Worship AVL November–December 2017

Issue 50 November–December 2017

In a recent WAVL news story, a quote from a systems integrator stood out: ‘I have had many discussions with worship leaders where I point out that they are willing to pay good money for a keyboard player with a touring pedigree for the worship band, but they expect the overall sound of the service to be capably piloted by a volunteer with limited experience and knowledge.’

Hiring technical professionals is commonly and regrettably deemed to be outside the budgetary possibilities of most HOWs, though that may be a false economy. More seamless and professional productions might just be the boost a HOW needs to draw in new members and,

professionals for operation of its systems, the second solution is to train its volunteers. While there is a certain aptitude necessary for an individual to

to the aesthetics of sound mixing, camera operation and lighting design, core skill-sets can be learned. Senior staffers, possibly themselves volunteers that have advanced experience, can be tasked with setting aesthetic standards, while guiding their volunteer crews in the more mechanical aspects of implementing those standards.

Is your HOW making the most of its opportunities to train and guide its technical ministry staff? Does it have a documented vision for the look and sound of its worship events, and of the skills and procedures necessary to implement that vision? Is this vision clearly communicated to the tech staff, and are those team

Telephone: +44 (0)1892 676280

Email: fwells@worshipavl.com

Frank Wells Editor

Enlightening the Old Lady on the Hill

UK: Christ Church in Swindon’s Old

A Pharos Controls TPC touchscreen controls the lighting; an iPad with custom interface handles audio

The new ATEM Television Studio Pro HD is the first all in one production switcher with integrated hardware control panel designed for both broadcast and professional AV users! You get an built in 1 M/E control panel, along with 4 SDI and HDMI inputs, multiview, DVE, talkback, an audio mixer and more. It’s perfect for traditional and web broadcasters, as well as AV professionals covering corporate events, seminars, and even large worship services!

True Professional Switcher

ATEM Television Studio HD is a true professional switcher with transitions such as cut, dissolve, dip, wipes, graphic wipe and DVE transitions. The DVE can also be used for picture in picture eff ects, making it perfect for interviews and live commentators. The flash based media pool holds 20 RGBA still frames so you can add custom graphics and logos!

Connect up to 8 Sources

With 4 HDMI and 4 3G-SDI inputs that support all formats up to 1080p60, you can connect up to 8 cameras, game consoles, computers or other sources. All inputs have frame re-synchronization for clean switching between all sources. You also get 4 SDI program outputs with talkback and tally, as well as multiview and aux out, and connections for RS-422, reference and XLR analog audio in.

Broadcast Quality Eff ects

You get an upstream keyer with full chroma keying for green screen and blue screen shots so you can add weather maps, graphics, and more behind on-screen talent! You also get 2 downstream keyers for adding graphics, logos and bugs from the built in media pool, or you can use input video with fill and key overlay graphics in real time!

Professional Hardware Control

The built in control panel features illuminated buttons for switching sources, mixing audio, adding transitions, using keyers and more. You get one touch access to the most important switcher functions so you can work quickly and confidently! When used with the included free soft ware control panel, you can even have multiple people controlling the switcher on the same program!

Discreet power at Our Lady of the Star Church

LEBANON: Our Lady of the Star Church was recently inaugurated in the Lebanese seaside town of

Jieh. Ahead of the church’s opening, trustee Georges El Azzi approached Prolites in regards to an audio system

to deliver powerful sound and remain aesthetically discreet in the sanctuary. The system also needed to be installed in time for the inauguration. To meet these needs, Prolites presented a solution comprising various K-array cabinets that would blend with the interior of the church. The system installed is formed by four Kobra KK102 and four Kobra KK52 Mark I line array cabinets, installed two each side and painted white to disappear into the décor. Handling low end is a pair of KMT12 Mark I powered 12-inch subwoofers. The choir and instrument section are covered by two KF12P multipurpose speakers as monitors, while a further pair of Kobra KK52s serve the altar area. A KA84 and a KA24 provide power and processing.

‘The results were outstanding and exceeded our expectations,’ says Mr Azzi. ‘I strongly recommend this system for its innovative design and high quality.’

www.prolites.com

Jamia Mosque beams positivity over Horizon

KENYA: With negative press around the world often unfairly linked to Islam, the committee that runs Jamia Mosque in Nairobi wished to showcase the positive side of its religion to the world by providing its worshippers with a voice to reach followers and nonfollowers alike.

‘There are misconceptions of how people relate to Muslims, so we wanted to have our own narrative,’ says Ali Mwachuo, general manager and head of production at Jamia Mosque. ‘Kenya didn’t have a TV station for Muslims competing favourably in the mainstream media. Therefore, Jamia Mosque Committee Nairobi decided

With this decision made, Jamia Mosque founded Horizon Television. ‘The biggest challenge that we faced was all about content,’ recalls Mr Mwachuo. ‘The organisation didn’t have a studio. It didn’t own any equipment, it lacked an experienced production crew and furthermore, since its ambition was based on setting up

needed to abide by the Communication Authority of Kenya’s guidelines of ensuring 40% of its daily schedule was local programming. What the mosque did have in its favour, however, was

usable space on its premises, access to local college media graduates and workers from other TV stations in Nairobi, and the willingness to invest in quality content creation.’

The mosque therefore required a video production solution accessible to less-experienced production crews but with the ability to facilitate the needs of a functioning television studio producing daily programming. Upon hearing of Jamia Mosque’s goals, video production specialists Highway Audio Visual made contact with technical support engineer Maula Sefu recommending a NewTek TriCaster all-in-one multi-camera production system. This provides a simple software interface to control production.

Mr Sefu brought a TriCaster Mini to the mosque to demonstrate its capabilities. ‘While other video production suppliers had to present their proposals and explain their show exactly how a Horizon Television production would work,’ he says.

This led to the Jamia Mosque

committee selecting a pair of NewTek and TriCaster 8000 and TriCaster 410

we can have a multi-cam production,’ reveals Mr Mwachuo. ‘Shooting and capturing multi-cam in real-time reduces the time we spend back in the editing suite. The only thing that we spend time on is conceptualising the graphics once we’re in post, and then we insert them in the TriCaster. When we call it a wrap, we already have our programme at hand.’

to switch between four JVC HM 200

the TriCaster 8000 and TriCaster 410 are installed inside a control room that

serves as a combined production and master control room.

‘The TriCaster 8000 is used for productions from the studio and from the mosque,’ explains Mr Sefu. ‘There are daily shows produced in the studio using a four-camera Sony PMW 320 setup, while the TriCaster 410 serves as the master control unit, taking in external satellite sources as well as the TriCaster 8000 programme out and the completed programmes. The entire feed then transmits to a distributor for on-air broadcast.’

Up and running and delivering its message, Horizon TV is currently

day. ‘We have programmes for kids; on location, there’s one for cooking and there’s one for storytelling, and there’s one that we are yet to start, that we intend to produce in-studio,’ says Mr Mwachuo. ‘We also have programmes for youth, done on location, and a talk show that is done in the studio covering contemporary Muslim topics.’

In addition, Friday prayers are shared with those unable to attend in person in the form of a live broadcast streamed over the mosque’s Ustream and Facebook pages. ‘Streaming it on Facebook and Ustream means it’s available to everyone in Kenya, and in other places, concludes Mr Mwachuo.

views on our Facebook page and after that, every Friday it comes to an average of 2,000 views.’

www.highwayavs.com

www.horizontv.co.ke

www.jamiamasjidkenya.org

www.newtek.com

K-array fixtures discreetly installed

A portable papal recording solution

VATICAN CITY: The Vatican recently sought a ‘portable papal recording system’ to accompany His Holiness Pope Francis on international tours. Several Italian A/V companies were invited to demonstrate possible solutions, including Nagrit srl. Nagrit srl Lectrosonics proposed a system comprising the American manufacturer’s LT digital belt-pack transmitters, LR belt-pack digital receivers and modlar SRc dual-channel receivers. This was the chosen solution

production mixer and SL-6 SuperSlot powering and wireless module. The Lectrosonics transmitters and receivers send the microphone signals to the SL6, mounted in the 688. A second 688 has also been provided as a back-up.

follow His Holiness on his travels, recording his speeches for archive purposes,’ recalls Luca D’Anzelmo, sales manager at Nagrit srl. ‘The Lectrosonics equipment’s wide range of frequencies was very important, as the systems will be used in many different parts of the world. We conducted various tests in Vatican City, just below the Vatican Radio and TV

A small answer for a big space

and to do it on a very tight budget.’

The solution proposed saw the installation of a discreet L-C-R line array setup comprising Danley speakers. Each cluster features an SH-96 for main coverage and an SH-

while the church’s existing BSS SoundWeb DSP was recommissioned.

broadcast antennas, and made further tests inside the Vatican’s various palace buildings and even from inside the palaces’ thick walls. The results were very positive and the Lectrosonics systems proved themselves to be highly reliable.’

www.lectrosonics.com

www.nagrit.com

www.sounddevices.com

them what Danley could do, and they were happy to hear that Danley could in with the white wall above the stage.’ To ensure the system reached its full technical consultant and acoustician, Doug Jones. ‘I love having access to made a few adjustments to the design

USA:

Baptist Church, has enjoyed plenty of success during its 132-year history, relocating numerous times to accommodate an ever-growing congregation. One area in which it has been struggling, however, is sound reinforcement, particularly since moving into its current 1,000seat sanctuary in 1993. These shortcomings were further exposed

recently when the system failed, leading the church to contact systems integrator, Sandor Sound Services.

‘Second Baptist Church’s existing system was underpowered and left a lot of coverage holes,’ recalls Ed Sandor, principal at Sandor Sound Services. ‘The challenge was to deliver the sizable output they needed without obscuring sight lines or creating an ugly mass of speakers –

‘We were able to reuse their existing subwoofers and balcony speakers, giving us enough latitude to get the right Danley boxes for the main coverage, which was ultimately what

‘I really only had about 1.5m from the ceiling to the lip of the proscenium hang. Other companies were suggesting line arrays, which would have hung down too far. I showed

to verify my tunings. Those six Danley boxes cover the room beautifully and their tremendous output, especially given their size, is amazing. It was great that Danley could help us match the

www.danleysoundlabs.com

www.sandorsoundservicesgroup.com

www.secondbaptist.org

Pope Francis making use of the Lectrosonics system

Rebuilding City Gates

UK: City Gates Church opened after a rocky start. The structural collapse of the building during its initial construction fortunately presented no casualties, yet meant that 1,200 congregants were without a sanctuary and had to attend services at a local cinema on the outskirts of London.

Fast-forward half a decade and City Gates has a home of its own, built on the original site. The 1,000-seat auditorium is designed to host a wide range of services and activities, requiring a multifunctional audio system. SSE Audio Group subsidiary, Wigwam Acoustics, was engaged to design and install the system, opting for a d&b audiotechnik loudspeaker setup, while also implementing

part of an installation in the UK with input from the manufacturer itself and freelance sound system designer Jon Raper.

‘In conjunction with the Y-Series products, it makes it very easy to cope with everything from a single preacher speaking at the front of the room to a full-scale, gig-type event.’

The installation includes left and right hangs for the main PA, each possessing three Yi8 and three Yi12 loudspeakers. Handling the low end are four Yi-Subs,

DSP. Further low end is delivered by six Bi6-Subs powered by a 4-channel 30D amp installed beneath the stage for even coverage. Ten 8S loudspeakers deployed around the venue as front-,

Mr Burns. ‘I have been there during services and it really does provide that live, inclusive feeling of being part of a large congregation.’

The church’s staff and congregation are also pleased. ‘The congregation were pretty blown away the minute

Gates’ worship pastor, Joseph Perry.

‘It’s a historic debut project for ArrayProcessing,’ explains Oran Burns from d&b audiotechnik’s GB education and application support team. ‘It ensures that every member same impressive quality of sound by enhancing the spectral consistency, achieve a consistent tonal balance.’

Wigwam sales manager Phil

of ArrayProcessing, there is even coverage throughout the auditorium.

‘The coverage to the entire auditorium space is something quite spectacular, and while most wouldn’t know the ins and outs of why, it has certainly been appreciated by our church. As someone who heads up the music and production aspect of the church, it is a joy to play and sing in that environment each week. The d&b install, makes for a unique experience in a church.’

www.citygates.london

www.dbaudio.com

www.sseaudiogroup.com/Wigwam

Photos courtesy of Wigwam/GPC Media

Multimedia mixing at Southcrest

USA: Southcrest Baptist Church’s original worship centre had been operating at full capacity during each of its services for some time when church management commissioned a new 1,600-capacity building. ‘The new Worship Centre was long overdue,’ recalls Southcrest’s technical director, Rusty Trowbridge. ‘The project has taken two years to complete and has doubled the size of the church, as well

In addition to the new sanctuary, the Texan church has kept its original 750seat worship centre, which has been renamed The Venue. This allows for the running of four Sunday services. Three are large-scale productions in the new Worship Centre, the other is held in The Venue with the pastor’s message

streamed from the Worship Centre. Congregants unable to attend in person are able to watch live streams via several platforms or four local television networks.

With this in mind, Mr Trowbridge and his media team of seven (as well as several volunteers) saw that a pair of Live L300 consoles from Solid State Logic were installed during the set up of the new building to assist with audio production. While Mr Trowbridge operates one of the L300s at FOH, A/V technician Spencer Wells manages the broadcast mix on the other. SSL ML 32.32 Stage boxes with SuperAnalogue mic/line inputs are connected to a Blacklight II MADI Concentrator that distributes a redundant feed to each of the consoles.

‘For our main services, there are anywhere from 100 to 130 people on stage,’ notes Mr Trowbridge. ‘We are 96-in, 64-out capable with our I/O, and right now we’re running about 50 inputs from the orchestra, 12 for the praise team members, 12 choir microphones and the pastor mics. It’s about 86 inputs in total. All of the headset, choir and strings microphones are DPA, with Shure wireless systems and L-Acoustics Kara for the main PA, and an L-Acoustics Arcs system for choir monitors.’ As well as providing the FOH mix, this L300 also delivers 15 monitor mixes. Orchestra sections share a mix, controlling their own balances using

the SSL TaCo Tablet Control iPad app. Mr Spencer describes how the broadcast mix can lack some of the ‘life’ experienced in a live setting and how it’s his job to inject that energy back in. ‘With the saturation options that I have inside the console – the VHD saturator, the tube processing on every channel path – they bring so much life back into the mix,’ he says. ‘It helps you feel like you’re really there; that’s one thing I really enjoy about the console. And the live stream is all console effects – I don’t use any external effects or plug-ins.’

www.solidstatelogic.com

www.southcrest.org

In-depth monitoring at Florida Hospital Church

USA: The musicians on the worship team at Florida Hospital Church (FHC) recently looked into migrating towards a wireless monitoring platform. Taking a proactive approach, members of the band approached AVL consultancy and integrator AVnew about a new system.

‘When the musicians at Florida Hospital Church shared that they didn’t want to limit their mobility by being tethered to their personal mixers, I suggested they look into a Klang:fabrik 3D IEM system,’ shares Gil Parente of AVnew. ‘At the same time they were adding some more Shure PSM 300s, so it’s the ultimate solution to achieve the freedom of being on a wireless IEM system combined with a very intuitive user interface and uniquely immersive 3D environment.’

Chad Hess, technical director of FHC, immediately saw the advantages of the Klang solution. ‘The way that you can spatially move

is very nice,’ he notes. ‘With the amount of separation that you can achieve with Klang, each instrument has its own clear identity in a 360°

band members to be able to just drag where they want their sound tablets.’

Mr Parente points out that Klang:fabrik is compatible with a wide range of tablets. ‘With other inear systems requiring a touchscreen, the only option is an iPad, which is nice but certainly adds up when you’re talking about eight mixes,’ he says. ‘Because Klang is fully functional and compatible with even US$50 tablets, it actually makes the cost per mix very competitive with other personal mixing stations.’ The FHC worship band are using Amazon Kindle Fire tablets.

‘The musicians love being wireless and really like the Klang system with ‘It very intuitively pushes them to make a wider and better mix. And the better the musicians can hear themselves, the better they can play, so the music is better, which makes for a better overall worship experience for everyone.’

The band uses Kindle Fire tablets to control personal monitoring

Klang:fabrik 3D IEM system

Rusty Trowbridge and Spencer Wells

Io® 4K Plus

Professional Video I/O with Thunderbolt™ 3 Performance

Io 4K Plus delivers dynamic high resolution video and multi-channel audio performance. Ingest, monitor and output across 12G/6G/3G/1.5G-SDI and HDMI 2.0 with embedded or analog audio. Power any creative project using a rich professional feature set, with support for full 4K, UltraHD, 2K, HD or SD over SDI or HDMI 2.0, including High Frame Rate (HFR), Deep Color and High Dynamic Range (HDR) workflows.

Professional Connections:

12G-SDI and HDMI 2.0

Io 4K Plus has the connectivity required for today’s broad bandwidth workflows with support for SD all the way up to true 4K. 12G-SDI connectors for 4K input and output as well as HDMI 2.0 in and out further simplifies your cable runs.

Io 4K Plus can handle professional connectivity and rich color workflows from any camera, router, deck and more for your HFR, HDR or high resolution projects, all at a size that’s small enough to easily take on-set or in the field.

Mobile Thunderbolt 3 Performance

Harness the speed and bandwidth of Thunderbolt 3 connectivity up to 40 Gbit/s for smooth high resolution and high frame rate performance including rich 4:4:4 color workflows. Plug into a Thunderbolt 3 laptop or desktop workstation anywhere and power your performance with convenient Thunderbolt 3 pass through to a second port, enabling daisy chaining for configuration flexibility.

Broad Compatibility

Io 4K Plus utilizes AJA’s proven driver and plug-in technology for compatibility with a wide range of production, editing, graphics, and broadcast software packages. Capture and monitor directly within your application of choice for a seamless workflow solution wherever your creativity takes you, from set to studio and everywhere in between.

Robert Soo hosts a great sound sermon

Capturing Victory

USA: Victory World Church is a megachurch that spreads its message to more than 8,000 followers in person at its main Georgia-based campus and two satellite sites, as well as online via live streams. To ensure reliable video feeds for those watching online and at the satellite campuses, the church has investments.

connected to a Hog 4 lighting console

content from the AI media server.

SINGAPORE: Robert Soo of Cogent Acoustics recently led the second in his Sound of Worship seminar series at the Scape Gallery in Singapore. The session was free to attend and aimed to teach house of worship representatives, including pastors, technicians and musicians, how to achieve great sound so that congregations are met with intelligible speech without unwanted reverberation. City Music and ElectroVoice presented the event.

