Worship AVL May-June 2020

AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST

May–June 2020

EXPLORING TOUCHSCREENS FOR MIXING BUYING GUIDE: STROBE LIGHTING

CELEBRATING SINGAPORE’S BICENTENNIAL

Illuminate Productions returns to St Andrew’s Cathedral Singapore: MICA (P) 068/06/2019 PPS 1644/05/2013(022954)

CONTENTS

May–June 2020

Issue 64

NEWS HILLSONG UNITES Solotech tours with L-Acoustics

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FEELING THE GLOW Adamson and Pixapanel installed at Glow Church

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QUANTUM GATEWAY Gateway Church upgrades SD7s

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CHANGSIN CHURCH Sky Sound sets up an Alcons Audio LR14 system

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SAN LAZZARO Etabeta Electronics fixes audio issues

10

VICTORY WORLD Second Opinion Audio shines with Elation

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NEW MILLENNIUM CURVS Media Crusher faces challenging installation

12

STOCKTON LIGHTS UP First Baptist Church gets modern lighting upgrade

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CHURCH SOUND UNIVERSITY Vue Audiotechnik supports education

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ST JOSEPH’S COLLEGE Old Barn Audio rejuvenates an old chapel

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SAINT BARNABAS CHURCH American church revives sound system with Danley

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AERIAL EFFECTS Chauvet celebrates hope at Worship Experience

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COVER: SPECIAL REPORT Illuminating St Andrew’s for Bicentennial

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PROJECTS ST AMBROISE DU JUBILÉ Protech Distribution increases the church’s STI

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ENJOY CHURCH Forefront Productions provides a modular solution

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THE SUMMIT CHURCH CSD installs first HOW Soundscape system

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TBN MEETS Lane McCall recalls filming with Pastor Jeremy Foster

30

KNOWHOW LAVALIER MICS How to conceal lavaliers from sight

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VIDEO PROCESSORS Brompton’s Sean Sheridan discusses their importance 34 SETTING THE MOOD John Black uses colour to transform worship

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MAINTENANCE Frank Wells battles audio feedback

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TECHNOLOGY TOUCHSCREEN MIXING Will touchscreens ultimately replace physical mixers? 42 CAMERA CONTROL Exploring PTZ control options

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LASERS The team from X-Laser explains all you need to know

46

BUYING GUIDE Elation’s Bob Mentele considers purpose-built strobe lights 48 PRODUCTS Equipment launches and updates

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TECH VIEW Camron Ware on environmental projection

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LEADER A lot has changed since the last issue of Worship AVL was published. Covid-19 has dominated the headlines, as well as our day-to-day lives in so many ways. Around the world, we’ve all had to adapt and make changes to how we live, including how we take part in worship services.

As governments placed bans on large social gatherings – rightfully so, given the spread of the Coronavirus – many houses of worship have been creative in their use of AV technologies to ensure they can continue to broadcast their messages, while also bringing people together (while still adhering to social distancing etiquette) during this uncertain time.

One example is Green Acres Baptist Church. You may remember the Texan church from when we covered its broadcast setup in the January–February issue. Green Acres’ Broadcast Ministry has been working hard during the outbreak to adapt and operate as a television studio. The team is spending the week recording services and messages in lieu of the regular Sunday services that it streams and broadcasts. This new content has gone down so well with congregants that director of video engineering Casey Hawkins anticipates this will change the entire church culture moving forward.

On a personal note, I’d like to take the opportunity to bid you all farewell. It has been a privilege to serve as the editor of Worship AVL for the past couple of years. I’ve truly enjoyed getting to know so many of you out there in the house of worship audiovisual and lighting community. As I depart to take up a new challenge during the current chaos affecting all of us, I wish you all the best for the future, and hope that you all stay safe.

James Cooke Editor Telephone: +44 (0)1892 676280

Email: jcooke@worshipavl.com MEET THE TEAM

Richard Lawn:

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Caroline Moss:

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GENERAL MANAGER rlawn@worshipavl.com

ADVERTISING DIRECTOR sgould@worshipavl.com

Becky Abel:

Karen Wallace:

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REPORTER

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SALES ASSOCIATE cvalliere@worshipavl.com

Images courtesy of Edwin Arokiyam

CIRCULATION: circulation@worshipavl.com PRINTER: Times Printers Singapore PUBLISHED BY:

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Blank Canvas (Publishing) Ltd, 17 Upper Grosvenor Road, Tunbridge Wells, Kent TN1 2DU, United Kingdom

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EDITORIAL COORDINATOR kwallace@worshipavl.com

Nick Smith:

Chris Yardley:

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DIGITAL MEDIA MANAGER

COVER: St Andrew’s Cathedral

26

cmoss@worshipavl.com

Simon Luckhurst:

sluckhurst@worshipavl.com

IN THIS ISSUE

CONTRIBUTING EDITOR

nsmith@worshipavl.com

VIDEO EDITOR

cyardley@worshipavl.com

LICENCES Singapore: MICA (P) 068/06/2019 PPS 1644/05/2013(022954)

All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

@WorshipAVLMagazine May–June 2020 WORSHIP AVL 3

NEWS

Solotech unites with Hillsong

NORTH AMERICA Since the release of their 2011 record Aftermath, Australian Contemporary Christian band Hillsong United consistently toured with L-Acoustics K1 loudspeakers. For their first North American tour in three years, Hillsong United called upon Solotech to supply them with K1 and K2 loudspeakers from L-Acoustics.

The configuration consisted of 12 K1s with four K2s on left and right hangs, four K1s on top of eight K2s for the side hangs and six K1s with six Karas down for the 270° arrays.

A total of 24 SB28 subwoofers were set up in a symmetric cardioid configuration in three clusters of four on either side of the downstage thrust. For front-fill, 16 Kiva II

loudspeakers were installed, which varied depending on the venue. This ranged from three high on the middle sub cluster for inside-fill and either two or three stacked on the outside sub cluster. As there was a VIP standing room on either side of the

stage, two or three Kiva IIs were used for an upstage out-fill to cover the area and provide additional coverage to the first couple of rows of seats under the 270° hangs.

For the largest shows in arenas such as Toronto’s Scotiabank and

New York’s Madison Square Garden, Solotech supplied an additional two K1s on each main hang for a total of 18 enclosures and swapped the side hangs for all K2s. A total of 48 LA8 amplified controllers drove the PA system via AES over Riedel RockNet. Every venue that Hillsong United performed in had to be modelled in Soundvision as every file translated directly into an import in Network Manager that reflected the variables of the day’s configuration.

The tour’s sub configuration also involved separating the subs left and right due to the downstage centre thrust dividing the array. ‘We wanted to steer the low-frequency energy away from it, so having a symmetrical cardioid configuration with the reversed sub onstage slightly steered the polar response of the subs away from the thrust,’ commented system engineer, Arica Rust. ‘In addition, we delayed each cluster slightly using values based off Soundvision predictions to create a slight arc to spread the low-frequency coverage better throughout the floor. The great thing about the K1 is that even though we did not have flown subs, the full range of the box goes down to 35Hz so it can deliver LF content to the back of an arena, especially when used in conjunction with the LF Contour function in Array Morphing.’ www.hillsongunited.com www.l-acoustics.com www.solotech.com

Rock Church hears Thunder USA Rock Church, a 3,000-seat worship venue in San Bernardino, California, wanted to upgrade its sound system after discovering that most of the former system had stopped working. After several demos with manufacturers, Rock Church’s audio engineer, Darwin Tillery, and his team chose K-array due to its digital steering that reportedly saved the congregation money, space and power.

‘With K-array, we were able to go with the smallest loudspeaker hang to preserve our sightlines to our side screens,’ Tillery said. ‘Fewer boxes saved us lots of money and we saved on weight too, so less

4 WORSHIP AVL May–June 2020

rigging was required. There was no structural engineering either since the new system was a fraction of the weight of our previous system.’

The church was equipped with four K-array Mugello-KH2 line array

loudspeakers and two ThunderKMT21 subwoofers on each side of the venue. On each side, one KMT21 was installed on the floor while the other was flown. ‘At Rock Church, we have almost 3,000 seats and it’s

super wide,’ Tillery added. ‘We were at 100dB with 103 peaks at 71 feet with just four boxes per side. These boxes sound louder than they look.

With the full band we expected to run out of PA, but we didn’t. Nothing was harsh, we had chest thumping bass and it just works. The way K-array crosses over from the subs is much higher than other manufacturers.

It’s not what you’d expect when you’re crossing from 21-inch subs to the 8-inch drivers in the KH2s, but the sound is seamless and more musical.’ www.k-array.com www.rock.church

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lighting grid

John Black discusses some of the basic lighting design theories for creating a flexible lighting grid MEET THE AUTHOR

Incorporating moving lights

If you are looking to incorporate moving lights into your lighting rig, it may be a bit overwhelming to know where to begin. John Black discusses what to consider to get started

lighting

lighting

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40WORSHIP AV May–June 2019 38 6 WORSHIPAVL AVL March–April 2020 2020

January–February 2019 2020 WORSHIP AVL 41 25 September–October

NEWS

Quantum Gateway The worship pastor’s vocal presence is so transparent, it’s as though you’re standing right next to the source. It’s a real improvement in dynamic range on the microphones with the extra bits, so we find that we don’t have to push the preamps as much to achieve intelligibility, and that in turn helps with gain structure.’

Discussing the church’s standardisation of DiGiCo consoles across its many campuses, Conn concluded: ‘Having a consistent work surface everywhere means our engineers can fill in at any location at any time. It’s an easy work surface to understand and learn, and most of our operators are flying solo within three or four weeks after training.’ www.digico.biz

The Quantum-equipped DiGiCo SD7 FOH desk at Gateway Southlake

www.gatewaypeople.com

USA Founded in 2000 by Pastor Robert Morris, Gateway Church has grown during its 20-year existence to feature eight campuses around the state of Texas, with another in Wyoming. The campuses all lead worship as one thanks to the power of broadcast and an estimated 30,000 people attend the church’s services each weekend. The main broadcast campus, Gateway’s facility in Southlake, recently upgraded its three DiGiCo SD7 consoles with the latest Quantum7 technology to further expand its audio processing power.

Gateway Church employs DiGiCo consoles, including SD-Range and S-Series desks, at seven of its satellite locations for consistency.

The trio of SD7 consoles in Southlake, meanwhile, are used for FOH, monitors and broadcast, respectively. The Quantum7 upgrade was completed just in time for the church’s conference in October 2019, as well as its two Christmas stage productions.

‘We typically plan out our strategic upgrades to be done by summer, because we know we have the events coming up in the fall and close to Christmas,’ explained Brandon Conn, the church’s live production senior audio specialist. ‘We actually began the upgrade process with Quantum7 in February [2019] and had the latest firmware added in September.

‘With the new Stadius 32-bit mic preamps, the vocal clarity has improved dramatically, and it was very good before the Quantum7 upgrade.

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May–June 2020 WORSHIP AVL 7

NEWS

Changsin Church whittles down the competition to Alcons KOREA Changsin Church in the Gangnam district of Seoul recently updated its sound setup to an Alcons Audio LR14 pro-ribbon system as the old audio system was showing its age, both in regards to its sound quality and aesthetics. The installation was carried out by Sky Sound and Alcons Audio distributor Corelab.

Sky Sound and Corelab have worked together previously on a similar project at Gyeongsan Central Church.

When Sky Sound was approached

by Changsin Church sound engineer and executive director of the Korean Church Acoustics Association Jang Young-wook to take part in a comparison between eight different audio brands, it therefore made sense to partner with Corelab once again and, as before, offer an Alcons solution.

The representatives of all eight brands attended a site briefing and all were asked to suggest a solution based on an identical budget. Baek Seung-hoon from Corelab suggested that an Alcons pro-ribbon system would deliver the best sound for church sermons and that it would be the easiest system for church officials to use while also improving the visual appearance of the worship space.

‘There was a certain amount of reflection and a balcony at the back, with chairs underneath, so I had to be very careful with the sound,’ he explained. ‘The existing system also had cables visible in many places, which detracted from the interior appearance.’

Each company had two weeks to form a proposal. Seung-hoon visited the church during that time when no worship services were taking place to discuss the acoustics with Changsin’s part-time sound engineer. He also visited a Sunday service to listen to and make a recording of the pastor’s sermon through the existing setup.

With his research complete, Seunghoon designed a system comprising

Changsin Church six LR14/90 ultra-compact line array modules, six LR14/120 wide dispersion ultra-compact line array elements, two LR14B ultra-compact line array bass modules, four VR8 compact monitors and one CCS8 medium-format surround unit. The setup is powered and controlled by two Sentinel10 amplified loudspeaker controllers and reportedly provides even coverage throughout the sanctuary, including both above and below the balcony, negating the need for any fills. This design was chosen as part of a final four to demonstrate

the system to church officials, during which Seung-hoon spoke of his earlier visits to the church and explained why the existing system failed to reinforce the pastor’s sermons. Impressed with both the demonstration and Seunghoon’s explanation, the committee ultimately chose the Alcons LR14 system.

During the installation process, the Sky Sound team faced some challenges in removing the old system and flying the pro-ribbon arrays. As a result, bespoke wall brackets were made to hang the arrays from.

‘Before installing the Alcons system, not everyone present could properly hear or understand the pastor’s sermons,’ concluded Seung-hoon.

‘Now, everyone in the church can hear every word and the pastor no longer needs to preach loudly, which was making him tired when using the old system. The walls of the chapel also no longer look ugly with a lot of speakers and cables.’ www.alconsaudio.com

Changsin Church’s main room

www.changshinchurch.com

GKI church moves into new building with Audiocenter INDONESIA The GKI Anugerah Taman Kopo Indah Church in Bandung, West Java saw the completion of a two-storey building to serve as its new home towards the end of 2019. The church’s main worship space is now a 300m2 auditorium on the second floor, which seats up to 260 congregants and is reinforced by an Audiocenter sound system installed by Mataswara.

Mataswara is an audio consultancy and systems integrator that was awarded the project following a demonstration it conducted for the pastor and church council. Galih Homare, an audio systems designer at

8 WORSHIP AVL May–June 2020

Mataswara, mapped out a permanent solution for the church using EASE Focus 3 simulation software. This solution, which was ultimately installed, comprises six Audiocenter

K-LA210DSP active, dual 10-inch line array elements flown three-per-side with a pair of K-LA 218DSP dual 18-inch subwoofers. Front-fill is delivered by a further two K-LA210DSP

elements. Homare used Rational Acoustics’ Smaart v7 software to tune and optimise the setup.

Meanwhile, the infant care room was equipped with Audiocenter’s EA508 single 8-inch point source speaker.

The pastor and church council are reportedly happy with the results, noting that every member of the congregation can hear the spoken word clearly, no matter where they are sat in the room. www.audiocenter.net www.mataswara.com

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NEWS

Ashly communes in San Lazzaro ITALY Parrocchia di San Lazzaro – the parish of San Lazzaro di Savena – is the largest church in its namesake commune, attracting around 300 congregants to an average service and serving as a local hub for community functions and events.

The church was rebuilt after being destroyed during World War II and, following the architecture of that era, features high ceilings and reflective walls with marble floors and glass windows that wreak havoc for intelligibility. To fix this, the church recently turned to Etabeta Electronics for help, leading to the installation of a new sound system comprising solutions from Ashly Audio and Pan Acoustics.

‘When we first spoke with the church, we heard that many people could not listen to mass because of a lack of intelligibility,’ explained Daniele Santini, CEO of Etabeta Electronics.

‘Using steerable loudspeakers and an intensive digital signal processor architecture, powered by Ashly Audio, allowed us to minimise redundant open microphones and limit modal frequencies.’

Santini. ‘In every highly reverberant environment I work in, I appreciate the total lack of noise and the speed Ashly provides on mic inputs. That helps to cut off the microphone a fraction of a second after it stops being used. I also love the ease of use of their auto-leveller. This is very important when there are new readers and speakers sharing the same microphone during the different parts of the mass.’

The ability to use Ashly software on an iPad has also provided a new level of control for the church.

Santini and the Etabeta Electronics team installed an Ashly ne8800mm digital signal processor, MX-206 six-channel stereo microphone mixer and TRA-4150 four-channel power amplifier. The speaker setup is formed exclusively from the Pan Acoustics catalogue.

‘Ashly is the perfect choice for an installation like this because of their extensive DSP capabilities,’ noted

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12 WORSHIP AVL January–February 2020

Santini programmes the presets for the sound system for different types of events, allowing the church to make the change easily.

‘The church has been very happy,’ Santini concluded. ‘I know that because the priest has been promoting how good it sounds to the other churches in the neighbourhood.’ www.ashly.com ww.etabeta-el.it www.pan-acoustics.de www.parrocchiasanlazzaro.it

NEWS

Victory World Outreach gets a Second Opinion

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USA After 27 years with no significant adjustments to its main building in Colorado Springs, the church decided to upgrade the lighting in its main auditorium with products from Elation.

Second Opinion Audio (SOA), Elation’s integrator and dealer, was chosen to design and install the systems.

SOA outfitted the main auditorium with an all-LED Elation lighting system consisting of six Artiste DaVinci moving heads, 20 DTW PAR 300 variable white lights, four WW Profile HP warm white spots, 12 SixPAR 300 LED PAR lights with barndoors and six SixBar 1000 LED battens in addition to 60 Colour Pendant downlights, which are used for house lighting.

The fixtures are controlled with a

compact Obsidian Control Systems NX2 console.

The church also decided to upgrade its AV systems with a 13-inch x 25-inch LED centre screen and side screens as well as a new audio system from EAW. ‘They hadn’t spent money on themselves in many years and wanted to do things to a high standard,’ said Second Opinion Audio’s founder, Bob Langlois. ‘The Elation lighting system and the LED video screens look and work great together and the audio system is concert quality. The colour-changing Colour Pendant house lighting gives them the ability to colour match what they do onstage into the audience. By doing colour changing in the house, as well as onstage, it makes people feel more a part of the experience rather than a spectator.

We’ve done this a few times now and it really does make the experience for the congregation a lot better.’

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SOA also equipped Elation lighting products such as front wash, back lighting and Colour Pendants in the Powerhouse, a smaller version of the main auditorium. This was because, prior to the main auditorium’s upgrade, Pastor Jones sought to create a model to allow the congregation to see what the church would be getting in its larger sanctuary.

‘The Colour Pendants, stage lighting and Artiste movers were a game-changer for our services and especially for our Christmas presentations,’ said Jones. ‘Once the new lights were in, we heard one positive comment after another. The response was even better than we expected.’ www.elationlighting.com www.secondopinionaudiollc.com www.victoryworldoutreach.com

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NEWS

New Millennium arrives with Curvs

ROMANIA The New Millennium Reformed Center in the Romanian city of Timișoara finally opened its doors in December 2019, following 21 years of construction that was

repeatedly delayed due to a lack of financial resources. The church features a high dome in the centre, proving particularly challenging for the systems integration team

from Media Crusher SRL, which ultimately installed an LD Systems Curv 500 array system.

‘The Church wanted a system with excellent speech intelligibility and superior transmission of music,’ said Bakk Jutas from Media Crusher. ‘In addition to being compact in size, it also had to be as unobtrusive as possible and create a “wireless” impression.’

A total of 36 white Cur v 500 S2 units were installed in six arrays of six to project sound throughout the inside of the building, including towards the raised seats in the galler y. In addition, six Cur v 500 Sub 10-inch subwoofers have been deployed for extended lowfrequency sound. The subs were attached to the walls in the lower

section of the church and above the wooden pews in the gallery. The entire system is powered by three Curv 500 Amp four-channel Class-D amplifiers.

‘We’ve worked with the Curv 500 for a long time and have already installed the system in another church with a much more conventional design,’ noted Jutas.

‘The requirements for the New Millennium Reformed Center were very different. The extensive and very flexible installation accessories for the Curv 500 series made it possible for us to implement our design without having to make any compromises.’ www.ld-systems.com www.soundcreation.ro

Crosstowne Church makes its images pop USA Crosstowne Church in Southern California wanted to upgrade its projectors as they were showing their age. The church needed the new projectors to output in a 4:3 aspect ratio so that it didn’t need to replace the screens or the wiring. It decided to invest in three EK-815U WUXGA laser projectors by Eiki, which were installed by Southern Media Systems.

‘Crosstowne Church has a very contemporary style of worship service and the ability to present a wide variety of content is an important element,’ said David Major, owner of Southern Media Systems. ‘As a result, projection is a highly effective tool for helping convey ideas, putting up lyrics for singing and presenting colourful imagery, all of which goes a long

12 WORSHIP AVL May–June 2020

way creating an atmosphere of worship.’

The projectors are positioned three units wide across the stage area in the same location as the units they were replacing and with Eiki’s AH-A21010 lenses. Major added: ‘The EK-815U has a very clear and crisp picture, with no ghosting or shadows and, with their 100,000:1 contrast ratio, the images really pop.

Combine these features with a wide range of inputs that enables them to take content from a variety of sources, a 20,000-hour laser life for reduced maintenance and the fact that they have very low noise as not to be distracting and you have a very versatile and cost-effective projector.’ www.crosstownechurch.com www.eiki.com

Samil Church calls on Genie KOREA Operating since 1954, Samil Church in Seoul has four auditoriums for hosting services and events. Its main services are held in Hall B, which recently required a new wireless intercom system to replace an unsuitable walkie-talkie setup for delivering clear communication throughout the facility. This led to the installation of LaON’s Genie hybrid intercom solution.

Genie remote antennas were installed across the site, ensuring coverage in the broadcast control room, at FOH on the second-floor balcony, in the pulpit on the ground floor, the fourth-floor waiting room and in the stairwell. The LaON system, complete with hands-free beltbacks for staff, was chosen as it is a scalable solution that

can be extended into other spaces if required. The Genie BS1000 base station has been installed in the control room and two remote antennas and a single repeater were deployed on the first and fourth floors.

