glass gobos are slightly different to their metal gobo counterparts to accommodate the added thickness of the glass. Additionally, gobos are sized differently depending on the brand of your lighting instrument and pattern holder, so be sure to check out those details before ordering. Intelligent instruments can also be used with gobos though – unlike their conventional counterparts, they can be stocked with a number of different gobos on one or more gobo wheels. This allows you to change the pattern throughout an event, depending on the lighting looks you are trying to achieve.

Recap While these aren’t the only tools available for controlling the light beam, these make up the most common accessories to help you achieve the lighting look that you want. Be aware that the look you are trying to create may not require the use of an accessory. By simply focusing the instrument at the appropriate angle or adjusting the intensity of the instrument in comparison with the other instruments used at a given moment, you may find the perfect look you are after. Above all, remember that light communicates meaning and the instruments and their accessories are your tools to ensure that the right message comes across to your audience.

mailing list

www.worshipavl.com

March–April 2022 WORSHIP AVL 37

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27/01/2022 10:57

TECHNOLOGY

Asher Dowson

Soundscape solved sound reinforcement issues at First Assembly Church in Calgary, Alberta

Painting a new Soundscape

As d&b audiotechnik’s global house of worship segment manager, Asher Dowson has applied his technical expertise towards a subject matter he developed a passion for in his teens. Dowson has always worked in production and technology since video editing at his father’s corporate film production company when he was 15 years old. Musically inclined as a worship leader at a Bradford-based mega church from a similar age, Dowson got into his sales and marketing stride with a music education service provider, before starting his own business at the age of 20. In addition to promoting an extensive portfolio of loudspeaker system technologies, the Norwegian resident travels the world – when permitted – to demystify Soundscape’s unique immersive and spatial audio technology.

d&b’s Asher Dowson extols the virtues of Soundscape and believes it can provide a more intimate worship experience SINCE ITS LAUNCH IN 2018, Soundscape has connected audiences and artists beyond the limits set by stereo and surround. “Soundscape represents a complete paradigm shift in the approach to loudspeaker system design, signal processing and distribution,” explains Asher Dowson, d&b’s global house of worship segment manager. “The technology seamlessly integrates into d&b’s holistic workflow and systems approach and can easily be set up and configured with d&b ArrayCalc simulation software. This has totally transformed the traditional left-right, LCR and mono mix configurations.” Powered by the DS100 signal engine processor, the Soundscape algorithm distributes a maximum of 64 audio channels to 64 loudspeaker outputs. 3D mixing and room enhancement challenges are catered for with two optional software packages.

The DS100 signal engine processor lies at the heart of the Soundscape immersive setup

The software works effectively in either a 180° stage proscenium and crowd-facing setup or a 360° configuration with surround speakers throughout the room in addition to the stage setup. En-Scene provides 3D object-based sound placement and En-Space has been designed for acoustic manipulation and enhancement. By accurately depicting stage scenarios so that each object corresponds both visually and acoustically, the entire audience can hear what it sees and vice versa.

As an added extension of the d&b workflow, Soundscape introduces complex processing for simple and intuitive operation. “Such results would be very difficult to achieve by programming. Objects are moved within the R1 control software, which controls the DS100’s distribution of information based on where that object is in relation to a given speaker layout from the ArrayCalc design. This is automatically calculated with the algorithms powering the En-Scene and En-Space software modules. Knowing

the behaviour of each loudspeaker in the design is key, so Soundscape will always work best as part of a complete d&b system.” With other immersive technologies available on the market, Dowson believes that Soundscape differentiates itself as the only live spatial platform to adopt both time and level information relative to a source location for audio signal distribution across a loudspeaker system. “In comparison to other immersive setups, Soundscape delivers object-based audio information to a wider range of seats in contemporary house of worship layouts. It’s very flexible. Soundscape produces more of the intended result by ensuring cooperation between loudspeaker positions in a wide range of applications, particularly in fanshaped auditoriums.” To better support systems integrators, the manufacturer offers

38 WORSHIP AVL March–April 2022

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TECHNOLOGY both local and remote training and support. “Soundscape systems need to be installed to an uncompromising standard of excellence. The new features within ArrayCalc need to be fully understood as they are immensely helpful when executing a Soundscape design. These include SPL mapping based on a sound object’s location relative to a given system layout and an indication of the audience’s perception of object location using psycho-acoustic parameters.” Given d&b’s pedigree within the theatre and touring sectors, Soundscape experienced early success among the owners of premium venues and operators who were seeking a competitive edge. The HOW sector was naturally inquisitive and adoption soon followed. “In the worship setting, Soundscape can provide a deeper fulfilment by creating very intimate worship experiences. Congregations are bound by a deeper connection to the musical services and a much more natural spoken word delivery. By adopting En-Space, worship communities can reimagine their creative possibilities for storytelling and musical content relative to each service element like never before.” A host of remote network control and tracking options including Dante and the R1 software extend Soundscape’s capabilities. The DS100 is open for integration via the AES70 (OCA) open protocol with consoles and show controllers, in addition to replay and tracking systems. “The DS100 matrix is capable of routing and processing audio beyond the sanctuary to other satellites and campuses or for transmission as broadcast feeds. The En-Scene module uses a window within the R1 remote software to determine where an object is located. The source’s relative position to the nearest

A Soundscape simulation loudspeaker is calculated using a timeand-level vector to determine how much of the source signal will be emitted from the system’s loudspeakers. This is replicated for all sources and can be controlled live by simple programming or using tracking devices.” Designing AVL systems for a broadcast campus that streams audio and video to multiple other campuses is a balancing act. In addition to maximising the worship experience within the broadcast campus itself, the SI or consultant must consider how the high-quality content will be experienced when streamed to other campuses. CSD Group was similarly challenged at the Summit Church’s newly constructed Capital Hills Campus in Raleigh, North Carolina. Both music and spoken word are the essential elements of the invenue worship experience and, with audio being the main priority for that side of the project, CSD specified a d&b Soundscape-based system following a critically well-received and

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A Yamaha Rivage PM7 fulfils FOH duties for the immersive setup at Summit Church in Raleigh, North Carolina

ultimately successful demonstration. “Summit Church was the first house of worship in the world to adopt a 360° Soundscape system,” explains Dowson. Specified for their high output and high directivity, 24S-D point source cabinets serve as mains and delays. “In a non-immersive setup, a mediumformat line array would have been deployed. Weighing in at a similar cost, the benefits to sightlines and coverage in addition to minimising energy onstage to empower mic headroom made it a no-brainer for the church.” Following a proof-of-concept and demonstration, 8S loudspeakers serve as the surround sound speakers. “Using the En-Space convolution reverb engine, these 8-inch enclosures add reverb where required. By installing the 8S speakers at the correct height and by spacing and driving them correctly, CSD provided coverage deep enough so that the worshippers towards the outer edges can experience the immersion.” The Dante digital audio signal is transmitted from a Yamaha PM7 console to the DS100 processor and out to the DS10 audio network bridges and out to the amplifiers running AES. Each speaker is directly driven by its own dedicated amplifier channel. “The 180-part is locational to the stage for which each microphone has a corresponding placement, represented by a circle on the PC display. The speaker outputs are time delayed to the nominated microphone for volume and position so that the worshippers believe the audio is emitting from the stage rather than the loudspeaker system.” In a traditional left-right speaker setup, approximately 2% of the listening area receives equal level and sonic information from both speakers. “Very few members of the congregation receive an equal experience and there

is little harmony between the visual and audible sensory experience. Therefore, it can be asserted that the sonic experience across the congregation is disconnected from reality by varying degrees. Soundscape brings back unity to the audio experience for a congregation, meaning that the pastor is heard identically by everyone seated in the congregation, who are all listening with eyes and ears aligned on their true physical location rather than the location of the nearest loudspeaker.” Both the density of the channel-bus design and the need for processing workarounds at both channel and bus level have been significantly reduced. “By spreading the source objects across Soundscape, the enhanced headroom creates an openness and depth not normally evident in traditional audio setups. Reduced headroom equates to lower output power per loudspeaker position, which leads to reduced line array lengths, smaller sources or point source speakers or an augmented array such as the A-Series. This results in improved sightlines, and it also prevents the system cost from skyrocketing relative to a traditional setup.” Houses of worship across the world have faced enormous challenges during the pandemic and stay connected with their congregants. However, Dowson feels that the downtime provided some valuable time to reconsider and re-evaluate best practices. “We had the time to carefully consider how technology can better facilitate a worship environment. This has raised the awareness of the value of technology which has led to more scrutiny being placed on proposed investments. Return on investment is paramount. The decision-makers are more conscious of today’s innovations becoming standards in five years’ time and they do not want to be left behind. As such, the uptake of Soundscape has increased substantially during the past two years.” As with every d&b system, an evolving software and firmware roadmap will serve to ensure future value in terms of features. “The ROI within the worship context demands easier and improved audio mix operations, fewer distractions from a congregational perspective and an improved spoken word delivery whereby the communicator brings leadership to the service.” Creating new algorithms for these continued improvements and refinements will be key over the coming years – not that the integrator nor the technical volunteers need worry. www.dbaudio.com

March–April 2022 WORSHIP AVL 39

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27/01/2022 11:00

TECHNOLOGY

HDBaseT vs HDMI-over-IP

Both HDMI-over-IP and HDBaseT can be used to transmit high-definition video and audio, so how do they differ?

