Worship AVL November-December 2019

AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST

November–December 2019

LESSONS & CAROLS Christmas in Knoxville

STREAMING WORKFLOW TIPS ADDITIONAL LIGHTING FOR SPECIAL EVENTS Singapore: MICA (P) 068/06/2019 PPS 1644/05/2013(022954)

PRO AUDIO TERMINOLOGY 101

CONTENTS

Issue 61

November–December 2019

NEWS ENTER THE SOUNDSCAPE World first for First Assembly Church

4

TABERNACLE OF GLORY Four days of celebration

6

CALVARY ORLANDO Altman house lighting installation in Florida

8

JW CONVENTION Reinforcement from DAS Audio in Ecuador

8

GROVE COMMUNITY L-Acoustics adds a contemporary feel

10

GOING LIVE Capital Christian Ministries International adds Matrox

11

SHAH ABDOL AZIM SHRINE Farayand designs new sound system

12

ROAD TO LIFE Michigan megachurch makes waves

12

BEAMING INTELLIGIBILITY Steering sound at Cimetière de Saint-Georges

14

BEREAN CHURCH Nebraska church avoids a costly update

14

IMMERSIVE MIXING Christian Life Assembly opts for KLANG

16

FIRST ALLIANCE CHURCH Going HD with Hitachi in Calgary

18

BUSAN PENIEL CHURCH Complete Harman sound solution in Korea

18

SPECIAL REPORT Taking the road to an Oasis

20

PROJECTS BETHESDA KATONG Richard Lawn explores the church sanctuary and extensions

22

LIFE CHURCH A sound setup designed as part of the new Mount Eden campus

24

HOLY GHOST FESTIVAL OF LIFE Hungry Earth Productions goes behind the scenes

26

RIVERS CHURCH Simon Luckhurst visits the South African church’s new venue

28

LEADER By the time this magazine reaches you, churches around the world will have already made their plans for Christmas 2019. But that doesn’t mean there isn’t time to tweak your preparations. We also hope that every reader may learn something that can be applied to other future events, whether it’s Christmas 2020, Easter, Eid ul-Fitr, Hanukkah, Maghi or Diwali. For example, in this issue, John Black explains how houses of worship can easily incorporate additional lighting – or alternative lighting effects – into special events without breaking the bank (p.40).

The absence of an upcoming event on the calendar doesn’t form an excuse to not try something new though. If your HOW has considered the possibility of streaming its services, we have a few tips and tricks that might help (p.38), while Gordon Moore provides a guide to how you can tame acoustical problems on a budget (p.34). There are plenty of lessons that can hopefully be learned while flicking through the pages of this magazine…

And speaking of lessons, our cover feature this issue takes a look at Lessons & Carols, an event delivered by three churches last Christmas, that brought the local community together in Downtown Knoxville (p.32). Changes have already being made for Lessons & Carols this December, and no doubt the team involved will continue to learn along the way.

COVER: LESSONS & CAROLS Knoxville churches band together to celebrate Christmas 32

KNOWHOW ACOUSTICS Gordon Moore explains how to get acoustics under control

34

LIVE STREAMING Tips and tricks for your workflow

38

ADDITIONAL LIGHTING John Black incorporates different lighting for special events 40 MAINTENANCE Frank Wells keeps his video cameras clean

James Cooke Editor

Telephone: +44 (0)1892 676280

Email: jcooke@worshipavl.com

44

MEET THE TEAM

TECHNOLOGY AUDIO VOCAB 101 Becky Abel lists common pro audio terminology

46

EVOLVING CONTENT PRODUCTION Grass Valley explores higher standards

50

HOUSE LIGHTING Elation’s Bob Mentele offers a definition

52

BUYING GUIDE Colin Boyle provides considerations when buying a projector

54

PRODUCTS Equipment launches and updates

56

THE TECH VIEW The Worship Unicorn author, integrator and worship pastor Doug Hood 70

IN THIS ISSUE

Richard Lawn:

Sue Gould:

Caroline Moss:

T: +44 1892 676280

T: +44 1892 676280

T: +44 1892 676280

F: +44 1892 676282

F: +44 1892 676282

F: +44 1892 676282

GENERAL MANAGER rlawn@worshipavl.com

ADVERTISING DIRECTOR sgould@worshipavl.com

Becky Abel:

Karen Wallace:

T: +44 1892 676280

T: +44 1892 676280

T: +44 1892 676280

F: +44 1892 676282

F: +44 1892 676282

F: +44 1892 676282

REPORTER

sluckhurst@worshipavl.com

rabel@worshipavl.com

Carolyn Valliere: T: +1 562 746 1790

24

SALES ASSOCIATE

We're on social media

40

www.worshipavl.com

@ProAVLCentral

kwallace@worshipavl.com

Chris Yardley:

T: +44 1892 676280

T: +44 1892 676280

F: +44 1892 676282

F: +44 1892 676282

nsmith@worshipavl.com

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

EDITORIAL COORDINATOR

Nick Smith:

DIGITAL MEDIA MANAGER

cvalliere@worshipavl.com

COVER Knoxville churches - Image courtesy of Hayden Antal CIRCULATION circulation@worshipavl.com PUBLISHED BY

28

cmoss@worshipavl.com

Simon Luckhurst:

SENIOR REPORTER

22

CONTRIBUTING EDITOR

VIDEO EDITOR

cyardley@worshipavl.com

LICENCES Singapore: MICA (P) 068/06/2019 PPS 1644/05/2013(022954) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

@WorshipAVLMagazine November–December 2019 WORSHIP AVL 3

NEWS

First Assembly Church enters the Soundscape CANADA: First Assembly Church in Calgary, Alberta has become the first house of worship to install d&b audiotechnik’s Soundscape immersive sound system. Sapphire Sound, an audio, video and multimedia specialist based in Calgary, pitched Soundscape to the church when approached to design a new sound system.

‘Music is a huge part of what we do and within our church,’ commented Justin Wells, First Assembly’s technical director. ‘For people who come for that, it has the potential to be inspiring. For our sanctuary, what we sought was an audio system that could place everyone in the sweetspot of the sound image, something that could reach those sat at the periphery of our 240° fan-shaped room and give them that inclusive experience.’

Wells and executive pastor Shane Penney contacted Ben Burrell, Sapphire Sound’s managing partner, to assist them. ‘We completed the assessment right about the time of the official launch of d&b’s Soundscape system,’ commented Burrell. ‘Sapphire has been providing d&b solutions since 2013 when we installed a system for Westside Church at The Centre for Performing Arts [in Vancouver]. While we had no direct experience with Soundscape, we have great confidence in d&b; everything we had used from them so far performed exactly as they promised it would. The functionality of their object positioning tool within

solution. But such a conventional solution to First Assembly’s listening area was already complex enough that a high amplifier count was a given; in fact, using Soundscape has reduced the number of cabinets required and consequently reduced the amp count.

The only cost impact was the d&b DS100 signal processing engine and the En-Scene licence.’

‘In terms of installation, everyone, top to bottom, the church elders, the congregation, people who choose to come from out of town – and we get a lot of them – really enjoy it and we constantly receive compliments on the the En-Scene module of Soundscape presented a much more manageable solution to the dilemma of First Assembly, and in many ways a better and more creative one.’

‘When Ben first presented the Soundscape concept it was not simply “another way of achieving what we aimed for”,’ said Wells.