‘After the installation, the church is able to have clear and seamless communications across the facility,’ said Miyoun Park, LaON’s sales manager. ‘In Korea, many churches are actively engaged in ministry activities using media and therefore have high standards when selecting products. The Genie intercom system adds to this by supporting real-time communications.’ www.laon-tech.com www.samilcahurch.com

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NEWS

First Baptist Church of Stockton lights up its new facility USA After acquiring the building next door, the First Baptist Church of Stockton in California invested in a modern lighting system that allowed flexibility for the space, so it could be used for services and as a community server. It teamed up with Nor Cal Pro Audio which supplied and installed lighting fixtures from ADJ in the venue.

Jorge González from Nor Cal Pro Audio worked with the church’s senior pastors and its head of media technology, Saul Bello, to help it find the right lighting products for the project. ‘We organised a shoot-out at the church’s new building,’ explained González. ‘I arranged for a number of different lighting manufacturers to bring along their products and Saul and the pastors decided that the ADJ Vizi CMY300 was the option they wanted to go for. They particularly liked the smooth colour mixing it offers. The LED source was another important factor, as they were very clear that they wanted to save money on power and to avoid replacing blown lamps.’

Six ADJ Vizi CMY300 moving head lights were set up on an upstage truss to project gobo patterns onto the stage, as well as create mid-air beam effects and colour washes. An additional two Vizi CMY300s were installed on a front of house truss as spotlights and for custom gobos of the church logo, which can be projected onto the blank walls of the auditorium.

Eight COB Cannon Wash DW LED PAR Cans were also installed to provide in-fill washing for the stage. Six were hung above for downlight and the other two on either side of the stage provided side-fill. For house lighting, 47 COB Cannon Wash units were also installed across the ceiling. These are connected to four D6 Branch signal splitter/amplifiers, which aid with running a DMX signal to all of the COB Cannon Washes. Eight Dotz PAR tri-colour COB wash fixtures were set up, six for truss warmers and two to illuminate the drummer.

‘When we took out the old fluorescent lights that had been in the building before, we realised that the COB Cannon Washes fitted like a glove into the old recessed fittings that were already in the roof,’ explained González. ‘It made the install very easy as we just took out the old lights, dropped in the COB Cannons and strapped them down so they couldn’t get knocked out of place. The result is very impressive and was surprisingly affordable for the church. I researched what an electrician would charge to supply and fit a regular dimmable house light, and it wasn’t actually that much less than we charged for the COB Cannons.’ www.adj.com www.fbcstockton.church www.norcalproaudio.com

Image courtesy of Brian Dowdle

Yeon Moo Dae Church finds sanctuary with Clair Brothers Centre, which had CAT215 line array loudspeakers. It invested in 16 Clair Brothers C15 line array loudspeakers as the church committee felt they were ideal for the venue’s open space. The installation also

consisted of 12 iS218 subwoofers and 40 kiTCurve12 loudspeakers for stage-fills, outer-fills and delays. Eight 1AM+ and two 1.5AMs were used as stage monitors and a Solid State Logic L200 was used as a mixing console.

‘The selection of the kiTCurves was made because of their excellent mixture of sound alongside the C15 main system,’ commented JJ Song, head of Korean business development at Clair Brothers. ‘This 12-inch class of speakers delivers plenty of lows and unbelievable clarity for voice presence and music. The result here sounds wonderful. The only minor challenge was that we weren’t able to put the iS218 subs on the ground. As expected, the sub hang worked out quite well.’

Clair Brothers’ C15 line array

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Yeon Moo Dae Church KOREA Yeon Moo Dae Church is centred in a Korean army training centre, which took over a decade to build.

The church has constructed a new 6,000-seat sanctuary with a sound system consisting of products from

14 WORSHIP AVL May–June 2020

Clair Brothers. The purchase was made through Fone Sound, Clair Brothers’ Korean dealer.

The church chose Clair Brothers after visiting other larger sanctuaries such as the Joyful Church Training

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NEWS

PRODUCTS

Vue supports Powered by the Church X factor Sound University MARTIN AUDIO has added to its BlacklineX family with the 12-inch XP12 USA and 15-inch XP15 full-range enclosures, and the 18-inch XP118 Church SoundtoUniversity is a subwoofer form the BlacklineX touring educational Powered series.programme The products delivered by worship audio technicians offer optional Bluetooth control, for fellow worship technicians, streaming andaudio a built-in, threecovering the mixer basicstoofreportedly audio channel provide production. The curriculum spans the essentials for church tech teams, including microphones, loudspeakers and mixing consoles, as well as technologies such as RF wireless and networking and skills including techniques for mixing, EQing, miking, recording, webcasting and electrical safety.

Vue Audiotechnik is among several manufacturers, including Allen & Heath, dBTechnologies, Meyer Sound and Rational Acoustics, that supports the initiative. The first Church Sound University was held recently at the Taft Avenue Community Church in Orange, CA, with a Vue sound setup.

The mixing course was led by Samantha Potter and conducted in Taft’s main sanctuary. It featured al-4 acoustic linearity line arrays polemounted on each side with an hs-20

16 WORSHIP AVL May–June 2020

increased flexibility and features for live venues to permanent installs, and particularly for houses of worship.

The XP12 and XP15 are selfpowered, portable, two-way systems with 1,300W Class-D amplification.

They have on-board DSP with a rotary control interface along with three-band channel EQ, independent LF and HF peak and RMS limiters.

A user-rotatable 80° x 50° horn and vertical and horizontal mounting options are also featured. The enclosures are constructed from plywood and finished with a hard-

Taft Avenue Community Church subwoofer on the floor for low-end reinforcement. Potter demonstrated mixing basics through the al-4 system, highlighting the audible effects of various EQ adjustments on a solo female vocal. She monitored her mixing instructions with foldback from a Vue hm-108a stage monitor.

In a different room equipped with a single pole-mounted hm-108a cabinet, James Stoffo talked attendees through wireless microphone technology. The BlacklineX Powered hm-108a was used to demonstrate

wearing textured paint.

Cloth-backed perforated steel grilles protect the drivers from damage and dust ingress. The XP118 extends the low-frequency operating range of the combined system down to 42Hz and can be used singly, stacked in omni or cardioid mode, or flown via integral M10 insets. It is a self-powered sub with an 18-inch driver, 4-inch voice coil and 2,000W Class-D amplification.

In other news, Martin Audio has various microphones, from addedwireless the fourth model to its handheld dynamic models to cardioid Wavefront Precision optimised lavaliers.

Stoffo discussed theistools line array series.

The WPS a available offered tips to aid in passive,and three-way system that wireless frequency and integrates a highmanagement density of drive optimising He also covered units in areception. very compact enclosure. microphone, anddrivers, receiver It features transmitter two 8-inch LF placement. four 4-inch midrange drivers and Meanwhile, Sokol covered four 1-inch Mike exit HF compression thedrivers basicsloaded of microphones and HF by a moulded loudspeakers in a larger He horn that occupies theroom. full width described the basicsdefining of point the source of the enclosure, loudspeakers and line arrays with

The WPS 100° horizontal constant directivity Samantha Potter and Mike Sokol coverage pattern of both the HF help Vue’s sections. house of worship andfrom midrange sales Brandon drivers Rinas. Vue Theengineer, 4-inch midrange also internally illuminated are provided compression-loaded to raise cut-away al-4and andenter h-12the speakers efficiency horn to allow to see inside theto wallseveryone via annular slots close speaker The effectively systems the HF enclosure. throat to sum featured internalThe drivers with thecut-away HF wavefront. fourto provide understanding of how each 1-inch an compression drivers part of the loudspeaker works. Sokol reportedly deliver high-frequency addressed the crowd via a pair ofand h-8 sound without the harshness compact, high-definition loudspeakers distortion of larger-format devices. toThe demonstrate the polar pattern 8-inch LF drivers are set back response of various behind the walls ofmicrophones. the HF horn, Those in attendance could with a small volume of air in front reportedly hear increasing clearly when of each driver theSokol output spoke a microphone correctly at theinto upper end of its operating and detect subtle loss range.

Thethe LF most exit apertures are inspaced clarity when demonstrated apart he horizontally to provide improper mic use.

LF horizontal pattern control. www.churchsoundu.com www.martin-audio.com www.vueaudio.com

NEWS

Old Barn Audio rejuvenates chapel UK St Joseph’s College Chapel in the Suffolk county town of Ipswich recently underwent a refurbishment costing £750,000, having fallen into disrepair and being forced to close for three years. As part of the chapel’s renovation, a new sound system was installed by Old Barn Audio (OBA).

OBA was approached by St Joseph’s College, an independent school that owns the chapel, based on a recommendation it received. When OBA project manager Phil Clark

put together his sound system design. ‘We designed the space into eight zones in order to time align the speakers with SMAART [audio analysis software] and to ensure each zone had linearity of sound,’ he said. ‘We could then control them individually and run these clusters at a lower level to avoid as little echo as possible in the venue.’

The sound system is used for a range of applications within the chapel, including the reinforcement of musical

The Basilica of Regina Pacis amplifies its sound

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USA

ensembles at the college, from string quartets to full classical orchestras. The setup was completed with the inclusion of 12-inch tablets that OBA programmed to control the sound system over an internal network.

‘Old Barn Audio has designed and supplied a fantastic system for us,’ said a satisfied Keiron Orris, IT network manager at St Joseph’s College. ‘They listened to our needs and, even though it is a challenging building, they were able to deliver exactly the end result we desired.

Their advice to use the Martin Audio CDD range was per fect; it supplies a warm and professional sound throughout the whole chapel.’

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first visited, the building revealed no internal walls, and therefore no fixing points, and a 60m-high pitch.

In coming up with a solution, Clark chose to install three clusters of three Martin Audio CDD8 loudspeakers, angled carefully to meet the dispersion needs of the sanctuary. Two additional CDD8s were positioned on each side of the nave, while a SX210 slimline subwoofer was compact enough to be recessed beneath the stage.

‘The space is 50m across and 50m deep, with arches separating three sides of the pyramid,’ explained Clark. ‘A standard wall or column mounting scenario was not available, so the only option was to mount the clusters on the underside of the arches to serve the venue.’

Clark used AFMG’s EASE acoustic simulation software to

MADE IN GERMANY

May–June 2020 WORSHIP AVL 17

NEWS

Saint Barnabas Catholic Church revives its sound system USA The Saint Barnabas Catholic Church in Birmingham, Alabama was built in the 1950s and has used the same audio system since then. As the church was receiving complaints about this, it decided to upgrade the system with Danley loudspeakers and chose ENG AV for the design and installation.

‘Many of our parishioners are older and hearing can be a challenge for them, even under the best of circumstances,’ explained Father Douglas Vu. ‘Our parish is located in a poorer neighbourhood of Birmingham and money is always an issue. That’s why I was happy to work with Gary [Boackle] at ENG AV. I trusted that he would deliver a custom-built system that would solve

our intelligibility problems for the most affordable price.’

‘The previous sound reinforcement system at Saint Barnabas was extremely old,’ explained Boackle, founder and owner of ENG AV. ‘Although it was possible to understand Father Vu most of the time because he naturally projects, it was impossible to understand what the pastor was

saying. We’ve worked with many different loudspeaker manufacturers, but Danley is unique. I was impressed when I heard a Danley demo several years ago at InfoComm. Danley seemed like an ideal fit at Saint Barnabas because its patented point source technology has such natural intelligibility and excellent pattern control. We could hit the pews, keep

energy off the walls and minimise feedback problems from the altar. It’s also excellent that Danley boxes are manufactured in the USA and that the company doesn’t shy away from its faith-based roots.’

The audio system consists of two SM100 loudspeakers, one above the altar, which angles down to cover the front half of the room. The second SM100 hangs halfway back to cover the other half of the room. Two Danley Nano loudspeakers cover the choir and two more are used as monitors.

The loudspeakers are powered by QSC amplifiers and processors. www.danleysoundlabs.com www.engav.com www.stbarnabasbhm.com

Lake Hills Church mixes it up USA

The Experience 14 show Image courtesy of House on the Rock

Outline outperforms at The Experience NIGERIA

For the 14th consecutive year, senior pastor Paul Adefarasin of House on the Rock Church hosted The Experience, Africa’s largest interdenominational gospel concert that once again drew a crowd of more than 700,000 people to Tafawa Balewa Square in Lagos. For the seventh time in a row, CyTech World Communication provided a mammoth Outline audio setup to reinforce artists such as Travis Greene, Sinach, Nathaniel Bassey, Don Moen, Donnie McClurkin, Tope Alabi and Planetshakers.

CyTech deployed a range of Outline solutions from its inventory, including GTO C-12 and Butterfly line array systems,

18 WORSHIP AVL May–June 2020

LAB 21 infra-subs, DBS 18-2 and Subtech 218 sub-bass enclosures, with DVS and Doppia point source systems and H.A.R.D. 212 wedge monitors.

Outline’s Newton 16+8 FPGA processor was also deployed.

‘Outline’s loudspeakers definitely outper formed all the others used at previous editions and being confirmed for the seventh consecutive year proves that we’ve done a great job in the past,’ commented CyTech’s owner and MD, Cyril Utomoibor. www.cytechworld.com www.outline.it www.theexperiencelagos.com

Lakes Hills Church in Texas hosts several events across the year, from its three worship services on a Sunday to its special events. The church decided to upgrade its audio equipment with products from Allen & Heath, which were supplied to them by Diamond Entertainment and The Music People.

‘With our old system, there were multiple platforms for everybody to understand,’ said Roger Blevins, worship leader and systems engineer at the church. ‘With Allen & Heath, there is a whole family of products that are tightly integrated. The dLive can do almost anything and still be very user friendly, which makes things easier for our tech staff and volunteers.’

The new audio system consists of an Allen & Heath dLive C3500 mixer and CMD64 MixRack to mix FOH,

stream broadcast and recording, with six ME-1 personal mixers for monitors. The upgrade also included an IP8 Remote Controller to aid with special events and an SQ-7 digital mixer which is used with the church’s mobile worship team.

The ME-1s are used by the band members to adjust their monitors, while the vocalists use iPads and the dLive OneMix app for mixing.

‘Overall, our experience with the Allen & Heath system has been overwhelmingly positive,’ said Blevins. ‘It’s a tremendous shift in sound quality and in consistency between songs, between services and between engineers.’ www.allen-heath.com www.diamondentertainment.com www.lhc.org www.musicpeopleinc.com

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NEWS

Aerial effects uplift at Worship Experience 2020 ZIMBABWE The 2020 edition of Zimbabwe’s Worship Experience was held at the Rainbow Towers hotel in Harare. The celebration of hope was organised by Kayse Connect to highlight talented Zimbabweans, with an emphasis placed on emerging female artists. The stage was lit with a five-universe lightshow designed by Blessing Bero and programmed by Tatenda Gaylord Rushwaya from Events Evolution, using a rig formed from Chauvet Professional Maverick and Rogue fixtures.

Bero and Rushwaya employed Maverick MK2 Spots, Rogue R2 Beams and Rogue R1 Beams to create multi-coloured and white aerial effects, while also adding depth to the stage by crossing beam patterns and playing light off

against the video panels that were flown overhead. Complementing the aerial effects were gobo patterns to add texture onstage, as well as spots to follow the per formers.

‘There was a total of 11 Maverick MK2 Spots in our rig,’ said Rushwaya.

‘We positioned three of them on FOH truss and remote controlled them to work as follow spots, in addition to spotting the DJ. The rest of the

MK2 Spots were placed four on each upstage and mid-stage truss for gobo effects on the stage. Thanks to the throw distance of these fixtures, we were able to project vivid gobo patterns from a long distance.’

Backlighting was used to create a sense of warmth onstage as Rogue R2 Spots were rigged on short truss structures and used to light the stage deck behind the musicians. Further R2 Spots, along with four Rogue R1 Spot units, were arranged along the stage deck, contributing to the aerial display. These were joined by 12 Chauvet DJ Intimidator 140SR Hybrids. Working together with the Mavericks, the Hybrids created an overhead display of light. www.chauvetprofessional.com www.eventsevo.co.za

Hope City Church streams live with Hitachi Kokusai CANADA

Rebecca Mossop captures a Hope City Church worship service with a Z-HD5500 camera The Hope City Church in Edmonton, Alberta changed its name from Mills Woods Assembly to reflect its expansion into new areas, which include the addition of the Terwilligar campus. It has recently added a new satellite site and has invested in three Z-HD5500 cameras from Hitachi Kokusai to improve its live streamed videos to its Terwilligar and Mills Woods campuses.

The church wanted to upgrade its cameras as the existing ones

20 WORSHIP AVL May–June 2020

provided time-delayed services to the Terwilligar site. ‘Our old cameras didn’t allow us to achieve the quality we wanted, with insufficient low-light capabilities and consumergrade controls,’ said Dan Mandryk, technical director at Hope City Church. ‘We needed to replace them and our expansion gave us the big push to get new cameras on board. Video enables us to multiply our presence, allowing us to deliver the same message across

campuses while still creating unique experiences at each location. We wanted to go to a broadcast-grade camera because the video feed would essentially stand in for a live pastor. We narrowed our choice to two major brands, and Hitachi Kokusai worked closely with our dealer, Applied Electronics, to put together a package that met our needs at a price that worked for us. The Hitachi cameras’ ability to integrate with the Ross Dashboard control system was also important, as we are considering adding a Ross switcher in the future.’

The three cameras are positioned on pedestals in the main sanctuary of the Mills Woods campus and serve the live video link between campuses. These also power IMAG for the auditorium’s two 20-footwide rear projection side screens and 19-foot-wide centre screen.

‘The Z-HD5500s deliver an obvious quality boost from our previous cameras,’ Mandryk added. ‘The colour reproduction is also fabulous, as we finally see on video exactly

what we see in the room. The first day we put them in, our congregants could see the difference and were excited to see more vibrant colours.

We push the boundaries on lighting, so sometimes we have to get a shot where there’s not a whole lot of light and the Z-HD5500’s low-light handling is far superior to our old cameras. Conversely, we use a lot of LED lighting of varying quality in our sets from high-end professional lights all the way down to do-it-yourself LED tape lights in our set pieces and we’ve never had a problem with these cameras capturing great video.’ www.hitachi-kokusai.co.jp www.hopecity.ca

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Images courtesy of Edwin Arokiyam

Guests included Singapore Prime Minister Lee Hsien Loong

St Andrew’s celebrates Singapore’s Bicentennial Illuminate Productions returned to St Andrew’s Cathedral to highlight the sanctuary for Singapore’s Bicentennial, recalls technical executive Chloe Chan HERE AT ILLUMINATE PRODUCTIONS we had an eventful 2019, with a wide range of installs and live shows, including an upgrade of the audiovisual solutions inside St Andrew’s Cathedral’s New Sanctuary (featured in Worship AVL, September–October 2019). Last December, we had the opportunity to return to St Andrew’s to be part of an event commemorating Singapore’s Bicentennial and its 200 years of history at its main sanctuary: the Bicentennial Christmas Carol Service.

St Andrew’s is the largest cathedral in Singapore and is located right in the heart of the Lion State. It was built around 180 years ago and played its part during the Bicentennial in showcasing the unity of Singapore, producing a choir show with guests from various different racial and religious backgrounds.

The project brief called for the cathedral to have a different atmosphere that contrasted with its usual weekend services by using lighting.

22 WORSHIP AVL May–June 2020

The lighting was designed by Illuminate’s creative and technical director, Muen Huang, and the team at Illuminate Productions came in to set up the entire system. To control the lighting, which included several Claypaky fixtures such as the Axcor Profile 400 and 600 fixtures for key lights, we used MA Lighting’s grandMA system. We also used Claypaky Sharpys for beam effects from the front of the church.

We even took some time to light up the stained-glass windows from the outside, as we knew the service was taking place at night, creating an effect that would come as a slight surprise to everyone. The Prime Minister, Lee Hsien Loong, even mentioned it in his Facebook post, stating: ‘The vaulted ceilings and stained-glass windows of St Andrew’s Cathedral were beautifully lit, to create a dramatic backdrop for the choral performance.’

It was difficult to set up for the event.

We initially wanted to run the show wirelessly; however, because there were going to be VIP guests, there was

going to be a high level of security and, because of the church’s location right in the centre of town, we realised that RF would not be stable. Therefore, our setup was completely wired and had to be hidden beneath carpets and in cable trays.

Knowing that photos and videos would be taken, we also decided to light the audience using LED PARs that gave us full control, rather than relying on the house lights. However, there wasn’t anywhere from which these lights could be easily hung or sensibly placed. This led to us climbing up the bell tower balcony and hanging lights

in front of the organ pipes. The swirl steps and path to get to the balcony were rather tight and required special wiring. Another issue that arose was the fact that we couldn’t move the furniture, which meant we had to adjust our plans, relocating our key lights.

Everything turned out really well in the end and our efforts were well-received, as evidenced from the ‘oohs’ and ‘aahs’ heard from the visitors as they entered the nave before the service even started. www.cathedral.org.sg www.illuminate.sg

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PROJECTS

The main PA is formed from couplings of SR-S4L and SR-S4S speakers

Clear hearing for Saint Ambroise du Jubilé With a growing reputation as a house of worship specialist, Protech Distribution was called upon by Paroisse Saint Ambroise du Jubilé to increase the church’s STI HOUSES OF WORSHIP ARE RATHER unique when compared to other large gathering spaces, such as cinemas or concert halls. While each house of worship, be it a church, mosque or temple, is unique in itself, they often (but not always) possess similar features to one another. These features can include high levels of reverberation due to impressive aesthetic appearances that come at the expense of audio intelligibility. After all, traditional places of worship, prior to the invention of the loudspeaker, would have encouraged echoes to help carry the speaker’s message throughout the sanctuary.

Modern houses of worship often retain the characteristics of their ancestors, including the highly reverberant décor, providing a challenge for those tasked with designing a suitable system for intelligible sound reinforcement.