Just Add Power’s HD-over-IP 2GΩ/3G+ 726TVI TX UP UNTIL RECENTLY, HDBASET has been the de facto method for high-quality video signal extension. Now that HDMI-over-IP is becoming increasingly common, how has the argument changed? With HDBaseT, users can transmit HDMI signals up to a distance of 100m. In contrast, HDMI-over-IP doesn’t have any such distance limitations; however, the cost of HDMI-over-IP can be significantly higher. Let’s take a deeper look into both protocols. HDBaseT is a proprietary technology that allows audio and video signals (typically from HDMI devices) to be extended using Ethernet cabling. HDBaseT technology is most commonly found in two types of devices: a signal extender or a matrix. An HDBaseT signal extender is a point-to-point device that allows extension of an HDMI source (such as a cable box) over an Ethernet cable to a display that can be much further away than a simple HDMI signal could ever achieve. Working via point-to-point methodology, an HDBaseT matrix is then used to allow for multiple sources and multiple displays to be connected through a central hub. A matrix allows for any of the HDMI sources to be routed or matrixed to any of the displays.

due to its point-to-point nature. For example, an HDBaseT matrix will have a limited or fixed number of inputs and outputs it can support, such as four HDMI inputs and four HDBaseT outputs. “One big advantage to AV-over-IP is that it

Ed Qualls, CEO at Just Add Power HDMI is by far the most widely used method for connecting audio and video devices such as cable boxes, media streamers or Blu-ray players to a display. In relation to the pro AV industry, HDMI is adopted in almost every type of technology, whether it be HDBaseT or HDMI-over-IP. HDMI-over-IP (also referred to as AV-over-IP) is a technology that is like HDBaseT but has several key differences. HDBaseT is typically found in fixed audio and video solutions

Normal HDMI is a point-to-point, single source to single screen implementation, whereas HDMIover-IP is a many-to-many implementation of HDMI devices removes this limitation,” explains Andrew Herron, director of product development at WyreStorm. “As the IP in AV-over-IP suggests, it is using an IT/networking infrastructure. In most situations, the size of an AV-over-IP system is only limited by the number of Ethernet ports on a network switch. AV-over-IP leverages HDMI

technology just like HDBaseT. Normal HDMI cables are limited to a relatively short length and typically don’t exceed more than 5m. When longer distances are required, AV-over-IP or HDBaseT technology is used.” “Normal HDMI is a point-topoint, single source to single screen implementation, whereas HDMI-over-IP is a many-to-many implementation of HDMI devices,” continues Ed Qualls, CEO at Just Add Power. “HDMI-over-IP supports distribution over significantly longer distances, superior diagnostic capabilities for troubleshooting and much larger system implementations. It allows for more flexible configurations, works reliably on standard structured cabling within buildings (including going through patch panels) and provides a robust open-source API for developers to work with and build upon. The system is less expensive because it doesn’t require the installation of cabling if the building already has a network.” Therefore, is AV-over-IP set to replace HDBaseT entirely? “Typically, HDBaseT is superior in both video quality and latency,” explains Herron. “Depending on the type of AV signals being transmitted, HDBaseT can extend without any loss in video quality, meaning the signal that reaches the display looks exactly the same as if you were to connect a media player directly. HDBaseT will also not introduce any perceivable latency, unlike most AV-over-IP technologies. Because of this, applications that will have human interaction (such as using a keyboard/mouse) are better suited for HDBaseT technology. HDBaseT can also be the more cost-effective choice for small applications.” For simple applications, HDBaseT Lite is a stripped down and more cost-friendly version of HDBaseT with reduced functionality. While it

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do co it po su ut wh lo M al wa be th Ul th m yo co sy sa a be ba V an ho a wh of HD th is se “A st AV in ne an si en ea re co it th wa re m In ha lin co wi

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TECHNOLOGY

WyreStorm’s MX-0404-KIT has three HDBaseT zone outputs

does transport HD video, audio and control signals over short distances, it doesn’t transport Ethernet or power over the cabling, but may be suitable for applications that can utilise shorter extension distances, which in return also comes at a lower cost. Most video sources, however, have already been compressed. When watching streamed video, it has been compressed to send it into the home or business. Blu-rays and Ultra HD DVDs have to compress the data just to fit it all onto the medium. “If these are the sources you’ll be distributing, the noncompression offered by an HDBaseT system might not be compelling,” says Qualls. “HDBaseT relies on a traditional video matrix that can be costly and pose limitations in bandwidth and flexibility.” Video quality is not the be all and end all of signal extension, however, and there is undoubtedly a bigger learning curve required when entering the complex world of IP technology. “In almost every HDBaseT product, if you make the correct connections, there is no additional programming or setup required,” continues Herron. “AV-over-IP requires a few more steps to get fully functional. Since AV-over-IP utilises an IT/networking infrastructure, the network switch needs to meet certain capabilities and these capabilities (in most situations) need to be manually enabled by the integrator. Also, each encoder and decoder may require a particular IP address configuration based on the network it is being installed into. Having said that, AV-over-IP has come a long way and many manufacturers have resolved these hurdles and made it much more intuitive to get set up. Industry pioneers such as Netgear have created an entire product line dedicated to AV-over-IP where configuration can literally be made with a single click.”

Andrew Herron, director of product development at WyreStorm

screen) and a suitable network large enough to accommodate all of the HDMI-over-IP devices and their traffic,” describes Qualls. “Any number of sources and screens may be included in a system. HDBaseT systems also incorporate the use of transmitters and receiver endpoints but rely on matrix switchers with a predetermined number of inputs and outputs.” According to Herron, there are four components needed for transmission via HDMI-over-IP. An encoder connects to the HDMI source device, such as a cable box or media streamer. “The encoder’s job is to take that HDMI signal and transmit it onto the network,” he says. “A decoder is the exact opposite of an encoder. A decoder will take the signal that the encoder has transmitted onto the network and then convert it back to an HDMI

AV-over-IP solutions also typically offer more advanced video processing capabilities, such as videowalls or multiview (picture-in-picture) management Herron adds that AV-over-IP is the best technology for most large-scale applications. “AV-over-IP solutions also typically offer more advanced video processing capabilities, such as videowalls or multiview (picture-in-picture) management,” he explains. “New AV-over-IP technology has emerged, such as SDVoE, which can offer similar quality and latency figures as HDBaseT, helping to establish AVover-IP as a dominant technology.” So what equipment is needed to send a signal over HDMI-over-IP and HDBaseT? “In order to send HDMI-over-IP, you need HDMI sources, HDMI displays, HDMI-overIP transmitters (one per source), HDMI-over-IP receivers (one per

signal for connection to a display.” A network switch is the third component, which acts as a hub to which all encoders and decoders will connect. The last component is a controller. A controller’s job is to manage all the individual encoders and decoders. “To put simply, a controller is the brain of an AV-overIP system and is responsible for how AV signals are routed,” Herron adds. HDBaseT is a little less involved. “Regarding an HDBaseT extender, there are two components: a transmitter and receiver,” continues Herron. Like an AV-over-IP encoder, the transmitter will connect to the HDMI source device but, instead of transmitting onto a network,

it is designed to connect directly to the HDBaseT receiver, which in return connects to the display. An HDBaseT matrix works in the same way, where the matrix hub is the transmitter and a receiver is connected to each HDBaseT output of the matrix. In terms of compatibility, Qualls reports that it is possible to switch from HDBaseT to HDMI-over-IP because of the use of Catx cabling, but it can be harder to switch from HDMI-over-IP to HDBaseT, as cabling will need to be installed. “There are HDMI-over-IP and HDBaseT products in all price ranges, so your decision will be based on a cost-to-value analysis,” he explains. “To determine value, you need to look at video quality, latency, speed of switching, audio support other special features, such as distribution range, flexibility and the needs of the end user.” “There are some technologies that incorporate the two but are expensive to say the least,” concludes Herron. “It’s best to understand what each technology’s strengths are and design a system based on your requirements.” It’s clear that both HDMI-overIP and HDBaseT have their advantages and disadvantages when compared to each other, but the notion of which is a better solution is not as simple as first thought. The correct choice depends greatly on needs, budgets and technical capabilities of the team managing the equipment. While HDMI-over-IP networks can distribute high-definition video signals from one source to an unlimited number of screens/ displays and offer a better 4K experience at a higher cost, HDBaseT can use the existing Ethernet infrastructure directly with a lower cost. www.justaddpower.com www.wyrestorm.com

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TECHNOLOGY

Choosing the right IP65 lighting fixture

ADJ IP65 lighting at Katharinenkirche in Oppenheim, Germany Image courtesy of Nico Berres

What are the basic elements to consider when selecting an IP65 unit? IP65-RATED ENCLOSURES GIVE protection against low-pressure water jets from any direction, as well as condensation and water spray. They are suitable for most outdoor applications that won’t encounter extreme weather such as flooding and are protected from water, saltwater, rain, dust, snow, sand, smoke and ice. IP65 fixtures can be used in either temporary installations or permanent settings. The units are also suitable for indoor locations, where they are protected from special effects such as haze, snow, confetti, water spillage and pyrotechnics. When wanting to use a fixture outdoors, a rating of at least IP65 is preferred. This will ensure the fixture is dust-proof and can withstand water jets hitting the enclosure without it causing damage. Some fixtures offer a lower rating of IP54, and those can be used outdoors, but should not be left exposed for any extended periods of time and should not be in standing water or heavy rain. In choosing an IP65 fixture, users need to ensure that the unit’s housing and software has been developed to handle the worst of conditions. “The most important part of the IP fixture is the housing,” explains Frederik Afif, international sales manager at Elation Professional Europe. “Metal housings are built to last so it’s best

to stay away from those creaking, leaking plastic housings. Marine-grade coatings are ideal for coastal locations and protect the unit from corrosion. Internally, shielding and baffles can be used to protect some components or mechanisms from potential ingress.” Because of this metal housing, IP-rated fixtures are going to be heavier than non-IP rated versions. When hanging a system of IP fixtures, users may not be able to rig as many on a structure because of the increased weight. It also may be necessary to use more than one technician to lift a fixture into place. IP65 fixtures may require specialised tools to perform any maintenance due to the seals that are used to protect them against water. Any time a fixture needs to be opened or the seal needs to be broken, for even a lamp or gobo change, an IP test needs to be performed to ensure the IP rating is maintained. This test needs to be performed with an IP test tool approved by the fixture manufacturer. Luckily, IP-rated fixtures typically require less maintenance than non-IP versions because of their dust and water protection. IP-rated fixtures do not have to be regularly disassembled and cleaned like their non-IP versions. For some customers that use a lot of atmospheric effects in their spaces, installing IP fixtures offers

protection from fluid build-up and dust accumulation, which saves money on maintenance. So even if they are not going to use the fixtures outdoors, they could install IPrated versions to eliminate the regular maintenance requirements. Power and data cables and the connections can potentially be the weakest link in the IP65 world. “Make sure the unit has rugged, tested and robust connectors so it won’t fail because of a connector problem,” adds Afif. “When outrigging, it’s recommended that cables are facing down, just to give them a helping hand, and make sure you close any unused connections with the attached rubber caps.” IP-rated fixtures use IP65 connectors and, to maintain that rating, the cables that are used to send power and data to the fixtures need to use IP-rated connectors on their end as well. Some IP connectors are not compatible with non-IP versions, but XLR is one that is, so it’s important to choose IP65 XLR DMX cables when using the devices outdoors.