‘We had started to see the conversations in the pro audio press about so-called immersive sound experiences so, even though it was all pretty new, we saw the potential.

Looking at the d&b online videos it was clear this was something else. We had already become convinced this was the way to go.

The demo was the final stamp of approval. Staged in 360°, it was a very cool experience. Although the presentation was more generalised about what could be achieved with En-Scene and En-Space, it was also apparent how this system would

transfer into our church and the impact it would bring.’

Burrell added: ‘Although this was to be our first Soundscape installation, and the first in a house of worship for d&b anywhere in the world, one element was in our favour.

Typically, Soundscape requires more channels of amplification than a more conventional point source

listening experience,’ concluded Wells.

‘We value excellence at First Assembly; this brings music to a place at the heart of worship. Excellence in itself will inspire others to strive for excellence in themselves and their wider community.’ www.dbaudio.com www.fa.church www.sapphiresound.ca

Calvary Chapel extends the stage USA: Calvar y Chapel church in Hemet, California stages special per formances on cer tain holidays. For a recent per formance, including a larger number of congregation members, the church needed more room on the stage, and turned to Staging Concepts to develop a custom stage extension.

Several of Staging Concepts’ SC90 Platforms and SC90 suppor t systems were used to construct the extension. Each

Image courtesy of Donavan James Martin (DJMPhotos)

platform was built with a black polyvinyl sur face and a mill finish frame to give the stage extension

4 WORSHIP AVL November–December 2019

a clean and finished look. In addition, black skir ting was installed on the front and exposed

sides to conceal the empty space below.

This modular staging is designed to be set up and taken down easily by just a few people. When not in use, it can be moved into storage. However, when set up, it has been built to provide a seamless transition from the stage with a sur face that looks and feels permanent. www.cchemet.com www.stagingconcepts.com

Stream broadcast quality live events instantly over the internet with ATEM Television Studio HD and Blackmagic Web Presenter!

Now with ATEM Television Studio HD and Blackmagic Web Presenter you can create professional, broadcast quality television programs from any live event plus instantly stream live out to the internet!

ATEM Television Studio HD is a true professional live production switcher with 4 SDI and 4 HDMI inputs. Simply connect cameras, gaming consoles and computers, then start cutting your show live and in realtime using transitions such as dissolves, dips, wipes, custom graphics, logos and more. You even get a built in DVE so you can create exciting picture in picture effects for use with interviews and live commentators!

The output of the switcher can then be connected to Blackmagic Web Presenter, which has a built in broadcast quality down converter for easy encodes of the video for

Learn more at www.blackmagicdesign.com/sg

streaming. The video is sent to your computer via USB, just like a webcam, so it works with any software. Stream live using services such as YouTube and Facebook Live using software such as Open Broadcaster or XSplit Broadcaster. It even works with Skype for professional remote presentations.

Web Presenter is the easiest and most affordable way to broadcast live video on the web!

ATEM Television Studio HD ................. S$1,425* Blackmagic Web Presenter ................... S$705* *SRP is Exclusive of Taxes

352-(&76 PROJECTS KnowHOW NEWS TECHNOLOGY PROJECTS

NEWS

Broadcasting better quality Tabernacle of in Glory powers esville sound forBaptist Sarangsaem Church First across San four days of Jose celebration he right touch

vastly augh sold 800 e ple . E in ed cable cluding ook ell to em was d.ent with from pacity cians esonal the

schemes – T568A and T568B – are DPSOLÀFDWLRQ V\VWHP LQ WKH EOLQN RI DQ system.

The various inputs andgreatly isHOW to contribute to peace, culture need toadministrators insert the M-Dante interface benefit ‘SGM has a presence in every state used to continues. terminate thehappiness twisted-pair eye,’ he ‘No PAAV system outputs are connected to atoKramer andallowing education for the of card into thebroad MixRack toother allow this by access in Malaysia, and before this opened cable onto the connector interface. works this quickly, reliably and easily VS-1616DN multi-format digital humanity based on thefor philosophy of simple upgrade,’ furthers Mr Tanzil. and other resources their staff, we already had another centre here An 8P8C modular connection has and gives you VP-734 suchtovisitors. aextend consistent level matrix, while presentation Nichiren Buddhism.’ The opportunity the parishioners and Andchurch the of in Johor,’ says Ms Lee. ‘Nichiren two paired components: the male confirmed GyeongHwan sought a solution that an would offer audio quality, scalability and control.’ switchers and scalers ensure HD perhaps more ever in inAnd 2015 provoked anthan audio upgrade, security risks involved inPark, granting Buddhism has become international plug and thecan female jack, each with representative minister ofhave the flexibility to cater to events and sedio 5HĂ HFWLQJ RQ WKH WRXU 0U YDQ images. today’s world, this spreading of taken which otherwise would not after this access be greatly reduced worldwide religion.

It’s growing he eight equally spaced conductors. the Sarangsaem Church. ‘To services of contrasting styles in the arrays Rensburg istowards clearly with the Soundsmith Solutions supplied education ahappy more peaceful way place for several more years, one afe , by and simplified when all of the AVaOn within Malaysia and the new centre the plug, these conductors are flat achieve we required robust Chapel, forMost JBL performance of his and theas Video plays an of important role at Great rV DQG has new Epson L1505-U laser projector USA: The Tabernacle Glory nonof life is this, aon very valuable commodity. suspects.

Perhaps itteam was timely, e. ‘It me devices the network are managed will help spreadand thatopted growth. ms has wash lights and some conventional ery contacts positioned parallel with the loudspeaker solutions to support VRX932LAP line array speakers ontequipment. ‘This wasn’t a Sapphire loud rock/ San Jose’s WestGate as its that isprovided now installed in the rear wall church Church, has branches it has the Gereja Rehoboth get up denominational st.

The by trusted systems that can provide people who come here for trainingand lighting fixtures, and the e-EXP2 Touch This connector body. the jack, the aauthentication rangeshow, ofall activities and functions, VRX918SP subwoofers.

ZKLOH dance buttheir more intimate and satellite liveHaiti. feed above the FOH production area.

Miami,locations New York,require Bostonaand www.sgm.org.my technicians with aInside digital, remote alogue ahe weak in and activity logging. are SGI members, and we will also manages of functions lle dard contacts are suspended diagonally including weddings, The VRX932LAP was organisations chosen for rooms ' detailed audio production and we not were of theyear, services taking place at the otems Chauvet Lighting hasholiday been inserted Each the entire congregation www.toamys.com.my controllable operation.

Inhere addition the sapacity adual lot hen set seminar The risks mentioned are be hosting other peace extremely well.’ Tasker’s mini XLR connectors Bethel Music played four concerts in their recent curvature tour of South Africa towards the insertion interface. celebrations and art therapy its waveguide UHDOO\ DPD]HG DW KRZ ZHOO WKH DXGLR original in Saratoga campus.

In base a recent two to theSapphire sixdown bars, including Maverick gathers the church’s home of www.toa.com.sg congregation has confirmed that audio ee low slowing the advancement andconstant inter-religious groups.

The plan The Touch possesses ed heral with an typically plastic.

Thearray final,coherence but perhaps currently Spring tension inand the jack’s contacts sessions for underprivileged and that make it translated to the audience, from the effort to insulator, improve its picture quality, nit MK2 Profiles, SlimPAR Propowerful QZ12 celebrate the finaland four order quality is clearer more he iLive Miami of AV networking.