Paroisse Saint Ambroise du Jubilé (the Parish of Saint Ambrose of Jubilee) in the southern city of Abidjan in Ivory Coast is one example of a church built to look the part, constructed from stone and marble with a high ceiling.

When it comes to sound, however, reverberation can cause an issue in such an environment. The church was equipped with a system for sound reinforcement, only it struggled to keep resonance under control and, therefore, sermons were not always intelligible throughout the sanctuary.

Seeking a new solution to increase

24 WORSHIP AVL May–June 2020

Four of the HX-5W speakers outside its STI (Speech Transmission Index) rating, the Paroisse Saint Ambroise du Jubilé committee turned to Protech Distribution for assistance.

‘The church’s old sound system had a poor STI rating,’ recalls Inza Bamba, managing director of Protech Distribution. ‘Our brief was to ensure the church could achieve SPLs [Sound Pressure Levels] of greater than 100dB and an STI rating of greater than 0.5.’

Protech Distribution was approached to take on the project having become somewhat of a specialist at equipping houses of worship, including churches and mosques, in Ivory Coast with tailored audio setups.

‘We completed five church projects in 2019 alone,’ says Bamba. ‘I would certainly consider myself a specialist in providing solutions for houses of worship and their specific needs at this point.’

Bamba and his team have had previous success in designing sound systems for houses of worship formed from TOA loudspeakers. Protech Distribution’s experience with the manufacturer’s products wasn’t the only benefit provided though. ‘TOA’s SR-S4L two-way line array speakers were the perfect solution,’ Bamba explains. ‘They are designed for sound transmission across a long distance – perfect for a church of this size and with high reverberation. They also don’t break the bank, allowing us to offer a solution that fits within the church’s budget.’

The Protech team installed two SR-S4L enclosures inside the church and a pair of SR-S4S speakers, which are built for short throw to cover the front of the room, with low-end reinforcement delivered by two FB-120B subwoofers. Outside the building, nine HX-5W compact speakers were deployed and paired with nine MT-200 matching transformers for announcements.

The speaker setup is powered by TOA DA-250FH and DA-550F fourchannel amplifiers as well as three Dynacord L1300FD DSP amplifier units.

Four Audio-Technica U857QL gooseneck microphones were installed to capture the voices of the priests during sermons, as were two TOA DM-1300 dynamic vocal and two WT-5225 wireless handheld mics with WT-5800 wireless tuners.

The choir, meanwhile, was supplied with 15 Shure SM58 mics for vocal captures, three Electro-Voice ZLX-12P powered loudspeakers for monitors along with two EVID 4.2 two-way surface-mount speakers.

Controlling the sound system is a Mackie PROFX30 digital mixing console, as well as a D-901 modular digital mixer from TOA, which is stored in the rack with the amplifiers. The D-901 is accompanied by six D-921E mic/line input modules, two D-971M output modules and a D-911 fader unit.

The installation process went smoothly, with only one minor challenge cropping up. ‘The challenge was to prevent the sound from aiming towards the ceiling to avoid reverberation,’ says Bamba. ‘To ensure this, we needed to manually tilt the SR-S4Ls down by 30°.’

With the new sound setup installed, Paroisse Saint Ambroise du Jubilé has reportedly overcome its reverberation issues with the help of Protech Distribution. ‘The church is very happy with the end result,’ Bamba concludes. ‘We were able to obtain the STI rating they were looking for in the end, which is 0.6. Thanks to all of our work in houses of worship, Protech has become known as one of the best solutions providers in Ivory Coast when it comes to working in reverberant spaces.’ www.protech-distribution.com www.toa.co.za

PROJECTS

Modular solution for fast growth

The sanctuary has been equipped with double wide main arrays of M46 main and B112 bass modules

Enjoy Church is one of, if not the, fastest-growing churches in Australia.

When Forefront Productions was asked to upgrade the audio production in its main sanctuary, a modular line array system from Nexo provided a solution AS IS COMMON FOR MANY churches in Australia, the main campus of Enjoy Church is situated inside a warehouse that has undergone a series of cosmetic improvements to transform it into a functional worship space. Today, the venue seats approximately 1,800 people, but its acoustic environment is not ideal – its construction being typical of a warehouse with concrete walls and a metal roof. The sanctuary was initially defined only by drapes but, over the years, internal sheet rock walls have been added as the seating capacity needed to be increased and sound transfer to other areas of the building mitigated. The ceiling consists of acoustic absorbent material directly fixed to the underside of the sheet metal roof.

More than a decade ago, in 2009, Enjoy Church had enlisted AV integrator Forefront Productions to install a Nexo GEO S12 line array system in the building. Ten years later, in order to keep up with its expanding congregation, the church once again approached Forefront’s designers, Nick Burns and Matt Wever, to implement a main speaker system upgrade. The aim was to apply more modern sound reinforcement technology to the venue’s geometry and to better cater

26 WORSHIP AVL May–June 2020

for future changes in presentation as well as further increases in capacity.

Burns designed a new setup based on Nexo’s STM Series modular line array system. ‘For this project, we needed to supply coverage to a greater area without increasing the overall line array length, so as to not impede sightlines, and, at the same time, increase the headroom and sonic capability,’ he explains. ‘The STM system allowed us to deploy double wide main arrays of M46 main and B112 bass modules, with under hangs of the smaller M28 omnipurpose module. Using M46 main cabinets only for the centrefill and out-fill arrays meant we could keep the same HF/MF sonic signature without the expense or physical size of the main arrays.’

The modular design of the STM system allows it to be adjusted and expanded easily if required. ‘It really is the Lego of speaker systems,’ adds Burns. ‘We can simply add more STM cabinets of any form to the system to further extend the value of the investment.’

The main sanctuary space provided quite a challenge. It has a relatively low ceiling line compared to that of the width and depth of the auditorium. This, together with the usual stage lighting and

The PA system reinforces a variety of live music video reinforcement infrastructure plus other mechanical services, means that not only is there a battle for sightlines but also limited unobstructed positions for a PA system to be flown. Add in the acoustic treatments and seating arrangements that curve around the stage and there was a heavy reliance on Forefront with its speaker system design and implementation to achieve the desired results.

Burns and Wever used Nexo’s NS-1 calculation and coverage prediction software to create a virtual representation of how the system would perform. ‘It is a valuable tool in producing any Nexo system design, coupled with mechanical information,’

says Burns. ‘Having been very meticulous in the design phase of the system, we were again particularly impressed by how true to life NS-1’s MIF calculations are.’

In just three days, the Forefront team installed the new main PA, comprising 19 STM M46, 10 STM B112 and six STM M28 line arrays, eight STM S118 sub-bass elements and four PS8 speakers. Nine NXAMP4x4 digital amplifiers and an NXAMP4x1 provide power and processing. The NXAMP4x4s have been equipped with AES interface cards – the church’s existing amps receiving an upgrade with cards of their own. This allows all processing to be conducted via the NXAMP4x4s

PROJECTS with NeMo network control, grouping any elements together as desired.

One of the characteristics of the STM system is its perceived nearfield sound, which extends to the furthermost corners of the auditorium area, giving the listener the impression that they are close to the action. From the readings of sermons to live band performances, the church has reportedly noted the improvement in intelligibility and consistency in coverage throughout the space. Given the acoustic environment, there were existing nodes and antinodes within the room’s listening area and the careful positioning and tuning of cabinets, particularly in the out-fill areas, has resulted in improved sonic consistency.

Enjoy Church sometimes employs a front stage thrust that encroaches into the usual seating area and places the presenter’s handheld or headworn microphone within the field of coverage. ‘This presented a unique challenge when considered alongside one of our aims for this system installation being to remove the need for smaller front-fill speaker elements and keep sources to a minimum,’ notes Burns.

‘Our design resulted in down-fill elements of STM M28 elements to the main arrays, some with 120°

M46 cabinets were used for the centre-fill and out-fill arrays horizontal dispersion, as well as a centre flown cluster of M46s. This results in the same sonic signature across the front audience area and is time aligned to make the centre cluster largely imperceptible. Perhaps even more notable is the ability to achieve incredible gain before feedback from performers and spoken word presenters even with poor microphone technique, venturing onto the stage thrust area.’

Another noticeable improvement is the stereo imaging. With a relatively broad room and main arrays that are also quite wide, the STM’s stereo imaging attributes have been described as presenting listeners with a perceivable increase in stereo imaging,

which allows engineers to mix in a stereo state without concern for certain seating areas missing the benefit.

With the improved increase in headroom that the STM system has delivered, Enjoy Church has also started catering for outside events without the need for additional equipment. The auditorium is routinely used for school gatherings, musical presentations and concerts from touring artists.

There were expectations that the sound system upgrade would lead to a much more space-consuming setup than the GEO S12 it was replacing.

However, the bottom of the STM main arrays is only 70mm lower than the former system and any perceived

increase in size comes from the width of the main array, which is largely hidden from view on the dark area above the stage.

‘The former system had subs flown behind the main arrays as the client brief asked for a clear front stage area, whereas with the STM system we have been able to achieve a clear front stage area by insetting the horizontal sub array of the STM 118s,’ says Burns. ‘Together with the LF produced in the air by the B112 cabinet arrays, the LF and sub-bass have proven to be very controllable in the space, with even coverage.’

The old GEO S12 system, which was still in working condition, hasn’t gone to waste. Enjoy Church has redistributed it across three of its smaller campuses, providing upgrades to those venues in the process. At the church’s main sanctuary, however, the new STM setup enables Enjoy Church to cater for its various needs and styles of ministry, from contemporary services with high-impact band reinforcement, to theatrical performances, spoken word and everything in-between. www.enjoy.church www.ffp.com.au www.nexo-sa.com

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PROJECTS

Soundscaping The Summit During a complete AVL renovation at the main broadcast campus of The Summit Church, CSD installed the first Soundscape system into a HOW. James Cooke finds out more LEFT AND RIGHT STEREO SOUND systems were quite the revelation at one time. Technology has continued to evolve though, and we have now reached the point whereby pro audio manufacturers are offering immersive sound systems – solutions that deliver object-based 360° sound reinforcement, which means those listening within an audience, or as part of a congregation, hear audio corresponding to what they are seeing.

As a visual element passes by, so too does the noise to go with it. d&b audiotechnik is one of the manufacturers producing such a solution. Its Soundscape system featured in the pages of Worship AVL fairly recently, as it was employed during the final Soul Survivor festival in the UK last summer (see the January–February 2020 issue for more information). Running on the DS100 Signal Engine, a processor based on a Dante-enabled signal matrix, d&b Soundscape features two software modules, En-Scene and En-Space, which are sound object positioning and in-line room emulation tools, respectively.

While a temporary Soundscape setup was used for worship at Soul Survivor, the first fixed installation of the immersive solution inside a house of worship has been completed at The Summit Church, a Southern Baptist multi-site ministry with 11 campuses around Raleigh and Durham in the US state of North Carolina. The design and installation were carried out by Custom Sound Designs (CSD).

The system has been installed at The Summit Church’s Capital Hills Campus, which now serves as its main broadcast site. It was the vision of Pastor JD Greear and his

28 WORSHIP AVL May–June 2020

The Capital Hills Campus is the first church to be installed with a d&b Soundscape system

The d&b Soundscape En-Scene software in action

A Yamaha Rivage PM7 digital mixing console is employed at FOH

team to develop an environment that would communicate well with the congregation at the Capital Hills facility itself, as well as those watching the feed from other locations. The CSD design and build team therefore worked closely with the church, architectural and construction teams to deliver solutions that would captivate congregants and remove distractions.

CSD achieved this in part with the installation of three large LED screens as well as coloured RGBW house lights and theatrical stage lighting to create a visual connection between the stage and the congregation. The 360° Soundscape system ties in the sound with object-based audio representative of what is seen onstage and on-screen.

‘The Capital Hills Campus is the first global church to feature a 360° d&b Soundscape system using both En-Scene and En-Space software,’ confirms CSD Group principal, David McCauley. ‘And it’s the first with En-Space acoustic room emulation, which is particularly important in a worship context. A d&b DS100 signal matrix, DS10 audio network bridges and 10D and 30D amplifiers are employed. The system is comprised of a main system of 24S-D loudspeakers, 24S-D delays, 8S frontfills, J-Subs and a surround ring with 12S, 10S and 8Ss cabinets.’

In total, the sound system installation was formed from 12 24S-D two-way loudspeakers, along with two 12S-D delays and a pair of 12S cabinets, as well as two 10S-D speakers, 24 8S, two 5S, three J-Sub and four B6 subwoofers. The setup is driven by eight d&b 10D and five 30D four-channel amplifiers. Yamaha Rivage PM7 digital mixing is employed at front of house, while a Yamaha CL5 handles mixing duties for broadcast.

The monitor mix is taken care of with eight Shure PSM 1000 in-ear personal monitoring systems.

‘The church employs a lot of video content in their services, so sightlines were absolutely vital,’ says McCauley. ‘This meant that large-format line arrays were not a very good option given the interference with video, especially with the stadium-style seating in the rear, and they were not conducive due to the size of the array needed for the room. The church still desired the level of performance and sonic quality that a line array could deliver, and the solution was the deployment of high-output point sources being driven by the d&b DS100 processor.

PROJECTS

It was the vision of Pastor JD Greear to communicate with those inside the sanctuary as well as those watching at home When using a larger quantity of smaller speakers in conjunction with the DS100, CSD was able to achieve the performance characteristics the church was looking for.’

The Capital Hills sanctuary is a large, fan-shaped room, which provided the CSD team with the further challenge of maintaining a connection between those on-stage and members of the congregation.

This is because some congregants face towards the stage from a diagonal angle, rather than face-on.

‘The DS100, and specifically the En-Scene software, allowed us to give every seat in the house the same experience, the same connection to what is happening on-stage and enabled distractionfree communication of the church’s message to the people who came to hear it,’ notes McCauley.

The En-Space software, meanwhile, was deployed to create what McCauley describes as an ‘enveloping feeling to the worship environment’. ‘This allows the mix engineer to still have the reverb and effects support he wants for his mix but, instead of coming from the stage, it’s coming from all around.

This change, while simple and organic, makes a drastic difference and provides a very natural sonic experience. The reverbs for the vocals don’t even sound like effects, they just sound like the room. The mix engineer has the ability to let the inputs that he wants have that large hall feel, yet at the same time take it down to an acoustic guitar that sounds like it is right in front of you in a living room. It is really quite exciting to see what this enables us to achieve.’

For lighting, CDS designed and installed a rig comprising more than 100 fixtures from the catalogue of Chauvet Professional. In total,

29 Ovation E-160WW ellipsoidal fixtures with 26° lens tubes, 18 Ovation P-56FC PAR units and 26 Ovation F-915FC full-colour Fresnels were deployed around the stage.

‘We have most of the ellipsoidals arranged in groups of three across the stage as front lights, then some stage left and right,’ says McCauley.

‘There are PARs across the entire

general top and back lighting and for specials. We are seeing the value of movers as they give us the ability to change positions on the fly and to catch specials without having to get the lift out and refocus a section of lights. This balance of moving and static lighting gives us more options and they make the lighting process less confining.’

Sony HXC-FB80HN studio cameras are employed at the broadcast campus stage for fill-ins and we also have Ovation units as top and back lights.

They’re used to colourise the stage.

The realistic, deeply saturated colours that they produce come off very well on video.’

Twelve Maverick MK1 and 10 Maverick MK2 moving head spots complement the stage lighting, creating aerial effects and specials for musical performances and special events. ‘The Mavericks serve a dual purpose,’ explains McCauley.

‘We have some on the front bars for spots and specials, particularly with their gobos. Then, we have some on the floor for uplight effects. Our Maverick wash fixtures work great as

Completing the lighting setup, which is rigged on Tyler Centerline truss, are 15 DTW392 and 20 Sixbar 1000 IP LED bars from Elation Professional and an MDG ATMe haze generator for atmosphere. House lighting is made up from 41 Chroma-Q Inspire XT and 27 Chroma-Q Inspire Wide LED, RGBW, DMX house light fixtures. Control of the rig is cour tesy of an MA Lighting dot2 lighting console and a pair of Chauvet Net-XII rack-mountable Ethernet-to-DMX node controllers.

The video setup, which needed to be accounted for during the Soundscape installation,

features 320 panels of Vanguard Rhodium-P4 4mm pitch LED screen, controlled via a trio of NovaStar processing units. The LED panels form three screens – one central display measuring 21 feet x 11.8 feet and comprising 120 panels, and two 21-foot x 7.1-foot side displays consisting of 100 panels each. Content is captured by four Sony HXC-FB80HN studio cameras with HXC-UFB80N control units and RCP-1500 remote control panels.

Live content is managed using a Ross Carbonite Black Plus 2 M/E live production switcher.

While the entire video and lighting setups are eye-catchingly impressive, it is the first Soundscape system installed inside a church that steals the show. ‘We went with a point source solution rather than arrays so that the speakers were not hanging down, meaning that all the technology was basically at the same level in people’s sightline, so the congregation did not get that feeling of “this is going to be loud”,’ says McCauley. ‘Ever yone was surprised that it sounds as if the audio just comes from the instruments. Yes, it gets turned up to concer t levels sometimes, but it doesn’t feel like it is ar tificial.

You just think, “wow, the drums are hitting”, not “wow the PA is hitting”.

And the room just seems to be full of sound.

‘We know we did a good job because people responded when they heard the system but did not know why or how exactly they were reacting. At CSD Group, we call this “Real Audio”. You forget you are listening through a PA until you turn it off and realise the difference.’ www.csdus.com www.summitchurch.com

May–June 2020 WORSHIP AVL 29

PROJECTS

A Zoom F8 field recorder was used (left) along with two Sennheiser AVX wireless lapels

Pastor Jeremy Foster interviewed for TBN by host Gordana Aldred

On set for TBN Meets Producer and content director Lane McCall recalls his time filming with Jeremy Foster of Houston’s Hope City church for TBN Meets TBN (THE TRINITY BROADCASTING Network) has produced a series of interviews for a 30-minute show called TBN Meets, to be broadcast on TBN UK. On the programme, the host interviews church leaders from around the world about their faith, life, pursuits and relationships.

The broadcaster was looking to interview Jeremy Foster, a pastor from Hope City church based in Houston. I was brought into this project by my friend, Jon McConnel, who I had worked together with on previous commercial projects. He’s a director of photography himself and was previously the lead singer in the Christian band, I Am They. The project called for a multi-camera shoot that looked great but was also budgetfriendly. I have a bit more experience with multi-camera interviews, so was glad to help out.

Because of the budget, we kept the crew extremely small. It was Jon, myself and a camera op from TBN. We shot in Houston at a local photo studio, which was very large and had an industrial and brick look to it. This worked well for our purposes as we needed two separate sets for two different interview sections, and the building provided that. We also needed to be able to film in 4K/UHD. From a technical standpoint, filming with faith leaders is pretty identical to filming any traditional corporate personality. Pastors typically speak very well, which makes the entire

30 WORSHIP AVL May–June 2020

out there for the same rental cost. In my opinion, the image quality coming out of this camera is on par with every camera in the market below US$10,000.

The set provided an industrial look with brick walls Two Blackmagic Pocket 4Ks and two Pocket 6K cameras were used for the shoot interview process go smoothly.

Over the years, I have done a lot of Christian content and there are certainly times when people begin to share on a deeply personal level.

In those moments, crews tend to become quiet and sensitive to the atmosphere.

We knew we needed a camera solution that was cost-effective but provided a good look and nice codec, suitable for broadcast. I had picked up a Blackmagic Pocket Cinema Camera 4K early on when they began shipping and was getting fantastic results with it. It was an easy decision to go with Blackmagic, because it checks all the boxes over DSLR and smaller, mirrorless cameras that are

We ended up renting three cameras, plus mine. So, we shot on two Blackmagic Pocket 4Ks with speed boosters and two Blackmagic Pocket 6K cameras – all with Zeiss lenses that Jon and I own. No camera is a ‘magic pill’. You still need to know how to compose, work with light and move the camera. But, these Blackmagic cameras have been delivering beautiful content for us in a small, easy to use, light and extremely costeffective package.

We used minimal lighting – two lights to be exact: an Aperture 120D and 300D with soft boxes. Natural window light served as our backlight. We had extra lights on hand but, after building the set, this was our preferred look.

For audio, we used two Sennheiser AVX wireless lapel mics running into a Zoom F8 field recorder. We also had

a Panasonic GH4 camera on hand for some behind-the-scenes-style shots.

We shot in ProRes LT in 4K/UHD on each camera. I find that this level of ProRes looks fantastic while keeping file sizes relatively small. It’s very hard to visually tell the difference when bumping up to a higher-quality ProRes file.

Each camera also had Samsung T5 SSD hard drives for media capture.

This solution has been my go-to since owning the camera and it’s never failed me once. It provides a massive amount of storage at an excellent cost per GB. Like most projects, the majority of challenges present themselves in preproduction. For us, it was figuring out how to keep the crew size to a minimum, the overall budget down and still deliver a high-end look. If you’ve done your work in preproduction, onset is usually a smooth operation.

After wrapping, Jon handed off the footage to TBN. We didn’t do any post on this. We quickly began receiving feedback on the footage and, apparently, TBN was so impressed with the quality of the footage that they began looking at a bit of an overhaul on their internal process, including looking at purchasing all new cameras. It’s always nice when a client’s expectations are exceeded. www.badcolors.com www.blackmagicdesign.com www.tbnuk.org

KnowHOW

Lavalier hiding techniques Lavalier mics are a great option for animated worship leaders who like to move around the stage. James Cooke explores ways in which they can be hidden from view

DPA’s 6060 mics are available in various colours to blend with skin tones and clothing

A LAVALIER MICROPHONE – ALSO referred to as a lapel, clip, body, collar, neck or personal mic, or lav for short – provides hands-free audio capture from the wearer.

They are used often in television and broadcast applications, as well as for public speakers, such as a worship leader, addressing a congregation of people from a stage.