Martin Professional’s ELP CL IP full colour IP65 LED ellipsoidal Afif provides another pro tip – dielectric grease. “Always make sure you have some dielectric grease on hand, which you can get from any electric store,” he says. “Fill up the power or data connectors with the grease then attach them to the unit – this makes sure that all the humidity stays out of the connector. Even if you’re only working on a one-day event, the grease could save a headache because of a loose connection or short circuit.” Although there’s no way of predicting the weather at an outdoor event, IP65 fixtures can help alleviate the additional challenge inclement weather can bring. IP65 units are growing in popularity and, with careful research, they can offer the high-quality visual experience that congregations have come to enjoy, whether the service is offered indoors or out.

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The XSL System.

Clean up your room. The newest addition to the SL family. All the unparalleled features only SL-Series provides: Full broadband directivity control, extended low frequency response, innovative rigging. More SL, nothing less. Let’s talk about X: sl-series.com

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NEWPRODUCTS

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

A–ZCONTENTS ADJ

Focus Profile

Alcons Audio

QRP20

Analog Way

Midra 4K 2.0

ARX Systems

USB DI-Q update

Audio-Technica

BP898/BP899

Austrian Audio

CC8

Ayrton

Huracán LT

Chauvet Professional

onAir IP series

CODA Audio

Space Hub

DirectOut

PRODIGY update

DPA Microphones

MS4099

Earthworks Audio

Ethos

EAW

AC6

Elation

Proteus Rayzor Edge

ETC

F-Drive B-Box

Extron

IPCP Q/SF 28PT

Fulcrum Acoustic

AHS Series

GLP

impression X5 IP Bar

Neumann.Berlin enters close miking market

Hall Technologies

HSM-44-UHD

HK Audio

Linear 9

JBL

EON ONE MK2

L-Acoustics

L-ISA Processor II update

Lectrosonics

Silicone covers

LynTec

LCP Series

Milab Microphones

DC-196 anniversary edition 46

Neumann.Berlin

Miniature Clip Mic System

Neumann’s Miniature Clip Mic System consists of nine mounting solutions

NewTek

TriCaster 1 Pro

NEUMANN.BERLIN HAS unveiled its first product range especially for close miking instruments. The modular and rugged construction provides stability for live performances including nine mounting solutions to find the optimum positioning for acoustics. To create the Miniature Clip Mic System, the German microphone engineers upgraded the KK 14 capsule by removing production tolerances previously associated with electret solutions to date. Neumann’s developers spent six years researching the capsules and the production processes

that would be necessary to make this a reality. By removing previous production tolerances that impacted sound level and frequency response, the resultant electret microphone offers constant performance. With minimised self-noise and a maximum sound level of 152dB, the KK 14 can be used for both very quiet and loud instruments. The nine options provide a secure attachment to brass, string and stringed instruments, pianos, drums and percussion. A selfadjusting, spring-loaded system together with the latest mounting

concepts for specific applications minimise the damage of sensitive surfaces. Thanks to connection cables with either a 3.5mm jack, Lemo, MicroDot

Obsidian Control Systems NETRON EP2

Optoma

ZX300/ZW350

Panasonic

AW-UE40

Prolights

Astra Wash7PixIP

RCF

NX 9

Renkus-Heinz

DC12/2 update

Robe

T11

Ross Video

X-Series

Sharp NEC Display Solutions C750Q/C860Q

Solid State Logic

L450/L650

Sommer Cable

HI-HDAPR-01

Sony

VPL-FHZ85

Strand/Zero 88

ZerOS 7.10

or four-pin mini XLR connectors, the system is compatible with all standard bodypacks for wireless setups. www.neumann.com

Audio-Technica goes the distance DIRECTLY REPLACING the AT898 and AT899 condensers, Audio-Technica has made the BP898 cardioid and BP899 omnidirectional microphones available for wired or wireless lavalier applications. Available in five black finished models, the BP898 comes with permanently attached cables and varying termination and power configurations. The BP899 is available in 17 different models with permanently attached cables, varying terminations and power configurations in two sensitivities and black or beige finishes. The wide dynamic range and high SPL tolerances of both upgraded subminiature microphones promote their use in houses of worship. The 5.3mm-diameter, low-profile design minimises visibility. For up-close,

directional miking, the directivity of the BP898 with its cardioid capsule provides a pronounced proximity effect that enhances the voice. If the mic needs to be used at a greater distance or a less focused pickup is desired, the BP899 with an omnidirectional capsule is recommended. The BP899 features an opendiaphragm design for maximum frequency response with a protective mesh that repels sweat and other moisture for a lasting performance. It includes a resonance cap that

BP898 can be applied to the mic for greater intelligibility and to direct sweat and moisture away. The BP899 is also available in low-sensitivity versions, for dynamic performances or other highSPL applications. Joining the original UHF-based 3000 Series, the 3000 Digital

Series wireless system features 24-bit/48kHz processing, a wide dynamic range of 120dB and 60MHz tuning range, with analogue-balanced audio outputs achieving a latency of just 2.5msec. With audio networking a key requirement for many users, the 3000 Digital Series receiver is Dante-enabled and ready to slot into any Dante network. Up to five ATW-DR3120DAN dualchannel receivers can be connected to allow a single pair of antennas to feed up to 10 channels of wireless, reducing the rack space required and minimising cost. www.audio-technica.com

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PRODUCTS

Austrian Audio presents the CC8 WITH THE release of the CC8, Austrian Audio has created a line of instrument microphones for use onstage. Inspired by the CK1, the newly developed OCC7 condenser capsule lies at the heart of the small diaphragm model. Shown to be more robust than conventional mylar alternatives, the capsule incorporates a threemicron-thick gold-coated polyethylene

napthalate (PEN) diaphragm. The OCC7’s filter fabric ensures a constant broadband cancellation, reportedly resulting in outstanding cardioid characteristics with attenuation of sound coming from the sides and rear. Capable of handling high SPLs of up to 156dB without distortion, the CC8 records a low self-noise of 16dB SPL (A). During recordings, the CC8

can handle fast transients and the spatial information required for accurately capturing acoustic instrument detail in jazz ensembles, orchestras, acoustic guitars and pianos. With a built-in switchable attenuation of 0dB, –10dB

and –20dB, the microphone can be positioned near to loud sound sources such as trumpets without fear of distortion. Rumble and impact noise are reportedly eliminated with the switchable highpass filter (60Hz 2nd order/120Hz 2nd order). Targeted positioning in tight and difficult locations can be achieved with the CC8’s low self-noise and compact dimensions. www.austrian.audio

Earthworks Audio sets new standard for streaming mics WITH ETHOS, Earthworks Audio has developed a microphone that is said to offer a natural sound and gentle proximity effect. Designed to capture every transient, Ethos is a supercardioid, 14mm condenser microphone operating within a frequency

response of 20Hz–30kHz and capable of handling an SPL of 145dB. The windscreen stack with userreplaceable foam extends plosive and wind

noise protection without impacting fidelity or transparency. Precise placement adjustments can be made courtesy of the TriadOrbit M2-R ball joint mic adapter that also features in the Icon streaming family line.

Internal dampening and stainlesssteel construction ensure a resistance of noise handling but, should an additional shockmount be required, Ethos can adopt Rycote’s USM universal model. www.earthworksaudio.com

Milab DPA adds to EAW extends ADAPTive series celebrates Core values 80th birthday ORIGINALLY FOUNDED in 1941 as Pearl Microphones, Swedish microphone manufacturer Milab Microphones is marking the occasion with the release of an 80th anniversary edition microphone. After a long history where the two brands were separated for almost 40 years, Milab and Pearl have once again been reunited after a merger in 2017. Today, both brands are entirely hand produced in the southern Swedish town of Åstorp. The Milab DC-196 anniversary edition microphone is a multi-pattern condenser microphone built around Milab’s characteristic rectangular largediaphragm capsule. Distinctive with its red Nextel coating, the DC-196 is shipped in a wooden box together with a Milab 3227 shock-mount, a windscreen and an individual frequency graph.