Security and wireless mics, a CD player adays VCD/ 45 motorised, programmable ution option RCA’s use as at a connector the most important, connection ensures aallgood interface with theand children.

The JBL systems installed suited forwas medium-sized venues WKLV ZDV GHĂ€QLWHO\ KHOSHG E\ G E¡V front row, the way toit’s the last seat in DORQJVLGH 6PDDUW 9 IRU UHDO WLPH 57$ the invested in8,000-seat two lighting Z-HD5500 with USB Shocker 2to Blinders of a church 40-day fast the the than washes, before. ‘Although been over sllsong us thin manageability are sure become DVD player plus an M-864D mixer and he and dual 15.6-inch The FOH audio, video and production area completely redesigned faders the for composite video signals is as on any piece is for plug and row. allows for slight travel by arein per fectly suited toas without long-throw distances, such enue the back The highs were crisp, the graphs and collaboration with Lake HDTV production cameras from master Colorado Zoom Tours.

Center.

To ensure everyone 15Kinoton years since we installed the system ctuary oneers as essential AV deployments DP-SP3 processor. touchscreens, providing enough EAW MK8196 speakers serve underGHVLJQ SKLORVRSK\ ,W DOZD\V DPD]HV PH balcony fills of equipment solutionsWatsco fit within aAPI streaming signal chain B extremely common. jacks the RJ-45 ThisPAEthernet during insertion and serve our needs as aremoval. church and as the Great Chapel.

JBL PRX812W how quickly the d&b systems can be control ensbe and mids full warm, thefor lows were Controller software.

AisThe Lectrosonics Hitachi Kokusai. and With the scaffolding removed, the in attendance could the ofThe thesmallest biggest advantages of worship, the addition of plug. four daisy-chained RFport Venue week here, we had aand duty to maintain the in anywere other computer network, with room hear lecture hall four, over the lighting rig al chain themselves often colour-coded: is theLabelle way that all is While not exhaustive we have as a special events space.’ powered speakers were also ata MPEG-2, H.264 (MPEG-4 AVC), H.265 points out that different more CPU resources on–to the encoder, designed and deployed.

Rigging d&b se d&b song deep and punchy throughout the whole 70 ZLUHOHVV WXQLQJ V\VWHP DQG ‘When I prayer joined the church, had ure, volunteers merely flick the and thewe venue’s PM7 iscan that itare can operated by two Distro4 distribution amplifiers.

Having ding.’ high expectations ofneed both brands,’ ervals ured accompanying and common on kick drum, andelivered, f5beon snare and f9s inMr once budgets areequipment made available which accommodate 150 people, ical touring acts.

In tools addition, the pieces yellow for composite video; redof connected a Great network.

When you not touched upon DVI, optical, Meanwhile, Kinoton Korea installed into the Chapel.

These (HEVC), Motion-JPEG and 2000.’ codecs different compressed which is why H.265 encoders cost LV DOZD\V D EUHH]H WKH ER[HV ZHLJK ries venue and we were very pleased with '3$ PLFURSKRQH ZHUH XVHG maxed out our capacity in JPEG Saratoga, two Furman CN-3600SE sequencers Turbosound Flashline loudspeaker operators each split thehave existing wireless microphone Hall confirms Mr Tanzil.

Fortunately both nes we access methods evolving with the industry. on the The other musicians including an in-ear monitoring system, and hascymbals. ansimultaneously, identical equipment setup acts ability to save scenes and ease o for the right audio channel; and hear manufacturers talking DisplayPort, analogue equipped the classrooms serve as stage monitors and can ‘Files that involve digital media are ry,’ sizes and qualities. ‘The H.265 more H.264 encoders.

Theyears little and the control network just g via the coverage.’ IRU WXQLQJ 6LJQDO GLVWULEXWLRQ ZDV and had dreams going multi-site,’ gh for into action touniversal setallows the stage for was put toof use, driven byover whom has independent control all very transmission signals from twoabout This Allen &than Heath and EAW have gone from ments ed with system The IT community brings utilise Shure SM57 mics, whilst the but for now the musicians and pastors as seminar room three.

Optoma EH501 nctuary. of programming themany nonwhite or black for the left the ability towith send allto data and power technical or GPI-O ports, for example –period this and meeting rooms with JBL be as athe portable sound huge and need toX4L be Loe. compressed/ codec is more efficient thanrear thewall, codec is to the actual digital encoding VLPSOLĂ€HV WKH SURFHVV LPPHQVHO\ This high-level planning ensured YLD 'DQWH DW N+] ELW WR HYHU\ said Kevan Long, production director Loe. Reverend Lau and the musicians X4 and amplifiers. parameters,’ furthers ‘Therefore, antennas connected the six strength strength over that etion hour.’ Powersoft nts. of experience toof this problem, so singers and the pastors are equipped aredeployed satisfied Mackie HD1221 projectors and Kramer VP-771 scalers ovated members of the worship of stereo audio. down one cable, is theopen port that team covers the connection hntainer and classroom spaces. church Control 25AV, AC26 and AC28 system required. decompressed order toThe be H.264 codec,’ hethis says. ‘That means and compression ofthe a file.

Inand ‘What awhen pleasure to simply up I G E WKH %HWKHO 0XVLF WRXU ZHQW RII ZLWKRXW DPSOLĂ€HU LQ WKH QHWZRUN at WestGate Church. ‘Adding satellite o be leading the need 400 worshippers intotypes ‘One of channel the characteristics of two operators can mix when arooms. large the wireless signals are then amplified side, ofdoes time according to staff the taff it not to be reimagined with Shure ULX4 PGX4 wireless monitors.

Services are currently are being used ininand all seminar to many use it.of This trio (or pair) of jacks cable plugs into. that HOW are likely to that so of AV this incorporates elements loudspeakers. ‘We wanted to make sure our manageable and readable,’ notes and your H.265 video file‘There isthe smaller streaming, codecs are used tochurch. make our ArrayCalc design in R1 control XQGHU a hitch and the advantage ‘The tour went down very smoothly campuses was crucial in of extending owing song each Sunday. event is that the crowd islocal very band is using multiple wireless and routed to the wireless receivers. he congregation at thisbe respected udix kit d-users for AV, butvolunteers itshowed must extended systems.

Specifically designed for recorded through an 8-channel The SGI Asia Culture and Education lighting and sound systems wereMr Clay Byars of S&L. are a can be found on the back ofsite wide The RJ-45 isof the most common encounter.

With this your Korea culture into its services Great Chapel be used forthat ato Riddle. ‘Codecs (coders/decoders) than your H.264 file, butthe appears files smaller for internet software and tocould have all settings W VXEV houses of worship canknowledge, gettransport. from calling with no real issues worth noting,’ says our reach into other pockets of the ad6 responsive,’ explained Lennox Foster systems during the church’s annual Media Architects added Panasonic 2 rear aether haps to embrace new devices and snares, the percussionist isand amplified Focusrite Saffire Firewire audio Centre had only been open for athe www.avolites.com updated to accommodate small variety lighting fixtures almost consumer audio and twisted-pair connector and comprises team should now they are www.harman.com soaxial inside from also plays host to aand wide of variety events by members compress these files, then package or have theofsame visual quality.

More The codec isrequirements chosen by what your DPS FKDQQHO FRQĂ€JXUDWLRQ LQSXW RRU WR in professionals forknow major events.