Unlike fixed microphones, they allow the wearer to move freely about the stage (and beyond for a little audience participation). They also provide an advantage over handheld mics in that so long as they’ve been clipped to the wearer in a sensible position, there should be no further need to worry about whether their voice will be picked up clearly, whereas with handheld microphones, intelligible audio pickup is quite literally in the hands of the speaker, who may or may not forget how close they need to hold the mic to their mouth. The hands-free option also allows for more animated subjects to make all the hand gestures they like to help illustrate their message as they speak, keeping an audience engaged.

Lavalier mics tend to be wireless in that a beltpack worn by the speaker serves as a transmitter to a receiver unit connected to the rest of the sound setup. However, there is still the case of the cable running from the microphone down to the transmitter hooked to the wearer’s belt.

Concealing the wire not only makes for a better aesthetic, par ticularly when a ser vice is broadcast or streamed with plenty of close-up shots. The

32 WORSHIP AVL May–June 2020

Many scripted television shows and movies rely on lavalier mics to record the voices of actors and you’d be none the wiser as a viewer. So, if you want to hide the fact that your worship leader is wearing a microphone from members of the congregation and those watching onscreen, what options do you have? Here are a few ideas.

The wire The Shure MX183 same goes for houses of worship that employ cameras for IMAG purposes. A cable running down the wearer’s torso will look out of place and cause a distraction.

It also presents a health and safety issue in that an exposed wire with nothing to keep it in place can potentially get caught on any number of obstacles as the speaker moves about and, at the ver y least, this could lead to a disconnection and loss of speech pickup during a sermon.

Even those taking in the sermon as par t of the congregation are going to be distracted by a cable flapping about the worship leader, even if they’re sitting fur ther back than the first few rows, depending on their eyesight.

While seeing the mic itself on display isn’t the most offensive sight one could imagine – after all, they’re small and inconspicuous to begin with – some houses of worship may also like to keep the lapel hidden too.

First of all, whatever your subject happens to be wearing, it is best practice for them to conceal the wire running from the mic to the beltpack

beneath their clothing, using tape to keep the cable in place to prevent it pulling at the mic and causing movement that might result in unwanted noise. Types of surgical or moleskin tape will work fine and won’t pull out too many hairs, if any, when removing the mic at the end of a service, although some sound engineers, particularly for musical theatre and rock concerts, note that they use heavy-duty duct tape to make sure the mic and wire stay in place during a highly energetic performance.

Black clothing conceals a Røde lavalier microphone

KnowHOW One thing to remember, before you get star ted, check with the subject that they are happy for you to mic them up, as this will involve physical contact. Depending on how well you know them, you may want to offer the chance to bring in a chaperone to give them peace of mind, and make sure there is somebody available of the same gender to assist. It will be possible for the subject to mic themselves

Buttonholes If your subject is wearing a collared, button-up shir t or blouse, they’ve just given you plenty of scope to easily hide a lav. The colour of the garment may also help or hinder you. If the item of clothing is black or a dark colour, assuming that the lavalier is black, the tip of the mic can be slotted through a buttonhole and won’t be easy to spot. Buttonholes aren’t the only option available, however, so if your subject is wearing a bright, white shir t, or if they have all buttons done up right to the top, there’s no need to fret.

In some instances, you might be able to tuck the lavalier between the flaps of material that meet between two buttons. Use the tape to make sure the mic and the top of the wire are secured firmly in place.

Ties Should your subject dress formally with a necktie, fixing the lavalier between buttons or through a buttonhole will be ruled out, as the tie adds a barrier between the mic and mouth. However, the tie itself provides new oppor tunities for concealment.

Some lavalier mics actually come with a clip designed specifically for attaching to a tie. The mic can be tucked away at the back of the tie, using tape once again to prevent unwanted contact noise, and the par t of the clip visible to the audience is camouflaged to look like a regular tie clip.

Alternatively, the knot of the tie can also be used to secrete a lav, so long as the mic in use is an omnidirectional model as it will ultimately face away from the subject’s mouth. Feed the mic out through the top of the shir t and down into the knot so that it just protrudes out the bottom.

Voice Technologies’ VT401 omnidirectional lavalier concealed within a tie knot feed the mic around the left-hand side of their collar and vice-versa.

On the body What if your subject is extra casual in their dress sense and all you have to work with is a basic t-shir t? The options also apply to any other clothing that doesn’t offer any buttonholes, neckties or collars to help keep the mic out of sight, including dresses.

The simplest method is to attach the mic directly to the subject’s chest with tape. Use the tape to create separation between the lav and the subject’s clothing to once again prevent unwanted contact noise. Alternatively, if you have the time and the sewing skills, mics can be sewn into the fabric of the subject’s outfit.

On the head Finally, if your subject is wearing a hat or any kind of headwear, this can also be used to conceal a lavalier microphone. The underneath of a baseball cap’s brim is ideal for attaching a lav too.

Some sound engineers even get creative in hiding lapel mics along the hairline of subjects with a thick enough mane.

If all else fails?

A quick Google search reveals a plethora of creative ways in which lavalier mics have been concealed on a subject. One example involves creating a small hole inside a breast pocket and using a hollowed-out pen to feed the wire through.

Countryman’s B6 omnidirectional lavalier when using some of the techniques we’ve outlined, but they will still need assistance and guidance.

Once ever ything is up and running, make sure to continually monitor the mic’s feed through a set of headphones or monitors to ensure the clear capture of the subject’s voice without any unwanted noise creeping in from clothing coming into contact with the mic.

Collars With or without a tie, lavaliers can also be hidden in the collar of a shir t or blouse, presenting a great option for subjects wearing a polo shir t or garment with fewer buttonholes. Run the wire up the back of the subject, again using tape, and beneath the collar, around their neck, until it’s positioned near the front. If the subject is going to be facing more towards the left than the right, then

The Sennheiser XSW2-ME2 lavalier microphone complete with transmitter and receiver

May–June 2020 WORSHIP AVL 33

KnowHOW

LED video processors Sean Sheridan, regional technical manager (Americas) at Brompton Technology, explains why it is important to use good-quality LED video processors and the benefits they bring to LED screens IT’S A FACT: HOUSES OF WORSHIP are continuously looking for ways to attract new members and engage with their audiences and, these days, LED displays are taking more and more of a prominent role in inspiring participation and illuminating religious communities. Embracing a more visual approach means that many places of worship around the world are now integrating LED displays into their worship productions as a tool to engage their audiences, share their message and even reach beyond the crowd in the room. For instance, some churches broadcast their Sunday morning sermons from the ‘mother’ campus to their ‘satellite’ churches.

LED displays not only offer a dynamic way for churches to communicate but, due to their adaptable nature, it is also possible for a HOW’s technical staff to easily rearrange the screens and adapt them to the specific needs of the stage. However, just getting a bunch of LED panels will not guarantee you perfect image quality and uniformity – that’s down to the LED video processing to assure that message is delivered as intended.

34 WORSHIP AVL May–June 2020

Brompton Technology’s Tessera S8 LED processor

What is an LED video processor?

The LED video processor is the backbone in the delivery of perfectly uniform and beautifully coloured LED screens. A true LED processor ensures that your content plays perfectly across an LED wall, using features like scaling and precise colour adjustments for the content, as well as correcting visible seams or mixed batch issues in the panels themselves.

Why is processing important?

Video processing takes place throughout the video signal chain – from cameras, video playback and

media servers on the input side, to video switchers and screen management systems, and then on to projectors and LED walls on the output end of the pipeline.

The ultimate purpose of image/ video processing is to deliver the production’s vision as it is intended to be from the start. This applies to church and worship as much as it does to any other market. If the screens look mismatched or patchy, if the images are lagging behind the live sermon or showing strange colours, then the display becomes a distraction rather than the enhancement tool it is intended to be.

Without video processing, it’s almost impossible for an LED wall to display content as it was

designed – ‘good enough’ is the best-case scenario. Audiences are increasingly discerning about image quality, accustomed to HD or even 4K TVs at home and crystal-clear images on their phones.

With proper video processing and features like HDR (High Dynamic Range), houses of worship can share the same kind of lifelike images to their audience on their LED screens.

HDR and its benefits HDR offers a new approach to delivering impressive image quality improvements on LED screens. HDR offers greater brightness and colour ranges with a higher bit depth, delivering more detail within the

KnowHOW shadows and highlights, and more headroom for exceptionally bright content.

An HDR image appears perceptibly sharper and more detailed with greater ‘depth’, providing vivid images when compared to Standard Dynamic Range (SDR), even when the pixel count remains the same.

In order to achieve a true HDR image, concepts such as Brompton Technology’s Dynamic Calibration, which takes a new approach to calibrating panels, are available. The legacy approach was to apply a fixed, factory-specified calibration that was used for all content over the entire life of the panel. This meant achieving uniformity by sacrificing both brightness and colour gamut by forcing every LED to match the dimmest and palest LEDs in the entire screen. The result was panels performing below what they were capable of.

Dynamic Calibration intelligently determines the best-possible way to drive each LED. Areas of the image where peak brightness is the most important visual aspect

(and, consequently, a high risk of poor image/screen quality).

Alternatively, one might pick a more fully featured processor, with numerous tools for colour adjustments, image scaling, and input and output mapping.

Higher-quality processors offer benefits such as making precise adjustments and corrections to the colours in your incoming signal to ensure a per fect colour match; or eliminating unsightly colour casts in your greyscale for balanced,

neutral output – which is a common problem for many panel types.

The advantages and disadvantages of a specific LED video processor can have a direct impact on the LED display, so it is very important to choose a solution that is built with longevity and robustness in mind, offering features designed by the people who understand the needs of technicians and the house of worship industry.

With LED video processing, houses of worship can really ensure that their content is visually impressive, making their messages more memorable. Visuals are delivered with truer colours and unprecedented brightness on both new and existing LED displays, evoking a much more personal experience and long-lasting impact on every member of the congregation. www.bromptontech.com

1/2 ISLAND Sean Sheridan will make full use of the LED’s peak brightness. Areas requiring extreme saturation will make full use of the LED’s maximum colour gamut without needlessly sacrificing uniformity across the rest of the image.

Options

Hear for yourself.

The S-Series.

Adamson’s commitment to technology and design means you can deliver unparalleled sonic performance and power to your audience.

When it comes to video processing, the customer can choose between a basic off-the-shelf solution, often referred to as a sending card, with very little leeway for adjustments

May–June 2020 WORSHIP AVL 35

KnowHOW

Pulpit Rock in Colorado Springs provides an example of coloured auditorium lighting

Using colour to set mood Colour has a strong influence on human emotion. John Black explores how houses of worship can employ coloured lighting to set the right mood ALTHOUGH YOU CAN’T TAKE EVERY search result on Google as being an authoritative source of information, a quick search for ‘colour and mood’ pulls in over 400 million results.

From an early age, children learn to express the feelings that they have in response to certain colours in an art class. A multitude of studies have been conducted on the influence that colour has on emotions and human psychological responses. We wrestle over colour selections for paint and décor in our homes, interior design for retail, education, business and every other environment created and experienced by humans. It’s no wonder that colour is one of the four main functions of lighting – a tool in the lighting designer’s belt that can be used to enhance – or distract from, if improperly implemented – a worship environment.

Whereas selecting a paint colour for interior walls is a decision that will last for many years, lighting designers have the ability to select and manipulate colour palettes in their lighting of services on a weekly basis – or even between different items in the worship programme. This gives the lighting designer the ability to influence and shift moods as appropriate throughout the worship experience.

In this article, we will walk through some of the characteristics and theories surrounding colour and how to use it to set the mood in your

36 WORSHIP AVL May–June 2020

The visible light spectrum

The visible light spectrum is the section of the electromagnetic radiation spectrum that is visible to the human eye

740–625

625–590

590–565

565–520

520–500

500–435

435–380

Wavelength (nm) services. As I frequently say, when lighting a worship environment, the most important thing to keep in mind is to support and enhance the message being shared in the service. Lighting can quickly become a distraction but, when skillfully and artfully implemented, it can transform a space and the way that we experience it.

Describing colour – warm vs cool For many, the discussion surrounding the lighting terms ‘warm’ and ‘cool’ revolves mainly around the topics of lamp sources.

The easiest comparison is that tungsten sources emit a ‘warm’

light, while fluorescent light sources emit a ‘cool’ light. Many lighting manufacturers are now selling fixtures using LED sources and give you the choice of selecting a warm or cool option. These terms, while describing the colour temperature, are also describing the actual colour emitted by each source. Tungsten light sources emit an orange/yellow colour light, while fluorescent light sources emit a green/blue colour light.

Warm colours exist on the left half of the spectrum of visible light, such as red, orange and yellow. These colours are described as warm because they cause most people to feel a relative sense of warmth. The

right half of the spectrum of visible light, such as green, purple and blue, are described as cool colours.

They cause most people to feel a sense of coolness.

Perhaps the easiest way to think about whether an environment feels warm or cool is to consider the difference in feeling when in a department store or playhouse compared to a medical facility. The department store or playhouse wants you to feel warm, welcomed and comfortable in that environment, while a medical facility wants you to feel a sense of sterility that we associate with cleanliness. In a house of worship setting, the feelings of being welcomed and

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KnowHOW comfortable are most often more desirable when a worshipper walks into the auditorium. The easiest way to achieve this is to ensure that the auditorium itself is lit with warmcoloured house lighting.

onstage. This can be achieved through using the interior walls and ceiling of your space as surfaces onto which you can project coloured or textured light that matches what is visually happening on the stage.

In addition to colour washes on the stage, I like to wash the auditorium area in coloured light as a way of further establishing mood.

Another technique is to place lighting fixtures on the stage itself behind any musicians or presenters and use coloured light focused up and out over the worshippers’ heads as a way of drawing them in. If your worship space uses haze, this will allow you to use coloured light to wash the ‘air’ in colour, further establishing a particular mood that you are trying to portray through the music. This probably isn’t a technique that you would employ during the speaking portion of your services, but it can be effective in corporate service items.

The meaning of colour Have you ever thought about the relationship between a colour and what it means to you? Every year, I present a demonstration on lighting for second-grade students. When talking about coloured light, I will wash the stage with a colour and ask them to tell me how it makes them feel or what it means to them.

Even at that age I get the same responses from these students. If I wash the stage in red, some will say that it makes them feel warm or think about love. Others will have seemingly opposite feelings; in the case of red, they may think of the feelings of anger or hate.

Just as two people can look at the same piece of art and have different reactions and interpretations to the work, the meaning of colour is very individualistic as shown in this example. There are some meanings, however, that are commonly accepted among lighting designers, and these can usually be relied on when trying to convey mood.

The range of warm colours typically evokes stronger moods and feelings. The colour red, as shown, often denotes love, affection, excitement and intensity.

At the same time, it can also mean hostility and aggressiveness. The colour orange symbolises warmth, excitement and happiness, but it can also evoke feelings of being distressed or disturbed. Yellow can convey cheerfulness and joy, but, like red, aggression and hostility.

In contrast, the range of cool colours typically signifies more peaceful moods and feelings.

Violet often conveys dignity, but also sadness and melancholy. The colour blue symbolises coolness, pleasantness and tenderness, but it can also convey sadness. Green often denotes leisure, security and freshness, but also illness.

What often separates the way that a person interprets these colours is the direction from which the light is focused and illuminating a subject. In houses of worship, coloured lighting is most often used as back or top colour washes of either the stage or auditorium, or both, so some of the more negative interpretations of colour are less likely.

38 WORSHIP AVL May–June 2020

An example of coloured stage lighting

Using colour There are a number of tools and techniques available for the lighting designer to use colour to create environments in which worshippers are moved to feel or experience a certain mood.

The specific tools available to you will vary depending on the lighting equipment that you have available in your particular venue, but, if your lighting rig is relatively modern, chances are you have LED colourmixing fixtures or tungsten fixtures that feature colour wheels or a CMY colour-mixing system (in the case of moving lights). These tools are great in that the colour parameters can be programmed and recalled directly from the lighting console. This means that you have the flexibility to change colours throughout a service if desired. For example, you may want to use a particular colour during the worship music to set one mood and then transition into another colour during the message. These types of fixtures are also beneficial because they mix colour and you have the freedom and flexibility to dial in very specific hues and saturations of colours as desired.

If your lighting rig is older, for example made up of conventional elements such as tungsten ellipsoidal, Fresnel or PAR fixtures, it may be that colour is added through the use of filters (or gels). The advantage of using gels is that they are inexpensive and usually easy to obtain. Several companies produce large catalogues of gel colours for you to choose from. The disadvantage of using gels is that you will need to live with a gel placed in a fixture for the duration of a service as you won’t be able to physically change the gel over the course of a programme.

Also, if your goal is to have your

In conclusion Blue wash of light to reinforce a cold winter night during a band concert stage washed in three colours but you only have conventional fixtures, that means you have three times the quantity of fixtures dedicated to providing colour washes.

As previously mentioned, colour is often achieved as a top or back light washing the stage or a part of it. Many churches use IMAG (image magnification) for larger auditoriums, or they may be broadcasting services, so using colour in highly theatrical ways is not necessarily ideal as the visibility of presenters is key in those situations. However, there are some other effective ways that you can use colour to set the mood.

One technique that I like, especially if the auditorium is larger, is to use coloured lighting to help create a more intimate space and connect the auditorium with what is happening

As you are approaching a service, begin by defining the desired mood that you are wishing to convey, whether that be throughout the entire service or individual portions. This will be a discussion had along with others planning the service elements.

Consider if that mood is best achieved through the application of warm or cool colours. Once decided, select specific colours whose meaning and colour temperature supports the mood that has been defined.

Read through studies that discuss human interpretations of colour and look at images of lighting that others are doing to get inspiration. Finally, implement the colours you select into your rig by whatever means you have available. In most circumstances, many worshippers won’t even notice the lighting decisions that have been made as a part of this process but, if carefully and thoughtfully selected, they will feel it.

Coloured light at Gateway Church to make the space more intimate and connect with the stage

NEWS

3 mm ofat audio perfection Sound performance Harvest House USA: Harvest House Church was established in 1977. In 2008, the church’s sanctuary was transformed into a performing arts venue, complete with recording studio, dance studio and art studio, as well as the main venue. This has provided the congregation with the rather unique experience of worshipping through performance.

More recently, the church has upgraded its sound system with a range of PreSonus solutions, installed by Selah Media Productions.

‘This project was an extensive AV retrofit,’ explained Buck Roberts, president at Selah Media Productions. ‘We upgraded the space from older PreSonus equipment that included WorxAudio Wave series loudspeakers and a StudioLive 32.4.2AI mixing console. This upgrade represented a substantial improvement in sound and control capability since the space will now be used as a per forming arts centre in addition to its use for worship services. The DPA-6066-HPH2.indd 1 upgraded system encompasses the new PreSonus CDL12

6066 Subminiature Headset

Harvest House technical director Brett Queen and Selah Media Productions’ Buck Roberts constant directivity loudspeakers, a StudioLive 32 40-input digital console, a StudioLive 32R rack mixer, an NSB 8.8 AVB-networked stagebox and an dpamicrophones.com/6066 SW5E five-port AVB switch with PoE [Power over Ethernet].’

Selah Media Productions provided acoustic treatment in the space, minimizes distortion dynamicofrange increases which accommodates up to 400 expands three-per-side the stage.

For people with removable seating, low-end reinforcement, two ULT18 several years ago. The newly subwoofers were placed in the installed sound system comprises floor on each side, for a total of six CDL12 speakers, deployed four. Six PreSonus EarMix 16M

AVB-networked personal monitor mixers handle stage monitoring duties along with a pair of AIR10 active loudspeakers used as floor monitors.

The StudioLive 32 console manages the FOH mix and is augmented by the StudioLive 32R rackmount mixer, configured for use in stagebox mode. A PreSonus SW5E AVB switch handles the system’s network configuration.

‘The feedback from the staff at Harvest House Church has been overwhelmingly positive,’ said Mr Roberts. ‘The pastor was amazed at what we are able to do with the system and the tech director says, “Audio is crystal clear, and every seat sounds the same”.

Musicians love the monitoring system and its ability to give each person the ability for stereo in-ear mixes. Similarly, the venue manager reports this new setup gives them the ability to boost the number of clarity events that get booked.’ www.hhcboone.org www.presonus.com

16.03.2020 13:34

www.selahmedia.net

1/2PAGE HORIZONTAL

Left: Mixing a live service at Willow Creek Community Church. Right: Two RedNet MP8R mic pres in a rack at Willow Creek Community Church.

AUDIO CLARITY FROM MIC TO MIX

pro.focusrite.com/contact-us 18 WORSHIP AVL May–June 2019

Create a high-quality, flexible, digital audio signal path from mic to speaker starting with an infrastructure of Focusrite’s RedNet AoIP solutions. You’ll instantly have the ability to route high-quality audio to your front of house engineer, to the stage for monitor mixes, for a post-production mix and to save for archiving. Contact us today for a custom solution for your House of Worship.

MAINTENANCE

Fighting (feed)back Frank Wells offers a six-step plan for avoiding audio system feedback FEEDBACK IN A HOUSE OF worship sound system occurs when sound from a loudspeaker reaches a microphone and returns to the loudspeaker, creating a self-sustaining loop. Depending on variables that include the resonance of the room and the characteristics of the microphone, feedback can range from a droning low-frequency moan to a howl, a whistle or a screech.

Figure 1 illustrates a simplified sound system where the microphone is in the direct path of the loudspeaker. Such a scenario would

pattern. You may also need to create an awareness of the directional characteristics of the microphone in use.

Don’t forget the position of the microphone relative to other loudspeakers such as monitor wedges or front-fills. The business end of a handheld microphone should be pointed directly towards a singer’s or speaker’s mouth and angled so that the least sensitive direction on the mic’s pickup pattern is aimed in the direction of monitor loudspeakers.

Figure 1 – A direct path between a loudspeaker and a microphone can create a feedback loop be prone to producing feedback.

One church with feedback issues had their main PA loudspeakers mounted on the wall behind the stage, creating a direct path to a microphone open on certain portions of the stage. Figure 2 is the desired configuration, where there’s no direct regenerative path.