DPA MICROPHONES has enhanced the flexible feature set for the 4099 Core instrument microphone with the release of the MS4099 stand mount. For mounting onto any mic stand, the MS4099 can be used on both 3⁄8 -inch and 5⁄8 -inch threads. Borrowed from the design of other DPA mounting options, the barrel of the MS4099 mic holder makes it easy to attach or remove the microphone. In addition to being compatible with the 4097 Core micro shotgun, the mount can be turned for vertical or horizontal use. In other news, the 4466 and 4488 headsets are now available in brown. With a one-size-fits-all design and adjustable height and boom length, the headsets accommodate small-to-large head types and a three-point gripping system. In addition to the brown finish, the headsets are also available in black and beige options. www.dpamicrophones.com

www.milabmic.com

WITH THE development of the AC6, Eastern Acoustic Works (EAW) has enhanced its ADAPTive column series. Capable of generating a maximum SPL of 143dB and 120° of horizontal nominal beamwidth, the twoway, full-range enclosure is being targeted for installations within houses of worship. Smaller than its predecessors, the lowprofile AC6 includes similar features, including EAW’s signature ADAPTive Tool Kit. Optimum coverage and directivity of the loudspeaker is achieved by steering the ADAPTive Performance components via the Resolution 2 software. By integrating all factors and aspects of the loudspeaker, the AC6 can produce threedimensional coverage in any venue. Incorporating EAW’s Focusing and DynO digital signal processing, the column speaker can output intelligent and dynamic audio with an impulse response at any level. Operating within a frequency response of 65Hz–20kHz (–10dB), the electroacoustic assembly consists of six LF and 30 HF transducers. The AC6 can be flown as a main system or integrated with the larger Anna or Anya line arrays. In addition to analogue redundancy capabilities, Dante redundant networking comes as

standard. Available in black or white, optional weather protection covers extend the use of the AC6 in outdoor applications. www.eaw.com

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PRODUCTS

Renkus-Heinz RCF reveals Next Generation NX net additions

FORMING PART of a firmware and software update for the DC12/2 array series, RenkusHeinz has made improvements to multi-unit configurations together with a new full-range performance mode. Designed for tight control and discreet aesthetics, the compact and steerable DC12/2 loudspeaker can now be configured via a smartphone or tablet app. The software-backed component of the loudspeaker forms the basis for a future upgrade path. With the new update, multiple units can be configured at once using Wi-Fi Station Mode to program multiple loudspeakers without manually connecting to each device. In addition, the new full-range mode for improved lowend extension provides a more pronounced full-range sound for installations without a subwoofer. Additional upgrades in the software update include delay and discrete gain control. www.renkuz-heinz.com

FEATURING UNIQUE electroacoustic features, RCF is shipping three new speaker models from the portable NX Series. Purpose-designed 10-, 12and 15-inch transducers, a constant directivity waveguide, FiRPHASE processing, Bass Motion Control algorithms and a 550W (RMS)rated Class-D amplifier are included. Like the latest ART 9 speaker series, the NX 9 integrates an energy-efficient fanless amplifier whose circuit NX Series is attached to a solid aluminium heat exchanger in the unit’s rear. Performance improvements include a 1.75-inch compression driver with a polyimide-Kapton dome together with purpose-designed woofers and a constant directivity waveguide that produces coherent coverage across the listening area. System latencies are minimised and a coherent distribution of sound without phase distortions is ensured by adopting proprietary digital FiRPHASE technology. With FiRPHASE technology applied, the newly designed speakers act as a single source for a true sound image. The Bass Motion Control woofer excursion management feature

creates a complete map of the dynamic behaviour of the transducer, to generate a custom algorithm that only limits over-excursions. By granting freedom of signal reproduction, both high-pass filters and large-band limiters are avoided and the speaker is allowed to reproduce the input signal at all volume levels for the entire audible spectrum.

Housed in a wooden enclosure, each NX9 model is finished in a black polyeura coating. Designed for portable applications, the versatile cabinet is equipped with ergonomic handles on both sides, together with a steel pole socket for mounting. Each model can also be flown, wall- or trussmounted using multiple M10 rigging points and special accessories. In other news, the Italian manufacturer has released the TT 515-A active speaker and TT 808AS active subwoofer. The TT 515-A’s transducer configuration pairs two custom-loaded 5-inch cone drivers to a rotatable CMD waveguide surrounding a titanium 1.75-inch

high-frequency compression driver. Designed for installed and portable applications where size and weight are critical factors, the speaker comes with the advantages of TT+ technology such as controlled dispersion, multiple flexible rigging accessories, weatherproof protection and RDNet real-time monitoring and management software with recallable presets. The TT 808-AS features two vented-loaded 8-inch cone woofers powered by a 1,000W two-channel amplifier – one for each woofer – on a Baltic birch plywood cabinet painted with black polyurea and weatherproof treatment. Management and tuning are available via RDNet software or using the two preset buttons, a polarity button and a variable delay accessible from the back panel. The cabinet features rubber feet on two sides and two threaded pole mounts for horizontal and vertical placement. The TT 808-AS can be used alone, in subwoofer arrays or as the low-frequency complement for the TT 515-A. In brief, the M 20X Ver. 174 firmware release has fixed some minor bugs and added the driver for RCF’s MWD 1 WiFi Adapter. Previously supported USB adapters are still maintained as legacy devices; the new MWD 1 WiFi adapter is natively supported by the mixer. www.rcf.it

Fulcrum Acoustic steers a new course

DC12/2

TARGETED AT applications requiring high output and precise pattern control, Fulcrum Acoustic has developed the AHS Series of modular, scalable loudspeakers. Offering 45° horizontal beamwidth, the AHS440 incorporates four high-frequency (HF) horns, each paired with a coaxial compression driver. Providing a 60° horizontal beamwidth, the AHS460 uses three HF horns within the 700mm x 900mm x 775mm (DxWxH) enclosure. Low-frequency (LF) output for both models is provided by four 10-inch woofers loaded by Oculus phase plugs. The inclusion of the Compression Head extends the LF horn length, allowing for lowfrequency extension to 60Hz. The US manufacturer’s TQ processing together with beam-

HF air loss, which can be substantial in large-scale applications. AHS modules

forming DSP algorithms configure the AHS Series’ vertical dispersion to match a venue’s specific geometries and throw distances. Multiple HF horns combine coherently to provide the output necessary to combat

are designed to be stacked as needed to increase projection and control. www.fulcrum-acoustic.com

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PRODUCTS

HK Audio advances with Linear 9 THE EVOLUTION in the Linear loudspeaker series has been revealed by HK Audio. Comprising three point source speakers and two high-profile subwoofers, the Linear 9 birch multiplex enclosures integrate customised acoustic transformers and horns, Class-D power amplifiers, digital controllers, powerCON adaptors and advanced networking capabilities. The flagship 210 LTA model is a fully integrated and scalable constant curvature point source speaker with exceptional long throw abilities. Based on HK Audio’s transformer design, the Multicell Transformer provides a rotatable 60° x 25° dispersion above 1.35kHz. Designed

for long throw applications or as a horizontal cluster in large venues, the dual 10-inch 210 LTA operates within a frequency spectrum of 88Hz–19kHz (±3dB). The 110 XA 10-inch and 112 XA 12-inch models are equipped with a Multicell Transformer that provides rotatable 80° x 60° and 70° x 50° dispersions, respectively. The compact, multifunctional cabinets can be applied as low-profile stage monitors, as a small FOH solution on a tripod, as front fills, flown in a rig or as mid/high units in combination with subwoofers. A catalogue of remotecontrol functions including grouping, volume control, 10-band EQ, limiter, delay and full networkability (controller

EON ONE MK2 marks new era in portable PAs JBL IS shipping the EON ONE MK2. The battery-powered column PA incorporates a five-channel digital mixer, DSP, Bluetooth 5.0 functions and full app control within a 19.3kg rechargeable battery system. With a crossover set at 230Hz, the C-shaped array comprises eight 2-inch tweeters in combination with a 10-inch woofer. Operating within a 45Hz–20kHz (–3dB) frequency range, the array provides 140° horizontal and 30° vertical dispersion. Powered by an integrated 400W (RMS) amplifier, the combined system can produce a maximum SPL of 123dB. Variable Power Performance technology automatically switches performance for either AC or battery power, providing 4dB of extra headroom when connected to AC power. In addition to presets and a three-knob EQ interface, a triple-tier, fullcolour LCD display promotes beginner, intermediate or advanced control settings. DSP Lexicon effects including reverb, chorus and delay, in addition to a full suite of dbx DriveRack Automatic Feedback Suppression (AFS), parametric EQs,

limiters, delays and SubSynth are included. In addition, a Soundcraft Easy Ducking feature lowers the BGM volume when speech is detected. A swappable six-hour battery fitted within the column ensures that performers can play extended sets. The five-channel mixer includes three Neutrik XLR combo jacks, one Hi-Z input and a ¼-inch balanced passthrough with independent volume control and speaker delay. Two channels of 48V phantom power are also included for support of condenser microphones. The system can be controlled by the new JBL Pro Connect app, providing remote access via Bluetooth 5.0 to all functions and presets from a phone or tablet for up to 10 units. Measuring 490mm x 322mm x 550mm (LxWxH), the EON ONE MK2 is housed in a polypropylene shell and fitted with an ergonomic handle. www.jblpro.com

software available for Mac OS and Windows) are included in the DSP controller. The DSP-OUT is an exclusive feature enabling loudspeakers without built-in controllers to be fully integrated in a Linear 9 network. Low-frequency extension is provided by the direct radiating 118 Sub A and 118 Sub BA, which feature a band-

pass design for an extended bass range and a higher SPL. Capable of extending the LF response to 42Hz and 38Hz respectively, the 18-inch subwoofers are tuned to be used together and can operate in cardioid mode. www.hkaudio.com

Two-way column support for Alcons FEATURING HIGH-Q directivity for increased projection control as a vertical sound system, Alcons Audio has created the QRP20 column array for permanent and portable applications. Specifically designed for acoustically challenging applications where high levels of intelligibility are required, the two-way enclosure projects both a wide horizontal and a narrow vertical coverage.