‘It was a very good turnout and I’m happy to see so many churches represented at this series’ second session,’ enthuses Mr Soo, who also serves as chairman and advisor for the Audio Engineering Society (AES) in Singapore. He also spent seven years as the technical director and assistant worship director for a church with a congregation of 10,000 worshippers. ‘The aim of these seminars is to address the many challenging but often common sound issues faced by most houses of worship, and, based on the

participation and responses from the audience, I believe it’s working out pretty well.’

place in May and saw the venue stretched to its full capacity. Based on this popularity, this second session was relocated to the larger the venue. Attendees learnt how to capture and reproduce instruments and bands, the fundamentals of miking, DI and stage monitoring, along with good and bad practices. In addition, Electro-Voice took the opportunity to showcase its newly launched Electro-Voice ELX200 and Evolve 50 loudspeakers to those in attendance, while City Music provided a demonstration of the Korg Grandstage piano. Sound of Worship series is planned for November.

www.citymusic.com.sg

www.cogentacoustics.com

www.electrovoice.com

‘Everything that we broadcast is live to stream,’ says Victory World’s lead video engineer, Chris Winnie. ‘There is no produced content. We use a lot of AJA equipment because it delivers the quality and stability that this level of programming demands. We’ve been burned in the past using equipment that wasn’t up to par, so when we do builds we go with top-of-the-line equipment and never cut corners.’

AJA ROI scan converters feed a trio of monitors onstage to enable the pastors and speakers to see what the congregation sees on the screens throughout the sanctuaries and at home. It also allows communication with the director and for the reviewing of notes. A Grass Valley Miranda serves as the main production video router,

The megachurch now works closely with house of worship specialist A/V integrator Clark to make sure it receives the best possible setup. Sunday services are now captured by four Hitachi cameras and three mobile Canon units. The feed from the Canons is distributed to an AJA FS4 for frame

to 1080i at 59.94. Clean feeds are distributed to a combination of Ki Pro Racks and Ki Pros located in a server room on the main campus and at the satellite campuses, with a dedicated all three sites. A web interface offers control of the Ki Pros remotely.

are employed to transport signals to the projectors delivering IMAG at the main sanctuary. A 9m television wall provides the stage backdrop, with a pair of 5m screens on the left and right. These display jumpback content, live video and lyric videos. Flanking the stage are four vertical projection pillars, fed with content from the Ki Pros via Avolites AI video mapping software. An AJA Kumo 1616 router is used to route all of the video to the screens and is

what controls all audio embedding and de-embedding sent to the Ki Pros. Video from all sources on the main campus is ultimately controlled with a Ross Video Acuity switcher running alongside four computer workstations operating Pro Presenter to include graphic overlays and lower-third content.

is that we can record and playback live while the show is going on, and immediately have a recorded segment to hand off to an artist who may want a copy of their performance for another purpose,’ reveals Mr Winnie. ‘Our equipment is constantly being updated with the best of what’s out there, because at this level of production there is simply no time for failure.’ He then noted that the church is already working with Clark on the next project, which will see a new control room built to allow the church’s online campus to ISO record every camera and destination via Ki Pro Racks.

www.aja.com

www.clark.is

www.victoryatl.com

Robert Soo leading the seminar

Calvary Orlando’s big vision

all-encompassing service.’

PVP2 is a software-based media server that operates on a Mac OS X workstation, which stores media assets locally. Complementing this at Calvary Orlando is Renewed Vision’s ProPresenter 6 software that directly distributes media to the PVP2 for multiscreen display, such as song lyrics and other messages.

Prior to each service, the media content is pre-loaded onto the server and laid out with a timeline. This allows the operator to trigger the preprogrammed PVP2 events alongside the lighting cues during the service.

To say that Mr O’Connor is impressed with the Renewed Vision platform

would be an understatement, considering his closing comments.

‘Despite its powerful processing engine and features, it’s so user-friendly that I can have new volunteers trained to run it very quickly,’ he reports. ‘Most of all, our Renewed Vision software helps us keep our congregation engaged, while attracting new members to our growing church. We now plan to upgrade to PVP3, which will open up new creative options such as how the videos can be composed, how we can pick the layers for display and how much control we have over the system.’

www.calvaryorlando.org

www.renewedvision.com

USA: Calvary Orlando Church is able to accommodate 5,600 worshippers at its sanctuary in Winter Park. As the church continues to explore new ways in which to keep such a large mass of people engaged and to enhance the worship experience, it recently implemented a new A/V strategy that sees live video, graphics, lyrics and other media assets displayed across three giant LED screens above the stage.

The media is streamed to the central 16- x 10-foot screens from a Renewed Vision ProVideoPlayer2 (PVP2) media server. While the PVP2 system offers control functionality of its own, Calvary

Orlando’s lighting director, Kirk O’Connor, manages the content using the MA Lighting grandMA2 desk he employs for the lighting rig.

‘With so many creative options and capabilities, it’s easy to control how the show plays out, including the video, graphics, layers and effects,’ says Mr O’Connor. ‘At the click of a button, the images come up on the displays and support our pastor’s sermons, our live musical performances and other aspects of the service in a very natural, integrated way. By creating this dynamic worship atmosphere, we’re allowing those that attend our services to step into an all-inclusive,

Media is streamed to the central 36- x 10-foot screen and the flanking 16- x 10-foot screens

Capturing sound for half a million

KOREA: Boasting the largest Pentecostal Christian congregation in South Korea, Yoido Full Gospel Church has a following of almost 500,000 worshippers. While the half a million congregants are divided between multiple services and several buildings, including its main sanctuary, the World Mission Centre, the Yongsan Welfare Centre, a CCMM building and a pair of education facilities, the church gathers together large crowds.

With services attracting huge audiences, the Yoido Full Gospel Church recently invested in audio capture, delving into the DPA Microphones portfolio. This was to ensure that during sermons, the speakers, choir and musicians could be heard clearly by all.

‘I have previously used DPA for live

events and in other churches, so I was aware of the quality of the brand,’ says the church’s sound director, Jung Kim.

‘When the time came to upgrade our microphones, I chose DPA because they deliver great results and offer the reliability we need in terms of installation, microphone characteristics and minimal interference between

Projecting clarity at New Hope

USA: With the recent completion of its new sanctuary, worshippers at Fort Meyers’ New Hope Presbyterian Church (EPC) reportedly enjoy a beautiful, inspiring environment.

‘Church management wanted to take advantage of projection technology to help engage and inspire their congregation,’ says Rob Robinson, co-owner of Creative Sound and Lighting Solutions, an A/V installation company that was contracted to design and install IMAG systems at the church. ‘Their services are both traditional and contemporary, so the projectors are used to convey a wide range of content.’

After meeting with church management to ascertain their objectives, the decision was made to install two Eiki EK-511W LCD projectors for the front and an EK-301W as a

[Renewed Vision] ProPresenter, a church presentation software package, and with this they can easily project lyrics, images and video in a very

compelling manner,’ furthers Mr Robinson. ‘They also have a full-time live stream person in the projection booth who can place any camera shot up on the screens. As a result, there is a lot of compelling imagery throughout services.’

The EK-511W projectors are suspended from the lighting bars over the stage area to visually blend in. ‘The brightness of the EK-511W was crucial to the success of the installation,’ Mr Robinson explains. ‘With all the ambient light throughout the sanctuary, we needed serious lumens to blast through to those 3m wide screens with a 6.7m throw. We had to mount the EK-301W rear projector very high. This projector was positioned 4.6m above the rear screen, but, with the amazing corner correction in the unit, the

www.creativesoundsolution.com

www.eiki.com

www.newhopefortmyers.org

microphones that are being used near to each other. The biggest reason for choosing DPA was the solid yet clean tone its microphones deliver.’

The main sanctuary has been equipped with d:dicate 4011F gooseneck microphones installed on the podium with a TSM4001 table shock mount. Pastors and speakers

that are animated in their delivery

4088 cardioid headset microphone, allowing them to step away from the podium. Handling the piano, string and brass instruments of the orchestra are eight d:vote 4099 instrument microphones, while the choir sings into four d:dicate 4011A cardioid units.

‘We also use our d:vote instrument microphones for bands and for other purposes, depending on the occasion,’ adds Mr Kim. ‘We are now looking to replace the microphones we use for satellite broadcasting and radio production and once again DPA

www.dpamicrophones.com

www.fgtv.com

Mixing for the masses

ECUADOR: Centro Cristiano de Guayaquil (CCG) is the largest evangelical church in the city of Guayaquil. It is estimated that upwards of 7,000 people attend CCG’s services, conferences, live music concerts and theatrical productions each week in its 3,800seat auditorium.

As part of a recent upgrade to CCG’s audio equipment, the church installed Allen & Heath dLive S Class mixing and ME personal monitoring systems. The Danteenabled dLive solution is installed at FOH, comprising an S5000 Surface and DM64 MixRack. It handles FOH, monitors, recording and broadcast mixing. The ME system, meanwhile, provides personal monitor mixes for church performers and consists of an ME-U

‘We needed a mixer that was compact yet powerful enough to manage all of the church’s audio requirements – FOH, monitors, multitrack recording and broadcast,’ says Julio Paredes Rosero, CCG audio has a very user-friendly interface, is

www.allen-heath.com

www.ccgye.org

Centro Cristiano

Julio Paredes Rosero at FOH

The Catholic Church in Indonesia celebrates 50 years

INDONESIA: The Catholic Church in Indonesia recently celebrated its 50th anniversary. As part of the festivities, the Catholic community in Central Java came together for an orchestral concert at the Crowne Hotel Ballroom in Semarang to mark the golden jubilee. The concert featured performances from the

Going large with a small system

and ran in cardioid mode to deliver bass extension, and Geo S1230

to cover the VIP area at the front of the venue.

‘Thanks to the cardioid subs and the dispersion of the Geo S12 line

Paulus Surya Orchestra with guest vocalists Delon Thamrin, Putri Ayu, Angela July, Cicho Jericho and Surya Vokalia.

ASIIS Indonesia was hired to supply a high-quality sound reinforcement system for the event. In addition to serving as a rental company, ASIIS is also a distributor for several sound and lighting brands in Indonesia including Nexo, for which it is the exclusive partner. The company’s CEO, Andy Mulya Sutikno, wore the dual hats of system engineer and FOH engineer for the concert, choosing the French manufacturer’s Geo S12 line array cabinets for the main PA.

The left and right hangs each comprised six S1210 loudspeakers

array, we had very even coverage throughout the venue,’ recalls Mr Sutikno. ‘The audience, the church committee and even the venue owner were very appreciative, and all the performers said they were very happy with the sound quality of the system.’

www.asiis-indonesia.com www.nexo.fr

CANADA: Zion Mennonite Church, based in Schanzenfeld, Manitoba, is only a 20-minute drive north of the United States border. It holds mostly traditional services in both German and English to serve the local community, largely formed from the descendants of German-speaking Mennonites from Russia that began settling in the area during the late 19th century.

The church’s congregation has grown throughout its history, leading to the opening of its current sanctuary. Further growth has ultimately led to a recent extension to the church

614 congregants with room for an additional 204 on the balcony and another 90 in the choir loft.

A new sound system was required to ensure intelligible services in either language as well as to reinforce the church’s choir and accompanying piano. Golden West Sound Design was approached to design and install the solution.

‘Sound quality was a high priority for the church from the beginning, but they didn’t want something big and gaudy,’ says Myron Dyck of Golden West Sound Design. ‘Years ago, we installed one of

Iconyx speakers in another church and found success with that. So when I proposed a system based on the IC previous success.’

Zion Mennonite is now equipped that cover most of the room, with two CFX12S subwoofers aimed down each of the two side aisles from the

processors manage the CFX12S and CFX42 cabinets.

‘Iconyx speakers’ horizontal coverage is fantastic, and this is a fairly wide church,’ explains Mr Dyck. ‘If we had used a traditional single array in the centre, or any point-source approach, we would need multiple speakers and

much cleaner installation, and they’re visually unobtrusive.’

During the system design, Mr Dyck and his team utilised the BeamWare III beam-steering calculation and simulation functionality of the Rhaon II System Manager software. ‘With BeamWare, you can adjust four different beams,’ Mr Dyck notes. ‘So I have three beams covering the main

and the balcony is great. When I walk around, I don’t notice any changes.’ The design also took the wooden stage into account for the subwoofer installation. ‘They used special plywood for that stage,’ recalls Mr Dyck. ‘We built subwoofer pockets underneath the stage that the subs slid into, and we sealed those up, which minimised the resonance.’

Future updates may be driven by the future direction of the Zion Mennonite itself, as a church band has started performing periodically during services. ‘The congregation sees the direction the church may be going 10 or 15 years from now, and they want to be prepared for it,’ says Mr Dyck. For now,

Heinz was a great choice for Zion Mennonite Church. ‘It’s a clean, simple install, and the system sounded great after just a few small tweaks and the congregation is super happy.’ www.goldenwestsounddesign.com www.renkus-heinz.com www.zmchurch.org

professional audio engineering

MAKING TOUR-GRADE FEATURES AND PERFORMANCE MORE ACCESSIBLE THAN EVER

Advanced DSP with FIR-Drive and Multi-Amplifier Remote Control (MARC) software enables configuration and control of up to eight amplifiers

Powerful, linear amplifier design and sophisticated protection circuitry for flawless, safe and reliable operation — ensuring constant 2 ohm stability

Fixed installation version includes low- and high-impedance outputs, remote GPIO control and standby power mode for up to a 90% reduction in power consumption

The Lamb’s Chapel branches out

USA: When steady growth in attendance at The Lamb’s Chapel in Haw River, North Carolina, began roads leading to its Sunday worship services, the church knew it was time to expand with an additional location for its attendees making the drive in from nearby Burlington. That new second location, called the Airport Campus and located 10 miles to the west, opened its doors this summer and now welcomes parishioners on that side of the county to a modern, large stage for worship services and community events.

For the project, AVL Environments helped the church with its new technology installation. AVL president Brandon Munger solved some lighting challenges with 31 Stingray says he recommended the elektraLite Stingrays because the client needed to stay within the original budget constraints of the conventional system that had been called for in necessary output. The lights are not

Team communication at Hillsong Conference

need to be up at them for operation and servicing. We also used the Stingrays in the clouds to provide step lighting for the balcony area; clouds and shuttered off to illuminate the stairs.’

support our pastors and worship ministry team on a weekly basis,’ says Brandon Patton, media/ productions manager at The Lamb’s are necessities, it’s not a show. bless others. Colours from the LED lights and screen images for the background in worship services are

www.avlenvironments.com

www.myelektralite.com

www.tlcalive.com

AUSTRALIA: With more than 22,000 worshippers gathering at the Qudos Bank Arena in Sydney, it’s safe to say that the annual Hillsong Conference

based mega church also hosts similar events in London and Los Angeles in addition to the one in its hometown each year and has become well versed in the technical requirements of such a production.

One of the more hidden technical requirements is the communication system employed by the production crew. For this year’s Hillsong Conference Sydney, a Riedel Communications Bolero wireless

Riedel engineering team provided 55 Bolero belt packs for production team members throughout the arena and backstage, marking the world’s largest Bolero deployment to date. Providing the backbone for all integrated audio, video and data communications were 40 MediorNet nodes, while MediorNet MultiViewer provided monitoring.

in wireless comms, as no other product on the market has performed to the level that Bolero did during the Hillsong Conference,’ says Ricki Cook, head of life simple. Deciding to use MediorNet as the abstraction layer and backbone interface between all companies

and departments involved meant any additions or changes to routing between audio, communications and vision was quick and easy.’

The MediorNet network was

routing and processing of all live and broadcast video signals from cameras to screens with a capacity for more than 1,000Gbps over 14

was monitored and controlled by the Riedel team.

Meanwhile, more than 200 Artist digital matrix ports were deployed for the Bolero belt packs, Riedel 1100 series panels and SmartPanel control panels. Due to Bolero’s Advanced DECT Receiver (ADR) technology, comms throughout the entire venue relied on a single antenna location.

production values and a very tight schedule, which meant we had to be up and running fast, and be able to react quickly to changes throughout the event,’ recalls Riedel technical operations manager, Chris Johnson, who led the Riedel engineering team.

and Bolero is really unbeatable for Hillsong Conference. With MediorNet as the system backbone, we were able to make fundamental signal distribution changes with a few mouse clicks. Artist and Bolero are fully integrated, which means we can set up wired or wireless communications quickly in any place with a MediorNet frame. On top of that, Bolero delivered outstanding RF performance, which tricky places very easy and reliable.’

www.hillsong.com/conference/sydney www.riedel.net

The Lamb’s Chapel’s large stage is now bathed in clean, warm white light thanks to the new Stingray Profile LED spot fixtures

31 elektraLite Stingray Profiles are now serving as the primary ‘face lights’

AVL Environments turned to elektraLite fixtures to solve some lighting challenges at the new Airport Campus of The Lamb’s Chapel

Raising the bar on HOW sound in Shepetivka

UKRAINE: The Church of the Evangelical Baptists recently opened in Shepetivka. With a strong, traditional music ministry, Pastor Reverend Viktor Pasechnyk wanted to ensure high-quality sound throughout the new sanctuary.

vocals and speech, the church chose to work with multi-functional PA system specialist, Cortmi. Other system

church’s Viscount DB-5 organ and a

controlled dispersion pattern. The primary PA system is a Dynacord

loudspeaker processor housed in two

is utilised primarily in the music for use at outdoor events. This system consists of four Dynacord

as monitors or as instrument amps

are supplemented with two pairs

With a full choir along with grand piano, horns, strings and acoustic guitars, the church also required a

For this, an Electro-Voice solution was miniature condenser mics hung from the ceiling to cover the choir. The lead vocal and preachers use the N/

additional miking needs. Electro-Voice surface-mount speakers serve the area outside the main hall. For corridors and interior

and design to installation and Cortmi and its local representative,

he felt was important in making a strong impression in the new church.

changing needs as we grow, and we especially proud that according to guests from other churches and

house of worship in all of Ukraine.’

www.cortmi.ua

www.dynacord.com

www.electrovoice.com

The sanctuary at the Church of Evangelical Baptists is Dynacord equipped

USA: LifeWay Christian Resources holds more than 360 student ministry camps each year across America. Once a year, the organisation brings together all of its camp leaders for a weekend of training and study, named X WKND.