0DULQXV 9LVVHU +2' DXGLR DW %OXH Silicon Valley region linking them www.danleysoundlabs.com sole.

Sound Media, who was brought dramas and musicals.’ www.allen-heath.com AW-HE120 PTZ cameras and Eiki operational forencoder, worship by amonths pair ofall AKG D440 dynamic interface, but with theour acquisition of few when WAVL visited, and www.fbcthomasville.com per formances, as well asvariety hosting the console controls at the church, video equipment, as well as on an 8-contact looking at when presented www.kinoton.co.kr oms events.

Therefore, Kinoton Korea and the codecs local them into container formats for ntain efficient save on storage which turns your video signalwith into an URXWLQJ GHOD\ YDOXHV Ă€OWHUV DQG D KRVW was Array. ‘The biggest challenge was the with is essential part ofits our www.elassembly.org.sg tually in to video design aan system with www.eaw.com Wireless transmissions inenough the projector inputs together with a and www.slintegratedsystems.com om a own, venues that could potentially bean cardioids. the8-position, iLive T112 console, full(8P8C) multitrack was slowly beginning to build up professional touring acts,’ said including LED community,’ ellipsoidals, movers, Eight Heteropanax Fragrans trees format.’ in the Surya Atrium professional gear. modular plug and jack.

Two wiring array delivery.’ ultiple streaming but require internet-friendly www.bluearray.co.za of other settings) “dumped� into the k. turnaround time between shows, but worship www.soundsmith.com.sg ut headroom to theboosted system volume www.kairosmultijaya.com sanctuary have been with the at risk.of connectors.

Remaco painted wall for the video less Furtherexperience.’ developments are pencilled recording isbandwidth, now possible. ‘They just programme ofkeep events. along o data, DMords n.

300 certain mats reless ks or ilure ain ther, with hidden utive sole. view.

House along ant not elle mixing shing onal 8MC6 tches. nto drew a s. eople ns For channel gos. s.the For eWorld LV is asonic mmoth nic gear what eras hent. unted orin visuals g rmp15A main ential dreon ary in ng the ntrol em ervices. he ains can be een nything erate th ere notone, eis –srol can ustics. rft da 12 can he n the RRNHG e250 l large seh how time and utline nd essed LW\ the orking uding that djust eentral sovered from cement uld ZHUHG three ebs, X-7W eir ssion cks to of ng b-bass mmon nd XQG date device FiaJoy and a dopted RRIHUV is also R.D. er Aio ons. the sed namic est have ey dsingle mics, hssless took eyer her forplus D2 only Arraynector, e er [ eart nge and wasDPr, to ct has es rade. ring which clean audio H our evices uare gNHU ut also nto a port, that here xD) de a Like OA .WP1 al hehole RUV ante network ng The tainer rs from Fone and n the otureed for devices 1300 are filled clude PA 5‘One

n s ce mp

1/2 ISLAND

18 WORSHIP WORSHIPAVL AVLNovember–December September–October 2019 6 2019

September–October 2018 WORSHIP WORSHIP AVL AVL 47 41 January-February 2017 29 51 July–August 25 January–February September–October 21 July-August March–April May–June 2019 15

above the level of crowd noise, while maintaining the speech intelligibility and supplying enough low-end intensity for the music. ‘The sound system has to have enough dynamic headroom to surpass the crowd noise, which can get up to around 110dB. When we were working at the event, the amps still had about 12–16dB of headroom, even when the crowd was at its loudest.’

Live broadcasts of lead pastor Steve Clifford’s services in Saratoga are streamed with a five-minute time delay to the church’s South Hills and Casa de Fe sites, while evening Lennox Foster from Sound Media attendees at Sunnyvale watch a with the Powersoft amps recording of the service from earlier inFoster the day. employed Powersoft’s ‘We neededtobetter image ArmonĂ­aPlus manage the capture entire qualitysystem as we expanded to multiple sound at the Watsco Center. sites,’ Long.X4 ‘Our existing He usedexplained 18 Powersoft fourrobotic PTZ cameras created fairly channel amplifiers to power 24aflown decent 720pTFS-900H image, but we knew18our TurboSound speakers, video TFA-600L could be much true flown and 16better flownwith TFA-600H broadcast-grade speakers, as well cameras. as the 10 Following TFA-600HW our communicators across the stage speakers used as front-fills. with roboticfour cameras also didn’t look Powersoft Meanwhile, very amplifiers good, so we had to the ask power them to X4L provided limit24their actions soTFS-900L they didn’t step for TurboSound groundout of thesubs. frame. We also don’t like to stacked flood our stage lights, preferring In addition, ninewith of Powersoft’s run it amplifiers a bit on the darker side to TtoSeries were deployed for give it a warmer feel.setup.

Our previous powering the monitor cameras weren’t great in low-light ‘We chose this combination of situations, so we needed and ones with TurboSound loudspeakers better sensors and sensitivity.’ Powersoft amplifiers because we E2i Design, a systems needed to cover the wholeintegrator spectrum that specialises in houses worship, of sound, and these are trulyoffull-range recommended said the Hitachi loudspeakers,’ Foster. Z-HD5500. ‘There’s full amplifiers frame rateto a ‘The lot ofZ-HD5500’s demand on the 1080p capability wasata afactor in perform in this space very high our decision,’ added Long. ‘Andisits energy level, because this event 62dBmusically signal-to-noise pretty very based, ratio with aislot of amazing.

Its sensor’s ability toBut handle low frequencies from the subs. thethe challenges ofthe LEDamplifiers lighting at at same time need different refreshand rates was also to be lightweight efficient.

All very the appealing,amps as our house Powersoft westage usedand performed lighting almost entirely LED, in and very well,are and were not stressed any we plan to add LED videowalls in us the way.

In addition, these amps gave afuture.’ small footprint on the floor, with less power draw than other amplifiers.’ www.e2idesign.com www.hitachikokusai.com www.powersoft-audio.com www.westgatechurch.org www.tabernacleofglory.net

THE NEW AUTOMATED FOLLOWSPOT SYSTEM FOR THEATRES AND TV STUDIOS

REVOLUTIONIZING POWER & CONTROL

www.robe.cz

NEWS

Techni-Lux lights up Calvary Orlando USA: After deciding to renovate its worship environment due to an outdated production design, Calvary Orlando turned to Techni-Lux, which designed a new house system including Chalice LED downlights from Altman Lighting.

‘Calvary Orlando is the second largest church in the Orlando area, and it is also used as a special event and live concert facility,’ began Tony Hansen, head lighting designer and project specialist of Techni-Lux. ‘The lighting system dated back to its original construction and was very antiquated. Additionally, they were having consistent issues with the dimming system and it was becoming difficult to maintain.’

Lighting fixtures were not part of the original plan. ‘Prior to the lighting renovation, we had only been discussing putting in a new dimming system but, as funding for the lights started to come into place, the Altman Chalice was also coming onto the market,’ revealed Hansen.

‘The church started testing products, and we found that the Chalice could easily drop into place without a lot of modification. This made it an ideal solution because there were over 450 house fixtures that needed to be replaced.’

The Chalice LED series includes several mounting options and dimming choices. ‘The Chalice luminaires fit perfectly into place for a one-to-one fixture replacement and we were even able to use the existing trim fitting as well,’ added Hansen. ‘It was also very beneficial to have the option to go through all the reflector choices for custom reflector mapping throughout the entire design. The coverage that we got off the initial run of the new system far surpassed what we had expected, and it made quite a difference.’