Loaded with the RBN401 4-inch pro-ribbon driver on a “Morpher” lens, the system offers a high throw efficiency and projection control courtesy of the pro-ribbon’s all-natural cylindrical wavefront. Operating within a 93Hz–20kHz (±3dB) frequency range, its transient response and 800W @ 200ms high peak power handling cater for intelligibility from the lowest to the highest SPL with a 1:15 RMS-to-peak dynamic range. In combination with the controlled dispersion, the flat frequency response and the fast impulse response of the RBN mid/highfrequency transducers promote a maximum gain-before-feedback up to directly in front of or under the system. Mounted in a D’Appolito speaker configuration, the RBN401 incorporates four custom-designed 5-inch woofers featuring Active Coil technology for extremely lowdistortion LF reproduction within in a sealed cabinet. Housed in a slim 150mm x 150mm x 742mm (WxDxH) enclosure, the column is powered and controlled by the ALC amplified loudspeaker controller, which provides QRP20-specific drive processing. The QRP20 is available with 90° (QRP20/90) or 120° (QRP20/120) horizontal dispersion variations. www.alconsaudio.com

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Extron designs to fit more easily

The IPCP Q models DELIVERING ENHANCED processing power, improved runtime functionality and offering up to four times more memory for increased deployment speeds, Extron’s IPCP Q models within the DTP CrossPoint and IN Presentation Switcher Series have been upgraded with the latest quad-core control processors. The DTP CrossPoint 4K matrix switchers are available in 10x8, 8x6, 8x4 and 8x2 sizes. Each model integrates 4K I/Os, Vector 4K scaling technology, DTP and XTP signal extension, audio DSP capabilities including AEC, power amplification and a control processor for AV system control. Designed to replace

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up to 10 separate components, the compact enclosure of the DTP2 CrossPoint 82 saves substantial rack space. The model has been primarily designed for using content on multiple displays, and for providing a variety of AV system configurations serving multipurpose and divisible rooms. IN1808 switchers are suitable for use in spaces that require support for 4K/60 video. Incorporating a Vector 4K scaling engine with 30-bit internal video processing upscaling and downscaling, the IN1808 models are distinguished by their eight inputs with 18Gbps support and 4K/60 @ 4:4:4 video

scaling. A mix of DisplayPort, HDMI and DTP2 inputs are provided, together with an assignable input loop-through and simultaneous HDMI and DTP2 outputs, ProDSP audio processing, video transition effects and logo keying. With audio system integration in mind, the IN1608 xi includes eight-input audio switching, two mic/line inputs, HDMI audio embedding and de-embedding, in addition to several audio processing features for mixing, ducking and tone adjustments. IN1608 xi SA models feature a dual 50W Class-D stereo amplifier, while IN1608 xi MA models include a 100W Class-D mono amplifier.

Created for BGM in high-ceiling and open-ceiling applications, the Californian developer has added the SF 28PT two-way pendant to its pendant loudspeaker family. Taking inspiration from modern pendant lighting designs, the SF 28PT combines a tweeter and an 8-inch woofer for operation over direct 8Ω or 70V/100V connection. Available in black or white, the pendant can be painted to fit in with any décor and installed with the inclusive PendantConnect speaker cable that combines both the electrical and steel support cables within a single outer jacket. www.extron.com

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PRODUCTS

Direct upgrade for the PRODIGY FOLLOWING A system update for the PRODIGY series, DirectOut has added several new features including AutoMix, MirrorMode and TruePeak Levelmeter functionality for the PRODIGY.MP multifunctional audio processor. AutoMix supports automatic mixing of different input signals by adjusting the control parameters in complex applications, such as reverberant rooms. TruePeak Levelmeter promotes reliable detection and display of intersample peaks, meaning that PRODIGY.MP now fulfils the

requirements of EBU R 128. In DirectOut’s MirrorMode, selected parameters of a Mirror Unit are automatically aligned with the main unit. Alignment allows immediate switchover for seamless operation with the matching device configuration in the event of a failure of the main unit. PRODIGY.MC is further enhanced with summing busses that can sum several channels in a simple matrix with adjustable output level.

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IN ADDITION to the latest advances in immersive and object-based mixing for live sound, the SSL Live L450 and L650 consoles focus on providing production solutions in houses of worship. In these environments, multiple mixes, immersive audio, monitoring and OTT/streaming are often required. The new L450 console sits above the more compact L350 in terms of processing power, while the L650 is the most powerful SSL Live console to date.

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Modelled on the Fusion analogue hardware processor, SSL has released the SSL Fusion Vintage Drive and the SSL Fusion Stereo Image premium plugins. The availability of the Fusion processing favourites marks the beginning of a plugin roadmap focused on music creation, mixing and mastering. Available independently or as part of SSL’s complete subscription pack, the plugins will be joined in the coming months by additional Fusion

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Meet the Blue Box ARX SYSTEMS has updated its USB DI-Q USB analogue interface. Promoting the unit for use in wider applications, the interfacing solution now sports an updated front panel depicting added information. The monitor and cue audio files can now be accessed in a closed headphone environment and the audio output can be switched or enabled to a sound system or PA as required. A transformer balanced output provides the isolation required to eliminate earth loops and ground hum plus other extraneous noise. The USB DI-Q installs as a fully compatible plugand-play generic USB audio device, requiring no special driver program installation on Mac OS X, Windows

Next-gen optimal core processing

XP and 7/8/10. The USB DI-Q can connect to any USB-equipped computer with the pro audio balanced inputs. Integration of the unit into a building’s existing AV infrastructure has been simplified and, once installed, can be easily operated from the touch button interface. The front panel features an overall playback volume control for both headphone and XLR outputs and an “enable audio to room” switch. The rear panel is equipped with a Type B USB input socket and status LED, summed (mono) output XLR with Groundlift switch and a ¼-inch headphone output. www.arx.com.au

L450 As found in the L200 console, the layouts of the L450 and L650 incorporate a triple-wide fader bank configuration. Cutaways for external screens maintain line of sight to the artist and stage, creating two distinct areas of focus for the operator. The L650 console shares the same knob-per-function Channel Control tile as the L550 Plus, whereas the L450 features a Tablet panel for use with SSL Live’s control app, TaCo. Providing additional DSP resources for the SSL Live L100, L200, L350 and L550 consoles, Solid State Logic has also made Plus Processing Packs available. The packs maintain the UK manufacturer’s commitment to supporting its existing and future SSL Live customer base. Building on the SSL Live L-ISA control integration found in Live V4.11, Live V5.0 Console and SOLSA software features integrated control solutions for Meyer Sound Spacemap Go Immersive together with Shure ULX-D and Axient Digital Mic Control. Offering control of key features from within the SSL Live console ecosystem, Live V5.0 also features other workflow-based enhancements, including Routing Interface, Event Manager and Overview Screen improvements, plus the addition of Solo and Mute buttons to TaCo.

processing formats, including Violet EQ, HF Compressor and Transformer. The SSL Fusion Vintage Drive plugin has been derived from the Vintage Drive section of the SSL Fusion, bringing its non-linear saturation circuit characteristics directly to the DAW. The Density and Drive controls on the plugin interact to produce harmonics, soft clipping and natural compression, like pushing an analogue console into its tonal “sweet spot”. Also modelled on the SSL Fusion hardware unit, the SSL Fusion Stereo Image plugin relates to the original analogue circuit designs. Width and Space

Fusion Vintage Drive plugin controls provide access to a digital version of the Fusion’s mid-side circuit directly in the DAW for detailed spatial manipulation of the stereo field. Supporting VST2, VST3, AAX and AU plugin formats, all SSL plugins are compatible with major DAWs and computer operating systems. www.solidstatelogic.com

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PRODUCTS

Sommer makes the right connection SOMMER CABLE has added an HDMI adapter ring to its catalogue that connects presentation sources to the correct outputs. Threaded onto a screwed stainless-steel rope, the HDMI adapter ring provides a quick connection to laptops, tablets and smartphones with Displayport 1.4,

HDMI Ultraslim HI-HDSL series and the adapter. Available in 0.35m, 0.75m, 1.25m and 2m lengths and offering a performance of 18Gb/s, the non-slip metal HICON connector of the flexible 3.6mm cable fits into any HDMI socket. Additionally, VGA sources can be linked via the active

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HI-HDAPR-01 MiniDisplayport 1.4 or USB-C output to HDMI 2.0 cables. The three cable clips also promote the fixed installation of an HDMI connection cable. A 4K60 connecting set is created by combining the lightweight

VGA-HDMI DVM-HDT-VAHD2 adapter when converting VGA signals up to 1080p in resolution into an HDMI stream. www.sommercable.com

Space Hub

CODA Audio heads into space WITH THE release of the Space Hub, CODA Audio has developed a digital processor that is an integral component within its immersive audio system solution. Following successful trials at the Utopia Festival electronic music event in Marseille, Space Hub was officially launched at the Tonmeistertagung 2021 event at the CCD in Düsseldorf. Featuring advanced spatial audio algorithms for the positioning and movement of sound objects for 3D immersive listening experiences, Space Hub can render up to 128

audio sources into 128 outputs. In other news, for extreme environments CODA Audio has developed its Marine Grade 1 (MG1) option, which offers maximum protection against freezing cold, scorching heat, continuous rain and snowfall, as well as acidic or salty environments. This option is said to enable users to have confidence in the permanent deployment of CODA Audio loudspeakers in even the most exceptional conditions. www.codaaudio.com

Lectrosonics dresses up for going out

L-ISA Processor II extends immersive power

A NEW range of silicone covers has been made available by Lectrosonics for a wide variety of its transmitters, receivers and recorders. The protective covers include the DCHT digital camera hop, DPR, DPR-A digital plug-on and LT transmitters, in addition to the DCHR digital portable, IFBR1B multi-frequency IFB and M2R IEM/IFB receivers. Silicone covers for the recorders include the MTCR miniature time code and PDR portable digital recorders. Joining the existing HM/HMa plug-on and SSM micro beltpack transmitter covers, the latest batch is available in clear silicone, while some models are

EXTENDING SPATIAL processing to a wider range of productions and venues, L-Acoustics has developed the next generation of its 3D audio processing engine with L-ISA Processor II.

tiered pricing levels. Fitted with Neutrik connectors and housed in a 3U chassis, the L-ISA Processor II can be remotely controlled by L-ISA Controller software. Integrating multicore architecture, the unit is