‘Each camp has its own unique style so we were asked to create a brand neutral worship design that would speak to the staff members from all camps and make them feel at home in the worship environment,’ recalls production designer, Jake Brantley. Mr Brantley and lighting director Chris Kulow were tasked with creating the unique style for the 2017 edition of X WKND by implementing the lighting, LED video and audio systems supplied

by Elite Multimedia. The three-day event took place at the Shocco Springs Christian Conference Center.

‘We are very familiar with Shocco Springs as we do camps there all summer long,’ says Mr Brantley. ‘Since there are some rigging points in the needs, as well as I-beam supports for additional rigging, we knew we could really take the venue to its limit and create something special.’

Mr Kulow adds: ‘We started talking about using the rigging points to create a giant “X”. With it only being about 7m to the bottom of the steel, we decided to embrace the trim height and from there the design really came together.’

‘We created the “X” using four 18m legs of FlexLite Plus 8.9mm LED video panels hanging about 5m above the audience and it looked great,’ notes Mr Brantley.

A row of Elation Platinum FLX was rigged for FOH beams and aerial effects. ‘Then we had a true main I-beam that had both VL3500

Platinum FLX,’ says Mr Kulow. ‘We hung ETC Source 4 Lekos on the FOH truss for our basic stage wash, and

for more aerials. Lastly, we had three vertical box truss towers on stage with a VL3500 on top with LED battens and ground blinders.

‘We decided to add Ayrton MagicPanels in between the LED video

panels and then we did an ArtNet merge to pixel map them with the video,’ he continues. ‘We were able to carry over the video content to the face

visual effect with the LED video design.’

With the design in place, the production designer and lighting director enlisted Nick Rivero of Meptik for content creation. Mr Brantley also notes how he and Mr Kulow were given a budget along with the freedom to get creative with their design. ‘It was great to be able to work so closely with Elite Multimedia,’ he says. ‘Because of this, our team was able to create the most exciting production design this event has ever seen.’

www.elitemultimedia.com

www.lifeway.com

An Elite production Versatility shapes tech at Oasis House

UK: Trinity Baptist Church has 13 branches, including seven locations in London that have now been joined by the new Oasis House in Croydon, which opened its doors on Easter Sunday this year. At the heart of the modern worship complex is a 900-capacity auditorium. A 32zone audio installation throughout the centre includes a Proel Axiom compact line array system serving the main auditorium.

Given the scale and geometry of the auditorium and to provide a stable image and optimal coverage throughout the space, a classic centre cluster arrangement was built into the stage and step risers to ensure good coverage across the front monitoring was facilitated by means of connection to any of 16 stageconcealed stagebox positions. The relative complexity of the installation and required degree

of versatility in providing audio feeds throughout the complex – in particular to the 300-capacity seating area behind glass at the rear of the auditorium – as well as monitor mixes for stage and side of the stage band position from FOH, shaped the console selection. Discussion and evaluation led systems integrator Lagniappe and head sound engineer Roddy Maharaj to Cadac, who met their expectations and requirements ‘for a console with extensive I/O and mix capabilities, and control from an intuitive user interface’ with a full-frame CDC eight-32, dual 24-inch touchscreen, 32-fader live sound console, along with CDC I/O 6448 stagebox and CDC MC Dante bridge network system components.

‘The Cadac is one of the best desks available,’ states Mr Maharaj, ‘not only for the amazing sound quality. Their algorithms I think are better than all the other digital desks out there.’

The giant ‘X’ entended over the crowd

Trinity Baptist Church’ new home in Croydon

The Cadac CDC eight at Trinity Baptist Church’s Oasis House

Trinity Baptist Church’s main sanctuary

Going big and interdenominational

THE TODAY’S WOMAN

Interdenominational Conference is an annual three-day event, founded by Archbishop Dr Eunor Guti in Zimbabwe. The 2017 edition drew a crowd of more than 15,000 women from a wide variety of church communities to Glamis Stadium in Harare. It was formally opened by First Lady, Dr Grace Mugabe, and led by preachers from around the world. The worship team comprised more than 10 different church denominations with the combination resulting in an eclectic mix of music from renowned Christian artists such as Fungisai Mashavave, Pastor Bonnie Deuschle and the Celebration Choir. The conference was also broadcast on ZBC (Zimbabwe Broadcasting Corporation) and Ezekiel TV, a channel that Dr Guti and her husband, Archbishop Ezekiel Guti, operate.

Several churches, ranging in denomination, form the conference’s organising committee. When it came to seeking out a company to supply and operate the technical A/V equipment, many of those churches had previously hired Tropical Sound & Music Distributors for their events. They had all been impressed by the company’s services and therefore chose to bring it in to provide the technical solutions,

including lighting, video screens, staging and the power generators for this large-scale event.

Tropical Sound claims its success lies in its staff having received the right training and gained enough experience with the systems in the company’s inventory. The company’s reputation for staging shows with a TW Audio inventory not only provided a solution for the PA setup, but was also the main reason Tropical Sound was brought in.

‘Some of the committee members had already heard our TW Audio system so they knew we were the best to handle such a big event,’ recalls Pacival Mukuchura, sound engineer

at Tropical Sound. ‘Some of the event coordinators are pastors and we had done functions for them at their respective churches. We have done a mix of events at some of the higherchurch crusades. We have built a good working reputation because of our technical expertise from these events, as well as at university graduations and government functions that have given us great exposure.’

Tropical Sound’s biggest challenge was in making sure that everyone in attendance, as well as those watching on television, could clearly hear the sermons and music. Set up began

three days before the event with Mr Mukuchura and his team utilising simulation and PA system alignment software to help them achieve optimum coverage. ‘We used a total of 14 TW Audio T24s, deployed six per side for left and right front of house, while the other two covered the VIPs who were sitting at the sides of the stage,’ says the sound engineer. Handling the low frequencies were eight S33 subwoofers and four BSX low-frequency extenders.

While the main PA was formed of TW Audio speakers, Tropical Sound also deployed 10 LAX AT 15M cabinets as stage monitors for the preachers and live bands, and made use of some of the Chinese manufacturer’s venue was 150m long so we had to use a delay stack with two hangs of AT3212-v2 line arrays,’ notes Mr Mukuchura. ‘We were using an Allen & Heath dLive C3500 and CDM64 MixRack digital mixing system for FOH and monitors, while an Allen & Heath GLD 80 Chrome was used in the OB van.’

The company originally chose TW Audio and LAX for its inventory for a variety of reasons, but it’s the training provided by each manufacturer that has kept Tropical Sound loyal to the brands. ‘We specify TW Audio most of

On the heels of projects for multiple churches, Tropical Sound & Music Distributors was enlisted for the Today’s Woman Interdenominational Conference. James Cooke discovers more

The event was formally opened by First Lady Grace Mugabe

all because they tend to be the lightest, smallest and most powerful speakers available,’ Mr Mukuchura explains. ‘But also because our engineers had the opportunity to be trained on the systems by the manufacturer in Germany. And LAX is not only one of the best brands from China, but is also very affordable. LAX also invited us to China to train us, so when using the speakers I know the capacity that they can handle.’

As for the Allen & Heath mixers, it’s familiarity that makes them the ideal choice for Tropical Sound. ‘Our love for Allen & Health stems from way before the digital era,’ reminisces Mr Mukuchura. ‘We already had an old Allen & Heath analogue mixer. Now, there’s added convenience with the digital mixers and their compatibility with the Dante Controller software available for setting up the network.

With everything set up and the conference underway, the Tropical Sound team still faced challenges. One came in the form of mixing both FOH and monitors from FOH. ‘Luckily I’m used to this setup from previous functions where I only had one mixer to use,’ says Mr Mukuchura. ‘On this occasion, I had to keep my headphones on to hear what the people on the stage were hearing. We had also measured the monitors using Smaart V8 and I had my technical guy, Tatenda Mack, at the stage. He was responsible for giving the correct microphones to the right people and we communicated via walkie-talkie in case something went wrong.’

However, a further challenge came already because there were so many acts and there was a need to change every set in accordance with each act,’

MAKE YOUR VENUE A FOCUS VENUE.

We’ve also received training from one of their distributors down in South Africa.’

On the broadcast side, Tinashe Ndhlala, an engineer from Ezekiel TV, managed the OB feed from inside the van. ‘I was responsible for providing the mixer and for the audio routing,’ states Mr Mukuchura. ‘I had to make sure that the Ezekiel TV technical crew, who had cameras and were responsible for the visual feed, received a clear audio signal. Lucky Jojo, one of Tropical Sound’s other sound engineers, was responsible for the setup of the OB van.’

Tropical Sound’s Simba Bapiro handled the entire lighting setup onstage. He employed 12 ETC Source

created with six moving beams and four moving head spots controlled by an Avolites Titan One USB Dongle plugged into a laptop. Meanwhile, a pair of 4m x 6m LED screens were used for IMAG so that the whole audience could clearly see the action on the stage.

were also surprise appearances from artists who weren’t on the programme. We did not have the chance to do a sound check with them so we had to adjust while they performed live.’ This was where all of the training and familiarity with the systems proved extremely helpful for the sound engineer and his team.

With Today’s Woman Interdenominational organisers reportedly impressed with Tropical Sound’s work, Mr Mukuchura is happy with another job well done

to his company’s growing reputation within Zimbabwe’s house of worship market. ‘We had a team of 16 people to set up and manage the sound, stage, lights, power generator and add this conference to our long list of successful events as it helps us build good relationships with our clients who continue to hire us.’

www.tropicalmusic.co.zw

It’s that easy:

1. Rig the electronically steerable line array straight –safely and quickly.

2. Adjust its vertical beam dispersion using just one piece of software – intuitively, in real time, in precise 0.1° steps – and enjoy extremely even sound distribution.

3. If necessary: Adjust the beam for changing sound reinforcement situations.

Pacival Mukuchura, sound engineer at Tropical Sound

Ongoing assignments

Bethany Graha has a history of impressive audio upgrades. Simon Luckhurst discovers the latest addition to its stock

ministry’s previous consoles. ‘We settled on the Studer consoles because upgrading, channel expansion and, of course, the sound quality that Studer

Lawanto, head of music at Bethany.

‘Ultimately they were looking for the best replacement consoles. They knew that Studer offers exactly that but we also provided lots of explanations and demonstrations, as did other brands,’

GRAHA BETHANY NGINDEN

IS

NO stranger to the pages of Worship AVL

Located in the Indonesian district of Surabaya, the church is particularly notable for its sheer size. Able to comfortably seat 30,000 worshippers for each service, it is one of the top 10 biggest churches in the world and is housed under a dome so large it even serves as a landmark for navigators on Google Earth.

When Worship AVL last followed the ministry’s activities in our Spring 2012 edition, it had just completed the installation of a brand-new audio system. With such a large number of congregants to serve, an articulate reinforcement system breathed new worshippers in the house to clearly hear the pastor’s every word.

Five years on and it is time for the next part of its systems to undergo a much-needed refresh, meaning that the ministry has also now become the install Vista X consoles from Studer. Having worked with Bethany in the past on a number of smaller A/V projects, local systems integrator and Harman distributor, PT Cipta Swara Anugrah (CSA Indonesia), was approached by the church to explore options.

‘Graha Bethany Nginden is one of the largest churches, not only in Indonesia or Asia, but in the world,’ explains CSA CEO, Setiawan Winarto. ‘The church was looking to replace their old consoles with the most advanced mixers available to better support their music and multimedia team.’

Jedi Simatupang, marketing

communications at CSA Indonesia, explains how the project came about. ‘There were many other brands and companies competing with us as this is a very prestigious reference site,’ he recalls. ‘We were successful by providing a lot of demonstrations against competing brands. Under the supervision of the church’s head of music, Canessa Christian Lawanto, and approval from Graha Bethany Nginden founder, pastor Aswin Tanuseputera, Studer was chosen because of our commitment to support the church, eiyh the Vistas offering the ultimate sound compared to other consoles.’

Having secured the tender, CSA supplied a pair of large-format Studer monitoring, connected to each other via

Dante. Additional equipment includes

I/O equipment, alongside a Studer 48-channel compact stagebox, D21Master Sync Generator and QuadStar Vista 52-fader control surface.

‘Two Vista Xs are used for the church’s services,’ explains Mr Simatupang. ‘One is installed at FOH and the other is in the studio by the stage for monitoring. They are not currently planning on using them for live broadcasts but we found they met our requirement for both live and installed sound in the church. While they are broadcast desks, Josh Groban and Celine Dion are also using Studer’s Vista X for their live performances, so we thought it will also be a fantastic choice for our live sound needs.’

Designed for broadcasting, the desks offer what the manufacturer calls ‘aviation levels of redundancy’ to ensure against failure mid-use. While church leaders are not currently planning on transmitting their services out to a wider audience, for a ministry serving in excess of 30,000 people, failure is not an option.

As well as the high levels of redundancy that the desks offer, the Vista X models were also selected

Mr Simatupang furthers. ‘This process alone took months and was not a decision that the church took lightly. CSA and the Harman team worked together to provide a fast response for Bethany Nginden’s team. It is our commitment. Furthermore, there is also a dedicated PC on site for constant remote monitoring from Studer.’

Winarto concluded: ‘We secured the project by not only providing the best consoles, but also the best support by working closely with Harman to provide 24-hour technical support, ensuring that any troubleshooting gets solved professionally by our team as well as the Harman Pro team. We are proud to be chosen as a Graha Bethany Nginden partner and look forward to having a good relationship with them for many years to come.’

CSA will continue to provide the necessary support for Bethany and its engineers while the team get accustomed to using the new surfaces. The successful completion of the project has also led to CSA being chosen by Bethany as its preferred partner for future upgrades.

www.bethanygraha.org

www.csa-indonesia.com

Yonathan Benaya (monitor engineer), Yudi Santoso (FOH engineer) and Johan Santoso (FOH)

The sanctuary at Bethany is one of the biggest in South East Asia

The Infinity Core and D23m I/O equipment in the racks

Achieving Bliss and Wisdom

Richard Lawn options helped Singapore’s Bliss & Wisdom Monastery achieve its sound and visual goals

TRADITIONALLY, AUDIO SYSTEMS

in Buddhist monasteries are relatively simple, limiting themselves to a gentle reinforcement of melodic chanting. But just as Christian houses of worship have adopted increasingly charismatic services that would not look out of place in a music venue, some monasteries are seeking higher SPL solutions for their worshippers. Founded in 2002 and led by Venerable Jing Yuan, the Bliss & Wisdom (BW) Monastery in Singapore recently opened the doors to its newly built Woodlands Monastery for its 3,500 members. Whilst the virtues of both bliss and wisdom are symbolically represented within the

Fohhn LFI Linea Focus beam steering speakers will ensure spiritualists can focus their thoughts more accurately. From the outset, the monastery’s Systems Pte Ltd as the dedicated on product demonstrations proved pivotal in the bespoke selection. ‘We felt that we needed a beam steering audio solution to deliver intelligible audio and approached Control Logic Systems to demonstrate Fohhn as they have a proven track record

Systems group sales manager, Jay Lim.

Created in early 2016 as part of the

of personnel, dedicated to serving IT industries. ‘The market is highly

by providing added value in terms of sales servicing,’ furthers Mr Lim.

the slim, unobtrusive design of the 2.25m height aluminium housing appealed to the monks’ aesthetic criteria, they believed that it would lack the required SPLs. However, they were soon won over once they listened to their selected sources of chants and

and clear, whilst live music was made

The active, electronically steerable line array speaker comprises 16

The audio dispersion can be digitally controlled in 0.1° increments between 0° to 90° in the vertical plane, and between 40° to the left and right in the horizontal plane. Operating within a 60Hz to 17kHz frequency range, full processing capabilities, including limiters, compressors, noise gates, FIR

marble, concrete and glass surfaces of this room, you need to focus the energies of the loudspeaker correctly – as such the column speaker system really comes into its own.’

The newly built Bliss & Wisdom Monastery in WoodlandsThe Acesian team

Fohhn LF-220 columns speakers augmented by ARC AS-31 subwoofers provide intelligible speech and music

Ceiling mounted Datavideo PTC180 HD PTZ video cameras are fed into the switcher

JTS cardioid microphones assist the Buddhist chanters during a service

Kling & Freitag balances passion with precision for uncompromising audio quality and 'German engineering'.

We are driven by a desire to provide and technically guarantee music and sound as a genuine sound experience. This is what each product by Kling & Freitag stands for - or, as we say, 'Passion built in'

www.acesiansystems.com

www.bwmonastery.org.sg

www.clspl.com

A large Buddha statue greets the worshipper upon entering the ground

the orientation is rotated on the fourth

The video signal networks rely on Datavideo control and switching

Originally finished in black, the Epson Pro 12,000 ANSI lumens projectors had to be blended into the architecture on both levels

The altar at Bliss & Wisdom Monastery

Looking for warmth

SHEIKH ZAYED GRAND MOSQUE (SZGM) in Abu Dhabi is the major site of worship for Muslims in the United Arab Emirates. As such, it attracts crowds that number in the tens of thousands during festive periods. To cater to congregations of this size in the past, it has hired in additional sound systems from a variety of local rental companies. This experience led to an unorthodox request from the Grand Mosque committee when the time came for a new audio solution for the whole complex.

‘They wanted to have the full bandwidth of sound,’ furthers Elie Khairallah, technical director at Venuetech, the company responsible for the design, supply and installation of the solution. ‘On previous occasions, the SZGM committee had hired in systems for certain events, and that gave them experience of what a full bandwidth system sounds like in a mosque. They wanted more than just the vocal range.’

Venuetech became involved in the project as the result of a direct request from the SZGM committee. ‘We were invited to propose a solution based on their RFP(request for proposal),’ explains Mr Khairallah. ‘Looking into RFP, we worked out the solution based on the criteria that is the most relevant to the client. Indoors, a consistent coverage with 96dB SPL, and, for outdoor areas, the system should be

capable of producing 100dB SPL since during festive days and special events.

‘The most critical element is the acoustic environment inside the mosque as the Sheikh Zayed Grand Mosque has huge prayer halls,’ he continues. ‘Together with the guys at Active Audio, we were able to come out with a number of distributed columns all over the space to ensure the best coverage and to make sure we got the performance that we were expecting. As a result, we exceeded the

performance shown in our simulations, which proves that our design approach is good. The performance in the prayer halls has surpassed our expectations and the Active Audio speakers are really second to none in quality and performance. The system provides high intelligibility, even coverage and high-quality sound like they have never experienced before.’