Even if a HOW’s speakers are properly positioned, feedback issues can still occur. One example would be when a worship leader steps off the stage to the front of the congregation. Step 1 is to train your worship team to have an awareness of where they can safely move without creating a direct feedback path.

Step 2 is your choice of microphone. You are likely using a directional microphone. Depending on the potential for feedback on your worship stage relative to the main loudspeakers, you may need to use a mic with a tighter directional

40 WORSHIP AVL May–June 2020

Don’t hold a mic like this! loudspeakers reduces the potential for feedback.

Step 3 involves how a microphone is held. Singers and speakers should be taught to hold the microphone by the shaft, avoiding cupping the microphone windscreen as doing so destroys the directional pattern of the mic.

A mic should also be positioned close to the mouth – within a couple of inches, not a couple of feet. Vocalists should be taught to keep the microphone in or near the proper position even when not in use; relaxing and lowering a mic increases the potential for feedback, par ticularly where monitor loudspeakers are in use.

Figure 2 – In a properly positioned system, mics are outside the direct path from loudspeakers Mic stands can be used to fix a microphone position properly for novice singers or those that resist training. Transitioning to in-ear monitoring and away from monitor

Which brings us to Step 4 gain structure. A properly positioned mic picks up maximum energy from the human voice (or instrument), relative to all other potential sound sources,

requiring less mic pre gain and the mic channel’s fader can sit lower in the mix. The less gain used, the lower the potential for feedback.

Push your performers where you can, instead of simply pushing up faders.

Cut any mics not in use out of the mix. The more open channels, the greater the potential for feedback.

Step 5 is channel equalisation.

High- and low-pass filters can cut any frequencies not present in the source voice, taking them out of the channel’s contribution to the mix.

The caution is to avoid cutting any frequencies that are present in the voice of the individual using the mic.

After implementing steps 1–5, if feedback is still an issue, system equalisation can be employed to surgically address problem frequencies as Step 6. Graphic equalisers that have rows of boost/ cut filters are commonly used.

During soundcheck, the system can be pushed to the threshold of feedback. Problem frequencies can be identified by experimenting with cutting various frequencies until the troublesome frequencies are identified. Learn the problem frequencies in a given system through experimentation during rehearsals or, less intrusively for performers, in a special tech rehearsal that emulates a worship service. Problem frequencies can be reduced in the composite mix by a few dB in a narrow band. This has the potential to, unfortunately, reduce potential desirable signal elements and sonically impact your mix, so use EQ as judiciously as possible.

While familiarity with your system’s most troublesome frequencies can speed your reaction efficiency during a service, for persistent problems that steps 1–5 don’t solve, an alternate Step 6 would be the use of an automatic feedback eliminator. While the results of automated EQ are typically achieved much faster and more accurately than manual intervention during a service, there is still the potential to negatively impact your mix. Don’t use such tools as a substitute for worship team training and good engineering practice.

TECHNOLOGY

Touchscreens for mixing Will touchscreens ultimately replace physical mixers in HOW settings?

Becky Abel talks the pros and cons of using a touchscreen for mixing THE ROLE OF AN AUDIO MIXER is to merge each audio signal and control its dynamics and timbre. If you have multiple audio sources, particularly from the different instruments in a worship band, a mixer is required to control each signal and balance the overall sound that is produced. In the past, when it came to investing in mixing consoles within a HOW setting, the main consideration was whether to invest in an analogue or digital mixer. Now that digital is almost universally accepted, the question is whether to adopt a touchscreen for mixing or a physical console. Can a touchscreen be more practical than a physical mixer? We discuss the topic with several experts from console manufacturers such as Allen & Heath, Calrec, DiGiCo, PreSonus and Solid State Logic (SSL).

Advantages A major advantage of using a touchscreen for mixing is that you are not limited to one space. When mixing from a console, you are fixed to where it is installed, which can be an issue when the location is difficult to work in. When mixing from a tablet, an engineer can move about freely to listen to the sound levels from different locations throughout the venue, controlling them wirelessly.

Using a touchscreen is also effective if you have to set up and take down your sound system for each service, such as if you’re working in a temporary or mobile HOW setting perhaps, as it requires less time and energy.

Of course, a tablet with a touchscreen can be used for more than just mixing. Important information or instructions can be either stored or searched for using the tablet, whereas a physical console doesn’t offer such luxuries; you would still need a separate tablet, computer or phone to find such information.

‘An advantage I can honestly offer is quick and easy stage access,’ notes James Motley, senior vice president of international sales at SSL. ‘Having access to your console’s parameters while being away from the physical surface is a “very nice to have” option for doing line checks

42 WORSHIP AVL May–June 2020

SSL’s SVP of international sales, James Motley

SSL’s touch interface and setting gains onstage and, in more extreme situations, can be a life-saver.’

Due to the multiple roles a touchscreen can be used for, it can be more cost-effective. ‘The absence of physical controls has another added benefit: lower cost,’ says PreSonus’ senior product manager, Ray Tantzen.

‘Some rack mixers even have all the same mixing features and DSP horsepower as their console cousins.

For instance, the StudioLive 32R rack mixer has all the same processing and power as the StudioLive 32SX but at a much lower cost because it is entirely controlled from UC Surface on an iPad, Android tablet or Windows Touch computer.’

Customisation is another benefit.

‘A touchscreen allows manufacturers to create a completely customisable, dynamic interface, where different combinations of controls and visual feedback can be moved around and resized to make the most of the available real estate,’ explains Keith Johnson, product manager at Allen & Heath. ‘For the engineer, this means seeing and being able to control only what’s needed at any one time. If the system and GUI have been designed well, this should be an intuitive and enjoyable experience where the engineer can focus on the mix rather than how they interface with the mixer. This also extends to how the user makes changes to each parameter, as the same touchscreen could show a pot or a fader depending on which is most suitable for the adjustment being made.

‘Additional benefits include the ability to display visual feedback, such as metering or exact values, right next to the controls that might affect them, and the ability to show images, which might bypass language/terminology barriers,’

Johnson continues. ‘Entering text is also much easier if you are presented with a familiar keyboard, and graphs for things like EQ or compression can even be shown with points that can be dragged. All of this applies to any touchscreen built into a surface, but also when using wireless control apps or computers, where the touchscreen may be the only interface available.’

Disadvantages

PreSonus’ senior product manager, Ray Tantzen

When it comes to using a touchscreen, controlling audio signals can sometimes be quite tricky due to the lack of physical features, particularly if a touchscreen isn’t what you are used to or haven’t trained with. The role of a sound engineer is to listen to and monitor the audio during a performance, and this requires accuracy with controls.

PreSonus’ Studio One Remote enables wireless control for Studio One Professional

TECHNOLOGY doable,’ explains Michael Aitchison, DiGiCo’s senior electronics engineer.

Best of both worlds

Keith Johnson, product manager at Allen & Heath

Allen & Heath’s dLive Wings touchscreen in action

Most engineers mix with their hands, listen with their ears and use their eyes to focus on where the audio is coming from, such as members of a worship band or a speaker onstage.

With physical controls, you can use any of them without looking at them, just by using only touch and relying on muscle memory to locate the right fader. With a touchscreen, you will need to look at the controls more as there is nothing to feel for, which takes your visual focus away from the audio sources.

‘The main drawback is a lack of physical feedback from the sur face,’ confirms Calrec’s international sales manager, Anthony Harrison, providing the perspective of a broadcast audio engineer. ‘Most engineers in a TV environment are mixing with their hands and their ears, while their eyes are focused on the broadcast via monitors. They set up their console in a familiar layout, so they can feel for any source on a fader without having to look at their hands. This isn’t as easy using a touchscreen. Haptic feedback technologies are progressing but haven’t reached a point that equals a physical fader just yet.’

Haptic technology, also referred to as kinaesthetic communication or 3D touch, creates the sensation of touch by applying forces, vibrations or motions. When this technology reaches a certain point in development, it should hopefully provide users with a ‘physical’ control to reach for on a touchscreen mixer, while their eyes continue to monitor a performance.

‘One of the biggest challenges of touchscreen mixing is the lack of haptic feedback, requiring a live engineer to look at the screen whenever an adjustment needs to be made,’ agrees Johnson. ‘For example, if a finger slips off a virtual control, the engineer may not immediately realise and this can be especially problematic when running monitors, where the user spends a lot of time watching the band for visual cues on adjustments.

You get used to this way of working quite quickly, but it is something to be aware of if you’re making the move from analogue consoles.’

Another issue with touchscreens is that you can only adjust one audio source at a time. You can use multiple touchscreens, but they will still only control one audio source each. ‘Some touchscreens, and certainly most mouse-driven, software-based products such as DAWs [digital audio workstations], only allow single touches, meaning that you might only be able to move

With the multi-practicality of the tablet and the preference of physical faders, it might be worth using both or alternating depending on the circumstances. For example, when using a touchscreen tablet, there is a chance of losing connection. It’s best to check which spots you pick up a strong network signal from in your HOW venue, but that doesn’t mean you will never experience a dropout for no apparent reason.

one fader or control at a time,’ comments Motley. ‘This is obviously sub-optimal. Others have multitouchscreens, but these often relate to only a single channel at a time or single parameter at a time across multiple channels. While a screenbased mixer can easily be smaller and cheaper than one with purely

DiGiCo senior electronics engineer, Michael Aitchison

DiGiCo’s SD-Range Core2 app offers control of an SD console from an iPad physical controls, they will inevitably be slower to use while controlling multiple sources simultaneously.’

The logistics of touch control aside, it can still be difficult to mix for several different audio sources. A touchscreen can be used when there are a few audio sources that need controlling, such as from a small worship band; however, the more audio sources you have, the harder it is to mix on a touchscreen. ‘For mixing anything above 16 channels of audio, a touch device becomes a frustrating user experience, but it is

Many manufacturers have combined the two, providing both a console for the controls with a touchscreen being used as an additional option. ‘Touchscreens are integrated into all current consoles,’ comments Harrison. ‘They allow quick and simple access to many controls in a smaller footprint than a console with a fixed format layout.’

‘If you’re remotely controlling a console mixer and your remote device fails, you can always revert to traditional mixing,’ Tantzen adds.

‘When you have a touchscreen integrated into your mixer combined with tablet touchscreens running connected control software, many workflows are greatly simplified, and more detailed information can be provided. Add that to your mixer’s physical controls and you will have all the information you need at any given moment right at your fingertips.’

A large part of this is down to personal preference and the best option is to choose something you’re comfortable with, as Aitchison states.

‘The key to a good user experience is to remove as many frustrations as possible, not introduce them by limitations of the control interface.’ www.allen-heath.com www.calrec.com www.digico.biz

Calrec international sales manager, Anthony Harrison

www.presonus.com

Calrec’s Apollo broadcast audio console with touchscreen

www.solidstatelogic.com

May–June 2020 WORSHIP AVL 43

TECHNOLOGY

Johan Lieffers, managing director of Datavideo

Liam Hayter, senior solutions architect at NewTek

Paul Atkinson, Canon’s European product specialist for pro video

Camera control

Becky Abel explores how cameras can be controlled with Johan Lieffers from Datavideo, Canon’s Paul Atkinson and NewTek’s Liam Hayter CAMERAS PLAY A PIVOTAL ROLE IN many HOW settings. Whether you’re expanding your HOW’s presence through live streams or looking to keep them protected with CCTV, an important factor to consider is how to control them – especially with the rise in PTZ (pan-tilt-zoom) cameras in use. To find out more, we spoke with Datavideo’s managing director Johan Lieffers, Canon’s European product specialist for pro video Paul Atkinson, and NewTek’s senior solutions architect Liam Hayter.

In what ways can cameras be controlled?

Paul: Apart from the traditional ‘handson’ camera operator, cameras can be controlled remotely in a variety of ways, using both wired and wireless connections. Operating systems can also vary with the choice of individual controllers for each camera up to an integrated system, not unlike that found in a TV station. The method of available control options will depend on the type and capabilities of the camera as well as – to a large extent – the budget of the end user.

Johan: Cameras can be controlled by anything nowadays. Using more advanced technology such as Extron/ Crestron/Axon Cerebrum or even AI solutions that run on a PC is also possible and, in a live production, a joystick will also give maximum control. With older technology, physical controls rely on RS-232, RS-422 or RS-485 standards, while modern-day controllers or software

44 WORSHIP AVL May–June 2020

controllers all rely on network technology.

Liam: One of the best things about modern NDI-enabled PTZ cameras is the range of control options. You can use standard PTZ controllers through software GUI, automation or a control surface. Specific camera control varies by vendor, but it was typically carried out via SDI or through web interface control. Different manufacturers have their own standards in competition with each other but, with an NDIenabled camera, it can be replaced with a single Ethernet network connection and integrated software.

Through NDI-enabled cameras, you have lots of choices rather than being constrained to a single brand, from PTZ controllers to computer joysticks or even software-only solutions. For smartphone control it would typically be delivered through a web interface and any web browser can be a control surface, not just a phone.

Datavideo’s RMC-300C multi-camera IP controller

Rear-wall fixed Datavideo PTC-150 HD PTZ cameras

What camera control systems might you find in a HOW? Johan: Since houses of worship nowadays come in so many different shapes, forms and especially sizes, there is no typical setup. In smaller houses of worship, you would see app control or the use of smaller physical controllers, but, in larger setups, a broadcast-grade professional automated solution can be found.

A HOW would use a compact, all-inone solution when they are smaller or travelling with their kit. An integrated solution with

streaming and recording would be perfect in those situations. In a larger HOW, you would typically see hardware control panels and a production switcher with a lot more inputs.

Paul: Houses of worship would have access to a complete range of control systems, whether that is wired or wireless, but this will all depend on the size of the establishment, the audience and delivery method. A larger place of worship might have a greater budget and therefore require a much more complex camera control system, possibly with a system of cameras controlled by a central operator. In contrast, a house of worship with only one camera might just use a manual operator – it all depends on what the requirement of the worshippers is and the budget available.

Liam: Typically, a traditional PTZ controller is what you’ll find. However, AV-over-IP is rapidly establishing itself in the house of worship space too. Live streaming with television production qualities is typical in house of worship environments to reach remote or stay-at-home congregations.

With NDI, everything uses the same Ethernet connector that you’d find on almost any computer, rather than relying on specialist video cables and

TECHNOLOGY connectors. This makes it easier and quicker to get up and running with little expertise.

Can one operator run multiple cameras?

Paul: This will depend on the capabilities of the camera as well as the controller choice. With compatible cameras, focus point selection when in Auto Focus mode can be made by touching the required point on the display. This can also be achieved on a PC or Mac browser by a mouse click or touchscreen computer.

Liam: Part of what makes softwaredefined tools like ours so powerful is the ability to scale up or down your production team as needed. A single operator can control cameras,

A PTZ camera controller in operation

NewTek’s TriCaster TC1SP control panel trigger graphics, play videos, manage audio, record and live stream for an entire production if you want to. With automation and customisation, you can tie this all to single button presses on our systems. However, for some productions, you may want dedicated operators with specific roles. NDI solutions can do that too, it is entirely up to you; however, you want to produce great content.

Johan:: The power of PTZ cameras is that

Canon’s RC-V100 camcorder controller

they can be operated by a joystick, but also with presets. If you create all presets beforehand, it’s very easy to be managed by a single person.

Over what range can remote control be achieved?

Liam: When it comes to the network, it can be as large or small, local or remote as you like. However, the greater the distance and more remote the devices, the more caveats there are. With NDIenabled devices, everything is typically handled via gigabit Ethernet networks, but NDI is also supported over Wi-Fi. Once plugged into a network, discovery and connectivity are all handled by the protocol and devices themselves. It’s this that makes it so easy and quick to work with.

Paul: For wired connections, Remote A cable is around 15m, a maximum of 60m may be possible with a high-

quality cable. Remote B connections, where available, go out to around 100m. For Wi-Fi, the maximum specified is around 60m but this will vary according to local conditions.

For multiple location camera control, a third-party system would probably be needed. Other options, also from third parties, may include fibre-optic systems with an extended range for wired connections or control via IP. In the latter case, range is only limited by access to the internet.

Johan: The distance you can control is endless; however, it adds latency.

HDBaseT-based solutions can be controlled as far as 75m.

Conclusion As shown from the points discussed, there are many ways to operate a PTZ camera, whether it is with a physical or digital controller. Different houses of worship may have different control methods due to preference and the types of camera in use. Either way, the various options will surely make production a lot easier during worship. global.canon www.datavideo.com www.newtek.com

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45

TECHNOLOGY

Lasers

Lasers can be incorporated into a lighting rig to create entirely unique and stunning effects.

We spoke with Adam Raugh, Gabby Camassar and Ben Raugh from X-Laser to find out more

X-Laser’s Mobile Beat Mercury

IT’S SAFE TO SAY THAT SOMETHING will come to mind for most people if they hear the word laser. For some, the term may conjure up memories of playing with laser pens during childhood (not recommended) or of tor ture devices used by the baddies in a James Bond movie. Others might have experienced an awesome laser show during a concer t, and it is these lasers that we are

46 WORSHIP AVL May–June 2020

exploring here, as their use in houses of worship to capture the attention of congregations is on the rise.

What is a laser?

Laser, technically, isn’t even a word but, rather, it’s an acronym. ‘LASER, standing for Light Amplification by Stimulated Emission of Radiation, in our application functions very

similarly to a moving light fixture,’ says Gabby Camassar, marketing coordinator at X-Laser. ‘Lasers have many uses in many fields, such as medical (like laser eye surgery), digital (the device that reads CDs, DVDs and Blu-ray is a laser), scientific (such as weather and astronomy), industrial (like laser cutting), and on and on. For us in the entertainment industry, lasers are used for aerial light displays and often used in concerts in conjunction with other light fixtures. Laser projectors have a different look than LED lights – they have higher contrast and higher saturation, allowing for very crisp-looking effects.’

Where a laser differs from other types of lighting fixture is that it emits light with a spatial coherence, which enables it to be focused to a tight area over long distances.

‘Lasers can be easily incorporated into an existing lighting setup,’ notes X-Laser’s president, Adam Raugh. ‘There are a few different ways to do this. Laser projectors can be controlled by DMX, just like light fixtures, or they can also be controlled with certain software.’

‘Our lasers, for example, are made with our Mercury control, which allows them to be controlled by DMX, sACN, Art-Net and more,’ says Gabby.

‘The DMX control makes it exceptionally easy to integrate into a rig and controlled straight through the console,’ Adam continues. ‘The programmer can treat the laser like it’s a moving light – they can adjust the intensity, pan and tilt, colour, gobo (our Mercury lasers have 450 gobos), prism and beam effects, as well as built-in effects.’

So, we have a rough idea of what a laser is and how it works, but why

TECHNOLOGY might a house of worship look to implement them?

‘For light shows,’ says Adam. ‘For all the same reasons that some houses of worship create light shows to keep their congregants engaged, lasers will add to and enhance them.’

‘Not to sound generic,’ adds Gabby, ‘but there’s nearly endless effects that can be made. Our lasers can do pan/tilt effects, colour gradients (my personal favourite), prisms and they have a few built-in moving effects like sine waves and orbits. An experienced programmer will likely want to create their own, and it’s no different than making a lighting effect on a console.’

Power, maintenance, cost In recent years, LED lighting fixtures have arguably become more commonplace than traditional tungsten thanks to their combination of reduced power consumption and energy efficiency, the need for less maintenance and, ultimately, a lower cost of ownership.

‘The power draw does vary from model to model,’ explains Ben Raugh, X-Laser’s senior shop technician. ‘For example, our 5W laser has a power draw of 80W typically and 100W at its peak. Lasers are energy-efficient

An example of the visual effects that lasers can be used to create and they actually use less power than moving lights.’

‘And maintenance needs vary by use,’ says Adam. ‘If the user treats the system like a video projector, they’ll last a lifetime, but, if they handle the system like a PAR can or speaker, we’ll see it in for repair in just a few weeks.’

‘Keeping the fans clear and clean will always help the unit’s life,’ Ben elaborates.

Regarding costs and regulations, Gabby says: ‘They vary by country and region. In general, however, there are no further costs to consider, although repair to broken-down lasers will have a cost, which will vary. Lasers are regulated in the United States but less so in other countries. In general, it’s a good idea not to point the beams at peoples’ faces or other electronics. Keeping the beams above peoples’ heads by at least 3m is a safe way to go.’

A model from X-Laser’s Skywriter HPX Tour Series

One other consideration to make is whether you would be using lasers to beam onto a wall or surface, or to create a variety of effects that dance through the air. ‘Generally, you should have haze or fog when creating aerial effects,’ says Gabby. ‘If you’re projecting onto a wall, where the pattern you’re projecting is the focus, it’s less important of course but, in order to see the beams in the air, you will need some atmosphere.’

Conclusion As with any audio, video or lighting technology, remember to have fun and get creative when incorporating lasers into your setup. There’s no need to feel daunted.

‘Lasers can be used in many ways,’ concludes Gabby. ‘There are many options in fixtures, control and effects that can be created with them. Lasers stand out with their high-contrast and high-saturated looks. They’ll bring the “wow” factor to any event. One thing we like to stress with people new to lasers is that they are not as complicated as you might think, just treat them as if it’s another moving light and you’ll see how quickly you can create unique effects.’ www.x-laser.com

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May–June 2020 WORSHIP AVL 47

BUYING GUIDE

Strobe lights While standard LED lighting fixtures incorporate a strobe function, Elation Professional’s Bob Mentele explains why houses of worship should still consider purpose-built strobe lights

Elation lighting used for Christian band Casting Crowns THESE DAYS, STROBE LIGHTS don’t just have to be bright flashing lights. Advancements in LED technology have allowed manufacturers to include additional capabilities to the once singlepurpose fixtures. These changes make it possible to use them in more visually interesting ways. Of course, traditionally sourced xenon lamp strobe lights are still available.