Techni-Lux executed a design that included a theatrical lighting console and architectural wall stations. The outdated dimming system was also removed, and the Chalice luminaries were wired for public safety modes.

‘In addition to the lighting renovation, the entire control system was upgraded as well so they now have individual DMX control of the house lights for matrixing, movement and light isolation, all controlled through a theatrical console and wall stations.

The lights also needed to be part of

the emergency backup and public safety evacuation system so we installed a DMX data override system that would take over speaking Art-Net to the house lights to go into panic mode if needed. All of the breakout points and data distribution are then driven on backup power with operational wall stations in the event of a power failure.’ www.altmanlighting.com www.calvaryorlando.org www.techni-lux.com

DAS provides reinforcement at JW convention ECUADOR: DAS Audio Latin America supplied sound reinforcement at the recent International Convention of the Jehovah’s Witnesses at the Monumental Stadium of Guayaquil in Ecuador. The manufacturer’s Event-212A line array system was used to ensure the 55,000 people who attended each of the three days could hear clearly.

Fernando Nanao from the tech support team at DAS Audio Latin America worked with the event’s sound engineer, Jorge Portilla, to design and configure the system.

The system design phase took place at DAS Audio’s Miami offices, where the decision was made to run with the Event-212A. A total of 65 cabinets was ultimately employed, split into 13 clusters of

five. The clusters combined Event212A speakers with 90° horizontal coverage and Event-212.120A enclosures, which feature 120° horizontal coverage.

‘The installation was easy and fast, as was the set up of the system,’ said Portilla. ‘The Event

8 WORSHIP AVL November–December 2019

line array ran smoothly and delivered quality sound throughout the stadium, despite having a parallel system for the reproduction of simultaneous English.’

The simultaneous translation was delivered via point sources in the corners of the stands. The

key to the project, therefore, was to ensure intelligibility of speech and music throughout the entire stadium, while two languages overlapped. ‘We were actually using the system at a level below its maximum capability and, despite this, we obtained a powerful and clear sound throughout all the stadium,’ Portilla revealed.

‘We were all very pleased with the results,’ he continued. ‘The participants at the convention and the organising committee were impressed with the quality and high intelligibility of the sound. The clarity of the speech, the music and the videos could be appreciated from the stands up to the boxes.’ www.dasaudio.com www.jw.org

Raise your praise Perfect solutions for stage and your installation 

    

Wide range of bulk ware and readymade cables in different colours – especially white High quality connectors by HICON and NEUTRIK Large choice of multicore & power distribution solutions Modular systems for individual installations or mobile use Electronics for multimedia infrastructures Big stock and fast delivery

Robust - 18Gbit/s HDMI® up to 100m/328ft

Installation & Conference

Broadcast Solutions

Professional Studio

Event Technology

SOMMER CABLE based in Straubenhardt/Germany was founded in 1999 and is now one of the leading suppliers of professional high-quality cable and connection technology with a focus on the audio, video, broadcast, studio and media technology sectors. The product range including the in-house brands HICON, CARDINAL DVM and SYSBOXX covers cable bulkware, connectors, connection cables, individually adaptable distribution systems and electronics.

A B2B shop with over 25,000 products is available 24/7.

AUDIO

VIDEO

BROADCAST

MULTIMEDIA

HIFI

Order your FREE CATALOG!

www.sommercable.com



info@sommercable.com

BUYING GUIDE PROJECTS NEWS KnowHOW TECHNOLOGY

NEWS

Find out what other Houses of Worship

out what other Houses of Worship SoundGridFind are saying about myMix! are saying about myMix! Scan this code for more info AES67 Martin M-PC is enable a clear favourite as DMX the strips to The document should include a code for tablets, and even from mobile For adecoders multi-person crew, the most another strain.

General changeovers is to have think about your Scanphones. this more infoa good

personal monitor mixer

MADI

The Grove becomes more contemporary Congregants stream into Crosswalk Church CONNECTING VENUES !

unexpected software but person.

That expectation of three quality run – 24V tape becrash, manufactured signal flow.

As a can result, instead of there evolution models, including The video operatorProjecting presidesapparent, at the like images. standard As video has hopefully become personal monitor mixer are times where event easier ‘it free online for five DMX universes and is just as online.

Ifnew you for longer runs if an needed’. be is interfaced with a venue’s existing the console bringing exciting e914s onimportant the Kawai piano is and e845 controls of the Datavideo SE2200 definition video for IMAGuppurposes corrections (if the A worshipper mayrepositioning seek outsetting technical the process of scaling the backline that important part of this process, involve column the of lights church’s presence.

If you’re not just run from thehead physical console really fast on mid-sized PCs’. produce slick-looking services, your Liketotheir moving counterparts, DMX-based lighting system.’ capabilities to andchannels sparking models for theproduction singers.

Two 6-channel video switcher in the control will be noticeable to even casual specified seemed too low, then team members toof note a readily infrastructure required tothe record and besides getting it written down and the creation lighting cuesthe pose streaming via consumer platforms, others have different rather the software. much as viewers are likely aAs livestream the usethan ofthe LEDs inexpect light tape While the use tape isthe not creativity, production room became of Sennheiser e100 receivers and room, which receives three of its as viewer, based on their technicianimprovement canlighting make an apparent inadjustment sound once or broadcast services is subconscious not always inYet the first place, isLED to review obstacles but software you will want to of design a dedicated USA: Three years ago, the weekly ‘We runfor 100% on andin preferences.

‘We arevolunteers using QLC+ and, Ithat lovecaptures the software solution, I think I’d the service from a of provides distinct inadequate terms that common in week HOWs, ministries largely unused as benefits staff were frustrated transmitters were deemed for simple inputs as from HD H-60 and are used various fills.

Eight of perception ofPanasonic acceptable quality, and immediately document it). image.

But a a more common just adding an additional document each and compare again offers helping hand.situation webpage for your viewers to tune attendance atwith Crosswalk was every week there’s new member with the exception ofasome ofbe the miss having that physical console as variety of angles and positions, maintenance, typical lifetimes looking for inspiration would wise by the learning curve.

With Church a desired the current wireless setup.

AW-H2 HD compact video the French amplified when high definition is whatcameras they’ve – There should bereaching a notes column is a worshipper out withhas a camera here or a switcher there. it with previous services.

Look for ‘Our software-based solution to.

Bear in manufacturer’s mind that people PTZ cameras are a less expansive dwindling with congregation of 80. thevisit team,’ says Mr – behind-the-scenes automation tricks a backup.’ just like television production. measured in thea tens of thousands toonpay attention to lighting in retail return ofaaccommodating the station’s controlled from an AW-RP-50 remote controllers power the entire system come towilling expect their that permits thetheir operator addofare complaint when expectations Those tofrom pay for a familiarity bettertrends –production both what worked well helped with this since thetowork might yourforchurch online before alternativeLEDs to compex camcoders An RGB+W colour-changing tape with SMD5050 The Californian church’s fortunes Manalo. for me, itthe was all about I’ve set up‘So inchance our implementation, our Others, however, argue that This can be demanding and was a of hours.

‘LEDs tend not to fail like environments.

Here, LED is needs, the console delivered a mixing very controller –resolution that have been fixed to the programming six LA8 for Kara, Kiva IItape and SB18i with higher video from comments that may prove useful noticeably unfulfilled.