While the solution performed very well, the installed SA450P+, SA300P+ and SA230P+ column speakers require a companion to provide the full-range

sound the mosque committee was looking for. ‘Although the Active Audio columns perform down to 150Hz, one of the major tasks was to provide a warm sound,’ says Mr Khairallah. ‘We installed four SB115 subs in the main prayer hall that would provide this extended low in the vocals when it’s needed. It tends to provide this warm sound that the SZGM committee required. Thanks to the DSP that we have used, we were also able to adjust all the parameters to enhance the low frequency for the Active Audio columns.’

While the main prayer halls formed an important part of the project, they were only part of the solution for the audio upgrade. A further critical area came from the call to prayer system. ‘The call to prayer has never really been that good at the mosque because the existing system was not Khairallah. ‘We have installed outdoor EVH speakers from Electro-Voice at the minarets that could provide consistent coverage and SPL over the distance.’

While improving this aspect of the system was a vital part of the Grand Mosque’s wider mission, it did provide a unique challenge for the Venuetech team. ‘Due to long cable runs, we requested Link Italy to provide us with a custom-made cable to be used for the minarets,’ divulges Mr Khairallah. ‘Cables are essential when you have longer runs to avoid any loss in power.’

Abu Dhabi’s Sheikh Zayed Grand Mosque was looking to add warmth to its vocal reproduction by installing a full-range solution. James

Ling

Venuetech took on the installation as well as the supply of the project

Electro-Voice speakers cover the outdoor courtyards

This focus on the right cabling applied to more than just the call to prayer system. Venuetech also made a similar request for the speakers covering the prayer halls and courtyards too. ‘For the line arrays, we had multi-core cables that were 6mm as well,’ says Mr Khairallah, who reserves special praise for the efforts put in by the Italian cable manufacturer. ‘The guys at Link worked really hard to provide us with all the cables on time.’

To ensure that the audio is distributed around the Grand Mosque correctly, Venuetech opted for a Dante network. ‘As the solution is based on a Dante network, one of our tasks was the selection of Ethernet switches,’ notes Mr Khairallah. ‘We have opted for ELC’s DLS8GB – these offer eight fully

used 40 units to ensure the proper distribution of Dante.’

At the other end of the signal chain, the Venuetech team was able to persuade the SZGM committee to try a new style of microphone in an attempt to improve the signal going into the system. ‘The imam takes various positions during the prayer so we had a challenge with microphone selection for this kind of application,’ furthers Mr Khairallah. ‘The Sennheiser HSP4 was the best choice and they accepted experience of using a headworn

microphone, but they noticed the quality of sound and the consistency whether they were standing or kneeling and agreed to use the mics for everyday prayers.’

Opting for a wireless solution for this part of the project was an easy decision for Mr Khairallah. ‘When

you have a system like Sennheiser, you don’t really worry about its ability because it is a proven reliable system. We are covering the whole area with the 2000 series – eight channels are distributed over all the prayer halls. The wireless system is covered by Sennheiser’s online application where

you can monitor the battery, you can monitor the coverage, you can monitor everything.’

Completing the new audio solution is a Yamaha CL3 mixing console. ‘They have 12 people who lead the prayers so there are 12 different presets,’ says Mr Khairallah. ‘We have optimised the sound with the mic for each one and saved them so they can be recalled with the push of a button. ‘Each service is mixed live by one of three operators,’ he continues. ‘The most important thing was to have consistent sound, all the time of the same quality and the same performance. This was key for the client. The setup has been done already so it is just a case of operating.’

With the project completed within its seven-month timeframe, Mr Khairallah has a clear sense of pride in the response it has received. ‘At the end of the project, the head of the committee wrote a message on the whiteboard

everyone who worked on the project, acknowledging that the sound was 100 times better than it was before. You feel great when you read such a thank you letter from one of the committee heads. After all the issues and stress you get in a project like this, you feel relieved at the end when you read such a note. We’ve worked really hard to do our best.

‘Probably, this is one of the most advanced house of worship sound systems installed in the region,’ he continues. ‘The client wanted the best of everything.’

More than this, Mr Khairallah believes that the Grand Mosque now has a solution that will match its reputation. ‘The site is one of the most iconic places to visit in the UAE. It’s a marvellous house of worship and it deserves to have a system like they have now,’ he concludes.

www.venuetech.ae

The Grand Mosque remained operational throughout the project

The installation needed to cover all areas of the mosque

The committee made a specific request for subwoofers for the project

Cabling for the project was supplied by Link

A Sennheiser wireless mic solution covers the prayer halls

Active Audio column speakers have been installed at SZGM

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A modern update uplifts

updating its lighting, video and its pioneering column speaker system, the latter with a DSP driven solution. Richard Lawn guides the tour

IT WAS IN 1820 WHEN FATHER

John Therry envisaged a mighty church of golden stone raising its twin spires above the city of Sydney and dedicated to the Blessed Virgin Mary. However, his vision did not come to pass until 2000 when the spires were eventually erected. Although it is neither the tallest nor largest house of worship in Australia, St Mary’s commands the greatest length of any church. In spite of continued high-rise development within the Sydney CBD, its imposing structure and spires dominate the landmark from every direction.

History

St Mary’s Cathedral is unusual among large cathedrals as it is oriented in a north–south direction rather than the usual east–west, so that the liturgical East End is to the north and the West Front is to the south. The conventional English cathedral plan is cruciform in

shape, with a tower over the crossing of the nave and transepts and twin towers at the south instead of the west. The Gothic Revival architecture of St Mary’s combines many English features, whilst its entrance is inspired by Notre Dame de Paris with its balance of vertical and horizontal features, three huge portals and a central rose window.

Constructed of golden-coloured sandstone, the exterior has weathered to golden-brown. In cross-section, the cathedral has a high central nave and an aisle on either side providing additional passage around the interior. The interior of the nave thus rises in the arcade, the gallery and the clerestory, which has windows to light the nave. The glory of St Mary’s Cathedral is the 40 pictorial stained glass windows covering a period of half a century, for which the lower windows are characterised by predominantly blue stained glass. However, the brightness of Australian sunlight led

to the addition of yellow glazing in the clerestory, which has darkened over the years, permitting little light to enter.

To counteract the darkness, the extensive lighting was installed in the 1970s to provide equal illumination throughout the 75m high cathedral. The interior is lit with a diffuse yellow glow, which, like the upper windows, is in contrast to the effects of the natural light penetrating through the white areas of the stained glass. The installed lighting counteracts the pattern of light and shade that would normally exist in a cathedral of the Gothic style by illuminating most brightly those parts of the structure that would have been subdued.

Audio

In 1999, a new pipe organ with three manuals and 46 stops was installed on a new gallery built around the rose window in the western transept. The cathedral hosts up to four sermons per weekday and six at weekends, so a decision was taken in 1996 to enhance speech intelligibility. Brisbane-based Creative Audio was called upon to sensitively integrate a bespoke loudspeaker solution into the architectural façade for which its design of 63 passive beam-steering column speakers was ahead of its provide a pattern control and desired distance of coverage so as to avoid reverberation. The choir was provided

with a separate audio system for gently amplifying their vocals.

However, decay had set in and only 25 of these were still fully operational by 2013 when Envision director, Michael Jones, was called upon to repair several wedge monitors for the Easter service. ‘I had been recommended to the Archdiocese at this crucial time,’ recalls Mr Jones.

‘The quote they had received for a new monitor system was excessive and beyond their budget, so he called me to see if I could repair their faulty monitors. When I inspected them, I found that they were repairable, but told them that they should invest in some new ones in the near future.’ The Easter service went ahead as planned and without problems.

‘I admired the honesty of Michael,’ explains Jake Ryan, event manager for the Archdiocese of Sydney. ‘As we were having issues with our main audio system, I called him back and asked him if he could take a look at the

Envision director Michael Jones with Australis Music Group’s Nik Buchanan

St Mary’s Cathedral is the longest of any Australian HOW

Each QFlex driver was time-aligned using the VNet software via Cat-5

Stored audio pre-sets and parameters are remotely managed from an AMX 10-inch touchscreen

column speakers.’ Following a thorough examination, Mr Jones recommended a system overhaul. ‘It was almost too place when it is in use and you’re trying to scope an audio upgrade path throughout the cathedral and enhance Christmas and Easter.

‘Together with Jake, we looked at music sat on a panel that assessed them all and ultimately selected the voicing sounded natural in the space to providing even coverage, QFlex maintains SPLs across the listening plane owing to the asymmetrical

Following extensive EASE simulations and STI measurements, the QFlex was installed, utilising existing speaker algorithm is generated and tailored models provide the longest throw

column designs provide even SPL dispersion throughout the cathedral. Each QFlex model corresponds to the drivers and integrated DSP units that powered column array. The addition

reporting via relay contacts to the main monitoring panel.

The loudspeakers were installed into their positions using a cherry picker.

testing

and commissioning. The work

‘We had to time align each driver on signal processing monitor and control were optimised so that they would cathedral. You can now log onto any a spike. Previously, the cathedral had now we are conducting regular service processor provides all the microphone level control and mutes, together with isolated speaker control. Having

were the largest and most complex to date in Australia. Zoning presets microphones; typically, several mics

Whilst the lectern, pulpit and the wireless system, utilising lapel clip-on and handheld models, has to date

Prior to the audio installation, Mr Jones oversaw a visual upgrade services to worshippers remotely in Australia and around the world,’ he

signal transmission and routing.’ Completing end-to-end video transmitters and receivers, an SMP link the PTZ cameras to the outside switcher.

Finale

human speech and noise. In addition,

incoming microphone

signals are expanders

that provide customised I/O

Control, lighting and video

The stored audio presets and parameters are remotely managed touchscreen or iPad linked via Ethernet

‘Previously, when entering the the Tannoy system it’s much more pews, and there’s no need to adjust the levels. When we were testing it out, even the security guard would comment that he was hearing sound old system had missed these areas purposely. We no longer need to having to hire a third-party consultant. This has resulted in providing us with

many years, the worshippers within

Mr Jones. Currently, ETC Source spots provide illumination.

www.stmaryscathedral.org.au

www.envisionav.com.au

Suspended cardioid microphones serve the choir area

QFlex 48 and QFlex 24 speakers affixed to one of the Cathedral’s main columns

Smaller QFlex 16 speakers serve as fills

A cherrypicker was used to install the QFlex column speakers in their positions

The rear AV room equipped with a Vaddio Camera 8 controller and Panasonic AV-HS410 switcher

Going wide and focused

HEADQUARTERED IN THE RANDBURG

suburb of Johannesburg, Liberty Church is a vibrant and growing community. With multiple campuses across South Africa as well as international centres in Tanzania and the UK and a strong presence on social media, the church has multiple methods for getting its message out.

The church has a contemporary worship style with its praise band taking centre stage in the Randburg campus’ fan-shaped sanctuary. With music playing a fundamental role in the life of the church, it needed to ensure it had the technology to faithfully reproduce the performance on stage for the congregation. This has seen it embark on a multi-year upgrade process to replace the equipment powering its systems.

Liberty Church has invested in equipment such as an Avid Venue SC48 audio mixing console, an Avolites Titan Mobile lighting desk, lights from Longman and Robe, and a myMix personal monitoring system for the stage of the upgrade saw the church purchase of a new PA to cover the sanctuary.

‘The church has been on a general upgrade path over the last few years and the PA was the last part of that,’ explains Richard Smith, managing director of Sound Harmonics, the company responsible for the sale and installation of the new PA. ‘There will be some other things coming but the PA was one of the big things.’

‘I have always looked for a PA that not only sounded great but is reliable and the after-sales service is good,’ adds Eugene Bester, technical manager at Liberty Church. ‘We have had quite a few PAs over the years and have learned a few lessons about what works and what does not. With our latest upgrade, I was looking for a PA that would cover the venue adequately budget.’

To meet this challenge, Mr Smith suggested an L-Acoustics solution.

‘We’ve got an Arcs WiFo system which is a very versatile, price-friendly system for churches of this size,’ he explains. ‘We have left-right hangs of

of a Focus and a Wide. There are four SB18s under the stage in a splayed around the front of the stage. It’s all

This system design came about thanks to Mr Smith’s preferences for covering spaces of this type. ‘I am quite opposed to the left-centre-right layout in a fan-shape because you end up with a mono system,’ he reasons. ‘This design comes more from the concert approach where you have a left and a

you are always compromising on the very outsides. It drops off a lot and the music

‘We’ve got good enough stereo imaging and we’ve opposed the stereo

and vice versa,’ continues Mr Smith. ‘Wherever you are sitting you will get some sort of stereo imaging, even if it is not necessarily true. It helps to create a bit of a different feel.’ While he was certain on the type of design the space would require, Mr Smith did explore other solutions

from the French manufacturer before settling on the Arcs WiFo system.

‘We looked at other options like Kiva, but the dispersion characteristics and the fact that you only need three enclosures per hang to cover the whole venue as opposed to six or eight was a very big factor in selecting the Arcs,’ he recalls. ‘They are also quite discreet and light. The roof at Liberty Church doesn’t have the biggest load

the subs, so this really helped as well.’ The end result has pleased the church. ‘I am very happy with the Arcs as they sound great and work well in the venue,’ says Mr Bester. ‘It has taken our FOH audio to the next level and Richard and the guys from Sound Harmonics have come to the party.’

Smith is philosophical about what has been achieved. ‘It is a simple setup and and performance point of view. This sanctuary seats around 1,000 so the PA is comfortable in this sort of size room. The longevity of the equipment is an important thing because you don’t

so it is a long process in selecting a new one.’

With the decision made and the solution up and running, Liberty Church’s technical team can now look to other areas where it can improve the worship experience for its congregation.

www.mylibertychurch.org

www.soundharmonics.co.za

The Randburg campus of Liberty Church has completed its multi-year upgrade path with the purchase of a new PA system. James Ling has a listen

The Randburg campus of Liberty Church

Longman lights on stageThe PA has been designed in a theatrical style

Two LA4X and an LA12X amplifiers power the system

An L-Acoustics Arcs WiFo system has been installed

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Coordinating lighting operation with audio and video

Why should you coordinate your production elements?

And how can you go about doing it? John Black explains

NOT LONG AGO, A WORSHIP

service, live music concert or theatrical production relied solely on the tight, manual coordination of many individual operators working together to manually execute cues to keep all of the various technical elements of an event coordinated. Though console operators and stage managers are still an integral part of technical operations, the technical complexity of many events – even in the house of worship sector – has required the integration of digital synchronisation and coordination systems to ensure cues happen together on time, in sync and that the event is accurately repeatable. Lighting, audio, video,

MEET THE AUTHOR

John Black serves as the theatre manager for Seoul Foreign School in Seoul, South Korea. Holding provides technical production support and design in three stateof-the-art performance venues on campus for over 40 major concerts and productions a year in the areas of sound, lighting, video and staging. John especially enjoys sharing his passion for entertainment technology with high-school students each year through his student production team, Crusader Live!, giving students the opportunity to learn and work with professional-level technologies in a demanding production environment.

with little ‘production’ in your services, coordination may not be right for you. If you don’t require a band to play perfectly in time over and over, or with backing tracks, if lighting and audio cues don’t have to happen in sync, or you don’t record and/or broadcast multiple video sources, chances are a coordination system isn’t right for you. Programming a system and making sure all of the elements work together – or troubleshooting when they don’t – may not be worth your effort and instead you can rely on a trusted stage manager and operators to coordinate the execution of all elements by hand. If you do require these or other coordinated events, then using a coordination system can be extremely helpful – especially when working with volunteer technicians.

Starting with audio, one important use for a coordination system is for keeping a live band in time/tempo by utilising a click track. Usually fed to the drummer and anyone else requiring it through personal IEMs, the click track will keep the band in time with each other, and therefore any other production elements that depend on that. I’ve utilised a click track to synchronise a live band when needing to play back certain audio effects or additional pre-recorded or pre-programmed musical parts with the band in real-time. For example, if only one drummer is available but I’ve wanted to include additional auxiliary percussion parts in a live performance, it’s essential to have the band in time with the playback track(s) containing those parts. Synchronising a band with a click track also opens up the possibility of integrating prerecorded backing vocals or other audio effects desired during a live band’s performance.

As lighting production has become increasingly more complicated becoming standard in many HOWs, lighting control and cue programming has become more complex. In simple systems with relatively little programming, there may not be a need to sync lighting cues with audio events. However, if your service uses a lot of lighting programming with multi-part cues and there is a need for an audio event to be in sync with a lighting cue, coordinating the audio and

motion control and effects can be tied together to execute the complex, multi-faceted sequences that today’s audiences have come to expect.

In houses of worship, the coordination system used between production departments varies across the whole spectrum – from non-existent to sophisticated show control systems commonly found on today’s largest music tours and theatrical productions. We’ll take a look here at some reasons why coordinating production elements can be useful, examples of

how I have coordinated production elements and what some of the common technologies and systems for coordination are. Let’s dive in!

Why coordinate

There are a number of reasons why it may be useful to coordinate the lighting, audio and video operation in your house of worship, but let’s not to. Coordination systems can be complicated. If you are a small HOW

John Black, theatre manager for Seoul Foreign School

Sound Research’s SFX 6 main interface screen

Multiple overlapping sound cues can be played by Sound Research’s SFX 6 audio playout system

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It isn’t just about being heard, it’s about being understood.

additional hardware- and software-

Aside from the ability to programme system, it eases the burden on the lighting operator and allows volunteer operator rehearse enough times with a band to manually follow and trigger operated elements of the event with integrated through a media server and is often triggered by the lighting

Audio cues and level control in Figure 53’s QLab show control software

On the hardware side, a generator signals in a number of different formats and then distribute that signal There are a number of hardware

TASCAM’s CG-1800 digital master clock

audio operations is with the display of Coordination

technologies

onto video and audio material and is started by either an audio operator or a live band member who starts the

are a number of adaptations in use, operator pressing the “Go” button after

Avid’s Sync HD generates both digital clock references and timecode

On the software side, there are a The advantage of a software-based used simultaneously from a single operations with audio and video every situation, and it is most often

Coordination systems

operations with audio and video in

An event list from Stage Research’s SFX 6 sound playout software

Using (and not overusing) equalisation

audio experience in worship.