And while some xenon fixtures are brighter than LED-sourced options, LED technology has a number of benefits over traditional technology.

The biggest benefit would be the alternative ways that an LED strobe can be used. Xenon lamp fixtures are, at times, a one-trick pony; intensity and strobe rate can be adjusted but that’s about it. With LEDs, we gain the capability of leaving them on continuously without strobing, as well as other benefits. While traditional LED fixtures now all incorporate a strobe function, purpose-built strobe fixtures will offer some additional benefits over other options. One main difference is the intensity of light that they can produce. The other difference is the beam angle. Most strobe lights offer a 120° spread versus other fixtures, allowing one fixture to cover a much wider area.

Obviously, the main purpose of a strobe light is to create a bright flash of light over a very wide area.

To create an adequate effect, the main specification we should be concerned with is the overall fixture intensity when at full brightness. This

48 WORSHIP AVL May–June 2020

The Paladin strobe wash blinder from Elation

The Chauvet DJ Mini Strobe LED

Robe’s Strobe

Elation’s Protron Eclypse colour blinder, strobe, wash luminaire

can vary greatly, with some fixtures being able to produce up to 180,000 lumens. While impressive, we may not need that much output from a fixture, especially in a moderately sized room. Fixtures that provide that much output are intended for very large stages. We may be able to get by with something half that bright.

When looking over a fixture’s intensity capabilities, we will also want to look at how bright the fixture is when we use it in a continuous output application. When dealing with xenon strobes, they can be turned on without strobing, but they will eventually dim out due to the heat they create when on.

Very bright LED strobe lights also have some limitations when being used continuously. Because of the number of LEDs a manufacturer uses in a fixture to create the high levels of output needed for a strobe effect, a large amount of heat is built up when they are on at full capacity continuously. To help regulate that heat, manufacturers will limit how long the LEDs will stay on at ‘full’. Most will have thermally regulated limits and will dim the fixture to a more manageable level once the thermal barrier is reached.

If a fixture does include that feature, manufacturers should have time duration specs as to when that regulation will occur as well as intensity specifications once the output is reduced. The good thing is, unlike the xenon versions, the LED fixtures will stay on, allowing us

BUYING GUIDE to use them as a wide wash fixture if desired.

LED fixtures also allow manufacturers to add further visual effects capabilities. There are typically two types of strobe light designs: a more traditional-looking reflected output and direct view. With reflector fixtures, the LED array is pointed into a reflector that blends the output and broadcasts it back to the audience. Some reflected fixtures also include coloured LEDs in the array, which allow the reflector to be filled with colour. Some use bright enough LEDs that they can produce a coloured strobe light, while others simply provide a visual effect with limited output. If you prefer this type of fixture design, you will need to decide if you want just a coloured reflector effect or the ability to produce a coloured strobe. The other style of design uses a direct view configuration with the LEDs pointed directly at the audience. Most of these fixtures include the capability to control the LEDs in different zones, creating a more unique visual effect. When put in a close array, the zone control can become more dynamic and visually impactful.

Care should be taken when adding strobe lights into any lighting rig.

There are individuals that are

sensitive to the effect and advanced warning should be given so that those affected are aware. Even someone who has never experienced side effects before can be triggered by certain effects. Typically, the potential for individuals to experience issues is increased as the intensity, strobe rate and effect duration are also increased. As lighting professionals, we can be mindful when the strobe effect is used. Care should be taken as to the duration of the flashing. The longer the effect runs, the more problematic it is.

We can also reduce the intensity of the effect. We can either turn down the brightness of the fixture or, by allowing the stage area to be lit brightly, we can create less of a contrast in the intensity of the strobe light and the intensity of the stage.

But we shouldn’t let this hold us back from adding an effect to our production.

Fixture costs can vary greatly, depending on what features or specifications are most important to you. As with any new lighting fixture purchase, look over the options and decide what would be the best fit. Also, don’t be afraid to ask for a demo to see the fixture in your space – most manufacturers will be happy to help.

The ADJ Flash Rope provides strobe lighting effects

Sumptuous Sound · Intuitive Interface · Powerful Performance

Visit us at Infocomm in Booth 10511

When you need a wireless microphone system that sparks your creativity, be sure to audition the D-Squared.

1/2PAGE HORIZONTAL

A single listen and you’ll know the difference. One walk test and there will be no turning back.

Treat your ears and your creativity.

Email sales@lectrosonics.com to schedule a demo today.

May–June 2020 WORSHIP AVL 49

®

NEWPRODUCTS

PRODUCTS

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

Kara comes back around L-Acoustics has updated its best-selling Kara line array and added flexible, four-in-one directivity L-ACOUSTICS HAS built upon its flagship Kara line array, adding flexible directivity with the new Kara II modular line source. Kara II features Panflex, which gives it four-in-one directivity, and is built to fit with any sound design, offering consistent coverage and SPL distribution for precise focus in four different directivity patterns: 70–110° symmetrical and 90° asymmetrical, steering to either the left or right.

When used in its 70° configuration, Kara II reaches a peak of 2dB higher than when it’s used at 110°, reaching 142dB. Kara II is a two-way, active WST enclosure with a bandwidth (–10dB) between 55Hz and 20kHz when in its 70° configuration. The system weighs in at 26kg.

Existing Kara owners are not to be left out in the dark, though. L-Acoustics notes that Kara sales continue to rise, so the French manufacturer is also releasing a kit to upgrade existing Kara modules with Panflex, effectively transforming them into Kara II units.

‘When we introduced Panflex to the industry, our clients told us this was the only thing missing from Kara,’ said Florent Bernard, executive

50 WORSHIP AVL May–June 2020

A–ZCONTENTS Amate Audio

LMS608

Analog Way

LivePremier v2.0

60

Audio-Technica

Network port for 3000 Series

58

Avolites/Pioneer

Pro DJ Link

65

Cameo

Drop series/Opus X Profile

64

Christie

Pandoras Box Version 6.4

60

City Theatrical

DMXcat Multi Function Test Tool 65

Coda Audio

Coda System Optimiser

60

Countryman Associates Phantom Power Supply

54

d&b audiotechnik

KSL-SUB/CPL for SL-Series

52

DiGiCo

Quantum338/Quantum5

53

disguise

r17

58

dnp denmark

Supernova Infinity UST

64

DPA Microphones

4560 Core

56

Earthworks

Gravity Series

56

Elation

Magmatic/Onyx 4.4

65

ETC

Source 4WRD/fos/4

65

Focusrite

ISA 828 MkII

54

IK Multimedia

Creator Series

55

JBL Professional

104-BT/104-BTW

52

Just Add Power

Warp Engine

62

KLANG:technologies

DMI-KLANG

56

L-Acoustics

Kara II/LA-RAK II AVB

54

LD Systems

MAUI 44 G2/ICOA series

49

Lectrosonics

DBu-LEMO

54

Listen Technologies

Navilution Wi-Fi

60

Magewell

Pro Convert H.26x to HDMI

62

Matrox

D-Series

63

Peerless-AV

UltraView UHD Outdoor TV

64

Powersoft

ArmoníaPlus update

59

Roland

V-8HD

62

Sennheiser

HD 25 Light

58

Vitec

EZ TV Player Lite

64

Yamaha

YIMSA

59

LA-RAK II AVB

director of application design. ‘We listened, and the new Kara II brings our medium-format line array into a new era of added directivity and improved polar stability.’

L-Acoustics has released another sequel in the form of the LA-RAK II AVB flyable touring rack, which offers 12 channels of amplification in a 9U frame. It includes three Milancertified LA12X amplified controllers, two LS10 AVB switches and power and signal distribution panels that

52

have been prewired to offer plugand-play, reliable and redundant networked audio.

‘Launching a dedicated AVB rack is our way of making tours and mobile installations as fast and simple as possible for sound professionals, while further improving audio quality,’ explained Genio Kronauer, director of electronics development.

The pair of LS10 AVB switches, occupying a space of 1U within the rack, facilitate dual network

redundancy and a full AVB ecosystem from a P1 processor at FOH to the Milan-certified amplified controllers. If a failure occurs on the primary audio network, the redundant AVB network will automatically switch over with no audio loss. Up to eight channels in one AVB stream can be passed over a single cable.

The LA-RAK II AVB is rugged, featuring a shock-absorbing inner frame, plus protective and handling elements to withstand life on the road. It is compatible with any voltage standard as well as legacy LA-RAK II and LA-RAK standards.

In brief, L-Acoustics has released a significant software update for its L-ISA Immersive Hyperreal Sound technology that will enable users to monitor the positioning of any tracked object in a 3D view. With L-ISA Controller version 2.0, source parameters – including pan, width, distance and elevation – can be mapped and scaled to all certified tracking systems. www.l-acoustics.com

PROFESSIONAL

COSMO THE INTEGRATIVE LINE ARRAY HK Audio’s new COSMO line array system combines state-of-the-art audio quality with ingeniously simple handling, utmost utility and remarkable economy to provide an extremely flexible, easily configurable PA for professionals.

COSMO raises the performance bar for line arrays, setting a whole new standard for productivity and efficiency. Integrative and versatile by design, it delivers measurably higher effective SPL in the HF range than comparable systems.

With horizontal directivities of 100°, 80° and 60°, this formidable family of ultra flexible systems provides the bandwidth needed to cover the most diverse live scenarios.

C 10 60˚ C 8 80˚ C 6 100˚

hkaudio.com

PRODUCTS

JBL finds the One JBL HAS added the 104-BT (black) and 104-BTW (white) desktop reference monitors to its Professional One Series to allow content creators and audio professionals to stream studioquality audio via Bluetooth or play back audio using a standard wired connection. They reportedly deliver clear, detailed sound while mixing and editing and include an array of accessible input options, smart features and a compact design. They are said to provide sound for every listening scenario, with the added flexibility of wireless streaming.

The monitors feature a coaxial driver that pairs a contoured lowfrequency woofer with a soft-dome tweeter. The cabinet’s low-frequency port works with the driver to provide low-frequency per formance down to 60Hz. A 60W Class-D power amplifier distributes 30W per speaker for ‘clear and undistorted

output’. Alongside audio playback from mobile devices, Bluetooth 5.0 streaming allows audio professionals to reference mixes over Bluetooth using a professional monitor, rather than a consumer portable device.

The monitors have been designed for production work spaces, thanks to features such as a frontpanel input control that selects Bluetooth, aux, RCA, TRS and the additional option to combine all inputs. Front-panel volume control allows level adjustments without straying from the sweet spot, while a front-panel headphone jack can mute the speakers when switching to headphones. Dual 1⁄4-inch balanced, dual RCA and single 1⁄8inch inputs, along with Bluetooth, can repor tedly accommodate a wide range of signal sources. www.jblpro.com

Amate works round the clock AMATE AUDIO has added to its LMS 1U 19-inch rackmount loudspeaker management processor series that employs 64-bit architecture for round-theclock operation. Following on from the launch of the LMS206 in mid-2019, the LMS608 has four analogue inputs, a two-channel

installation applications. Control parameters include 10 parametric equalisers with 1Hz frequency resolution – employing dB/2 bell parametric filtering. Selectable delay lines for each I/O are up to 2s (680m) with switchable polarity.

The LMS608 comes with 80 password-protectable, user-

AES/EBU digital input and eight analogue outputs, all on balanced XLRs. The processor provides 24-bit AD/DA convertors for improved audio performance on inputs and outputs. The units are fully configurable, with each input assignable to any output and each output having two crossovers with selectable filtering and independent compressor/limiter settings.

The LMS608 and its LMS206 predecessor are comparable with Amate’s Nítid active loudspeaker series and have been designed for small-, medium- and large-scale passive sound reinforcement systems for both touring and fixed

programmable memory presets offering variable levels of protection, while 20 additional preinstalled factory presets reportedly enable the near instantaneous system configuration capabilities of the Nítid active loudspeaker series with passive sound reinforcement.

The processor also extends these capabilities with presets to a wider range of Nítid loudspeaker models and a number of Xcellence systems.

USB and Ethernet connectivity provides enhanced external control with DSPLink software for Windows and macOS (downloadable from the website). www.amateaudio.com

104-BT

d&b adds to SL-Series AVAILABLE IN both flown and ground-stack (G) versions, d&b audiotechnik’s KSL-SUB is the newest member of the SL-Series line array family. The small, lightweight sub extends the frequency response of a KSL system down to 36Hz and operates with two forward-facing 15-inch drivers and a single, rearfacing 15-inch driver driven with twoway active amplification. Measuring 100cm x 90cm x 45cm and weighing 82kg, the KSL-SUB delivers an output of 139dB driven by d&b D80 amplifiers. The KSL-GSUB has a streamlined form, minus the KSL-SUB standard rigging hardware.

Using a new KSL-SUB adapter frame, the KSL-SUB can be deployed above KSL-Tops as part of a flown array.

The hybrid KSL-SUB touring cart allows users to leave the KSL flying

52 WORSHIP AVL May–June 2020

KSL-SUB frame on top of the KSL-SUB adapter frame below the subwoofers during transportation.

The German manufacturer has also released a pair of new software features for its existing products.

First is CPL for SL-Series, which aims to simplify the adjustment of SL-Series line arrays for certain

venues. The ‘CPL’ derives from ‘coupling’. The CPL function shapes the array frequency response of a room and, according to personal preference and its frequency shelving functionality, will prevent access to the full frequency range potential of the system when needed. This means that the LF headroom below 100Hz is

not fully available from the SL-Series cabinets when CPL is active. The new CPL software also enables SL-Series speakers to shape LF and low/mid responses independently, providing individual controls for low- and midarray response.

The second new software feature is Temperature Humidity Control (THC) real-time, high-frequency compensation for use with loudspeaker arrays. This offers high-frequency compensation when temperature and humidity fluctuate as part of the d&b ArrayProcessing software. Fluctuations in temperature or humidity are addressed in real time via the R1 Remote Control software.

It is compatible with any d&b arrays operating in ArrayProcessing mode. www.dbaudio.com

PRODUCTS

Max volume for a new decade KICK-STARTING THE new decade for German manufacturer LD Systems is a second-generation model of its flagship MAUI 44 active column system. The MAUI 44 G2 combines a single 15-inch neodymium subwoofer with an attachable vertical array loaded with 12 3.5-inch MF woofers and four 1-inch HF drivers coupled to a BEM-optimised waveguide in a cardioid configuration. Incorporating DynX DSP technology, the 1,500W RMS system delivers distortion-free audio while outputting a maximum 130dB SPL. The use of aptX and AAC coding reportedly ensures high-definition full bandwidth audio over Bluetooth, while the integration of TrueWireless Stereo technology enables wireless stereo sound from two MAUI 44 G2s.

The ICOA series is a newly designed active coaxial series of loudspeakers for use in full-range, satellite and monitor applications.

The rotating, BEM-optimised CD horn together with the DynX DSP presets maximise flexibility for the current 12-inch and 15-inch models with four presets, three-band EQ and a delay function. Extended bass reproduction of the hornloaded woofers to 50Hz negates the need for a dedicated subwoofer in many live applications. Class-D power amplificaton delivers 126dB maximum SPL and 300W RMS performance, while two line/mic input channels provide individual gain control and a mono mix output.

The BT versions enable wireless Bluetooth streaming to play entire songs or backing parts from a

ICOA 15A smartphone or tablet. The speakers are equipped with four aluminium handles, a shock-resistant front grille and a 36mm dual-tilt stand attachment for 0–5° angling. A range of accessories for installation and transport are available.

MAUI 44 G2

www.ld-systems.com

DiGiCo expands Quantum theory BASED ON seventh-generation FPGAs, the Quantum338 includes 128 input channels with 64 busses and a 24x24 matrix as well as full channel processing. The console also offers a new dark mode application that provides users

and a built-in UB MADI USB recording interface. The Mustard processing, Spice Rack, Nodal Processing and True Solo options, all launched for the Quantum7 in 2019, also come as standard on the Quantum338.

Mustard processing is a set of channel processing strips that work alongside standard Quantum channel processing. Each strip

Quantum338

with a new look and feel, while three 17-inch, 1,000-nit, multitouch screens facilitate the display of both the meter bridge and soft quick-select buttons. In addition, 70 individual TFT channel displays and the floating Quantum chassis feature 38 100mm touch-sensitive faders, which are laid out in three blocks of 12 fader banks, plus a pair of userassignable faders, each featuring metering in a high resolution.

Ultimate Stadius 32-bit ADC and DAC conversion is built into the Quantum338 as standard, along with six single or three redundant MADI connections, dual DMI slots

provides a choice of two preamp modellers, a four-band EQ (including all-pass filters), four boutique-style compressor models and a gate/ducker. The Quantum338 is equipped with 36 mono Mustard processing strips that can be used on any channel type. The Spice Rack, meanwhile, supports plug-in-style native FPGA processing options, allowing users to build a ‘rack’ of up to eight insertable processors.

The first of these is the Chilli 6 – a six-band, multi-band compressor that facilitates control of all parameters.

‘The entire system architecture is new and exciting,’ said general

manger Austin Freshwater of the Quantum338. ‘But, just to recap on a few cool highlights, we have improved transparency of audio, provided more audio toys, bigger, brighter multitouch PCAP screens, increased visual feedback and an all-new work surface architecture.’

The Quantum5, on the other hand, follows in the footsteps of the Quantum7. Also developed with seventh-generation FPGA devices, the Quantum5 engine slots into existing SD5 frames and, with 37 faders and three 15-inch full-colour TFT touchscreens, provides users with Quantum processing features, power and connectivity in either new or existing hardware.

The Quantum5 expands the SD5 console to more than 450 channels of processing at 96kHz. It includes up to 256 input channels and 128 busses with a 36x36 matrix. The

engine is also equipped with four redundant or eight individual MADI ports and two DMI (DiGiCo MultiChannel Interface) slots for AoIP and other connectivity options, plus a built-in Waves port and up to two Optocore loops.

Other enhancements brought about

by Quantum include Nodal Processing and True Solo for monitoring. These are combined with 48 channels of Mustard processing and 12 Spice Rack processing slots, including Chilli 6.

‘The Quantum5 makes complete sense as an upgrade path for both new and existing SD5 users,’ said Freshwater. ‘It allows them to take advantage of all the new Quantum features while maximising their ongoing return on investment.’ www.digico.biz

Quantum5

May–June 2020 WORSHIP AVL 53

PRODUCTS

D Squared adds bodypack transmitter ISA 828 MkII

Focusrite updates a classic FOCUSRITE HAS extended its classic ISA range with the eight-channel ISA 828 MkII which features the same transformer-based input stage, complete with the Lundahl LL1538 transformer, as its predecessor. With the optional ISA ADN8 A/D card,

digital conversion for the ISA One mic preamp and DI. For outputs, the card offers primary and secondary RJ45 Dante ports, an XLR connector for AES3, a TOSLINK connector for ADAT and an RCA connector for S/PDIF.

The ISA ADN cards however, the preamp is now compatible with Dante audio-over-IP networks. The power supply has been updated to reportedly allow for more efficient power consumption and a reduction in heat generation. The front panel remains unchanged, with six-step metering on each channel, and front-panel instrument inputs for channels 1–4.

The ISA ADN8 is an optional A/D card for the ISA 828 MkII and ISA 428 MkII. It provides ADAT Optical, AES3 and Dante connectivity at rates up to 24-bit/192kHz. The card offers primary and secondary RJ45 Dante output ports, an AES59-configured DB25 connector for AES3 output and a pair of TOSLINK connectors for ADAT output.

The ISA ADN2, meanwhile, is an optional two-channel 24-bit/192kHz A/D card that provides analogue-to-

Focusrite has also partnered with Austrian software developer, sonible, to develop Balancer, a processor driven by artificial intelligence that is designed to enhance any source signal. Balancer is available as a free download for members of the Focusrite Plug-in Collective. The software-based processor analyses an input signal, applying adaptive smart filters to optimise the sound’s spectral qualities based on the sonic profile selected. Sonic profiles include Vocal, Guitar and Drums, among others. The amount of effect used is adjusted with the intensity slider, while the Flavour setting switches the overall character of the audio, choosing between Neutral, Warm and Bright.

THE DBU-LEMO bodypack transmitter is the latest addition to the D Squared product series from Lectrosonics.

It is fully compatible with the DSQD digital receiver and offers a tuning range between 470MHz and 608MHz – going up to 614MHz for the export version.

Designed with circuitry to extend its operating time from a pair of AA batteries, the DBu-LEMO provides RF power selections at 10mW, 25mW and 50mW, allowing for use in a variety of licensed and unlicensed applications. With an audio frequency response of 20Hz – 20kHz (+0.0/–3dB), a dynamic range of 110dB before limiting and a flat in-band phase response, the beltpack transmitter is also built with a digital architecture to facilitate encryption in high-level security applications.

Lectrosonics states that studioquality audio is achieved thanks to the components used in the preamp, a wide range input gain adjustment and analogue limiting controlled via DSP. The input gain is adjustable in 1dB increments over a range of 52dB, allowing users to match the input signal level, while maximising the audio dynamic range and signalto-noise ratio. A two-way IR port facilitates a fast set up and allows for data sharing between units, including encryption key transfer.

A switch on top of the unit can be configured as power on/off, mute or talkback. It can also be bypassed altogether. A micro USB jack, meanwhile, can be used to update the unit’s firmware when out in the field using Wireless Designer software on a Mac or PC. The DBu-LEMO can also respond to remote ‘dweedle tone’ commands from third-party apps such as New Endian’s LectroRM, meaning users can change settings, including frequency, audio level, RF power level and sleep/unsleep, from their smart devices.

The aluminium housing is the same size and shape as the previous generation DBa and DBu units, so users can match their accessories with the DBu-LEMO. The 00 Lemo three-pin connector and input wiring is also identical to that on the SSM micro transmitter, enabling the use of existing lavalier microphone cables and audio adapters. www.lectrosonics.com

www.focusrite.com www.sonible.com

Portable phantom COUNTRYMAN ASSOCIATES has introduced the portable Phantom Power Supply with flexible power options and selectable voltage settings. Transmitting DC electric power through microphone cables, the Countryman Phantom Power Supply is designed to produce an ultra-low noise to keep audio signal clean.