Chronic sound quality streaming service can turn and what did not.

Asto team gets the lighting can be for they have athe visit your for static shots Incorporating video changed when Pastor Tim Gillespie designing an easy-to-use that volunteer operators picked up on and the desks or lighting consoles are challenge recently faced byeven Victory conventional lighting frequently used highlight displays poor return onincandescent investment, rear home and walls. In addition, Blu-ray units, aninLA4X fortothe coaxial fills their television, computers and future changes. strips canfront potentially cater to longer issues, suchofas a lack oforintelligibility more accustomed to documenting taken care well ahead of time and an included controller customised building person, and yousystem want Thethe visual content inmet the second-floor joined grew congregation doesn’t require experience to use.’ operation pretty easily,’ comments still the most controllers World Church –reliable a the megachurch that to but colour degrades/shifts and specific edges, alltowith thefewer though itand technically the outlined and PC inputs are alsoaadded to the LA12X for thefind KS28s. be provided as a an runs before suffering drop in orThis a tendency of acan given loudspeaker things, you will fewer and stored in a separate file,’ adds Mr with adocument microcontroller. your online presence convey the sanctuary has enhanced courtesy brightness. its current 1,200 weekly attendees.

The Teradek Cube 655 reportedly Mr Durnan, who is also ahas software for lighting.

According to Matthias welcomes 15,000 people to three over a period ofbeen time and may not goal of directing a customer’s view performance criteria.

Technology video mix toHowever, display content, which ‘Thanks to the right and live document on LEDs the computer these products system to‘Fixtures produce feedback, willscreen draw additional notes as theproducts process Durnan. can be re-mapped ‘Static-coloured can be same environment and feel.

It can of aaccomplished new system that isby also capable He this embracing provided the simple solution developer.

‘I project value flexibility andnext power Thömel ofshould Thömel Consulting, lighting are separate campuses every weekend appear so bright,’ notes Ms Richie. towards amore certain product.

The deployed enhance creativity, canalso be analysed PC monitor this was a huge that canand befaster updated the fly or as a people, typicallyfrom less aflexible and complaints than sound system becomes quickly easily in on the software dimmed by installing aadimming be invaluable tosettled. take inspiration ofastransmitting to the chapel, several elements common in modern the director required as in myworship lighting I checked out controller stillahas some –‘The itenvironment sought toservices improve its video has lot to do way heavier time you are out andthat about, pay close not stifle it.software for which thetoresultant HD images success and Isoftware. would rank it in my top printout that can later due higher voltage and that allows worshippers toon effectively and, since it’s allbe based the filefor transformer which isscanned compatible from other churches have Moving head lighting, like this crygoroom and office when required. worship, updating the décor and volunteers only need to press the red several other free or low-cost software to to topple more conventional production. with the lifespan.

LEDs prefer cold Two current attention to how various surfaces are displayed main L-R for with three system designs of my safekeeping. ratingsfrom andtwo thick coatings engage withmains the message willordraw TRIAC dimming been successful at moving their Take next step good Chauvetthe model, may provide An Avolites Mobile Panasonic PTZ HDcook cameras implementing a pro large production ‘stream’ button toCCI live. options before settling onministry QLC+.

It 20-year history at Solutions,’ said machines the lighting industry.

‘We haveinaAW-H60 bunch of studio cameras environments as heat will have been illuminated and highlighted 9,200 ANSI Titan lumens Epson EB Z9900 Do you havetwo a member who is cleverprojectors shock safety.

Although nocontrol separate praise.

PWM/1-10V/resistance low-voltage church online. ifgoyour One of the Epson EB-Z9900W ROI based on But flexibilty Enhancing worship surface and software manages the Once youexpandability into thehas of writing together with a Ifwanted single HD studio facilitate liveAW-H2 ‘Right now our main streaming had the Ihabit was looking Pearson.

‘The Grove ait very unique ‘Anybody can astreaming, already, wemanage tomixing add some them totobut death. they are installed – there’s aget good chance is LED projectors rear wall either with coding?

I have of ‘Coloursome power supply needed, there must dimming,’ notes Msheard Richie. is considering streaming online, lighting at onto GBIisthe Gilgal Itwhich has provided often been saidoperated in these pages up audio cues, expand the document opening ceremony took place in prudently and wisely.

A HOW compact model from an has attracted new worshippers. purpose is our Saturday church for, as well as being open-source. creative team that pulls out allthat the desk a are technician premobile cameras into the mix too,’ correctly, you should see two to three tape doing the job. side of the altar.

A Datavideo HDR-70 beenaadded as an output allowing via the churches where the spreadsheet be a rectifier between the mains changing strips can be controlled then you are likely to already have Figure 1 Be good steward ‘In myform that the applications of technology to include the setlighting up and tearondown mid-January slightly later than the purchases technology based RMC-190 remote camera controller.

‘There’s a lot of people around the services,’ concludes Mr Manalo.

‘But it opinion, has such asoftware blessing programmes it according to avideo worship explained Mike Paschal, live years of best use with five years often HD/SD 320GB to be recordedStandalone for members of stops; a superior solution the supply and the video endtoofrecorder thenoise LEDhas strip. aservices multitude of options. some ofbeen online community via First, develop a format for theour www.ledilluminations.co.uk Church members contributing a and either to powerful enough improve the worship experience for processes –deadline the checklist before Christmas that had been what’s cheapest may be realising a country who are inWorld touch with there’s going tobe be some big outdoor to workneeds with them for more than aand venue’s specifications.

For example, director of Victory Church at athe problems achievable.’ the congregation unable to make one can come from The mostthat common PCBabout designs colour controllers are available social media.

These are the people documentation.

Inpreset many churches, portion of their incomeAntoEpson their HOW to meet all myfind needs when I buy congregation, without attention after each service. hoped for, the combination of Mr Soo’s poor ROI and itself replacing pastor butcampus aren’t able tosome attend,’ church events happening and it’dthat decade.

They not appreciate somebody could faders broadcast in calling Norcross.

‘This When the inevitable does happen, of the three services.

585W lighting systems.

Nearly every light use multiple parallel circuits you really want to only please and cater they use church planning software expect that the projector funds willhas be used it, or bethey actively supported bytogether abut to itself.

Technology foris worship should Getting into the habit documenting electro-acoustic consultancy gear sooner than would have been explains Chad Manalo, worship be great tothe live stream We the use of right technology or buttons on the surface andin label video gets sent to 60 different TVs however, ‘LED ribbon wired Ultra short throw been system, notofjust in worship venues consisting passive dropper to.

Do just want toofthose. watch your Lighting rigs can even be controlled that can generate a spreadsheet ora development team (professional or if accommodate the goals of aoperate HOW, your is difficult barrier with dedication and flexibility necessary aawiser USA: The Grove Community in said CCI Solutions president of director of Crosswalk Church. alsoservices want toto offer itinteract as atrust service so aPAVE’s huge amount ofpurchase in CCI them soof that anybody can around the broadcast campus along groups three LEDs and, ifChurch a ‘We fault added assoftware an assistive visual aid in the have modelling to trial several but also inintheatres, has one or is more resistors series.vice This design services orhad also with by remote devices JVC’sthat GY-HM200HW 4KCAM live video cameras arethe used report details each section open-source) address any issues. be that musical performance, setting to cross – as people to think ultimately delivered a solution that been made, even ifwant initial costs werean Riverside, California its current and integration, Duke DeJong. decided live stream for people who sales people rent out the worship center for Solutions atopartner inrequire creating service orto sermon. with allwhich of the TVs inbuilt ourLEDs, two other occurs in one batch of it of rear room. designs and produce finalatsetup, fans emanate purring or buzzing referred to as constant-voltage.