FIRST, LET’S ADDRESS INDIVIDUAL channel equalisation, using a fourcontrol EQ strip that is commonly found on most mixers, both analogue and digital. In the second section, we will discuss house equalisation – the adjustments made to the signal sent to

Individual channel strip EQ

The primary purpose of the individual channel equalisation is two-fold. First, eliminate the unnecessary parts of the spectrum that are not present in

found in microphones where certain characteristics due to intermodulation

microphone electronics. The second function is to add or embellish the sound of the source – instrument or vocal – to bring out the presence. In an earlier column, we referred to

process is simple and is conducted one even be turned off because you will be wearing headphones for this process. You simply repeat it for each channel. Step one – the LF roll-off (or HF

allows you to eliminate the low-end frequencies that are not generated by your source or are below the lowest

the lowest frequency listed? Know this energy will simply be converted by the contribute to a shorter lifetime for both

But what about the source? Perhaps, for that channel, your source is a female singer – a soprano. She may

have vast range but it will be highly doubtful that she will be singing at

There are several charts available on the web showing the typical frequency responses for different sources. Download and print one – then place it where it can be easily referenced.

Step two – set the low mid-range EQ (Figure 2). Put on the headphones,

Adjust the input trim so there is no clipping. Then, while the source is singing or playing, slowly sweep the

terrible, worse in some places than others. But at one particular spot, possible sound. It will sound very

of the diaphragm, the electronics and the source have combined to create a muddy, mixed-up sound where several frequencies are inter-modulating.

channel will suddenly be crystal clear. Step four – set the high mid-range EQ (Figure 4). Again, with the headphones

width, and only 4dB boost. Slowly sweep the spectrum and see if this gives your source any improvement. If not, try again but instead with a –4dB cut. Any improvement? If yes, entirely.

bandpass) (Figure 5). This needs to eliminate the high frequencies that your source is incapable of creating.

for selecting the bottom end can be used for setting the top end.

idealise the tone of the channel for the microphone. The result will be a cleaner, crisper, more distinct mix.

What not to do on the EQ strip

Do not have a high boost or a low cut immediately adjacent to each other in frequency. That will create phasing issues in all but the most sophisticated digital system.

The change will be startling and the

Do not overly boost the bass on the

Equalisation can be an effective tool to enhance and improve the

However, as Gordon Moore explains, the temptation to use it to extremes can detract from the sound and the worship experience

Figure 1. Set the low-end roll-off

Figure 2. Find the ‘junk’

Figure 3. Dump the junk

bass player or the HF on the high hat! They should sound full and natural. Too much bass will muddy the sound and too much HF boost will be harsh. Do not attempt to control feedback with the channel strip EQ. While they may be occasionally effective in this

the source. Deal with the feedback using proper microphone selection, structure.

Figure 6 represents a nice vocal EQ, while Figure 7 shows an interesting EQ for the kick drum. Note the differences are not huge between the two curves, in other words a little change goes a long way!

System EQ

The purpose of the system EQ is to the mix, as heard by the audience or in a recording, is representative of the mix as created by the FOH engineer. Loudspeakers, even very good ones, will have an impact on the

acoustical issues, electronic solutions will not properly resolve them. Deal with acoustical problems through proper speaker selection with correct coverage, acoustical treatments and proper system design. example, let’s assume you are dealing speakers indicates that the speakers cannot go lower than 100Hz, then roll 100Hz. Do not attempt to get a better will make no difference.

subwoofer, for example, should not be range for which it is designed.

After you have set the upper and can proceed with the process of to EQ using dual band FFT with a reference signal or simple ³-octave EQ with a pink noise source, the use approach is to cut only, reducing the peaks in the audio response. Boosting

major phasing artefacts in the audio if on one band and a boost on the other. Figure 8 shows good ³-octave EQ settings, with no radical settings and smooth adjustments.

response across the spectrum so typically plus or minus 3dB to a 6dB range. By achieving this type of will not go into feedback early on example, if you have a peak at 1,200Hz that is 7dB higher than the others, you will have a system that will be prone to system is struggling for gain before feedback, peaks in the response will

A smoother response will give your system an even spectral, natural response. Figure 9 shows poor EQ. Note the jumps between 315Hz to 400Hz and 5kHz to 6.3kHz. Phasing problems will be the result.

What not to do on the system EQ

Do not try to notch out every feedback to analyse the problem causing the lead vocalist one of those who holds the microphone over half a metre from their mouth? Train them to speaker too close to the performers? Try relocating the speaker so the microphones are not in the speaker’s coverage pattern.

No smiley faces (Figure 10)! This is of bass emphasis and a lot of high(sometimes painful to listen to) and a horrible lack of intelligibility since we cannot hear the voices over the cymbals and bass.

want more bass in the sound system, turning up the bass response in the EQ is the wrong place to do it. Make a change in the level of the bass instruments at the fader. Not enough level there? Check your gain your system response. A boost in the bottom end of the EQ will muddy up the vocal channels and destroy the mid-range.

Finally, do not use the EQ to make hearing. Get your hearing tested and have attended far too many concerts where the engineer at the sound board has been mixing at excessive levels for many years and the upper damaged. Their audio mix has huge boosts in the highs, which translates to painful trebles. Learn to mix with an analyser in front of you and learn what a good curve looks like. Then mix to

talking about loudness?’ Mix well and be blessed.

Figure 4. Set the high-mid EQ

Figure 5. Set the high-end roll-off

Figure 6. A nice vocal EQ

FIgure 7. An interesting kick drum EQ

FIgure 8. Reasonable --octave EQ settings Figure 9. Poorly done EQFigure 10. The dreaded ‘Smiley Face’ EQ

Communication and direction of camera operators

IN THE AGE OF YOUTUBE STARS and Facebook Live, even the smallest houses of worship are able to produce video content. And whereas a single camera set up in front of the stage may once have been enough to handle IMAG duties, today’s worshippers often expect higher production standards. This leads to more cameras and a team manning the cameras, vision mixing, editing and directing in what resembles a functioning television studio. Co-ordinating a multicam setup is a job in itself, requiring skills in directing and ensuring clear communication between team members.

Preparation

In advance of a shoot you will need appropriately. Adjustments will need to be made to a lighting rig when going for a multicam operation and further research is recommended on this subject.

of all what shots you wish to achieve –this will of course be dictated in part by the number of cameras you have and the space available. Bear in mind that as your directing skills improve, along with those of your camera operators,

that you will be able to capture multiple shots from a single camera by switching to another camera while the operator frames the next shot. You will want to capture close-ups of your speakers or performers and a long shot of the entire stage to switch between. The standard rule for camera placement follows the 180° rule as shown in Figure 1. This is designed to maintain viewer perspective at all times by keeping the same left/ right relationship between people and objects. Imagine a line drawn across the stage, passing through everything in shot, and ensure that

all cameras remain to one side of it. If camera operators are moving freely with handheld devices, ensure they know not to cross the line, as reversing the left/right balance can produce a disorienting effect.

Mismatched cameras are another common issue easily avoided. Best practice would be to purchase the same

However, this is easier said than done when building up a camera inventory over time and becomes impossible when implementing a mix of static, handheld and PTZ cameras, in which case it is advisable to stick with the

same manufacturer. You should also do your best to ensure white balances and all exposure settings are aligned.

Action!

If you’re shooting for IMAG or live broadcast/streaming, you will need visibility of all camera feeds and the live feed. You will ideally have somebody serving as the vision mixer/ switcher operator to cut from camera to camera at your direction. It is possible to vision mix and direct yourself;

to watch all feeds, give instructions to the camera operators and cut between camera feeds simultaneously.

content solely for postproduction, ensure that all cameras are fed the same timecode to assist the editor. The job then simply involves directing the camera operators. Plan your shots in advance, taking stage placement of performers, speakers and objects of interest into account. In addition to getting the right angles, camera operators will also need direction on how long to hold a shot, which can depend on the content, context and visual story you wish to tell. For example, during a wedding ceremony holding shots for longer periods

With camera equipment becoming increasingly affordable and accessible, more HOWs are integrating multicam setups into their productions. James Cooke explains what you need to know

Figure 1

captures the emotions. Meanwhile, if performance, you’ll want to capture a Speak with your camera operators operator is to ensure that the shot is

systems can also restrict camera

Communication

the sanctuary to whisper in the ear of an intercom system.

with the intercom system, ensure

‘Cut’ when the operator is in position.

Cut! states, practice makes perfect while your camera operators practise comes on.

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Directing and vision mixing on a large scale – Hillsong Conference Sydney 2017

Keeping wiring neat and tidy

Do electrons care if a house of worship’s tech system wiring is messy and tangled? In general, and tidy wiring installations. Frank Wells explains

THE MORE SOPHISTICATED A HOW’S technical infrastructure, the more likely there will be an orderly layout of wiring runs and connections as professional wiring installation is

budgets. Quite often, in average houses of worship, wiring is installed as needed, connecting a new device or adding a new feed to a new location. With the channel-count capability of digital audio networks, far fewer large bulky cables are necessary, overall. But, layers of wiring can still build up over time, making a messy pile. When it’s necessary to chase a wire lead, untangling cables can stress connections and cabling – not to mention wasting time – and the pile is left messier than before.

Here are some general guidelines for a tidy installation. Limit cable runs to the length needed, with some slack for a service harness to allow a rack or console to be moved as needed for service. Balanced analogue audio isn’t much affected by length and is preferred for professional use.

Unbalanced audio (typically employing RCA/phono or TS connections) should be avoided where possible, though a HOW’s best purchase under budget restrictions may leave no choice but to deploy gear, such as video switchers, that uses such audio connections.

If used, unbalanced analogue audio connections, and SPDIF digital audio using RCA connections or TOSLink optical connections, should be kept to minimum practical lengths. SDI on coax cable for digital video also allows for long run lengths, as does Cat-5/6 and

HDMI does not. Learn the limitations – these are factors that can affect how wiring can be run for a tidy installation. When running balanced cabling that is having connectors added on site, the cable length should allow for routing with other cabling on as common a path as possible, with a service harness of equivalent length from cable to cable. In this case, routing cable doesn’t mean what the cable is connecting to on each end, but rather how it gets from one piece of gear to another. In a rack, run wiring vertically

up the left or right of the rack rear, then cross over horizontally to make connections. Exiting the rack, bundle like cables together, such as the cabling running to a console, cabling running to a power amp rack, cabling running between FOH and the stage, DMX cabling running to a lighting grid, and so on.

Keep those cable bundles neat by using cable ties. Most times, professional installers use common and inexpensive single-use plastic wire ties. These ties wrap around a cable bundle, then a thin tip is slid through a slot in a small square head on the other end. A tab inside that slot acts like a lock as it keys into grooves running the length of the tie, ratcheting in as the tie is pulled tight. The excess ‘tail’ of the tie is cut off after it’s pulled tight. At the end of cable runs where there are leads with connectors for insertion into hardware, cable ties allow the cable ends to be neatly fanned out in an orderly fashion.

There are reusable Velcro wire wraps, though more expensive to use and not as suited to smaller tasks like creating a fan-out of connections across the back of a console. Velcro wraps do have the advantage of being removable and reusable. This allows

cables to be added to a bundle without strapping round yet more plastic ties. For original installs, bundles of cables can be inserted into plastic mesh sleeves, though these are hard to add to later. Alternatively, there are ribbed plastic wire guides and plastic wire channelling that allow wiring to be added or taken away.

Bundles of cables can be supported by additional cable ties strapped to rear rack rails, or by using wire ties that have a loop at the top accommodating a screw that can be driven into table bottoms, walls and the like. When supporting wiring, it’s important that the wiring isn’t crimped by the mounting or forced to too tight an angle. There should be no weight pulling at your connections.

If there’s a downside to nice, neat cable bundles, it’s that it makes it hard to chase an individual suspect lead in a bundle. Problems rarely occur along the wire itself, but rather, at the connectors. By labelling each end of a lead, it doesn’t have to be traced through a bundle. At a minimum, use wraparound numbers to identify each lead. There are also tabs that you can write on that, when wrapped around a lead, self-laminate. If your wire runs are starting to look like a rat’s nest, purchase a big pack of cable ties and some labelling and dive in.

Disorderly ethernet installation (photo courtesy of Kim Scarborough)

Correct fan-out of console wiring (courtesy of SkinnyFish Audio)

Labelled and dressed multi-pin connector fan (courtesy of SkinnyFish Audio)

Close-up of immaculate patchbay wiring (courtesy of SkinnyFish Audio)

Orderly ethernet installation (courtesy of Dsimic)

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Lighting a podcast

WHEN THINKING ABOUT PODCASTING, lighting is often the last thing that comes to mind. However, it is a vital element. You can have crystal clear audio and the best cameras available, but, if you don’t have a proper lighting setup, all this is for nothing as your podcast will still not look right.

The good news is, getting a professional lighting look for your podcast is relatively simple. Whether you are one person in front of a webcam or using more of a studio setup for panel discussions, it will massive improvement to the overall look of your productions. For a lot of houses of worship, the podcasts is sharing weekly sermons. This can be a good option as it can be a case of repackaging the material you have already captured during a service and delivering it to

a wider audience. However, there is another option out there that some creating dedicated standalone videos on by their worship leaders. While taking this option does provide a new creative outlet for the worship team, it also means new technology solutions might be required.

When people start podcasting, there is always the temptation to think the lighting in the space you choose to

natural light, the deviations caused by changing cloud cover or different times of day can be distracting for the viewer. Equally, although a room can be well-illuminated, the colour look unnatural. As such, while a lighting system for a podcast may at essential part of the toolkit.

A good lighting setup can be the difference between a video podcast that looks amateurish and one that captures people’s attention. Worship AVL

Changing shadows from natural light can be distracting for viewers

As with all areas of worship technology, the kind of equipment you require will depend on the type of production you are creating. For the most basic setup, where it is one person talking to camera, you can follow exactly the same principles that you would for lighting a presenter on stage.

For this approach the starting point would always be one of the oldest and most-trusted lighting plans there is: the three-point method. Consider for a moment placing a single light directly in front of a subject. The result is that the subject will appear natural shadows are washed out.

Top

lighting

The aim instead should be to closely mirror lighting as observed in the real world so the subject appears more natural to the viewer.

To do this, the area is lit by two

which is positioned 45° above and 45° to the sides of the centre of the area. This is known as front lighting. A third light is then placed behind or high overhead the subject and is known as back lighting.

Using this method of two front lights positioned at an angle, natural provide modelling will still exist and help provide three-dimensionality to the subject. With the addition of a

backlight, the subject is given further modelling and will ‘pop’ out of the background more. Going into more detail, this method starts to pull in terms that are widely used by photographers and

and back light. The key light is the main light used on a subject and is often the brightest. As the dominant front light, it is often placed at a 45° angle to the camera, though different positions can be used creatively for

in some of the dark shadows created

Arrayable Point Source

by the key light. It should not be as bright as the key light and create additional shadows, but rather just soften the contrasts while allowing some shadowing for modelling. Finally, the backlight creates a glowing edge around the subject and pulls the subject out from the background, further ensuring that the

While these three positions can form the basis of any lighting plot, if you wanted to do something a little more technical with your podcast, you

For example, if you wanted to use

ONE for ALL

The most flexible solution for medium size applications

view front three-point

Side view front three-point lighting

On camera lights such as Rotolight’s Neo can be a useful option for podcasters

The new Coda Audio APS

Chroma key to add in a different background, you will want to consider an extra couple of lights to shine behind you to dampen any shadows.

To do this, you must make sure your green/blue screen is evenly lit with minimal shadow. The goal is to have a consistent colour, which is typically achieved by even lighting. If the colour is inconsistent or there are folds, shadows or wrinkles on the backdrop, you’ll be forced to widen your tolerance range for background selection. By doing so, you risk the chance of replacing or compositing unintended parts of your image, including your talent or furniture. One element that is particularly important to consider when it comes to lighting your podcast for Chroma key is the type of bulbs you are using. To ensure that you have the optimum lighting conditions, you should look bulbs or those that are able to with accurate colour temperature but Moving up in scale, the same concepts apply for podcasts involving multiple presenters. If you are in a

have little problem with getting the lighting right as it should have been points for all the necessary lights. However, if you are using your house then you will need to bear a few factors in mind.

The services at many houses of worship have incorporated entertainment components that have seen the installation of lights for singers and musicians, in addition to general lighting on the main speaker. But these lights are to illuminate individuals on the stage for the sake of those attending the services, often seated a great distance away. The modelling lighting requirements

television lighting director’s mantra goes: make the talent look their best; this holds true for podcasting too. Keeping a consistent colour temperature that makes the camera happy is another challenge. Many times the stage lighting is just too bright and out of balance with what

the existing stage lighting can work

someone.

Equally, a colour wash across the background can be beautiful when viewed in a wide shot or from the

professional lights can be too powerful for the webcam’s colour balance to cope with. Equally, using a bright

for the presenter and can serve to be

There are plenty of ways to avoid this situation. While some people choose to use regular household lamps for their podcasts, these can prove to

alternative option, photographic lights can provide a better outcome as they are more controllable in their output and their stands ensure that they can be correctly positioned.

If you have a larger production in mind that uses multiple cameras and a large set, then you will need to go up in scale with your lights. If podcasting on this scale is going to be a regular occurrence, then it may be worth investing in some lights designed for broadcast applications. These will

middle of a house of worship, but can be a distraction behind a face for the

podcasts. To tackle this, it’s preferable to establish camera angles and light reposition background elements

background lighting.

Bringing all of these factors into consideration, houses of worship could be concerned about the cost of a dedicated lighting solution for need to be set aside will depend on the production.

If you are starting at the lower end subject, then the solution can be remarkably simple. In this situation,

inventory, but, if you are looking at this type of production, then you will need the right equipment to deliver a

Whatever kind of lighting solution you select, the most important thing to do is to test the equipment so you can see what it looks like through the camera. While the lighting may be natural to the human eye, it may have taken on a different appearance on a screen. By checking and adjusting your equipment, you can ensure that your podcast looks as good as it can.

Lighting may never attain the importance it deserves in a podcasting setup, but getting this element right means you will have a better end result that helps to carry your message far and wide.

Extra lights are required if using Chroma key

An example portrait with three-point lighting (by James Jeffrey)

It’s preferable to establish camera angles and light for the faces

of your

Broadcast lights, such as Litepanels’ Traveller set, can be an option for HOWs

Specs and reality: loudspeaker dispersion

DISPERSION SPECIFICATIONS, THE

patterns in which a given loudspeaker distributes sound, are developed from free space measurement, or in an anechoic chamber which simulates free space. When loudspeakers are brought into a sanctuary or auditorium, their performance characteristics will be affected by the room. Still, learning

a useful exercise, aiding in assessing the suitability of a loudspeaker system for a given room, and in predicting problems.