Like its predecessor, L-ISA Processor II provides advanced object-based mixing for immersive audio productions. While both hardware units offer control of spatial audio processing and virtual acoustics for up to 96 audio objects based on speaker positioning information and mixing parameters – including pan, width, distance, elevation and aux send – the new L-ISA Processor II doubles the original unit’s potential output count of 64 up to 128 outputs for larger, more complex events. The French innovator is offering L-ISA Processor II in a choice of four output counts – 16, 32, 64 or 128 – from the same device, with various capacities accessible via different lifetime licences at scalable,

further equipped with Milan-AVB dualnetwork redundancy, eliminating the need for a secondary unit in mirror mode. The product also features MADI connections, allowing signals to be input on MADI and output via Milan-AVB. Operable with L-ISA Studio software that promotes immersive designs from laptops, both L-ISA Processors are compatible with DeskLink, placing direct control of L-ISA objects on the channel strips of DiGiCo, SSL and Yamaha mixing consoles. Partnerships with vision-based tracking systems such as BlackTrax, Robert Juliat’s SpotMe, Modulo Pi and Zactrack continue to be supported by the new product as well.

also available in black, including the DPR, DPR-A and HM/HMa. Designed to protect the units from moisture and dust, the two-part, overlapping designs make them pliable enough for easy installation and removal. Each cover features die-cut holes for antennas and input jacks which suit the individual model. The covers feature a raised dome design over LCD screens and buttons, making indicators easy to view and buttons easy to operate. They are designed to be set up beforehand and become less visible on camera. www.lectrosonics.com

www.l-acoustics.com

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Panasonic zooms in on enhanced visuals CONSISTING OF five new models, Panasonic has launched its latest integrated PTZ camera lineup. The compact, dome-shaped AW-UE40, AW-UE50 and AW-UE80 models offer a direct drive system for accurate panning and zooming together with a quiet operation (NC25 or lower). The 4K cameras also combine a 74.1° viewing angle and a 24x optical zoom to capture the entire space from the back of the room. Outputs include 3G-SDI (UE80 and UE50 only), HDMI and IP for integrating into a variety of workflow infrastructures. In addition to RTMP and RTMPS streaming, the UE80, UE50 and UE40 also support NDI|HX2 and SRT to promote safe video streaming. The flagship UE80 model offers exclusive features including 4K60p resolution, high-bandwidth 100Mpbs NDI for transmitting high-quality, low-latency video and FreeD protocol support for

AW-UE80 incorporating realistic virtual studio sets and elements into remote productions. With the development of Agile I/O, the Japanese brand has added a software feature to its KAIROS IT/ IP video processing platform for creating larger and more complex productions. Available as a free

Analog Way updates Midra 4K presentation switchers FOLLOWING A major software update for the Midra 4K presentation switchers, Analog Way has announced more than 20 new features, including IP streaming, support for the RC400T event controller and live background content on Pulse 4K. Tailored towards small- to mediumsized fixed installations and live events, the Midra 4K series consists of the QuickVu 4K, QuickMatrix 4K, Pulse 4K and Eikos 4K models. With the 2.0 software release, the Midra 4K series now offers an IP streaming functionality for allowing any input or output to be broadcast over IP. The streaming feature can be used to feed an online web service such as YouTube, Facebook and Twitch,

distribute the content over a private network, display the content or edit with software such as OBS Studio. The Midra 4K switchers can now also be operated by the RC400T event controller, giving instant access to functionalities such as screens, layers, sources and memories. Additionally, live sources can be used in the background set for the Pulse 4K multi-layer video mixer and seamless presentation switcher. Other improvements include the integration of high frame rates up to 144Hz, a new HDCP policy management and HTTPS support.

upgrade, KAIROS can utilise the 100Gb ST 2110 network and other KAIROS Core inputs and outputs by managing the network bandwidth more efficiently. This can provide additional sources for HD and 4K content and access to more connected sources in the multiview. The KAIROS live production platform scales deployments up and down by supporting broadcasting on numerous devices and feeds, in any source, format, scale, screen and mix. For churches, KAIROS aims to enhance worship services

by managing multiple displays and screens that show various views of the service to engage both in-person and remote congregants alike. Panasonic has also released the AV-UHS5M6G NDI I/F unit for the AV UHS500 SDI/HDMI live switcher. This unit enables the UHS500 12G/3G-SDI switcher to support low-latency video transmission of NDI and NDI|HX. It also provides direct IP connectivity to NDI-enabled computers and video devices. www.panasonic.com

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Ross turns heads with X-Series WITH THE launch of the X-Series of pan/tilt heads, Ross has developed two PTZ cameras as part of the Ross Live series. Developed for remote camera applications, the X350 and X300 are compact heads which come with a 6.8kg payload capacity.

The PTZ-12G and the PTZ-NDI cameras have been added to the 4K UHD PTZ series. Designed for a wide range of production requirements, the PTZ models incorporate a 9.17 megapixel and 1/1.8-inch CMOS sensor for capturing 4K

X-Series www.analogway.com

The X350 head includes a 5-inch full colour touchscreen for setup, local control and integrated tally. For virtual sets and augmented/extended reality applications, an integrated VS/AR tracking is included. Other features include anti-backlash gearing, cascaded camera connections and Motion Director for synchronised movement and keyframed moves. Developed for more price conscious applications, the X300 includes fewer advanced features.

UHD 60fps and progressive HD video content. The Ethernet interface enables single Cat5E connectivity, providing remote control via IP VISCA protocol, video output using 4K UHD IP streaming and PoE with the option of routing to an NDI workflow. The lens features an extended zoom range of 30x optical and 12x digital and an upgraded mechanical design providing faster movement. www.rossvideo.com

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Sony adds two midrange 3LCD laser models DEVELOPED FOR smaller HOW applications, Sony Professional has unveiled two WUXGA 3LCD laser projectors, with the VPL-FHZ80 being the smallest and lightest in the class1 midrange. Satisfying demanding lighting conditions, the VPL-FHZ85 and VPL-FHZ80 output 7,300 lumens and 6,000 lumens respectively. Both new models support 4K60p input for compatibility with 4K video sources. This is further amplified by the incorporation of Reality Creation’s realtime signal processing, mapping and

analysis technology that enhances the overall sharpness, resolution and quality of imagery, regardless of whether it’s pictures, graphs or text. The projectors’ Reality Text feature improves text-based presentation materials by providing clearer letters and lines with enhanced legibility. The smart projectors feature advanced Intelligent Settings, which offer optimisation based on usage environment. The addition of customised Bright View functionality enables colours to accurately maintain their contrast and vivacity

in brightly lit rooms. An Ambiance feature automatically measures the room’s brightness using an ambient light sensor, and further calibrates the Bright View, colour gain and Reality Creation settings accordingly. Additionally, the new models offer an automated filter cleaning system and an efficient cooling system to ensure long-term, reliable and lowmaintenance operation. The compact projectors offer a blend-in design that can accommodate

a range of lenses and enable a widest-in-class vertical lens shift at 70%. Installation flexibility is enhanced with a USB power supply for enabling wireless presentations, auto power on capabilities, auto input selection and a data cloning feature that allows a user to copy a projector’s settings onto a USB drive for easy replication to additional projectors. pro.sony

Optoma shines bright DESIGNED FOR smaller venues, Optoma has released the ZX300 and ZW350 XGA and WXGA laser projectors. Complementing the ZH403, ZW403 and ZW400 models, the entrylevel projectors feature a 3,500-lumen output and a 300,000:1 contrast ratio. Providing a greater ROI compared to lamp-based solutions, the projectors reportedly guarantee up to 30,000 hours of virtually maintenance-free

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operation in Eco mode courtesy of the DuraCore laser light source. Equipped with respective 1.1x and 1.3x optical zooms, 360° and portrait mode operation and auto keystone, both models include HDMI and VGA inputs in addition to RS-232 connectivity and an RJ45 port for Crestron, Extron, PJ-Link or Telnet LAN control. ZX300

www.optoma.com

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PRODUCTS

Sharp/NEC extends C Series SHARP NEC Display Solutions has added two new displays to the large-format C Series. Featuring UHD resolution, slim bezels and a modern appearance for seamless integration into interior designs, the 75-inch NEC MultiSync C750Q and 86-inch NEC

MultiSync C860Q models deliver pixel-free viewing for large-scale and embedded functionalities. Futureready operation is available with the NEC Open Modular Intelligence (OMi) platform which enables an upgrade of power at any time by seamlessly integrating NEC’s range of OPS slot-in PCs or signal interfaces. Other features include professional haze levels for enhanced visibility

without distracting reflections, a brightness of 350cd/m2 for viewing in all environments and light levels together with embedded functionalities such as wake-up on connection. Futureproof signal connectivity and processing features

have also been integrated into the two models, such as native UHD resolution inputs with a 60Hz refresh rate, DisplayPort and HDMI, plus automatic upscaling to UHD for other signals. The Cost Saving Device Management enables connection of every device from a centralised location via the NaViSet Administrator 2 software tool. www.sharp-nec-displays.com

NewTek updates TriCaster NEWTEK HAS added the TriCaster 1 Pro to its portfolio of live video production solutions. The TriCaster 1 Pro is a streamlined TriCaster model with support for 4K UHD video switching, livestreaming, recording, data-driven graphics, virtual sets and media publishing. Alongside its release, NewTek’s TriCaster 2 Elite, the company’s flagship model, has been bolstered with additional features, including selectable audio and video returns and NDI Genlock. Both TriCaster models now offer the latest version of Live Call Connect, enabling the integration of popular video communication applications as

video inputs. In addition, producers can turn any mobile device into a live production camera by using the NDI TriCaster Camera App, which is freely available for Android and iOS devices. Using AI, TriCaster 1 Pro and TriCaster 2 Elite seek to maintain production quality by cancelling or reducing background noise from any source. The tool automatically detects voices and cleans up the audio using the Neural Voice Isolation tool, meaning remote callers can be more clearly heard. www.newtek.com

LynTec meets the demands of lighting and video INCORPORATING A built-in, webbrowser-based interface, mobile control app, astronomical timer and contact closure inputs for sensor control, LynTec has devised the LCP Series to intelligently support lighting

Adding several key innovations to LynTec’s innovative panel options, the controller electronics have been removed from the panel and mounted in a separate enclosure. Eliminating the need for sidecars,

and video power demands. Designed to interface with any third-party control system that uses DMX, sACN, HTTP or Telnet protocols, the LCP Series consists of the same feature set as the RPC power control solution for integrated AVL applications.

the power supply has been moved into the primary panel enclosure, limiting the maximum width to a standard NEMA 1 enclosure of 500mm.