Anstream its participants?

Do they Springs Community Church the service.

Use the spreadsheet In the case ofto QLC+, both of good these an appropriate atmospheric mood their memories and capabilities are surpassed the client’s expectations. higher.

At the same buying topworship centre more than years team is cheaper highlyiscreative and aren’t able attend, such as those weddings or events, they could stream environment support their vision ‘But operating the lighting purely campuses.

Ifto we were going to do to it, on ‘Their doesn’t affect the rest of12 the line’.

A simple lighting hasand been comprising left changing andsolution right main sounds.

‘The the‘constantlighting alternative design the that’s loaded, back 4K picture quality ortime, is 480p The Teradek Cube 655 in Crosswalk Multiple camera feeds shown by create augmented spreadsheet stipulations arewithout met.’ or improving The adequate.

‘The sanctuary sounds more liketo anits of-the-line gear needing all ago.

Since then, the church moved soproduction they mix it the up pretty vacation, travelling for workhas and those dynamic, withequip our setup. and them with the tools on software is too unreliable.

There we wanted tocommunication. do itcommon right.’

One ofanthe most questions added twoKara(i) lighting bars in thewith ceiling arrays ofto11 enclosures equipment, the louder noise.

A to a dedicated Content Delivery current’ design where each parallel congregation with the right kind forth between setups is simple.

The enough?

Church’s studio the Blackmagic switcher that allows you to each section Worship venues seeking to use newest technologies may have a ‘cool’ Remind your team that documents auditorium than ahas church,’ observes capability may waste funds that could towards more ofmany a detail contemporary going from acan traditional who live far away.’

‘Live streaming really become minister to their community.

They are far too Butjust this presented adependencies challenge. asked by users looking to install strip regularly, fixtures are controlled from a eight SB18i subs flown in aIscentral light mixing desk can help bytailored reducing Network which be circuit of(CDN) several SMDs includes a ofwhose camera setup in place. your software solution isn’t limited by the Feedback from your congregation Dante, MADI, ADAT, analog, in Mr terms of channel settings, fader lighting solutions factor for the technical staff but, iftoitsbe worship prevent errors, make transitions Mr Chan.

‘We want tohave lose the be used to meet other needs.

A HOW’s style of music.

Thispower led to aelements decision set with acircuit 25-piece choir and Manalo oversees allneeded a great way todidn’t get our community value their investment knowing that on other external sources and Since the camera feeds lighting concerns and control. production switcher that enables the MagicitQstill in rear control horizontal array between them.

Outer the power of,to for example, video isinterface fed to live streaming to aconsumed specific use.

However, the cost small integrated provide a lighting up directly to the job?

While it number of scenes oraphysical faders about itssoftware preferences should be Dante, MADI,level...

ADAT, analog, mic and levels, gain, signal processing, etc. If plenty of options in terms ofphysically what application results inincluding showmanship, easier and allow them flexibility in essence of Christ or distract from ROI evaluation cannot be based purely to potential new sound full orchestra one week toinsignificant a of highofexplore the production, stage together without having to the transparency and fullness that systems such as DMX converters, transported to a production switcher Strip lights commonly operate on operator to switch each feed left room PC. and right of six of the a moving head intelligent as Facebook Live,line of these services isbetween not fixed current tobut that group LEDs. isservices not purpose of this article to since itthe issuch allarrays created dynamically placed above and beyond everything micCrosswalk and line level... you are using a digital board, list the packages prefer.

But whether technology may become awell their schedules.

And when they get the spoken word, but we have to on accounting factors, but through systems andaudience, church turned toas CCIlive energy, worship music setatthe design, lights and music asand attend.

A they couple of people tune from L-Acoustics is nothing the computer itself, power behind extending 12V or the 24V ofthe direct current.

‘As and to modern add graphics.

The switcher smaller Kiva II UStream. enclosures ensure software systems will reduce the YouTube and for a allows smaller HOW. Having a good This the strip to operate explore lighting technology suitable for comes within the software.’ else mentioned in this article, and We speak it all! visit www.mymixaudio.com/how for more info We speak all! scenes to recall ifthere you using them software is music ready tobecoming go distraction. that last-minute panicked call think ahead as is the consideration of both financial Solutions, the integrator that next.

They really needed a ministry’s system that streaming.

Hesystems and his team stream init from Australia to watch it every the best.

This system istotally aon thrillan keyboards.

Then is also the cables the large auditorium the LEDthrough tape/ribbon isare low voltage, then distributes the content to several coverage for far left and right noise ofmind the fan by lowering the fan Church uses to stream its services plan in for that how your the same power level and brightness streaming, itthe isit a key area that should but Finding the right kind of software advice from friendly congregations A spreadsheet details each section of the service Final word visit www.mymixaudio.com/how for more info ©2015 MOVEK, Inc. for each section of the service. solo remains an At the same time, outdated or Sunday morning, they will have a good increasing part ofentirely theconsiderations. service.’ and more intangible installed the worship centre’s original handle it allthe and wemay knew that services using three Canon XA35 Saturday.

My parents livedifferent in Seattle to hear.’ kind of software that is being used.

A could was out of the question.

A new a transformer/power supply will beand television screens around the church seating areas in crucial theWorship wide auditorium. speed because system will not livebe viaoverlooked. its YouTube channel at livestream requirements develop along its entire length. not AVL’s solution is also but, once that have undergone similar ©2015 MOVEK, Inc. Following the almost two-year exodus This document becomes critical question. inadequate tools may underperform, document that will make lastsubstitute can easily follow the Such ROI calculations andtheir being sound system, L-Acoustics would certainly four Xiaomi Yi which Sport video cameras and they watch it as well.’ mixing desk has itthe all,recommended including one wireless transmission system for required between LED and mains and to a Teradek Cube 655 streaming executes that can send In addition, KS28 subs have been get hot.’

1080p30 with a bit ofneeds 4Mbps. over time will definitely dividends Anyso customisations topay thedeliver.’ strip ‘Catching that stream of light’ article again, willmacros depend onrate the of transitions should be heeded.

If it is, www.bpgospel.org.sg at p44 the Hebron Yew Tree Presbyterian when someone sick providing a different sort ofthe distraction. minute to service and script, knowing in advance which good stewards of a HOW’s technical L-Acoustics Kara(i) and Kiva II answer. systems.

CCI throughout the becomes sanctuary.

The feeds power switch.’ the mobile cameras was supply,’ explains Ms Richie. encoder.

MIDI commands for coordinating ground-stacked two per side under The demands on the lead lighting The YouTube videos are embedded in theSolutions long require an run.

LEDproject controller to adjust on of this issue provides some on www.l-acoustics.com the venue as well as the operator there iscall no simpler wayenjoyable of extending AVL_HoW Campaign-DeliverMusic.indd 2 3/27/15 P37 KHL.indd 1 4/13/15 59 khl.indd 1example, 29/1/16 www.cogentacoustics.com www.thoemel-consulting.de www.crosswalkvillage.com Church, the Bukit Panjang faithful ‘The Grove definitely takes adirected more orfrom cannot attend rehearsal.