Horizontal and vertical coverage

The most commonly quoted attributes of a loudspeaker cabinet are its horizontal and vertical coverage patterns. WAVL readers are no doubt

like ‘90°x 40°’, meaning a horizontal coverage angle of 90° and a vertical angle of 40°. High-frequency horns or wave guides are typically wider than tall to help achieve a wider horizontal angle coverage pattern than a vertical pattern. Figure 1 shows the horizontal for 110° of horizontal coverage and a loudspeaker with a vertical beam width might give the impression that a nicely rectangular shaped beam of sound

emanates from a loudspeaker, the reality is that the coverage patterns will more resemble a misshapen balloon. In fact, ‘balloon’ diagrams are a design and measurement tool for loudspeaker developers. Figure 2 shows an acoustic analysis and performance simulation software illustration of the measured threedimensional performance of a line array loudspeaker cabinet at three different frequencies. Note that the performance is very different at different frequencies, and the overall shape is ellipsoidal. It is not a simple design task to create a loudspeaker with consistent performance across the full audio frequency band. High frequencies are more directional than low frequencies, with low bass being nearly omnidirectional in dispersion. Don’t count on dispersion angles alone to ensure that a given speaker system will adequately reach into the corners of your sanctuary.

and subtract from the direct signal. Horizontal and vertical dispersion characteristics are selected, and loudspeaker positioning is used, to

surfaces including walls, windows and ceilings. Directional speakers, properly selected and implemented, not only

waste energy by propagating sound in unwanted directions.

Frequency response

response, is typically stated as a range, such as 150Hz to 18kHz. Most often, range; when viewed as level versus frequency, the plotted response will yield an uneven, wavy line, tapering off at each end, and is generally quoted as ±3dB. Once the effects of a room are taken into consideration – once the loudspeaker is measured in a real room and not an anechoic chamber – the results can, and typically are, drastically different, with peaks and valleys in the response that can be easily and ±10dB if not worse. The room itself is a wild card variable that can destroy a loudspeaker’s free-space performance characteristics.

On- and off-axis

With many loudspeakers, the measured directly in a straight line from the centre of a speaker, but listener is off centre, or off-axis. It

is to be expected that sound energy will be reduced the further off-axis it is measured. The more uniform the frequency response off-axis, the less that this level differential is a performance and audio quality issue.

Equalisation and other processing

Equalisation – boosting and cutting a tool used to try and tame the effects of the room upon frequency-based performance. Simple room equalisation used to address the on-axis frequency response cannot also correct for a differing frequency response off-axis, which is why it’s best to start with a cabinet that has similar response performance both on- and off-axis.

Room equalisation is not as effective as treating the room itself to try and mitigate the room’s effect on frequency response, but it is the common, lessexpensive approach. Asymmetrical loudspeaker dispersion patterns, beam steering loudspeakers and DSP-driven (Digital Signal Processing) adaptive arrays are further tools used to even out frequency response across a room, and to alleviate sound waves that

Some loudspeaker systems are now so sophisticated they apply different EQ, delay and level control to every component in an array, and not just the signals that drive each cabinet of components.

From a distance

Loudspeaker system designers also have to address the effects of distance on sound propagation performance. Learning the Inverse Square Law (ISL) and its effects are an essential part of sound system design. In short, the ISL states that direct sound will decrease in strength by half (6dB) every time the distance from the source is doubled. For example, a sound pressure level of 90dB SPL at 10m from a speaker would be reduced to 84dB SPL at 20m. For even, level coverage throughout a

Specifying and installing HOW loudspeaker systems is an exercise in putting sound where it’s needed and not where it’s not. Frank Wells reviews what you can learn from specs, and what you can’t

Figure 1 – Simplified horizontal (top view) and vertical (side view) speaker performance

Figure 2 – Balloon diagrams of a cabinet at 315Hz, 630Hz and 2KHz (courtesy of AFMG/EASE)

venue, it’s commonly suggested that the goal should be for sound levels to be maintained within 6dB across the entire audience. Depending on the size of the venue, this goal may be hard to maintain without using multiple time-aligned loudspeakers spaced throughout a venue, or multiple cabinets arrayed to point towards different portions of the audience, with the levels of each cabinet adjusted so that the entire audience experiences levels within a 6dB variance. Additionally, the higher a frequency, the more it attenuates based upon

mounted behind the soloists and the pastor. Fortunately, for spoken word from the main lectern, the pastor would be in the small null zone on stage –a triangle area with its apex at the pulpit and widening towards the choir. Unfortunately, for anyone standing anywhere on the stage to either side of the pulpit, the church’s main loudspeakers were aimed such that they drove the soloists’ microphones directly – a classic illustration of a feedback loop. Unless a soloist stood at the pulpit, or to the sides of the choir underneath the loudspeakers and out

sound has to travel equals about a millisecond of delay). The sound on the worship stage was a mess, with sound from two different loudspeaker systems washing across the raised platform.

the church would be to move the main loudspeaker pair out past the lip of the stage (see Figure 4), ceiling mounting the speakers and re-aiming them further downwards than they were originally mounted. That would take care of the feedback issues, though not the choir’s monitor issues.

distance, so cabinets that are aimed to serve further distances will be EQ’d to produce more high-frequency energy at the source, relying on the attenuation properties of air to even the delivered frequency response.

It’s also worth noting that loudspeaker performance will be different in an people. Humans are essentially large bags of water and effectively perform as sound absorbers.

A case in point

A friend and I were recently discussing loudspeaker issues at his church. The primary complaint was feedback, with a secondary complaint that the choir was having trouble hearing themselves. Upon visiting the sanctuary of the church, the core causes for their problems were obvious.

The church’s sound system was fairly simple. A pair of modest main speakers were used to provide sound to the sanctuary, while a pair of stage wedges did double duty as monitors for soloists in front of the choir on the stage and for the choir as well. The church’s A/V provider had installed the main loudspeakers high on the main sanctuary wall, to either side of the choir alcove (see Figure 3). A quick look online at the horizontal and vertical dispersion specs for the loudspeakers

was that the main loudspeakers were

of the direct path of the loudspeakers (a ‘safe’ zone the music minister had discovered by trial and error), feedback was not just likely, but inevitable.

As for the stage monitors, they worked choir demanded higher volumes than should have been necessary based on the distance from the wedges to the choir members’ ears. Secondly, given the distances involved, the choir heard themselves time-delayed from their singing – in itself a classic example of latency-induced timing confusion (remember, every 30cm of distance

With a relatively modest investment in additional small satellite speakers, a more elegant and complete solution could have been implemented (see Figure 5). The main monitors could be angled somewhat inwards, which would avoid sending energy unnecessarily towards the side walls and windows, as such signals

secondary paths for sound from the main PA, in turn causing confusing positions (which was an issue in the sanctuary rear in the installed

accommodate worshippers seated in the front sides of the congregation, as illustrated in Figure 5, or stagemounted loudspeakers could be aimed towards the front rows of the

(with appropriate delays applied to time align them with the main left/ right speaker pair), could help at the rear of the sanctuary and allow the mains to run at lower volumes.

On stage, if additional smaller cabinets were mounted on either side of the choir and aimed down towards the centre of the choir, the latency issues affecting the choir’s timing would be drastically reduced, and the lowered in volume.

As the small, 250-member church is still paying off the investment in their new sanctuary, its budget did not allow it to address its sound issues at all; they are still suffering through their issues each and every service. Attention to loudspeaker dispersion performance when the original system design was planned and executed could have avoided most of the major problems without

main loudspeakers could have been mounted near twin, ceiling-mounted projectors, where signal conduit had been run.

Too often when the design and budgeting process for a house of worship does not include investment in doing sound right to begin with, nor investment in hiring a competent systems are installed, or adequate systems are installed improperly, resulting in frustration for sound mixers and worshippers. With a little knowledge and research, tech ministry staffers can, at a minimum, learn major problems to avoid and questions to ask of their contractors to avoid headache and heartache.

Choir Monitor Loudspeakers

Wedges

Choir

Main Loudspeakers

Side Fills

Side Fills Rear Fill

Main Loudspeakers Wedges

Choir

Main Loudspeakers

Wedges

Choir

Figure 3 – A problematic installation

Figure 4 – A solution to the biggest problems using existing gear

Figure 5 – A more complete solution

Trends and innovations in video streaming

see on a 6-foot screen.’

continue to increase,’ shares Mr carriers.’

IT SEEMS THAT VIDEO STREAMING is not quite the esoteric beast that it once was. If Worship AVL was Fast-forward to the present day and the increase in connection speeds and integral part of the younger generation’s ways for a church to interact with its of different features on hand.

it and play it out. The whole point is to quality as possible.

or so,’ he adds, ‘but the codecs used quality bar rises higher and higher as as broadband internet connections ubiquitous.’

One of the biggest hurdles to

is typically between 5 and 7Mbps,’ for acceptable quality largely depends on the content and on the size of a tight shot of the pastor with a

the higher quality signals will surely how to address the issues. ‘One of the

Worship AVL

Vitec’s Mark D’Addio

Streambox’ Jeff Woiton

Streambox Live in action

allows you to combine multiple internet sources, whether they be hardline Ethernet, Wi-Fi, USB and/or iPhones, to make sure your internet connectivity is strong. This is ideal for HOWs that have crucial streaming events.’

One of other biggest changes in video streaming has been changing habits at the consumer end, and HOWs are wise to consider the platforms that are desirable to their viewers – which may well differ considerably by age. ‘Larger churches are creating their own mobile apps that enable members to stay connected with the church’s message on a daily or weekly basis. There are also third-party apps that can be branded as a church’s own product. But the most common model for now, and in the foreseeable future, is still to have a main campus streaming to a remote campus that views the message, with local praise and worship leaders at each remote campus. One recent difference might be distributing worship videos to social media sites such as Facebook and YouTube, and using that to extend a ministry’s reach into hospitals, retirement centres, prisons, and so on.’

Streaming services over conventional consumer platforms certainly has

make up for the pitfalls, such as 2-way interactivity. Many congregants will

already be active users of the most popular social networks such as Facebook or Instagram, both of which offer their own live streaming capability for free. Many will also be familiar with digesting video content from sites such as YouTube. While they may be platforms familiar to viewers, they offer

in terms of managing the stream and are not likely to provide the kind of professional results viewers expect.

‘Being able to utilise both mobile devices and social media helps a ministry and its congregation keep in closer touch with each other,’ furthers Mr Woiton. ‘It helps them break away from the model of members only interacting with a church mostly on

BODYWORN MICROPHONES

Sunday mornings to one in which the congregation is continually in contact with the church and its message throughout the week.’

This was the rationale for the Catholic Television of San Antonio (CTSA) adopting Facebook Live in addition to its dedicated television station. ‘Facebook Live helps us get beyond the terrestrial limitations of our broadcast channel. We can reach more Catholics, in other cities, states and countries,’ explains Dagoberto Patlan, operations manager at CTSA. ‘With a traditional website, people Facebook makes it easier to reach people.’

Many professional streaming solutions offer the ability to also simultaneously output to services such as Facebook Live, providing

a best-of-both situation if budgets permit.

Where does this leave a church trying to anticipate the likely technological

On the bandwidth side, widespread deployment of 5G services should theoretically take bandwidth issues out of the equation. In addition, virtual reality technologies currently being touted as the next great innovation by many sectors could change the HOW landscape in ways hard to imagine.

The reality is probably more predictable. ‘Two things I see are moving to UHD resolutions, and doing multi-directional streaming,’ concludes Mr Woiton. ‘Congregation members are becoming increasingly sophisticated, and, as mentioned previously, the quality bar raises.

In addition, some churches have expressed the desire of moving from a one-to-many model to one that is many-to-many. They are using it as a way to bring distant congregations together to “build a longer table”.’

In 2017, the most successful ministries don’t just use streaming as a means to repurpose their services, they do it to start a conversation.

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Moving lights

James Cooke shares what you need to know to avoid being dazzled

LIGHTING FIXTURES WITH HEADS that swivel and bob around like little robots are a common sight on television, at concerts and in theatres. They are also becoming an equally common staple of lighting rigs found in houses of worship. While moving lights can be used to draw the attention of a congregation, they serve many other purposes, such as allowing the lighting programmer to set multiple designs for a single service. Their extra functionality comes of course at a premium when compared to static luminaires. Here’s what you need to know.

Definition

has a base and the ability to either pan or tilt a light emitter,’ explains Sam Bowden, European product specialist at Chauvet Professional.

Eric Loader, sales director at Elation Professional, describes a moving light as ‘a computer-controlled stage lighting

other remote controllable features. It

your stage as well as adds dynamic impact to your presentations.’

Benefits

‘Following the pastor or performers on stage; easily change focus positions as scenic elements are between performances and musical numbers adds to a more dynamic presentation and performance,’ lists Mr Loader. ‘Now, with LED technology, moving lights are becoming brighter, more reliable and more affordable,

it’s pretty much a no brainer to go with an automated LED moving light system versus a conventional theatrical dimming static system today. LED moving lights typically only require cleaning on a quarterly basis depending on their use, and if you have static lights and want to move them to reposition them, you could have to do that weekly or monthly. Putting volunteers on ladders or lifts is very risky so the fewer times you have to do that the better for liability reasons.’

Shopping list

So, you’ve decided moving lighting to explore options. What should you add to your basket: Spot, Beam, Wash or Hybrid?

‘There are different types of moving lights based on features and functions,’ says Mr Loader. Spots typically act like a followspot providing control of beam size, colour, patterns and other but typically have framing shutters that allow you to adjust the beam size to a rectangle, square, triangle or anywhere objects and control light spill. Wash

a narrow sharp beam of light – almost like a sky tracker or ACL type effect. provide multiple disciplines – these are often provide spot, beam and wash in more function and impact from your

Mr Bowden points towards the budgetary advantages. ‘Because a

ultimately cost savings to be made,’ he notes. ‘However, a moving light does have moving parts so there is a need after a few weeks use in an install.

Mr Bowden summarises: ‘Spots create a hard edged spot, a wash creates a soft edge wash on stage, beams create a beam of light from the head and are generally used only for aerial effects. A hybrid combines two or more of these three features. An effect may have a completely different function altogether that is varied and diverse.’

use gobos to add patterns and texture to a stage and a batten is a strip of

only one light. You can move light to focus on different areas or to create different light patterns without having to get to the light and change anything physically. Moving lights in their most basic format achieve similar things to generics, providing a spot, a wash or a beam. However, thanks to advanced optics, some moving lights are able to combine these effects so they may do both spot and wash or even spot, wash and beam in one unit. Generally they also have more features than a generic colour wheels, animations wheels and shutter blades.’

relate to the unit’s ability to perform not only the role of several generic images of light over a surface or through the air.’

‘Moving lights are often used to Barrett, UK country manager of GLP. ‘Where you might require a number lighting different sections of the stage, you could use one moving light. Moving lights do not need to move, at least not with their light on, but the additional features of moving lights add a large range of tools for the lighting designer to use on the stage to enhance an event.’

Sam Bowden, Chauvet

The Chauvet Rogue RH1 Hybrid

Eric Loader of Elation

Elation Platinum 1200 Wash

Simon Barrett, GLP

light used to light up a backdrop,’ adds Mr Barrett.

The good news is that you don’t need to worry too much about whether the portable solutions.

‘Today most moving lights are use so there really are not many major

harder it is to move around, but in general they are all meant to hang with pipe clamps and easily move when required. If you plan on putting well for back lighting and uplighting the stage are typically under 20kg so you can move them easier with one person. There are some IP rating of 65 that allows for outside installation, but in general most moving lights are IP20 meaning people use them outside and just hope the weather cooperates.’

Mr Bowden agrees: ‘The only differences would be found on higher ingress protection ratings [the degree to which elements including dust and moisture can penetrate a housing].’

themselves, you will also require something with which to control them. ‘A DMX controller is generally required states Mr Bowden.

‘There are some very powerful software solutions out there today,’ systems under one DMX universe

Professional control – scaled just right

[512 channels] on a laptop and control the system as needed. Once you go beyond one DMX universe, it’s usually better to get a console or at least a control/playback wing to

and playback via faders for fast access to programs. Getting large lighting consoles is great, but often the learning curve to operate them

operators can be tough if you don’t have a good training programme in place.’

Summary

It seems as if the migration towards hybrid options on the market, the costs involved won’t be too eye-watering. ‘Visual effects are a bonus of moving practical use and elements they bring far outweigh the sizzle they provide. Some of the best shows I have been to used moving lights that you don’t see move at all during the performance.

dark” allows you to change the scene and environment in a snap. Using moving lights can change the complete look of a room. We often tell people you don’t need to paint your room colour on your moving lights!’

www.chauvetprofessional.eu

www.elationlighting.com

www.glp.de

Full programming layout with backlit keys?

Encoders with haptic feedback?

Short-throw motorized faders?

Built-in multi-touch display?

Keyboard tray?

visual environment technologies

etcconnect.com

The GLP impression X4 S

GLP’s X4 Bar 20 and 10

Elation’s Proteus Hybrid

The Gio @5 console combines all the professional programming essentials in a package that fits tighter spaces – and tighter budgets.

Christie LCD panels and processing

Christie is firing on all cylinders with new video products right across the signal chain

CHRISTIE HAS made several new additions away from its traditional projection home. The manufacturer has expanded its range of video processors with the Spyder X80, introduced a new family of LCD panels with the Access Series and unveiled an SDVoE-compliant product for uncompressed video delivery named Terra.

Starting with the Spyder X80, Christie describes the processor as ‘the only video processor capable of handling 4K at a 60Hz refresh rate on a single channel’. The multi-screen windowing processor supports 4K at 60Hz at 8/10/12-bit processing on a single cable, plus 4K at 120Hz on dual or quad cables. In terms of core functionality, it offers a

and 16 outputs, with all connections capable of displaying 4K at 60/50Hz, the ability to rotate outputs individually, and HDMI 2.0, DisplayPort 1.2 and 12G HDSDI connectors. The X80’s card-based design allows customers to match input and output needs with room to change and upgrade in the future, while the scaling and format conversion allows users to mix and match multiple SD, HD, 4K and stereoscopic video formats.