54 WORSHIP AVL May–June 2020

The Phantom Power Supply can run on either a single 9V battery, two 9V batteries (granting it a longer life) or a 9V wall adapter. In addition, voltage output options of 12V, 24V and 48V can be selected, further extending

the battery life of the device for microphones that don’t require 48V power.

The unit’s die-cast aluminium body and low-profile switches have been designed to ensure ruggedness for enduring life on the road. www.countryman.com

PRODUCTS TECHNOLOGY

IK Multimedia gets creative

The main option that is affected by something that American pastor Jack design would be the fixture colour.

Hayford has recognised in digitising Most are available as almost simply 40 black his sermons spanning or white. can be custom years andSome making them available to IK MULTIMEDIA has introduced painted byonline. the manufacturer if the the public Creator Series, a set of mobilesomething is required.

If the Adopting aunique cloud-based video portal friendly tools forlook video more industrial of content the exposed also offers religious institutions a creators,fixture YouTubers, live capabilities. streamers, lighting isofnot desirable, growing number digital musicians anyone looking to shrouds or and covers canVision be offered For instance, Christian makes capture audioover and the video with aThe and installed fixture. use of speech-to-text technology, mobileconsideration device.large The series contains other is if exposed which enables volumes of the iRig fixtures Mic Cast 2,to iRig Cast lighting are acceptable.

Ifand uncatalogued video be Mic indexed HD and iRig Micnatural Video,or asspecific wellbe as not, a recessed fixture should searched using other microphones, interfaces, considered. phrasing.

It also makes it possible to accessories and bundles. generate automated transcriptions The videos iRig Video Creator Bundle Entertainment fixtures from or audio, which can then consists oforthe iRig Mic Lav lapel be shared even translated into as house lighting? mic, iKlip Grip Pro other languages to combination reach an even desktop tripod/handgrip/full-size Using a fixture designed for wider audience.

A further function is tripod/selfie withvideos Bluetooth house lighting is typically being able to stick annotate with shutter and a USB-powered 6-inch not recommended forsouse notes and information thatin extra LED ring light with colour enter tainment applications due information can be adjustable conveyed to the andthe brightness onto to design ofthat themounts connections viewer. the top of the iKlip iRig for power and data,Grip as Pro. well The as The need to digitise physical assets Video Creator HDofbundle includes mounting capabilities.

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However, with so much connectivity and an iKlip Grip when Pro. light.

Care should be taken sentimental value often attached to Thecontent, Creator Series also contains using these most fixtures in are this fashion this of us willing thepay Cast 2 and iRig Mic for aiRig couple of reasons.

Most PAR to forMic a cloud solution that will Cast HD microphones for the voice fixtures fans to cool allow us use to digitise and store allLEDs.

recording in any location with an iPad, iPhone or Android device.

Both microphones feature a magnetic mounting design for quick and easy use. With selectable pickup patterns, headphone

monitoring and an included windscreen for outdoor use, the microphones can be used for inter views, live streams or creating YouTube videos without the need for additional batteries.

this in oneswitched place, giving usVintagelocations, in Edmond, addition toOklahoma several prison The content house lights on at Church in assurance of its long-term security. campuses, with more than 30,000 Those fansofcan be noisy, and For places worship, safeguarding people attending each weekend. they also room around content in need a digital library couldthe also An online video platform allows the fixture for Theytoare also not present theairflow. opportunity monetise church to realise the true potential approved recessed or revenue enclosed it and help for to open up new of its assets, stay connected to its applications. streams for these institutions. For congregation and enable people, One other issue using instance, they may with decide to set up no matter where they are based, to enter tainment lightstoforenable housethe subscription services become part of the wider Jack Hayford applications is the fact that they wider community to access particular community. are not or designed to be left on content allow broadcasters to buy Creating a digital content library constantly.

The duty cycle of certain resources for films. using a cloud-based solution is a great enter tainment fixtures to Pastor Jack Hayford hasneeds also set way to do this, as it allows houses of be aconsidered restricted. up subscriptionand platform to allow worship to make good use of existing Specifically designed architectural people to sign up and gain access content, is futureproofed for new lights are produced for constant to sermons and resources from content and makes it easy to share power over 30applications. years, while providing an videos across social media and on option to donate to the church in the websites. In the UK, attendance at the Coastlife www.elationlighting.com process.

The organisation has eight Church of Church, England’sVenice, SundayFlorida services

NEW

has dropped. Organisations like this would thereby benefit from engaging with and attracting followers in a new, more modern way that fits around IK Multimedia also released individuals’ busyhas lives. the Mic Video and iRig Mic to As iRig these organisations continue Video This lightweight, amassBundle. new material on a weekly – if shotgun-style micthose offersthat audio not daily – basis, fail to capture production address and the challenge offeatures storing that are content reportedly existing will suitable only see for the a wide array of video shoots. iRig Mic Video includes the same magnetic mount as Mic Cast HD, plus a hot shoe adapter for mounting to DSLRs. The bundle provides a lightweight, portable video rig with the mic, plus IK’s iKlip Grip Pro multifunction stand that is said to transform from handgrip to monopod to tripod ‘in seconds’. A standard UNC ¼-inch thread lets users mount the iRig Mic video, lights or other accessories on top and an adjustable clamp holds phones securely, even with a case.

Pastor Jack Hayford’s subscription The series also contains the iRig platform, the Gateway Resource Library Stream, a mobile audio interface that combines multiple audio problem worsen. Yet, those that act sources down to one solution track forstand and implement a new recording or streaming mono to benefit greatly from a in more efficient or stereo, ideal for content system thatand notisonly grants peace creators andease musicians whoalso live of mind and of use but stream usingtoa create mobilenew device and the potential revenue an app. and attract new generations. streams www.ikmultimedia.com www.imagen.io

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Thinking. Inside the box.

November–December January–February 2020 WORSHIP AVL 53 49 May–June 2019 55

PRODUCTS

Headset immersion DPA MICROPHONES is targeting content creators looking to implement immersive audio in their projects with the release of the 4560 Core binaural headset mic. It has been designed to capture what each ear hears so that later, when content is played back through headphones, the listener can experience immersive sound as it would have been live and in person.

The manufacturer states that the 4560’s capabilities are suited to applications such as sound system documentation, soundscape analysis and sound quality assessment, as well as sound for HOW productions.

A pair of DPA’s 4060 Core miniature microphones sit at the ‘core’ of the 4560 headset. They are mounted on

two ear hooks located just outside the user’s ear canal, much like a pair of earbuds. They capture the sound being

heard by the person wearing the 4560 during a recording, replicating it 1:1. The ear hooks are attached to a flexible

Earthworks debuts instrument-mounted mics EARTHWORKS AUDIO has debuted a new series of instrument-mounted microphones and will release a variety of capsules and instrument clips over the next 18 months. According to the manufacturer, the most prominent feature of the Gravity Series is low self-noise. No additional gain is necessary because of the placement right on the source, reportedly making the microphones sound even quieter than they are. The first mic in the series will be the omnidirectional G339 and features the largest diaphragm of any Earthworks omni, while the first interchangeable instrument mount has been designed for saxophones and brass instruments.

The manufacturer has also stepped into the sound reinforcement market with the release of the SR3314 and SR5314 wireless vocal microphone capsules. The sound is achieved by coupling the studio-quality, small-diaphragm cardioid condenser capsule with a Class-A amplifier circuit that leverages

56 WORSHIP AVL May–June 2020

The SR3314 and SR5314

The G339 Earthworks patented and proprietary technologies. The capsules feature a tight cardioid polar pattern, a consistent low-frequency response across a wide range of distances and an attenuation of sound sources located beyond 90° – with maximum rejection at 180°.

The SR3314 is designed to work with any handheld wireless transmitter that uses a standard three-ring concentric connector.

This includes wireless microphone models made by Shure, Lectrosonics, Sony, Line 6 and Audio-Technica. The SR5314 is designed to work with Sennheiser’s Digital 9000 Series, Digital 6000 Series, 2000 Series, Evolution G4 500 Series, Evolution G4 300 Series and Evolution G4 100 Series. www.earthworksaudio.com

headset that can be adjusted to best fit the user’s head. Foam screens are bundled with the microphones for damping wind noise when needed.

DPA product manager René Mørch notes that the 4560 Core binaural headset mic can also be used in

applications requiring discretion, as the microphone is so small that it may give the impression the user is only wearing a pair of headphones.

‘Even for normal podcasts, binaural recording provides content that is much more immersive, alive and compelling compared to traditional recording techniques,’ he said.

In brief, the 6066 Core Subminiature headset microphone is now available in three colours: beige, black and brown. www.dpamicrophones.com

Klang immerses with DiGiCo HAVING ACQUIRED KLANG:technologies in December 2018, DiGiCo has been integrating the 3D in-ear monitoring specialist’s technology into its digital mixing consoles. The pairing has now, however, resulted in a new piece of hardware: the DMI-KLANG, an immersive in-ear mixing expansion that can be mounted directly into DiGiCo consoles and comes equipped with DMI slots.

The DMI-KLANG follows the formula of the KLANG:fabrik individual in-ear mixing system.

‘This is the first hardware product since KLANG and DiGiCo joined

DMI-KLANG connects directly to the internal audio stream of a DiGiCo console without the need for additional hardware I/O or overhead, allowing users to route any audio channel from the console to the DMI-KLANG and return an immersive mix to an aux merge input. Using the DiGiCo-KLANG console link, monitor engineers can retain their familiar mixing workflow while gaining immersive in-ear mixing functionality.

DMI cards are available, offering MADI (TP, BNC), Optocore, Dante and several other digital formats.

Additionally, the KLANG:app can be used in conjunction with the system,

DMI-KLANG forces,’ explained DiGiCo general manager, Austin Freshwater. ‘We took KLANG:fabrik’s immersive in-ear mixing core and rebuilt it with today’s latest FPGA technology.

With one device, we can now deliver immersive mixes of 64 inputs for 16 musicians. This is the highest input count of any KLANG product to date. And the best thing is, we were able to bring the processing latency down to a quarter of a millisecond.’

enabling personal mixing via a smart device or computer.

‘The DMI-KLANG is just the beginning of a new line of products,’ revealed KLANG’s co-founder, Pascal Dietrich. ‘Together with the DiGiCo OrangeBox and the many I/O expansion cards available today, we can now interface with almost any professional digital mixing console.’ www.digico.biz www.klang.com

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PRODUCTS

Sennheiser finds the light THE SENNHEISER HD 25 headphone has been on the market for more than 30 years.

With a simpler headband design, the manufacturer has launched the HD 25 Light with the same sound signature as the original product. Capable of handling high sound pressure levels, the closed, supra-aural HD 25 Light features a dual-sided, 1.5m-long, detachable cable and a screw-on jack adapter (3.5–6.3mm). The new model has a frequency response of 16Hz – 22kHz and a maximum sound pressure level of 120dB. Impedance is 70Ω and the headphone weighs approximately 120g.

In the face of the ever-shrinking UHF spectrum, Sennheiser has also launched a Link Density (LD) Mode for its Digital 6000 wireless

microphone series. The LD Mode is said to significantly increase the number of links that can be operated in congested RF environments. While the standard Long Range Mode of Digital 6000 operates with a 400kHz channel spacing to ensure best audio and RF performance, the LD Mode uses half of the spacing, namely 200kHz. Behind the LD Mode is the new Sennheiser Performance Audio Codec (SePAC) which has been designed to strike a new balance between channel count on the one hand and RF and audio performance on the other.

‘The LD Mode provides productions with a choice where there simply was none before,’ said Tom Vollmers, manager for the professional portfolio at Sennheiser. ‘They are

disguise saves time

HD 25 Light now able to increase the number of channels by accepting slight trade-offs in the audio frequency response and RF range.

This can be a good solution for applications that only have a very limited spectrum at their disposal.’ www.sennheiser.com

A-T expands 3000 Series

3000 Series A NETWORK port has been added to Audio-Technica’s 3000 Series frequency-agile true diversity UHF wireless systems to allow network control and monitoring. Described by the manufacturer as unique for a wireless system in this price category, the network port allows the 3000 Series to be compatible with A-T’s proprietary Wireless Manager software, a macOS/ Windows application for remote configuration, control, monitoring, spectrum management and frequency coordination of compatible Audio-Technica devices in sound reinforcement.

The software package offers a broad range of control and management functions of networked receivers, grouped into three tabs: Device List, which auto-discovers

58 WORSHIP AVL May–June 2020

connected compatible A-T hardware and allows users to populate a device list of Audio-Technica and other manufacturers’ wireless systems; Frequency Coordination, which allows real-time spectrum scanning via the 3000 Series wireless with network option or other A-T connected

network-enabled receivers, or the option of using the pre-loaded television channel database for off-site planning; and Monitor, which allows live monitoring of connected systems with the option of filtering the displayed devices by assigned tag groups.

The manufacturer has also released its Wireless Manager software, a macOS/Windows application for remote configuration, control, monitoring, spectrum management and frequency coordination of compatible devices. With connectivity for the 5000 Series wireless microphone system and the new 3000 Series featuring network control and monitoring, the software package offers a broad range of control and management functions of networked devices, and is grouped into the same three tabs: Device List, Frequency Coordination and Monitor. www.audio-technica.com

r17 IS disguise’s latest software update that has been developed following feedback from the manufacturer’s community of artists and technicians.

The software is said to allow users to previsualise every pixel of a project before an event or installation. r17 introduces Manipulators to this previsualisation so that multiple objects on a 3D stage can be selected and then offset, rotated and scaled at a click of a mouse.

A further feature of r17 is PreComps, where users can route video content between different layers using the flexible timeline and blend and mix content sources to create a complete look. This new workflow means that a precomposition of layers can be created and reused in multiple locations. SockPuppet projects – which allows users to control disguise via a lighting desk, iPad or networked device – are said to per form better and need fewer complex setups.

r17 also includes NDI support, allowing users to stream an NDI source from content tools to the disguise stage in real time.

Integration with NDI can also be used as a streaming preview from content tools, such as 3DSMax or AfterEffects, that enable users to finalise content accurately in-situ. Additional features include alembic file support; 3D feathering and masking; tick boxes replacing Boolean UI options; the ability to export the current frame of live video; SockPuppet personality editor; Media Asset browser viewed as a list; lock layers in place on the timeline to avoid accidental edits; the export of internally made textures; and multi-edit list imported or exported via CSV. www.disguise.one

Wireless Manager software

PRODUCTS PROJECTS

ArmoníaPlus updated

The lighting setup also included 10 Rogue R2 Wash and six Rogue R2 Spot fixtures from Chauvet, as well as two Colorado Zoom WW Tour PARTHE version of Powersoft’s style LATEST luminaires, and four Chauvet DJ ArmoníaPlus system Colorband T3 audio lights from Chauvet DJ. management introduces These were allsoftware flown alternately on a HealthPlus, thehung replacement trapezoidal grid above thetostage the software’s previous for the event. The lightingEvents rig was tab, which gives engineers programmed and sound controlled from Black a streamlined monitoring Rock’s dot2 XL-F lighting console from environment of all is elements in avia MA Lighting, which connected given system NetX with adapter improved Art-Netsound to a Chauvet with communication, control and up to nine DMX universes.

‘We are currently using five universes to their maximum capacity and one additional for a few fixtures with less than five channels of control,’ Palazini reveals.

YAMAHA HAS introduced a free ‘For atmospheric effects, we ownonline an tool Yamaha In-store Music MDGcalled ATMe the oil-based hazer and the System Advisorwe (YIMSA) to help snow machine purchased thisusers year design music systems was an background Antari S-500-XL. Again, thesefor smallandthat medium-sized premises. are items we might have rented, It has been produced for those who but decided it just wasn’t worth the do notfee have in-depth of rental asan it would be knowledge better to just audio or aredeal unaware of the find a good and buy it.’ Yamaha product range. were also employed Static fixtures asks straightforward toYIMSA help create the lighting effects questions such as ‘what is the needed. ‘The theatrical front lighting atmosphere and ‘what was providedofbythe 68 space’ ETC Source Fours quality of music is desired’ and with lenses varying from 19–35°, provides system recommendations and 10 ETC Selador Desire D40s based the to answers.

When that areonused add wash colour the size of theFor space has been to the house. this December’s entered, recommend services, YIMSA we alsowill used six of our aETC

to ensure optimal which received its performances content from aof pair all elements and willHighLite automatically of Digital Projection laser alert userswith in case of malfunctions or projectors blending and correction element failures.

Engineers can also handled by Scalable IPS software and now use the Event History function hardware.

Content was stored on a to track uploaded user logins Renewed Visionprograms, ProVideoPlayer V3 and diagnose media server. any long-term system issues.

HealthPlus has improved The main sound system was a Bose reporting, giving users theDirectivity ability RoomMatch Progressive to track multiple at once Array setup alongindicators with RoomMatch over an hour time logand period for more RM218 subwoofers RM208 detailed monitoring. front-fills,system both located beneath the

reporting. HealthPlus’ display gives engineers a complete suite of system diagnostic controls to reportedly monitor the health and effectiveness of any sound system in real time, meaning it can be used with a touring PA or in a fixed connected devices, the system is installation. also capable of measuring system In addition to input monitoring for health indicators such as headroom, power amplifiers, speakers and other temperature, voltage and impedance A week after This is Christmas, a local ballet troupe performed for the church

Yamaha simplifies system design Lustr 11 static washes to wash the upstage wall below our projection screen. Additionally, I used four of our Chauvet Colordash Batten-Hex 8 fixtures to wash the stage left and right walls, as well as adding colour wash to Christmas trees, which were hung along both walls. We also used four Chauvet DJ Colorband T3 LED static lights around the perimeter of the circular stage, which we had built for the Christmas season, as added up and accent lighting to complement vocal and dramatic performances.’

The Christmas trees weren’t the only decorations adorning the set.

‘We also hung a 52-inch, 75-pound glass and metal Moravian star from the rafters,’ adds Palazini. ‘Then,

downstage edge. Managing the mix www.powersoft-audio.com was the church’s Allen & Heath

dLive S7000 console with a Waves3 audio networking card and MultiRack Soundgrid plug-ins, Tracks Live for recording, DM64 StageRack with 64 choice of ‘good’ or XLR ‘best’ solutions, XLR inputs and 32 outputs and based on ports Yamaha’s VXS and VXC three I/O for Dante AES. A series and MA/PA pair of speakers DX168 expanders withseries 16 XLR amplifiers.

The recommendation inputs and eight XLR outputs eachwill are also installed suggest speaker for the at Black layouts Rock – one at system.

The tool any web front of house, theworks otherinbackstage. browser and can support up10 to songs, 10 This is Christmas included languages. several short dramatic pieces and a Yamahabyhas alsopastor, launched new sermon senior Dr Stephen white models of its flagship DZR/CZR Treash.

While the AVL technology in series and XLF/CXS XLF use was theDXS same used throughout loudspeakers/subwoofers to provide the rest of the year, they were users witheffectively more options for blending employed to reflect the the systems into the design of spiritaudio of Christmas.

HOW spaces.

there’s all the added wiring of power and DMX control for the lights on the star and trees. Once the rigging and electric were done, we painted the stage white for the month of December. Every year, we change up the staging for the December services.

Our preparations begin on the Monday after Thanksgiving. We start by clearing the stage of all the lighting, electrical and band gear from the previous Sunday. Then, this year, we built the additional 12-foot, circular stage off the downstage centre edge of our main stage. Once that was done, we assembled and decorated the trees.’

Lighting effects were coordinated with the sermons, music and a 40-foot JKP Affinity projection screen,

www.blackrock.org www.yamaha.com www.chauvetprofessional.com

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May–June 2020 WORSHIP AVL 59

PRODUCTS

Tour guide Navilution

Coda beta CODA AUDIO has released the beta version of the Coda System Optimiser 3D prediction software, designed for use in both installation and live event applications. Coda System Optimiser continues to undergo development from the manufacturer’s R&D team, whose ultimate goal is that the software be compatible with Coda’s entire loudspeaker catalogue.

While the beta release will only be compatible with particular Coda models, the manufacturer states that its availability will allow users to provide feedback, assisting with fine-tuning the product. ‘This

is a ground-up development so, taking the long view, it’s very important to us that audio professionals out in the field are directly involved with the evolution of our 3D system optimisation software,’ explained Coda Audio’s David Webster. ‘A beta release gives us the opportunity to allow early engagement for Coda users operating in real-life environments.

Our System Optimiser allows the pinpoint design of Coda systems from the smallest fixed install to the largest, most complex production.’

NAVILUTION WI-FI has been developed by Listen Technologies specifically for sightseeing exhibits and tour operators. It delivers GPStriggered content to visitors through their smartphones.

Combining Listen Technologies’ Listen Everywhere audio-over-Wi-Fi platform with the GPS-triggering functionality of the Navilution Next wireless tour commentary delivery system, Navilution Wi-Fi connects to a wireless network, delivering multiple audio sources to visitors, allowing them to listen to tour narration in different languages without the need for internet

access. However, visitors will need to download the Listen Everywhere app on their Android or iOS devices, selecting their preferred language before being able to listen to automated, location-based content.

In addition, the Listen Everywhere app can be customised with branding and promotional video content. When an internet connection is available, links to special promotions, advertisements for affiliate venues and destinations can also be included. www.listentech.com

www.codaaudio.com

Analog Way updates LivePremier

Pandora 64 CHRISTIE HAS released a 64-bit version of Pandoras Box: Pandoras Box Version 6.4. This is reportedly due to demand for greater performance to process, play and control higher resolutions and data volumes on multiple displays.

Version 6.4 introduces new 64-bit processing software to increase the performance of existing processing hardware, downloadable from the Christie Pandoras Box webpage. As well as providing new features with a redesigned interface, making it easier to keep track of data or settings, the render engine is now operated completely in 64-bit and Pandoras Box can make use of additional resources, such as system memory or process more calculations simultaneously.