Hall adds to Genesis Digital Matrix line THE LATEST product offering from Hall Technologies is a 4x4 matrix switcher in a compact 1U enclosure that is being billed as a simple and affordable option for multimedia presentations and digital signage in houses of worship. Becoming the latest member of the Genesis Digital Matrix series, the HSM-44-UHD supports HDMI resolutions up to 4K@60Hz (4:4:4). It also supports HDCP 2.2 and 1.4, 3D, deep-colour and PCM, Dolby, DTS and HD audio standards. Users can save and recall multiple matrix

routing configuration presets from the front LCD panel display, while the matrix also intelligently calculates EDID for each input based on the EDID of the connected sinks. The matrix includes a two-line character LCD on its front panel to display the current video routing and to facilitate creating or recalling presets. www.halltechav.com

www.lyntec.com

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Elation gets creative PART OF the manufacturer’s Proteus range of outdoor luminaires, the Proteus Rayzor Edge and Proteus Rayzor Blade Driven are driven by six or 12 independently controlled 60W RGBW LEDs. The oversized front lenses create a large visual surface

on the fixture that is enhanced by the manufacturer’s patentpending SparkLED technology. SparkLED consists of individual white LEDs strategically placed inside the lens to create an additional

Proteus Rayzor Edge

layer, giving designers new ways of creating interest onstage. In addition, the fixtures emphasise the RGBW lenses with two highintensity strobe lines with a total of up to 256 cool white strobe LED dots. Flanking the Rayzor lenses across the

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ADJ expands product portfolio BILLED AS the manufacturer’s brightest and most feature-rich Focus Series fixture to date, ADJ’s Focus Profile is an automated profile luminaire which features a 400W LED engine, with a native colour temperature of 6,700K and a CRI in excess of 70, coupled with a large collection of beam-shaping tools. These include four, independently controllable, rotating framing shutter blades, which can be used to precisely shape the light output. The unit offers full CMY colour mixing together with variable CTO colour temperature correction and an additional colour wheel loaded with six dichroic filters comprised

of four primaries together with CTB and CRI filters. Motorised focus, iris and zoom (7–45°) together with a replaceable (medium) frost filter and an animation wheel complete the lineup. The Encore FR Pro Color is a Fresnel fixture which combines motorised focus with enhanced colour-mixing potential and a CRI of over 94. Positioned behind a 7-inch Fresnel lens, the unit’s 400W light source combines red, green, blue, amber, cyan and lime LED chips as well as white light with a tunable colour temperature of 2,400–8,500K. To aid with programming in a variety of different situations, the fixture offers

Huracán season continues for Ayrton DESIGNED SPECIFICALLY for large venues, Ayrton has developed its latest range of long-throw fixtures. A 225mm front lens forms part of the optical system of 13 lenses delivering a 15:1 zoom ratio and a zoom range of 3.5–53°. The 1,000W Huracán LT delivers a light output of 51,000 lumens at a colour temperature of 6,700K, with a CRI greater than 70. Generating an ultra-intense beam, a removable diffusion filter erases the edge of the beam without changing its angle over the longest throw distances. Adopting the same colour-mixing system as the Huracán Profile, the Huracán LT integrates a triple variable colour temperature corrector (CTB, CTO and CTP) that allows adjustment from 2,700–15,000K. There is also a fixed colour wheel with six complementary colours. For precise framing of any object regardless of the luminaire’s position, a framing section promotes the positioning of four shutter blades on a 100% surface area in all positions.

entire length of the fixture, these dual strobe arrays offer a large number of integrated FX and precise pixel control from the lighting console. With a wide zoom range from 5–45°, the Proteus Rayzor Edge and Proteus Rayzor Blade are said to provide

The effects section includes two superimposed rotating gobo wheels, each with seven HD glass gobos, a monochromatic multi-position effects wheel and a multi-layer CMY RGB wheel for unique multi-colour effects. Optical tools designed for beam shaping include two combinable image-multiplying rotating prisms, a 15-blade iris diaphragm and two frosts. An electronic dimmer provides flicker-free light adjustment from 0–100% without colour variation. www.ayrton.eu

well-defined mid-air beams and light curtains up to 12,500 lumens, making them the suitable for stage washes, mid-air effects or audience blinders, even in adverse outdoor conditions. www.elationlighting.com

Focus Profile a virtual CMY colour-mixing mode as well as 62 preset white colour temperatures, 60 virtual colour wheel presets and 64 RGBA colour macros, in addition to full independent colourmixing control over the LED source’s six primary colours.

The Encore Lime PAR Series of IP65-rated LED wash fixtures features 20W RGBL colour-mixing LEDs with a very high CRI. Offering a concise 10° beam angle, all-metal construction and IP65 rating, the fixtures feature a scissor yoke which can be used either as a floor stand or hanging bracket as well as 64 built-in colour macros, five preset white colour temperatures and linear colour temperature control (2,700– 6,500K) to aid with quick setup and programming. The Encore LP7IP, LP12IP and LP18IP have seven, 12 and 18 LEDs respectively. www.adj.com

Chauvet sparkles in the rain CREATED FOR outdoor lighting setups, Chauvet Professional has released the onAir IP65 all-weather fixtures. Incorporating ±green adjustment and emulated red-shift control via CRMX wireless control and DMX, all three soft light LED panels have a 90+ CRI and TM-30 score. The largest of the three, the onAir IP Panel 2, is a 2x1 format, 372W panel that delivers 23,000 peak lumens. The 200W onAir IP Panel 1 is a 1x1 format panel providing 12,000 peak lumens and the 49W onAir IP Panel Min with

removable PSU produces over 2,500 peak lumens. Drop-in access speeds up the swapping of diffusion and intensifier filters without tools, saving time when changing beam shapers. The panels use either a pin mount or truss clamp during setup and offer a direct 28V connection. Remote Device Management (RDM) and CRMX

Wireless Control provide added flexibility. Designed to be easily dismantled, the onAir IP Panel 2 and IP Panel 1 fixtures come with integrated handles. The onAir IP series can output nearly any colour in the visible colour space, while delivering a bright output and precise colour temperature replication. Presets are available for colour adjustments with physical preset buttons included on the onAir IP Panel 2 and IP Panel 1 for setting specific colour temperatures

and storing and recalling custom colour temperatures and effects. A USB port has been integrated for software updates and onboard control. The panels can also be controlled via integrated CRMX wireless, Art-Net and sACN networking, in addition to a fivepin DMX. www.chauvetprofessional.com

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All wash, no water with GLP WITH THE launch of the impression X5 IP Bar, GLP has developed an IP65-rated batten fixture featuring 18 40W RGBL LEDs and a 12:1 zoom range from 5–60°. The squared lens design creates a curtain of light at its narrowest angle and delivers homogenous washes to its widest beam. Features include selectable calibrated white points, a tungsten simulation channel, magenta/green correction, virtual colour wheel and variable CTC, together with twin layer effects including dynamic pattern macros. GLP’s fast tilt movement is included in the design together with seamless pixel pitch across fixtures. Both wired and wireless control are included as standard. The impression X5 washlight represents a new generation of LED automated washlights. Incorporating 19 40W RGBL LEDs, GLP’s new iQ.Gamut calibration algorithm creates clean white points with

impression X5 IP Bar

include a virtual colour wheel with referenced LEE Filters, a colour quality control, magenta/ green correction, a tungsten emulation channel with multiple simulations and a double layer effect option. Weighing 13.3kg, front accessories such as top hats or honeycomb shields can be added. The impression X5 can be controlled via DMX, Art-Net or sACN

CRI 90 at 6,500K. Calibrated exactly to the black body line, the impression X5 washlight can instantly switch to other fixed colour temperatures. Offering a 17:1 range from 3.5–60°, the washlight is distinctive by its circular front face design offering full pixel mapping with geometric patterns. Features

JDC Line 500

Sustainable lighting THE T11 luminaire is a static with a 5–60° zoom. Other features fixture from Robe, available in include a virtually controlled CCT Profile, Fresnel and PC versions, range of 2,700–8,000K, high TLCI and designed as a three-in-one and TM30-18 ratings and a CRI solution in a single fixture for a of 95+. more sustainable future. The The T11 Profile’s manual MSL-TE 350W LED shuttering system is engine generates described as accurate and 16,760 lumens, easy to use and, in the giving 9,500 lumens Fresnel version, it functions from the T11 as an internal barn door. Profile, 9,600 Integral to the T11 Profile lumens out of is a manual 1° MagFrost the T11 Fresnel (Magnetic Paddle and 9,400 System) for lumens for the softening, an T11 PC. The optional T11 builds on the 5° and manufacturer’s other frosts MSL (Multi-Spectral available. The Light) colour T11 PC and T11 T11 PC ideas and TE Fresnel fixtures (Transferable Engine) technology, have a 5° MagFrost as standard, first developed to enable different plus a range of optional frosts. and interchangeable LED engines To increase gobo capacity of the in the same fixture hardware. T11 Profile from the single breakup A rapid-change front lens system gobo and holder included with the transforms the T11 into the fixture, an optional drop-in module Profile, Fresnel or PC variants. containing two rotating and three High-definition optics are said to static gobos is available, fitted deliver accurate projection and using Robe’s standard slot-andbeam control, with a 10:1 ratio and lock system. This is said to 5–50° zoom from the T11 Profile allow the dual projection of both unit’s single, integral lens tube. static and rotating gobos to The T11 Fresnel offers a Fresnelproduce more dynamic effects. style beam, while the PC version www.robe.cz has a soft-edged PC beam, both

and can be set up using near-field control. Designed during the pandemic, the JDC Line 500 and JDC Line 1000 strobes offer a bright RGB pixelmapping effect mixed by a special lens tube. Featuring a 25mm pixel pitch, each pixel segment can be split into upper and lower parts. The second section of the fixture is a white light strobe, whose LEDs emit through the same lens tube as the RGB sources with the same level of pixel control. www.glp.de