Moving to the end of the signal chain, Christie’s Access Series of LCD panels features UHD resolution and USB playback. The four-member family includes 55- and 65-inch models designed for 16/7 operation, and 75- and 86-inch models for 24/7 run times. All four panels feature an OPS slot and offer an optional touch overlay.

Facilitating signal

transport, the manufacturer’s Terra solution

Alliance to standardise A/V integration. Built on standardised SDVoE technology, Terra solutions support video formats up to 4K at 60Hz and claim ‘unprecedented performance capabilities when transporting and processing uncompressed, zero-frame latency video over 10G Ethernet’. As

part of a Terra solution, the Terra Transmitter processes audiovisual sources and control signals, and transports content over a 10G network. The Terra Receiver accepts the audiovisual data and control from the 10G Ethernet network and supplies it to displays or other A/V

devices. The Terra Controller, meanwhile, provides overall operational control and management for

upgrading of Terra systems.

Lastly, and back at the traditional Christie projector home, the company has launched the DHD1075-GS and DWU1075-GS 10,000 ISO lumen projectors as part of the GS Series. Both laser phosphor units, they offer grid-based warping and blending integrated with the manufacturer’s BoldColor Technology. Both models also feature two HDMI inputs and one HDMI loop out, DVI and 3GSDI, and can handle ‘heavy use over a period of many years’.

The Spyder X80

DHD1075-GS

Size matters for Panasonic

PANASONIC IS pointing to its newly designed 5.7K Super 35mm-sized sensor as the main factor behind the image quality produced by its AU-EVA1 cinema camera. The manufacturer states that by starting at a higher native resolution, ‘the 5.7K sensor yields a higher-resolving image when down sampled to 4K, UHD, 2K and even 720p’. It goes on to explain ‘the increased colour information results in

The sensor also features dual native ISO, a process that reportedly extracts more information from the sensor without degrading the image. According to the manufacturer, this means the camera can switch from a standard sensitivity to a high sensitivity without an increase in noise, or other

artefacts. Away from the sensor, the camera also offers V-Log/ V-Gamut capture, said to deliver a high dynamic range and a broad colour spectrum. V-Log has log curve characteristics that are described as somewhat reminiscent

reportedly delivers a colour space

Weighing in at 1.2kg and measuring 17cm x 13.5cm x 13.3cm, the AUEVA1 can record to SD cards in several formats and compression rates, and offers up to 10-bit 4:2:2 in 4K. It uses a native EF-mount, giving users access to the EF lens ecosystem. Behind the

More advanced camera control

HAVING ENJOYED success with its RCCP-1 remote camera control panel, Telemetrics has built upon the system’s design with the RCCP-1A, offering more ‘advanced’ features.

The RCCP-1A includes all of the features of its older sibling, allowing users access to menu controls for broadcast cameras without the need for dedicated camera control units or external paint boxes. In addition, it provides more camera storage and dynamic camera moves,

of camera robotics and camera shading and a boost in power for the playback of complex key framed moves. Interactive timing control also offers variable speed playback of key framed moves. The manufacturer has also included its advanced autosensing technology to keep talent centrally framed by automatically tracking them.

At the entry-level end of the

control unit. This has been designed for non-technical staff and budgetconscious productions, such as at a house of worship. With a 10.4-inch touchscreen, it is built with pan, tilt and zoom speed control knobs, in addition to a large focus knob.

auto-sensing technology and provides the option for upgrading to more advanced control later on.

The RCCP-1A

Telemetrics has also added to its line of robotic servo-controlled pan/ tilt camera support systems with the PT-HP-S5 servo pan/tilt head. The PT-HP-S5 is aimed at smaller productions with limited budgets that require different POP shots. It can reportedly accommodate any boxstyle camera and lens up to 18kg and is fully 4K ready with embedded

Also new is the Televator EP7 Series elevating pedestal, available in three models of differing sizes: the EP7600, EP7-700 and EP7-1000. With minimum heights of 680mm, 780mm and 1,080mm, they extend to heights of 1,462.22mm, 1,760.95mm and 2,660.95mm, respectively.

Also new is the TeleGlide T4 camera track system that accommodates curve tracking. It is servo-controlled, and features repeatable motion functionality.

www.telemetricsinc.com

four and six stops allows for exposure control. Electronic Image Stabilisation (EIS) is employed to compensate for camera shake and blurring, while the be swung out of the path to the sensor at the push of a button. The camera offers dual-balanced XLR audio inputs and 4K-capable video outputs in both Some new additions have also been made to the manufacturer's line-up of

integrated pan and tilt cameras, with four new models that all boast built-in Network Device Interface version 3 support. This allows them to connect directly to a NewTek NDI network with automatic detection by NewTek’s TriCaster and IP Series video switchers. Available in black or white, the four new models are the AW-HN38, AW-HN40, AW-UN70 and AW-HN130. The ‘N’ cameras feature an NDI mode within

the settings for best performance and compatibility on an NDI network, reportedly enabling very low latency video, audio, PTZ control, tally and power all over a single cable.

www.panasonic.com

Marshall embraces HDBaseT

MARSHALL ELECTRONICS is backing up its membership in the HDBaseT Alliance with three new products that call on the video transport protocol. HDBaseT is a global standard for one cable transmission of uncompressed video control and Power over Ethernet up to 100W over a single Cat7/6a cable at lengths of up to 100m.

The CV612HT-4K PTZ camera is based

and is housed in a PTZ chassis that offers simultaneous four-axis control of Pan-Tilt-Zoom-Focus. It supports up to 4K(UHD) 3840x2160p, as well as standard HD 1080p/1080i/720p video. Adjustment settings include white balance, dynamic range, exposure, iris control, gamma, red/blue gain and black level.

According to the manufacturer, the VAC-HT48-POE-R receiver enables any current system to integrate new devices with HDBaseT into the installation. Over a Cat-7/6a cable, connected HDBaseT devices are supplied with 48V PoE and RS-232/ RS-485 control with incoming audio/

will receive uncompressed 4K60 (4:2:0 8-bit), 4K30 (4:4:4 8-bit) and Full-HD up to 1080p video up to 100m.

extender kit. This will reportedly

cable solution. Consisting of two main components, the VAC-HT12-R Receiver and VAC-HT12-T Transmitter, the VACwith 48V PoE and RS-485/232 control, and will transmit uncompressed audio/ video from over 100m away.

Away from HDBaseT, the American manufacturer has also unveiled an IP67 lipstick camera. The CV225 calls on a -inch, highdeliver 2,476,296 pixels of video through a single, fullsized 3G/HD-SDI (BNC) output in 1920x1080i, 1920x1080p and 1280x720p resolutions at 60/59.94/50/30/29.97/25fps.

New proprietary pixel technology enables the CV225 to produce what the manufacturer describes as ‘the lowest noise ratio on the market today’. The IP67-rated weatherproof design can withstand dust, sand or full submersion up to 1m for 30 minutes. The 3m breakout cable allows for remote control and adjustment via Sony Visca over an RS-485 twistedpair wire, and is compatible with the

RCP Unit using a 3-pin XLR cable. The CV225 is offered in two models, depending on region of use. The

59.94/29.97fps for use in the US.

www.marshall-usa.com

Aten goes further

ATEN’S VE8950 4K HDMI-over-IP extender supports the video matrix function through the AP router/ DHCP protocol with a reportedly unlimited transmission distance.

Whilst supporting HDMI audio and individual stereo, point-to-point and multipoint-to-multipoint, the VE8950 includes 3D and 4K/2K at 30Hz transmission via a proprietary A/V codec. Support receiver daisychaining, Web GUI control and USB 2.0 connectivity are also included. In other news, the Taiwanese manufacturer has also developed the VS1912 12-Port DP Video Wall

Peerless-AV signs the way

Media Player for digital signage, videowalls, projection screens and digital board applications. The PC-based media player supports

12 displays in various asymmetric layouts. Custom widget tools add

media, images and real-time clock displays. The advanced videowall feature allows the resizing, layering, spanning across multiple screens, and rotating of pictures and videos at 90° intervals.

www.aten.com

PEERLESS-AV HAS launched the All-in-One Kiosk for indoor digital signage applications that combines a 55-inch commercial LCD display with six points of IP touch. Powered by a built-in BrightSign Digital Signage Module, the kiosk offers Full HD 1080p60 single video encoding, HTML support and networked content playback, as well as additional features such as interactivity via a GPIO port, remote snapshot, live text, media feeds and multi-zone. According to the manufacturer, it can be used in any indoor setting for the purposes

digital merchandising.

Other notable features of the All-in-One Kiosk include set up via a micro SD card, an HTML5 engine supporting playback of content and modular assets layered with video, full HD video and audio streaming, and the ability to update messaging and interact with the kiosk via Ethernet, Wi-Fi or the BrightSign App.

‘The integrated kiosk’s sleek, stylish design offers

the ruggedness needed for public use, as well as a simple installation process requiring little to no maintenance,’ stated Brian McClimans, Peerless-AV. ‘It’s the fully integrated solution that our customers have been asking for.’

www.peerless-av.com

Barco builds on Overture

ENHANCED AUTOMATION capabilities have streamlined user operation for Barco’s enterprise A/V meeting room control solution, Overture, states the Belgian manufacturer. Overture controls and monitors A/V and other networked devices in multiple locations via an interactive user interface that runs on off-the-shelf commercial hardware. The latest version emphasises automation by adding ‘behaviours’ that enable the automatic creation of tasks

an administrator can set a task to automatically switch on or off all the devices in a single room –without any programming required. The system also integrates with the manufacturer’s presentation tools such as ClickShare, allowing a presenter to set up a room via a

ClickShare button.

also enhances the Scheduler capability to allow users to set moments, such as turning off all devices at night to save electricity. Combining behaviours and scheduling functions together enables a facility or IT manager to enterprise to be controlled from a times.

The ClickShare platform itself has also been treated to a new introduces Windows 7, 8 and 10 and CSE-200.

www.barco.com

Campus-wide solutions from Yamaha

Overture

Duplicator 4K adds H.264 support

Blackmagic Duplicator 4K

REAL-TIME H.264 encoding has been added to Blackmagic’s Duplicator 4K platform, making it possible to distribute Ultra HD content at live events. Duplicator 1.1 is available as a free download from the Blackmagic website.

The software is an SD card duplicator with built-in real-time makes it possible to deliver multiple copies of content as soon as an

established for delivering Ultra HD content; however, many of today’s compatible.

miniaturised into a single rack unit, Duplicator 4K uses standard SD cards for SD, HD and Ultra HD video

www.blackmagicdesign.com

YAMAHA CONTINUES to target

applications with its Commercial Installation Solutions (CIS) range.

A pair of compact cabinets has joined the CIS range in the form of the VXS1ML loudspeaker and VXS3S subwoofer. Yamaha describes them as being particularly suitable to BGM.

The VXS1ML is a mini satellite Lo-Z

voice coil and 1.5-inch full-range driver that reportedly delivers a frequency response between 180Hz and 20kHz with 170° uniform dispersion. A circular mount facilitates free angle installation and vertical adjustment of up to 30°. Available in black or white and

can be surface mounted alone, ceiling mounted with the optional CMA1MB/CMA1MW adaptors or hung from a lighting rail with the RMA1MB/RMA1MW adaptors.

The VXS3S subwoofer features a 3.5-inch driver, switchable Lo-Z

the manufacturer’s Dual SR-Bass technology. With a cited frequency

in black or white with a paintable

Keeping the form factor to a minimum, Yamaha has also unveiled the VXL Series slim line array speaker system. This comprises each available in black or white and designed for applications where and VXL1-24 both feature vertical coverage switches that enable the dispersion.

The CIS series has seen several new additions, including the PGM1

paging station microphone, PGX1

wall-mount controller, SWR2100P5G and SWR2100P-10G L2 switches and ProVisionaire Control custom control panel software. Designed for large-scale installations, these all offer control for the manufacturer’s professional audio systems.

While the PGM1 and MCP1 both connect via Ethernet cables, the former is also compatible with Dante. Both of them, in addition to the PGX1, feature assignable buttons that can be set to the desired function using the MTX-MRX Editor software. The PGM1, PGX1 and MCP1 are all PoE powered from the SWR2100P-5G and SWR2100P10G switches. Yamaha LAN Monitor software remotely monitors the network and PoE power statuses of the switches, paging and controller systems and can remotely switch the PoE power on and off.

ProVisionaire Control software has been developed to provide a Windows-based control solution for all of Yamaha’s MTX/MRX series digital signal processors and CL and Custom control panels for control and monitoring can be built in the software, and communication with the devices can be established either wirelessly or via a hardwired connection.

compatible with audio networks such as Ravenna that support the standard with the inclusion of the

addition to several additional Shure wireless receivers following the Version 4.1.

www.yamahaproaudio.com

The VXS1ML

OmniStream integrates with Q-Sys

ATLONA AND QSC have partnered to co-develop plug-ins for QSC’s Q-Sys platform that will permit networked

audio stream integration with Atlona’s

Series video switchers.

Q-Sys to ingest a direct audio stream from encoders as it does for any other

Sony moves FWD

SONY’S NEW 4K LED displays are designed to offer uniformity for customers seeking an ultra-highsimple to use and cost-effective for those on a budget.

displays are equipped with the

wider palette of mapping colours due to the included Triluminos display,

technology is designed to make darker areas on screen darker and brighter scenes brighter.

The UI is designed for easy

Pixel mapping inside and out

WITH ITS IP65 rating, Chauvet allows lighting designers to engage in pixel mapping both indoors and out. The 1m LED strip features a quick programming mode to reduce the time needed to set up pixel mapping programs by giving access to several prebuilt effects while using just a ‘few’ DMX Channels.

are described as producing a bright output and high resolution graphics.

controlled via Art-Net, Kling-Net or sACN and there are three different

Milk and Square Milk – capable of

creating a range of diffused and high-contrast looks. The Stealth

strip to blend with scenery or appear hidden when used in a dark environment.

As an alternative to the quick programming mode on the Épix Strip IP, designers can control each pixel individually, or they can divide pixel sections. They can also use a media server to control every pixel or section. In addition to the

input, so that Q-Sys can then process, route and mix those audio channels

Series plug-in enables direct control

of switcher operations from within the Q-Sys user control interface.

www.atlona.com

are as well.

www.chauvetprofessional.com

navigation and allows for the creation, scheduling, monitoring, control and management of content remotely via an online server. The displays also

support HTML5 which allows users to include text, graphics and video with live web feeds and IPTV content. They also come with Sony’s Meeting sharing solution.

Sony has also just replaced its existing D-series projectors with four new models: the VPL-DX221, VPL-DX241, VPL-DX271 and VPLDW241. These reportedly offer higher brightness, better contrast ratio and longer lamp life than their technology for brighter visuals, Vivid Mode for higher contrast images and Auto Start for when signal is detected.

pro.sony.com

Robe goes Mega

ROBE HAS

to its Pointe series, aptly naming the by the Czech manufacturer as a multifunctional moving head that uses source said to produce ‘phenomenally bright parallel beams, incredible spot gobo projections, superquick movement and smooth CMY colour mixing’. 22kg, has a lumen zoom ranges from

Additionally, the effects engine has been pre-loaded with 12 rotatable effects that can be enhanced using the beam shaper to create framing shutter effects and rectangular

shapes. The ‘light’ and ‘medium’ frost colours from the CMY mixing system to produce wash-style coverage. A static 14-slot plus open gobo wheel with glass gobos has

projections and inair effects, while a second wheel contains nine rotating, indexable and replaceable gobos. These can be combined with a variable speed, bi-directional animation wheel that can be used in conjunction with any of the gobos or on

incorporates a remote adjustable the appearance of the light source, as well as pre-programmable ‘random’ strobe and pulse effects.

www.robe.cz

The FWD-49BZ30E

HYBRID IP ROUTING

HYBRID IP MONITORING HYBRID IP PROCESSING

HYBRID IP CONTROL

MA community drives software updates

MA LIGHTING has credited feedback from its grandMA2 user community as driving hundreds of improvements to the desk’s control software. Alongside these user-driven upgrades that the manufacturer describes as ‘assisting and programmer’, Version 3.3 of the With the new software, the MA After logging in, users can add their were not available at the software release. Additional search and rating functionality allows users to generate The release also adds link aggregation (LAG) functionality, compatible with

any standard Ethernet network switch and used in meshed installations. Furthermore, the RSTP information about the link status of any port.

Another major feature of Version 3.3 is the fully re-worked partial show-read functionality. Offset for all Pan/Tilt functionality is now incorporated and

have been added. Further new features include several new modes of DMX output function for the MA Network Nodes, RDM via Art-Net, reworked MA VPU Warper mapping and much higher resolution, to allow different ways of blending

between layers, snapshot/masking tools and a completely re-worked help system.

Staying with software updates but changing consoles, MA Lighting has also released version 1.3.1.4 for its dot2 system. The new release includes a web remote facility, more master speed faders, increased effects functionality with instant access to groups and blocks, high-

arrangement for houselights or key lights, freely assignable sACN and ArtNet universes for DMX over Ethernet output as well as for DMX remote in,

www.malighting.com

Avolites feels the beat

projection surfaces and joins the likes of auto map and auto blend as part of the manufacturer’s mapping

is Timeline. According to Avolites, this provides precise control of video in a timecode environment, while still allowing live control simultaneously. Moving on to Titan v10.1, the

assigned a number of beats per cycle. In addition, effects can now also be linked to the group used to make them. In this way, when the number of

group can be updated and the effect

A further feature of the Titan v10.1 release, Scene Master mode introduces what is described

MATCHING THE tempo is a key component at the heart of two software updates for Avolites. The British manufacturer’s Ai v10 and Titan v10.1 offer BPM Sync and BPM Master, respectively.