These improvements facilitate the

60 WORSHIP AVL May–June 2020

playback of more, or larger, video files at the same time.

‘Tests have shown that, depending on the video codec, we were able to generate up to 35% more output,’ said product manager, Markus Zeppenfeld.

Another new feature of Version 6.4 is a revised QuickTime decoder, which is designed for faster decoding, includes hardware acceleration and supports additional codecs such as H.264, HEVC, ProRes and DNxHD. Christie has also released brighter versions of its Crimson HD31 and WU31 projectors. ‘The new Crimson models – which are both upgradeable to 120Hz – support both Christie Guardian for real-time automatic blended-image correction when content is playing, and the Christie Terra input card for seamless integration into SDVoE networks,’ revealed Mike Garrido, senior product manager. ‘We’ve designed it with 31,500 ISO lumens for the same price as the Crimson 25 models, providing even greater value for our fixed install, rental and staging customers at no additional cost.’ www.christiedigital.com

ANALOG WAY has updated its LivePremier series of multi-screen live presentation systems with software upgrade v2.0. With the recent addition of Aquilon RS alpha, the LivePremier series now includes five preconfigured products and two fully customisable models.

which has been created to deliver instant access to the LivePremier image processor’s crucial functions, such as screens, layers, sources and presets. It is constructed with a rugged form factor to withstand life on the road when touring and includes 56 programmable buttons, a high-resolution T-bar and a three-

V2.0 provides a fully functional offline WebRCS and device simulator, full HDCP 2.2 support and output rotations, as well as an update to the processing engine, bringing compatibility with HDR formats (HDR10 and HLG). The update also supports new I/O cards for Aquilon systems equipped with four 12G-SFP ports and compatible with non-MSA video transmitters and receivers (fibre optic, HDMI, SMPTE 2022, SMPTE 2110).

Also joining the LivePremier series is the RC400T event controller,

axis joystick for PIP sizing and programming.

Finally, the DPH104 4K videowall processor has been added to the Picturall series and can convert, with no added latency, one 4K DisplayPort output from a Picturall media server to four independent 1080p HDMI outputs. The DPH104 does not require software or configuration and multiple devices can also be used to create larger display solutions. www.analogway.com

AUDIO NEW HEIGHTS

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PRODUCTS

Magewell makes a conversion BRINGING TOGETHER the worlds of IP-based streaming and baseband AV presentation equipment, Magewell has launched its Pro Convert H.26x to HDMI multiprotocol, SRT-compatible streaming media decoder. While earlier

Pro Convert H.26x to HDMI Pro Convert models transform professional AV signals to and from NewTek’s NDI AV-over-IP technology, the new Pro Convert H.26x to HDMI decodes a standard H.264 (AVC) or H.265 (HEVC) compressed video

stream into a high-quality HDMI output for connection to baseband monitors, projectors and switchers. Supporting a wide range of streaming protocols for maximum source compatibility, the low-latency decoder has been designed for applications including multi-site video distribution between church campuses.

This is Magewell’s first product to support the SRT (Secure Reliable Transport) open source protocol and the manufacturer is a member of the SRT Alliance.

Enabling low-latency video delivery over unpredictable networks, SRT reportedly provides high-quality streaming experiences even over the public internet. Other supported protocols include RTSP, RTMP, UDP, RTP and HTTP streaming.

Roland offers eight-source portability ROLAND PROFESSIONAL A/V’s latest video switcher, the V-8HD, is described by the manufacturer as ‘the only compact and portable switcher that can accommodate up to eight HDMI audio/video sources with resolutions up to 1080p’.

Weighing 2kg, the V-8HD is built to fit inside backpacks when on the road and in the tightest of spaces when used as part of a fixed setup.

A five-layer effects engine and built-in 18-channel audio mixer, complete with effects, make the V-8HD an all-in-one system by removing the need for a computer.

Roland states that the V-8HD can be used to mix eight HDMI sources with Full HD suppor t, even when the sources have mismatched frame rates and colour spaces.

Built-in scalers are included on two of the HDMI inputs, which means users can connect the V-8HD to sources such as computers, smartphones and even legacy 4:3 devices when needed. Meanwhile, a

62 WORSHIP AVL May–June 2020

4.3-inch multi-viewer display negates the need for a standalone monitor, allowing users to see all video inputs, PGM and PVW plus menu overlay, as well as the status of a connected camera.

Assignment buttons are used to send any connected input devices to a dedicated aux output without affecting the main feed.

It is also reportedly possible to synchronise the aux output with the programme output to create a built-in 3x distribution amp. Further features of the V-8HD include three automatic switching modes, the ability to trigger Atomos recorders to start and stop recording via HDMI and a free remote-control iPad app that serves as a touch inter face. proav.roland.com

The Pro Convert H.26x to HDMI decodes streams up to 2160x1200 at 60fps for output over its HDMI 2.0 interface. Built-in, FPGA-based video processing enables the device to automatically up-convert HD or 2K source streams to 4K for viewing on Ultra HD displays. The plug-andplay decoder features DHCP-based network configuration and can detect the video and audio characteristics of the target display device via EDID metadata, automatically optimising output parameters or providing the user

with a range of compatible choices.

The device can be powered via an external adapter or PoE. In other news, Magewell has released the Eco Capture SDI 4K Plus M.2 card which captures 4K video at 60fps over a single-link, 12G-SDI interface for use with popular AV software applications.

Measuring 22mm x 80mm, the

low-latency card has been developed for use in small and embedded systems where full-sized PCIe slots are not available.

Eco Capture SDI 4K Plus M.2

www.magewell.com

Warping videowalls JUST ADD Power’s (J+P) latest innovation is the Warp Engine, a transmitter/receiver that reportedly facilitates the deployment of videowalls mounted at any angle with a mix of display models. It allows integrators to rotate an HDMI source in a J+P matrix in 0.1° increments in real time with low latency. The rotated image can then be

distributed to an ‘unlimited’ amount of receivers on the network, enabling huge videowalls using a single Warp Engine.

‘Our new Warp Engine allows installers to get creative with their videowalls by venturing beyond the traditional grid pattern,’ said Taft Stricklin, sales team manager at J+P. ‘Unlike other products on the market that are limited to custom graphics or static signage, the Warp Engine works with any HDMI source for the ultimate in flexibility.’

Also new is the VBIS-HDIP-707WP2 thin two-gang HDMI wall plate transmitter, which allows users to incorporate laptops and other HDMI devices as sources within UHD-over-IP systems. At 1.5 inches deep, the unit is designed for installation within thin walls or mounting on a table or podium. Its ‘field-serviceable modular

design’ allows users to service it with a screwdriver in the event of any damage.

Finally, J+P has upgraded its 707POE transmitter. The 708POE adds a stereo analogue audio output and, like its predecessor, the transmitter distributes video resolutions up to 4K Ultra HD with no latency over a

VBIS-HDIP-707WP2 single Cat-5e cable. The unit supports HDCP 2.2 and all lossless audio formats, including Dolby Atmos.

Videowall functionality is built in for displays installed in portrait and flipped configurations, as well as image push, pull and pop features. www.justaddpower.com

PRODUCTS

Next-generation graphics MATROX HAS unveiled a new series of multi-display graphics cards designed to power videowalls in 24/7 environments. The D-Series comprises single-slot graphics cards that incorporate a custom-built NVIDIA Quadro embedded GPU. The cards can drive up to four high-resolution HDMI or DisplayPort displays, while four cards can be combined via board-to-board framelock cables to drive up to 16 synchronised 4K displays. In addition, the D-Series offers HDCP support for playback of protected audio and video content, as well as Microsoft DirectX 12, OpenGL 4.5 and OpenCL 1.2 support.

The cards include Matrox’s PowerDesk desktop management software where

users can select from a variety of advanced tools – including stretched or independent desktops, clone mode, pivot, bezel management and edge overlap – to configure and customise multi-display setups. MuraControl videowall management software helps users manage videowall sources and layouts either locally or remotely, and in real time.

The QuadHead2Go Q155 multimonitor controller is the latest addition to the QuadHead2Go series. It captures a single video signal of up to 4Kp60 and 8Kx8K for display across up to four screens, at resolutions up to 1920x1200 per output. The input content could be from any

D-Series

QuadHead2Go Q155 HDMI source, while displays can be arranged in a variety of configurations.

Multiple units can be used together to build larger videowalls under any operating system, including Microsoft Windows 10 and Linux. On-device buttons enable users to cycle through preset configurations to select and set the display layout, as well as access a pre-saved image to set up display positions and fine-tune bezeldisplaced pixels. The controllers also include HDCP support for playback of protected audio and video content from HDCP-compliant devices.

Finally, Matrox has announced the release of two APIs to provide enhanced customisation and control of Maevex 6020 Remote Recorder appliances. The Maevex 6020 Remote Recorder RS-232 API supports RS-232

to USB communication, giving users in-room control of the Maevex 6020 appliance via Crestron, Kramer, Extron or other tabletop touchscreen controllers. Users can program a variety of basic commands, including start, stop, and resume.

The Maevex 6020 Remote Recorder REST API enables programmers to code for retrieving status updates from Maevex 6020 devices. The REST API also supports the Panasonic Customer Assurance through Remote monitoring and Enhanced Service (CARES) solutions platform. This integration facilitates remote monitoring and maintenance of both Maevex 6020 appliances and Panasonic products to minimise disruption. www.matrox.com

May–June 2020 WORSHIP AVL 63

PRODUCTS

Vitec takes it EZ THE NEW EZ TV Player Lite from Vitec has been developed to enable the multicasting of live streams directly to the computers of multiple users without the need for multi-unicast distribution servers. It facilitates the scaling of live video services without onsite transcoding equipment, CDN

subscriptions or seat licences, and is designed to simplify IPTV distribution with no plug-ins, while running on HTML5.

The EZ TV Player Lite forms part of Vitec’s EZ TV IPTV and digital signage platform, which has been developed to integrate with ‘any IT environment’ and

‘run on all types of networks’, including LAN, WAN and wireless. It is reportedly network-agnostic and features a modular architecture that facilitates simplified upgrades to legacy systems

Screens for all seasons PEERLESS-AV DESCRIBES its UltraView UHD Outdoor TV as an all-season solution that makes outdoor enter tainment experiences a reality. The screens are rated for all weather and are suitable for temperatures ranging from –30°C to +50°C. High TNI panels mean that the TVs are readable in direct sunlight without the risk of isotropic blackout and the range is available in three sizes: 49 inches (UV492), 55 inches (UV552)

dnp HAS produced an ALR (Ambient Light Rejection) version of its Supernova Infinity Screen. The new model, the dnp Supernova Infinity UST (Ultra-Short Throw), is described by the Danish manufacturer as the ‘world’s biggest ALR screen for UST projectors’.

The dnp Supernova Infinity UST was reportedly developed in response to the relatively low brightness of UST

projectors, which require ALR screens to ensure content is clear in brightly lit environments. The Supernova Infinity UST is a modular system, meaning that it is constructed from tiled panels that are up to 1.5m high by themselves. dnp claims that before the release of its new screen, the largest size of ALR screens available for UST projectors was 3m. Using the dnp

64 WORSHIP AVL May–June 2020

Supernova Infinity UST, several panels can be placed together to create larger screens with joint lines almost invisible at only 0.3mm. It is said that multiple projectors can be paired with the screen to create large images without visible overlap.

As well as being optimised for UST projectors, the Supernova Infinity UST supports FHD, 4K and 8K resolutions.

It can be obtained as either a

frameless solution or mounted with a 50mm black velvet frame.

‘Paired with a UST projector, the dnp Supernova Infinity UST will provide a cost-effective alternative to LED solutions that is very easy to access and service,’ said dnp’s Soeren Kraemmergaard. www.dnp-screens.com

www.vitec.com

By adding the Xtreme Outdoor Soundbar, users gain features such as Bluetooth connectivity, digital optical and standard analogue inputs, high-quality drivers that provide full-range audio (50Hz–20Hz) and a built-in Class-D amplifier that outputs 200W total system power.

The UltraView UHD Outdoor TVs are compatible with Peerless-AV’s EPT650 and ESA763PU wall mounts and HDS-OWRE-300, XACE-01 and XACE-02 electronic enclosures. An all-season cover is also included.

and 65 inches (UV652). The aluminium exterior is said to provide the ‘ultimate defense against weather and distor tion’.

The lack of filters, vents and exhaust fans means there is no need for ser vice.

Supernova rejects light

as well as the deployment of a turnkey IPTV and signage solution for an entirely new system.

www.peerless-av.com

Cameo drops a range of new products CAMEO HAS just ‘dropped’ a new series of outdoor uplights designed for use in portable applications. Named the Drop Series, it comprises three models initially: the battery-powered Drop B1 (a single 15W RGBWA+UV LED fixture), Drop B4 (a quad 15W RGBWA+UV LED unit) and Drop P4 (a quad 15W RGBWA+UV LED model that differs from its siblings by offering a conventional mains power supply).

The Drop Series presents several mounting options thanks to the mounting bracket supplied with each fixture or rubber feet, as well as an additional tilt foot. The Drop B1 also comes with an integrated magnet that enables it to be attached to magnetic metal surfaces without the need for any additional equipment.

The battery-powered Drop B1 and B4 models include an LG Chem lithiumion battery with a reported adjustable run-time of up to 12 hours. To change the light output, all three Drop fixtures Drop B1

Opus X Profile possess a pair of diffuser lenses for beam angle spread flexibility. They all feature a 2.4GHz W-DMX receiver to facilitate wireless DMX and IR control.

Cameo has also released a new flagship fixture within its Opus Series with the Opus X Profile. With a 750W white light LED, the moving head fixture is said to generate a luminous flux of 33,000 lumens with 72,000 lux illuminance at a distance of 5m. In combination with a CMY colour mixing system, featuring a colour wheel with six dichroic filters and linear CTO correction ranging from 6,500–2,600K, as well as a zoom range of 6–48°, the Opus X Profile is designed to produce even projections without disturbing hotspots. It is also built to work flickerfree with selectable PWM frequencies up to 25kHz, making it suited to use in HOW broadcasting or streaming their services, or using IMAG. www.cameolight.com

PRODUCTS

ETC moves 4WRD ETC’S NEW Source 4WRD 230V white light LED luminaires have been developed in warm white 80CRI and 90CRI (Gallery) arrays and a cool white 90CRI (Daylight Gallery) array.

Both array types are available in four different form factors, which include the Source 4WRD Spot, PAR, PARNel and, for owners of existing Source Four fixtures, an LED retrofit option.

The retrofit option, built for Source Four incandescent fixtures, reportedly reuses 89% of the existing fixture, reduces power consumption and eliminates the need for re-lamping.

In addition, all existing Source Four

Source 4WRD accessories can be used with the full Source 4WRD fixtures. With an L70 rating of 45,000 hours, ETC states that the Source 4WRD fixtures are ‘brighter than your long life HPL lamps but at a fraction of the power draw’.

The PAR and PARNel fixtures deliver a modern upgrade for contemporary tungsten units with the added benefits of LEDs and more than 1,000 lumens of output. All existing Source

Four PAR lenses and accessories are compatible with these LED fixtures, which also feature a proprietary wavelens design and ‘easy focusing’ knob.

The Source 4WRD PARNel allows access to a range between 25° and 45°, which the manufacturer describes as ‘a smooth, soft, symmetrical field that you can spot or flood as needed’.

Meanwhile, for those looking to add some cinematic flair to their services,

ETC’s fos/4 panel light is the result of the manufacturer’s efforts to develop the ‘best light for use on camera’.

Available in three sizes – small, medium and large – there are two array options on offer: the Lustr X8, which adds a deep red LED to help enhance skin tones and provide added depth to blues, greens and ambers; and the Daylight HDR, a tuneable white light array that employs a calculated selection of LEDs from the X8 colour system to deliver a ‘natural warmth’ when rendering skin tones. www.etcconnect.com

City cat learns new tricks

Avolites pioneers new integration THE TITAN and Ai software platforms from Avolites have now been integrated with Pro DJ Link, the embedded protocol present in Pioneer DJ’s CDJ and XDJ players.

This integration will allow users to receive real-time feedback on the lighting consoles from the DJ. Avolites users can gain access to the Pioneer DJ Waveform Display, which gives a view of the live waveforms from a CDJ system in a

workspace window and the Pioneer DJ BPM Trigger, which provides the ability to automatically trigger BPM masters directly from a chosen CDJ in the setup. The software is compatible with Pioneer’s CDJ-2000 NXS2, DJM-900 NXS2, DJM-TOUR1 and CDJ-TOUR1 with Rekordbox DJ software. www.avolites.com www.pioneerdj.com

CITY THEATRICAL has added new functionality to its DMXcat Multi Function Test Tool with the new Multi Fixture (DMX) feature offering a simple way to switch on and test multiple DMX lighting fixtures simultaneously.

The Multi Fixture feature update includes a patch that allows for fixtures to be grouped and controlled together.

It also facilitates the assignment of numbers to channels or fixtures, producing a numbering system that can be shared between creative and technical teams to improve workflows.

DMXcat users are also able to use the patch to save, name and recall setups across various rigs.

Other enhancements brought to DMXcat with the Multi Fixture feature, which is free as part of the app update, include a new interface for the Fixture Controller app, delivering a range of patching and grouping methods.

The Fixture Controller app now also includes 16-bit wheels, saving screen space and refining user control.

City Theatrical has also released its QolorFLEX 5x2.5A Multiverse

DMXcat Multi Fixture feature

Dimmers. These are constant-voltage, five-output, miniature dimmers with wireless control via the manufacturer’s Multiverse wireless DMX/RDM or SHoW DMX Neo wireless DMX/RDM. Wired control is also permitted through DMX. They are available in dual-band 900MHz/2.4GHz (P/N 5942) or 2.4GHz band-only (P/N 5943) options and are said to provide a 20-bit PWM resolution and 8-bit or 16-bit control for smooth dimming at the low end of the dimming curve. www.citytheatrical.com

Elation adds atmosphere with Magmatic ELATION PROFESSIONAL has launched a new brand of atmospheric effects machines: Magmatic. The range, designed to be easy to use, initially includes the Magma water-based and Thermatic oil-based haze and fog machines, Polar snow machines, Rocket CO2 cr yogenic-type simulated fog effects devices, the Prisma advanced UV LED lighting series and a line of specially formulated effect fluids to suppor t the line-up named Atmosity.

said sales and marketing director, Eric Loader. ‘Atmospheric effects are key to any stage performance so it’s essential they be reliable and perform on demand.’

Meanwhile, Elation brand Obsidian Control Systems has announced the release of Onyx 4.4 lighting control software which integrates Obsidian’s Dylos pixel composer.

‘We have long had a vision that stems from a strong demand from our customers around the world to create more advanced atmospheric

products designed for professional users, products that are easy to use and hard to break, and that is exactly what we are doing with Magmatic,’

www.elationlighting.com www.magmaticfx.com www.obsidiancontrol.com

May–June 2020 WORSHIP AVL 65

THE TECH VIEW

Visual Worshiper Camron Ware recounts how he began providing environmental projection for houses of worship, starting at his home church in Irving, Texas Camron Ware

Environmental projection at Irving Bible Church IRVING BIBLE CHURCH HAS BEEN my home church as a kid and as an adult. I was on the staff as the lighting and visual director right out of high school and my leaders allowed me to experiment visually with different things from time to time – one of those being, ‘What if I projected images around the walls?’

One day in 2006, I realised I might be able to use small projectors to show textures and colours around the sanctuar y, so I borrowed three projectors, set them up in the back of the worship centre, invited the leadership staff into the room and showed them what was possible.

As soon as my demonstration was finished, the executive pastor leaned over and asked, ‘How soon can we install this?’

We permanently installed the projectors and I designed and operated the environmental projection (EP) system ever y Sunday for many years until other churches star ted asking me to help them design a system for their rooms as well. So, I coined the phrase ‘environmental projection’, star ted VisualWorshiper.com, and have been designing, consulting, training and operating EP systems around the US for churches since 2007.

66 WORSHIP AVL May–June 2020

Grace Community Church in Corsicana, Texas When installing my first EP system at Irving Bible Church, the main challenge was how to mask/cut out areas in our space that we didn’t want to project onto. At the time, the software and hardware available for digital masking wasn’t affordable, so we had to physically block the lens of the projectors in certain areas. If my memory serves, we first started with three Hitachi 5,000-lumen projectors, but the church has upgraded brightness since then. Currently, they use three 7,000-lumen projectors with Renewed Vision’s ProPresenter software.

EP has become a staple for that church. It is used to show moving and still video content, which reflects and matches the worship music, teaching and any other elements of the worship service. Starting EP in Irving has helped many other churches to see what’s possible with projection in worship.

A recent example of the work I’ve done is an hour away from Irving, at Grace Community Church in Corsicana, Texas. This was a temporary outdoor installation for Christmas. We set up the projectors and did the mapping, then the

church media team created a custom animation video that told the story of Christmas – the birth of Christ in a manger, the shepherds with the angels – and displayed information of when the church’s Christmas services were taking place.

The main challenge here was finding a place to put the projectors.

In the end, we found a suitable location across the street in an old furniture store. We built platforms on which to place four 7,000-lumen Maxell projectors and they shot out the windows onto the church building. The projectors were doublestacked with ProPresenter.

It was a huge success and the church got a lot of response from their community. The pastor, Steve Hayes, is a friend of mine. He knows the power of visual storytelling and we helped him with the hardware, software and making it work for his vision to come alive.

EP is a powerful and beautiful tool that helps churches use technology to bring their worship spaces to life.

Just as stained glass, murals and other forms of art once dominated the Christian worship centre, EP is a way to do that in a fresh, modern way. www.visualworshiper.com

Mosque sound made simple Pray with faith

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MX-6224D

Digital Mixer Amplifier Introducing the MX-6224D, the latest digital mixer amplifier designed specifically for mosques.

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