ETC focuses on accessories and updates WITH THE availability of the F-Drive accessory, ETC is aiming to ease installation and increase compatibility with third-party LED fixtures. Designed as a centralised solution for controlling LED luminaires, the B-Box4 uses the RJ45 output of an F-Drive card to position up to four channels of Molex, terminal or RJ45 connections at any location. With the addition of B-Box, the F-Drive LED power system enhances flexibility by using third-party or ETC-manufactured fixtures and simplifies the wiring connection to the F-Drive unit. Available as an R12 rack-mounted or a W1 wall-mounted solution, F-Drive provides access to swappable driver cards and power supplies with critical components made accessible for maintenance and updates. With the release of Eos v3.1, customisation of the Eos

Z lighting controllers is enhanced to suit any programming style or show. A new icon library adds images to both Direct Selects and Magic Sheets for immediately identifying targets. Custom encoder layouts can be created with the addition of Encoder Maps for all fixture types using a dedicated editor. Show control triggers are now monitored with a new Timecode dropdown in the top bar of each display to depict the console’s interactions with other devices. A Hog 4OS v3.17 release focuses on improving cue lists and scenes, plots, playback and programming. Four user fields can be added to a master window for lists/ scenes. The options window can be opened from the list and scene directories by holding the pig and open keys when selecting a directory cell. www.etcconnect.com

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PRODUCTS

Prolights reigns and shines with Astra Wash RETAINING THE same features and characteristics as the Astra Wash7Pix, Prolights has introduced the Astra Wash7Pix IP moving wash. Containing seven RGBW 40W LED emitters, the Astra Wash7Pix IP outputs over 4,000 lumens with a default 8,000K cool-white beam or 6,000K in studio mode. The fixture includes the same proprietary front lens and glass lighting rods as the indoor version and protected with a coating technology that helps increase the brightness, protecting lenses from surface scratches and adding anti-static properties to avoid dust deposits. Housed in a completely sealed aluminium alloy chassis, the internal components are treated with an IP coating for outdoor applications. Despite being completely sealed, the internal parts and assembly can be checked with the Prolights IP tester. Capable of creating narrow beam effects and wide wash spreads, the fixture includes a zoom range from 4–56°. Its augmented pixel

performance supports individual pixel control through DMX or Ethernet-based protocols. Dimmer and colour parameters are integrated with 16-bit resolution and CCT channels can be set to any precise white point and deviated by the tint channel on ±green chromatic coordinates. The tungsten emulation mode provides an incandescent tone of red shift when dimming.

Obsidian adds to NETRON range THE NETRON EP2 is an Ethernet to DMX gateway solution for the professional lighting and AV markets. Part of the NETRON family of EtherDMX nodes, it reportedly offers a high-value solution for any type of system that requires rugged hardware, flexible configuration and a reliable Ethernet to DMX gateway setup. Ideally suited for the installation of distributed DMX Universes in venues, the universal housing of the EP2 provides mounting in 2-Gang boxes (US) as well as European Standard 50mm round boxes in the same compact design. The EP2 ships with a full metal back box

and M10 and M12 truss-mount bolt attachment points, as well as a universal USB-C power supply. The NETRON EP2 offers two fivepin DMX/RDM optically isolated ports, each port bidirectional for DMX In and Output. According to the manufacturer, it is simple to configure through either the 1.3-inch OLED display and encoder or the integrated web menu system. POE or USB-C powered, it includes factory and user presets for instant plug-and-play setups. It follows the same proven, user-friendly menu structure as existing NETRON nodes on the market. The NETRON EP2 also unlocks the ONYX Nova licence, allowing up to four universes of DMX output. The EP2 is part of Obsidian Control Systems’ flexible NETRON data distribution range that encompasses Ethernet to DMX gateway, DMX splitter and DMX/RDM splitter solutions. NETRON devices support ArtNet, sACN, DMX-512 and RDM protocols.

www.prolights.it www.obsidiancontrol.com

ZerOS update supports multiple luminaires STRAND AND Zero 88 have announced ZerOS 7.10, which includes support for multiple pixel luminaires and a library update featuring a wide range of Vari-Lite and Strand fixtures. The update is available for Zero 88 lighting consoles as well as the recently announced Strand FLX S Series consoles. Users can now select whether to adjust the whole fixture or a single pixel depending on how they interact with it using the multitouch screen on the console. The library update includes new theatrical luminaires from Strand such as the Leko, Cantata and Acclaim LED Series, as well as multicell fixtures like the Strand Aurora LED Strip and Vari-Lite VL800 EVENTWASH. Strand has also released new capabilities for its Vision.Net Gateway which offer DMX connectivity as well as RDM management and dynamic DMX snapshotting without needing a separate lighting console. The new 4-Port DMX Interface Module is DIN rail mountable and connects to the Gateway via the integrated Gateway BUS, allowing integrators to add four

include up to an hour of motion, colour or shape changes, depending on complexity. The snapshots can then be played back once or looped and can be triggered by a scheduled event or initiated in response to a button press on the Gateway On-theGo web control interface, a Vision.Net touchscreen or a Vision.Net control station. www.strandlighting.com

ZerOS 7.10 independent, bidirectional DMX/RDM ports to the Gateway without separate power or data connections. And with integrated RDM management, users can discover, identify and manage connected devices and perform tasks such as changing addresses or modes from the Gateway’s web interface. The updated Vision.Net Gateway software also brings dynamic DMX snapshotting, a new feature that allows the recording of a multiuniverse DMX stream from Ethernet and/or hardwired DMX. Snapshots capture dynamic lighting looks that

www.zero88.com

Vision.Net Gateway

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THE TECH VIEW

Solving problems with 5 Words Brandon Cole, sales engineer at 5 Words Media, adopts a versatile approach to help each HOW reach its full AVL potential Brandon Cole, sales engineer

Ohana Baptist Church FOR 15 YEARS, 5 WORDS MEDIA has been helping churches with general AVL equipment choices as well as full systems integrations. And with the pandemic, the need for more broadcast-focused solutions that help churches add livestreaming and recording has been a major focus for the company. So much so that it has been teaming up with partners like Marshall Electronics and its line-up of advanced camera, monitor and broadcast solutions, to meet this growing need. Typical projects usually require some expertise when fulfilling audio, visual and lighting requirements; the company estimates that 60% of its clients ask for assistance with at least one of these components. The five words referenced in the company name are “See, Hear, Feel, Design and Build”. “It is our goal to create a system that a church or facility can see, hear and feel through our designs and builds,” says Cole. “5 Words Media focuses heavily on creating distraction-free integrated systems for churches, but we also work on schools, government buildings and business facilities with the same level of excellence.” After a client gets in touch asking for assistance, a sales engineer will work with them to analyse what challenges

they might be experiencing with their current system. The company provides feedback on what it thinks is currently working and what doesn’t work. This analysis allows the sales engineers to understand the client’s needs in more depth. “Once the design is approved, our engineering and project management team keeps our clients informed as the project progresses in terms of purchasing gear, site walks, planning meetings, single line drawings, as well as full 3D renderings of the space,” adds Cole. “We then begin scheduling installation and cable pulls, working around the client’s needs, so we have a timely install that works for them. Then we begin training, commissioning, programming and testing, as well as providing tech guidance for the first Sunday service the system will be in use, to ensure a certain comfort level for the church and their volunteers. Some new technology can be intimidating to a volunteer team, and we want to make that learning curve as small as possible. And our involvement doesn’t end there – we check in with our clients periodically after completion, as we want to see our churches thrive and succeed.” While the company is continuing to design and install full AVL systems, it is seeing a lot of activity with

more broadcast-focused solutions to support the influx of churches adding livestreaming and recording. “We continue to push broadcast, from upgrading cameras to switcher solutions and streaming,” adds Cole. “We don’t see that slowing down for the foreseeable future, as more churches adapt and continue to use streaming to reach the masses. However, we have seen a push for more versatile systems to take on bigger productions and create more expandable systems. Marshall Electronics has been one manufacturer that has stepped up its game and provided some amazing camera solutions to make this happen, from their miniature cameras (CV503s/506s) to their PTZ cameras (CV630s/730s) to their control and integration solutions.”

In 2019, the integrator launched its #FreeChurchAV contest whereby one church could win a free AV and lighting system worth up to US$200,000. “We’ve now been able to give away systems three years in a row and the experience has been awesome,” he continues. “Out of 900 applications, Ohana Baptist in Honolulu, Hawaii, was the winner of last year’s contest and to see their faces and have an emotionally positive reaction to an AVL system is indescribable. #FreeChurchAV Season 3 also just wrapped – Community Church of God in Fort Lauderdale, Florida, won the top prize of $200,000, with a second prize of $100,000 awarded to Calvary Chapel Northside in Hixson, Tennessee.”

Ohana Baptist in Honolulu won Marshall equipment in 2021 According to Cole, every church deserves a different approach depending on individual requirements for factors such as culture, staff and provision for the future, with each having its own strengths, as well as challenges. “We receive a lot of audio questions, from sound systems to audio consoles,” says Cole. “Our team is well equipped to handle any questions or requirements covering audio, video, lighting and rigging.”

The company continues to strive for excellence in everything it does. Its goals are to continue to develop its relationships with clients, manufacturers and anyone who needs assistance in the AVL market. “If it’s a $100 sale or $500,000 project, we want to make sure we hear each church’s wants, needs and dreams to achieve the best result for their church and their culture,” Coles concludes. www.5wordsmedia.com

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Re-defining durability in professional audio products, the IS-Series Weatherized delivers pristine audio in every extreme environmental condition. With full corrosion resistance and an IP55 rating, a long lifespan is ensured. Visit: ADAMSONSYSTEMS.COM

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

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