Alongside BPM Sync, which is targeted at users who perform to

music, the Ai v10 upgrade includes real-time effects generator, Notch, and video sharing feature, Spout. A further addition is projection mapping tool, MeshWarp, which is a combination of Projective Keystone and Grid Warp. The feature reportedly enables users to warp their content to match

ETC unlocks its full potential

ETC HAS reportedly unlocked the full potential of its console hardware with the latest Eos software by ending the practice of incremental upgrades. Rather than purchasing a base-level model and choosing from a range of output upgrades, the desk will now be available in two formats: base level or unlocked. If a user wishes to increase a baselevel console’s potential, it’s now a one-time only upgrade to unlock have already purchased output

upgrades, the manufacturer states that upon installation of v2.6, any its full potential, even if they had only been partially upgraded beforehand. In terms of new features, the software allows advanced Element users to take advantage of multi-user control, partitioned control, virtual media server functions, full display presets, highlight functions and more. Furthermore, a show programmed on an Ion or larger desk can now

new functionality as well as many aforementioned BPM Master reportedly ensures all chases and effects attached to them remain not only at the same tempo, but also in synchronisation with the beat and each other. Effects, including key frame shapes, can now be

capability of the manufacturer’s live palette time feature. It allows multiple palettes, playbacks and time information to be executed with a fader or chosen fade time.

www.avolites.com

Eos v2.6 is here

be ‘more seamlessly’ transferred to a venue with an Element desk. The software update also adds new display and playback features for all Eos family consoles. Users working in the live table view can now bring up part structures, output level, playback

sources or the DMX map via a single button press. Manual timing masters aid live playback options, while the ability to assign Macros to playback

www.etcconnect.com

Titan v10.1 is available as a free download

The grandMA2

Butterfly soars twice

PR LIGHTING

now the Chinese manufacturer has of interface.

which is formed from seven 40W

light angle. Other features include

Beam also have sequels in the form

www.pr-lighting.com

Butterfly II

XR 330 Beam II

XLED 4007 Beam

Elation goes indoors and out

ELATION PROFESSIONAL’S Proteus line has gained a new addition in the form of the Proteus Hybrid. As the name implies, the unit is capable of 3-in-1 operation as either a spot, beam or wash, and can also be deployed outdoors as a result of its Philips’ new 21R 470W lamp and can zoom from 3.0° to 40° in spot mode, 2.0° to 30° in beam mode, and 8.0° to 55° in wash mode. The beam can be manipulated via 8-facet and 6-way linear rotating prisms. Colour design

control. A 14-slot dichroic colour wheel eight rotating replaceable gobos and graphic effects.

A year after the initial launch of the Fuze series, Elation has added a new Wash 575, that the manufacturer says market, houses a high-output 350W Cool White/Daylight COB LED engine with a colour temperature of 6,800K and a high CRI of 95. It reportedly

An LED upgrade for VL1100

PHILIPS ENTERTAINMENT

been designed to offer a high-quality yet low-power tungsten alternative to lighting designers working to illuminate stage and screen. Designed to directly replace the the VL1100 LED is a moving head spotlight and the newest addition to the Vari-Lite family.

The VL1100 LED is built with a 3,200K LED light engine under the

Philips VL1100 LED

Rosco projects from afar

ROSCO IS dipping its toe into the world of LED gobo projectors with the debut of the Image Spot, the

to be capable of projecting images

what the manufacturer calls a

superior’. The unit itself houses a 40W LED array with the option of 19°, 25° and 30° beam optics –

making it suitable for use in retail outlets, museums, theme parks and other hospitality venues. Both indoor IP40 and outdoor IP65

A big inspiration

CHROMA-Q HAS doubled the brightness of its Inspire architectural

Inspire XT. Capable of outputting 9,500 lumens, Inspire XT also offers Inspire features, such as a fully homogenised beam, theatrical grade DMX dimming and convection cooling.

reproducing whites, soft pastels and bold saturates via its RGBW colour

up to 90. DMX-512 control enables

being low maintenance and capable of delivering more than 50,000 hours of operation. Flicker-free operation also means that HD cameras can reportedly be used without issue.

www.chroma-q.com

and colour temperature across a surface, with a smooth, soft wash and consistent light quality. Additional

hood. It allows users to manage the balance between light output and fan level remotely. As the fan noise level is adjusted, the total power output automatically aligns with the required noise level. A hybrid system of liquid cooling and forced air keeps noise levels down.

VL1100’s colour reproduction and uses the same colour mechanism with a colour system tuned to the LED light engine.

www.philips.com

features include 11° to 40° beam control and 16-bit pan and tilt. The Fuze PAR Z175, on the other hand, is described as a full-colour LED PAR light designed for use in all types of stage applications. It houses a 175W RGBW COB LED engine with single-source 15,026 LUX at 2m when used full on consumption is just 200W. Elation also quiet in operation’.

www.elationlighting.com

variants are available.

The unit is also capable of silent operation due to its passive fan-free cooling system, while a variety of accessories are available for additional beam shaping and colour

board dimming controls as well as DMX512 compatibility for both the indoor- and outdoor-rated models.

www.rosco.com

Hearing HotSpot in the palm of your hand

WILLIAMS SOUND’S Hearing HotSpot app is available on iOS and Android devices, downloadable from the App Store and Google Play Store, respectively. It facilitates the streaming of audio in real-time via Wi-Fi from all manner of sources, including televisions and music players, as well as live sources, directly to the smartphone or tablet of somebody requiring assistive listening.

The Hearing HotSpot app provides unlimited channels with the scalability to accommodate any number of users, reportedly offers ultra-low latency and features a customisable in-app messaging system.

www.williamssound.com

Inspire XT

The Rosco Image Spot

Proteus Hybrid

DPA celebrates a quarter century with limited edition kits

IN CELEBRATION of its 25th

Earthworks offers greater flexibility

pattern, the CTF10 and CTF12

of these kits have been made, and, of those 250, 50 will ship in an will be delivered in a traditional black

microphone models from the 25 of each of the omnidirectional www.dpamicrophones.com

The CTF12

RF shielding is incorporated into the microphone’s electronic design to prevent interference from both cell phones and other electronic either the side or bottom of the

the microphone base so that the The XLR can be removed, allowing

Both models are available in a www.earthworksaudio.com

Bose enhances install credentials

INCORPORATING BOSE

PhaseGuide technology, the EdgeMax in-ceiling loudspeakers have been designed to mount near wall boundaries so that they can project HF audio throughout rooms up to 20m wide using only perimeter mounting locations. The manufacturer claims that the new models can effectively cover an area that would require up to four conventional conical-coverage models, further eliminating the need for conventional ceiling speakers to be mounted in the centre of rooms. While touting a unique design and asymmetrical coverage pattern, Bose also says that, EdgeMax loudspeakers provide a full-frequency response for music and intelligibility for speech.

EdgeMax in-ceiling premium loudspeakers are available with two different horizontal coverage patterns, for which the EM90 provides nominal 90° horizontal coverage intended for in-ceiling mounting near room corners. The EM180 models

horizontal coverage for mounting near wall boundaries centred along

target coverage zones. Both models feature 75° asymmetrical vertical coverage and are optimised for ceiling heights between 2.5m and 6.5m. An 8-inch woofer and 1.3-inch diaphragm compression driver are common to both models, and a 2-way passive

transformer taps. A newly developed mounting-clamp system and a magnetically attached grille allowing access to wiring and tap settings further facilitate ease of installation. In other news, a new addition to the Panaray series has been designed to provide consistent audio levels with vocal intelligibility and full-range music reinforcement in acoustically challenging spaces. Available in black or white, the MSA12X modular steerable array loudspeaker features 12 full-range 2.25-inch transducers, each powered by a 50W internal

DSP allows digital control and beam steering of the vertical array coverage patterns, while the inclusion of allows 160° horizontal coverage.

Independent level and EQ control is supported for two separate beams per array, whilst on-board memory stores up to 10 user-selectable presets. Operating within a 75Hz to 14kHz frequency range (±10dB), the columnar line array features both Dante network connectivity and line-level analogue input. The modular design allows up to three MSA12X units to be vertically arrayed to increase coverage distance and low-frequency pattern control, while mounted close to surfaces as its digital control eliminates protruding pitch brackets. An integrated mounting bracket allows up to 90° of pivot away from surfaces. Design, set up and control of beam coverage is provided by Bose Professional Modeler and ControlSpace software.

Based on the F1 portable powered subwoofer, the MB210 is a dual 10inch model that has been created to enhance the low frequencies down to 37Hz when accompanying FreeSpace, Panaray and RoomMatch Utility loudspeakers. Designed for both BGM and foreground music applications in addition to small sound-reinforcement, the 500W-rated MB210 weighs 18.6kg and is housed in a compact 660mm x 292mm x 457mm enclosure. Capable of producing 123dB continuous peak SPL, the in either white or black scuff-resistant polyurethane paint and can be mounted horizontally or vertically with a U-bracket.

www.pro.bose.com

A&H increases remote possibilities

ALLEN & HEATH’S DX168

expander rack for dLive systems

options available to the range. The unit comprises 16 XLR mic inputs and eight XLR line outputs, and communicates and distributes 96kHZ digital audio via Allen & Heath’s DX protocol over Cat-5e.

In Redundant mode, dual cable redundant connections can be made to dLive S Class equipment as well as non-redundant single cable connections to S Class and C Class systems.

In Cascade mode, available with

Peavey takes power up a level

THE PVXP DSP powered enclosures from Peavey Electronics offer ADSP (Advanced Digital Signal Processing) technology and an asymmetrical horn said to keep the sound focused towards the audience using the company’s Quadratic Throat Waveguide technology reportedly covering a 100° x 50° radius (15° upwards and 35° downwards).

can be connected to any dLive S Class or dLive C Class system, allowing up to 96 remote inputs and 48 remote outputs.

The DX168 comes in a stage box format with rubber bumpers and a carry handle for direct placement on

www.allen-heath.com

The series is stated to provide 128dB SPL and the cabinets house 50oz

coils in 12-inch and 15-inch variants. These are teamed with Peavey's high-frequency RX 14 driver housing a 1.4-inch titanium diaphragm. An adjustable EQ comes in the form of the ADSP – EQ presets include

and offer adjustable treble and bass to further tailor the sound to the environment. Additional features include an XLR and ¼-inch TRS combo jack, a built-in mic-preamp and a ground lift. Thru output via male XLR and a separate ¼-inch TRS phone jack are also featured.

622.3mm x 409mm x 381mm and

DSP measures 717.6mm x 480mm x 475.2mm and weighs 23.13kg.

DSP have injection-molded plastic point inserts on the top, bottom and

mounting systems are said to offer the versatility of ceiling or wall mounting. A perforated steel grille with powdered

www.peavey.com

the unit to be mounted in a standard 19-inch rack.

The DX168 expander

Bose EdgeMax EM90 and EM180 in-ceiling loudspeakers

Peavey PVXp 12

FBT X-pands X-Pro

THE X-PRO range has been expanded with the addition of the powered X-Pro 215A and passive X-Pro 215 dual 15-inch models together with the XSub 15Sa Subwoofer. Constructed in plywood, the 800W (Class D) + is spec'd deliver a maximum SPL of 132dB within a frequency response of 42Hz to 20kHz. Delivering high frequencies, a 1-inch HF compression driver is attached to an 80° (H) x 50° (V) constant directivity rotatable horn. The 800W-rated passive X-Pro 215 is equipped with but operates within a 50Hz to 20kHz frequency response.

Constructed of 15mm birch

the XSub 15SA joins the existing XSub 18SA Subwoofer in the series. Designed to accompany the X-Pro and X-Lite ranges, the 15-inch woofer is equipped with a 3-inch voice coil said to provide low-frequency extension down to 42Hz. On-board DSP with four factory presets, two EQ settings operated from an integrated control

Combined force from Danley

DANLEY SOUND LABS’ latest all-in-one audio solution is the SM-80F, a combined synergy horn loudspeaker and tapped horn subwoofer in a single package. The manufacturer states that the cabinet’s compact dimensions and high output make it suitable for live sound rigs installed in houses of worship and theatres.

Statistically, the cabinet boasts a frequency response from 45Hz to 17kHz and uniform phase coherence within an 80° conical beam. It comprises coaxial 12-inch and 1.4-inch mid-high drivers together with two 15-inch

panel. Stereo combo XLR/ ¼-inch

aluminium handles, EQ presets, polarity reversal switch and status LED indicators come as standard. An integral M20 socket is included for pole-mounting, while 100mm optional wheels are also available.

www.fbt.it

SA Series to unify Renkus-Heinz

to Renkus-Heinz loudspeakers, which will ultimately allow all Renkus-Heinz loudspeaker models to be freely combined, as well as clean sound for complex audio

There are three SA Series models

THE SA from Renkus-Heinz has made its manufacturer’s CA and TA Series point source loudspeakers. They connectivity and control platforms

+ 125W; the SA-1250, which delivers 1,000W + 250W; and the SA2000, which produces 2,000W, according to Renkus-Heinz. Each offer full networking capabilities, Rhaon II control, monitoring functionality, and a choice of analogue, AES/EBU and Dante single or redundant network input connections in copper and optical formats. Native DSP, including delay, equalisation, multi-channel limiting and noise-reduction features are also included, as are nine available preset memories.

www.renkus-heinz.com

woofers said to produce up to 128dB/135dB continuous SPL with a continuous power handling of 400W for the mid/high driver and 3,400W for the low frequencies.

www.danleysoundlabs.com

A tri-amped, tri-configuration digital column system

DBTECHNOLOGIES’

Entertainment System series has grown with the release of the ES1203 tri-amped digital column PA system. The series is formed of complete plugand-play column systems and the newest addition offers a complete stereo sound system.

The ES1203 system comprises a pair of passive wooden tops and a single active wooden subwoofer equipped with two 12-inch woofers. The subwoofer includes a Digipro G4 2,400W-peak amp and DSP that manages the 5-channel on-board

The digital mixer features a mic/ instrument balanced/unbalanced combo connector with an adjustable

compensation and microphone gain with 0, +10 and +20dB positions on on the second and third channels. Up to three mic lines can be supported simultaneously.

The top satellites are each equipped with four 4-inch mid-woofers aligned to facilitate asymmetrical vertical coverage. They also feature on-board DSP that provides the choice between stereo or double column; and two

A built-in Bluetooth module is capable of receiving stereo audio from devices, managing the signal on a separate stereo channel. A balanced aux/mix output can serve either as a direct link, as an aux output for a stage monitor or an additional speaker, or if the system is being used in double column as a source for another ES1203 system, providing the left or right signal. The subwoofer features an OLED display with system controls. It also includes a magnetic dolly to facilitate quick transportation, while the OLED display is designed to allow for a simple setup, providing access to recall EQ and the ability to create a pre/post gain mix. To further assist with set up, the ES1203 bundle comes with a sub cover, a bag for tops, a telescopic 35mm pole and two 7m speakon cables.

has been made available for DVA T8 and DVA T12 line array systems, now incorporating FIR Filters.

www.dbtechnologies.com

X-Pro 215A

The Danley SM80F

Watson Grove Missionary Baptist Church

AS

BEFITS ITS NICKNAME,

THE Grove, Watson Grove Missionary Baptist Church in Nashville, Tennessee, is a growing church, with a dedication to spiritual and community growth. The Grove has a membership near 2,000, hosting about 1,100 worshippers between its ‘Saturday Night Live’ evening service and two Sunday morning services.

‘Watson Grove prides itself on its community outreach efforts via monthly special events that are entertaining and informative to both our church family and curious visitors alike,’ shares The Grove’s media director, Brian Christopher Brown. We host events such as picnics, leadership training meetings, concerts, revivals, fundraisers, guest speakers/preachers and informational seminars.’

The church is ‘highly media-based,’ says Mr Brown, ‘and we rely heavily on our sound, lighting and video equipment in order to provide a quality experience to all of our attendees and online viewers – we stream our Tuesday evening bible studies and second Sunday morning services every week on Livestream and Facebook Live.’ The sanctuary itself hosts special events, concerts and guest sermons in addition to its core functions.

For audio, the church uses a Behringer X32 console networked with Behringer Powerplay personal monitor

‘quickly recallable settings and matrix outputs,’ Mr Brown adds that ‘using

the Behringer X32 in conjunction with our Powerplay P-16M cue mix modules makes it very easy for me to control the sound in the house while allowing the band to essentially mix themselves and tweak their headphone and speaker wedge levels for their own monitoring purposes.’ Using a newly purchased Apple iPad and Behringer’s X32 Mix app has opened space in the church’s small media booth for an additional camera controller operator, shares Mr Brown. ‘We are able to allow our sound engineer to control house levels and tweaks from the audience.’

The FOH system is JBL with Crown

pair of B-52 subwoofers, with JBL wedges for the choir’s monitoring needs, and an extra Yamaha stage monitor for the band. Mr Brown lauds

Sennheiser XS wireless microphone system, which also keeps the stage

free of clutter. ‘When you incorporate a quality wireless system with great transmitters and receivers,’ he says, ‘wireless microphones in a church

The video system is anchored by a Blackmagic Design Atem 1 M/E Production Studio 4K video switcher and companion router, which have, Mr Brown says, ‘allowed us to easily route our main A/V programme feed to multiple locations in the church, as well as to our ceiling-mounted projectors’ for showing announcement videos and IMAG images. Cameras are all Panasonic – two PTZ cameras with an AW-RP 50 camera remote controller and a stationary AGHMC150 AVC Camcorder. An Apple iMac is integrated into the system and Renewed Vision’s ProPresenter software manages presentation graphics and videos. For lighting,

cell phone on a mobile app called GroupMe, which allows us to send text messages to our entire group at once for easy communication.’ Mr Brown has created an SOP document for each team member that details their respective roles and how those roles intertwine. ‘These standard operating procedures go into great detail on how to handle and turn on the media equipment, possible trouble-shooting solutions if they arise during a service and how to run each piece of equipment in relation to the volunteer’s role,’ Mr Brown details. ‘We have started offering in-person training, where I offer a sort of mini-class to all volunteers on all of our equipment, showing them how to perform their roles in tandem while running through sample worship schedules.’

TL-5024 lighting controller is deployed and house lighting is integrated. The Grove has a tech staff of eight – including Mr Brown and a media team leader who schedules and communicates with six volunteers. ‘We approach training through three primary methods,’ says Mr Brown, ‘SOPs (standard operating procedures), in-person weekend training and by periodically sharing tutorial videos. All of our volunteers, as well as the media team leader and I, are digitally connected via

His own skills have evolved through his role, he shares. ‘My years of study in audio and video production throughout my early 20s did not go to waste. This position has also provided a great opportunity to learn

live mixing and media applications. I love having the opportunity to help advance a growing church with enormous potential, using my skill-set in audio and video.’ The tech ministry team, says Mr Brown, ‘contributes the ability for the world to pleasurably see and hear Watson Grove Baptist Church in person and online.’

www.thegrovenash.org

Watson Grove Missionary Baptist Church media director, Brian Christopher Brown

From ‘Saturday Night Live’ to ‘Transforming Tuesdays’, WAVL learns how a small tech team supports the busy schedule at ‘The Grove’

Worship at The GrovePanasonic AVD Cam Blackmagic video switcher and router

The JBL house sound system with truss-mounted lighting

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