If For inastheir personal lives, less stressful. microphone, which instrument and budget are apresence crucial part a technical Mark Pearson used L-Acoustics’ all Thömel seven cameras are But Mr does concede What started aa simple Removing the need for aequipment separate TheLED Cube 655 is an H.264 live scene changes and updates to the each end of the stage thrust and a via www.systems.ccisolutions.com systems during special sermons and the church’s website and promoted You’ve now got the tools in place brightness, colour or individual LED advice on this topic. or lighting technician’s personal your church to aofgreater This ellipsoidal from Elation Lighting may provide a better ROI AVL_HoW Campaign-DeliverMusic.indd 2 3/27/15 P37 KHL.indd 1 4/13/15 59 khl.indd 1 29/1/16 Two Epson EB-Z9900W projectors output directly to the rear wall than asource conventional fixture www.pave.com.sg www.westvalleychurch.com www.teradek.com feel to be home.

Although Anchor Faith Church creates athe triangularwww.thegrove.cc backdrop with tape contemporary approach music,’ each moment ishad documented, the worshippers are likely to to be used to life-areSoundvision Mix wellofand be LED blessed. which is required. ministry.

3D real-time acoustical to asoftware Blackmagic Design Atem 4K that controllers can offer upgrade quickly knock-on effects. power supply, mains-powered LED streaming device that transmits the instrument and lighting settings. range ofmedia. coaxial X8 X12 cabinets services over the holiday season are social to send aThis livestream out to your activity. can be achieved with Thegood final step before ‘going live’ preference.

For Mr and Thömel, the number people.

RAVENNA

Deliver Deliver the the music: music: Dante Simply.

SMPTE 2110-30

Simply.

Consistently.

Consistently.

Empowering.

Empowering.

www.directout.eu

6:11 AM 1:39 5:27 PM pm 6:11 AM 1:39 5:27 PM pm 26.09.17 17:20

wavl-2017.indd 1

MADI Interfaces & Preamps

MADI Reinvented

MADIface XT

1/2PAGE 1/2PAGE HORIZONTAL

394-Channel 192 kHz USB 3.0 Audio Interface · Kling 196 & Input / 198 Output channels · 4 x Analog Output Kling &Freitag Freitag balances balances passion passion · with 2 x MADI I/O optical with precision precision forforuncompromiuncompromi-(Main XLR + Phones) sing audio quality qualityand and'German 'German · sing 1 xaudio MADI I/O coaxial · 1 x AES/EBU I/O via breakout cable engineering'. engineering'. · 2 x Analog Mic/Line Preamp · 1 x MIDI I/O via breakout cable We We are are driven driven byby a desire a desire toto proviproviInput (XLR/TRS) · 3 x virtual MIDI I/O via MADI I/O dedeand andtechnically technicallyguarantee guaranteemumusicsicand andsound soundasasa agenuine genuinesound sound experience. experience.This Thisis iswhat whateach eachproproduct ductbybyKling Kling& &Freitag Freitagstands standsforfor More Information: - or, - or, asas wewe say, say, 'Passion 'Passion built built in'. in'.

www.rme-audio.com 10 WORSHIP AVL November–December 2019

OctaMic XTC

Digitally controlled Mic Preamp with Multi-Format I/O · 8 x Mic/Line Preamps (4 x PAD, 4 x Hi-Z switchable) · 2 x Stereo Analog Outputs · 4 x AES/EBU I/O · 1 x ADAT I/O (2 x out S/MUX)

· · · · ·

1 x MADI I/O optical MIDI I/O over DIN, USB and MADI Remote controllable over MADI Word Clock I/O with SteadyClock USB compliant audio (24 channels)

Corporate Headquarters Asia / Australia: RME Trading Ltd. office@rme-trading.hk January–February 2019 WORSHIP July–August March–April 2018 September–October May–June July-August 2017 WORSHIPAVL AVL

39 45 43 25 September–October 2017 WORSHIP AVL 59 13

NEWS

Capital Christian Ministries International goes live ZAMBIA: Making a positive impact has always been a goal for president and Capital Christian Ministries International’s (CCMI) senior pastor, Bishop George Mbulo, another of which consists of helping vulnerable children in Zambia. In order to support them

uses cameras that are connected to a video switcher, which sends feeds to the Monarch HD via HDMI. Some venues such as the Mulugushi Conference Centre have a high-bandwidth internet connection; however, other sites need a subscription to a local

1/2 Vert with the right tools and financial resources, CCMI live streams its services with the use of a Matrox Monarch HD encoder.

‘Using the Monarch HD to do live streaming from these remote sites, we’re able to take a message that, two or three years ago, would have been trapped inside a building,’ said Randall Rike, director of technical and media USA at CCMI. ‘With live streaming, we’re literally worldwide and anyone with internet can get on and see it.’

Rike added: ‘When I saw this tiny box, it resolved everything and, moreover, I was blown away. I knew that many ministries were live streaming and I knew that CCMI needed to get involved sooner rather than later, and seeing the Monarch HD made me realise this was now a very real possibility. I personally purchased the Monarch HD for CCMI. The price point was well within my budget for these types of projects, and [the fact that it is] easy to use is an understatement.’

For services and events, the CCMI media and technical team

Zambian phone company in order to have enough internet bandwidth.

For these sites, the team bought a reloadable, pre-paid SIM card while the phone company provided 3G/4G capable routers, which connects to the venue’s Ethernet.

When there is enough internet bandwidth, the team connects the HDMI video source to the Monarch HD, which is then set up to stream 3Mbps video to Facebook at 720p and 30fps. However, if there isn’t enough, the Monarch HD streams 1Mbps video at 360p and 30fps, which allows CCMI to send live streams no matter what quality the internet connection is. The Monarch HD’s SD and USB ports are also used to record copies for the director’s cuts during live productions. With its independent streaming and recording settings, the Monarch HD can record at the highest possible resolution and quality regardless of the streaming bitrate. www.capitalchristianministries.org www.matrox.com

November–December 2019 WORSHIP AVL 11

NEWS

Farayand brings crystal clear audio to the Shah Abdol Azim Shrine IRAN: Farayand System Mandegar Company, the projects team of Shidco Holding, has installed a range of sound reinforcement solutions at the New Shabestan hall of the Shah Abdol Azim Shrine.

The project called on a variety of products from RCF, Shure and Yamaha.

Located in Rey, the shrine contains the tomb of ‘Abdul ‘Adhim ibn ‘Abdillah al-Hasani, a fifthgeneration descendant of Hasan ibn ‘Ali and a companion of Muhammad al-Taqi, who was entombed there after his death in the 9th century.

The 2,500m2 Imam Khomeini Shabestan hall was opened at the shrine this year and required a new audio solution to cater for religious gatherings and ceremonies taking place.

The installed solution is based around an RCF HDL 10-A line array, with four cabinets deployed per-

side, in addition to a pair of TTL 6-A cabinets for side-fill, three clusters of two HDL 6-As for far-fill, six Art

310-A MK-4s for front-fill and a pair of Art 712-A MK-4 cabinets for altar monitoring.

‘We used EASE software for the design and electroacoustic simulation of this hall,’ explained Farayand sound engineer, Mr Mousavi. ‘On the altar, Shure’s Beta 58a dynamic microphones provide clean, isolated signals, while a BLX1288/CVL dual-channel combo wireless microphone kit gives worship leaders and speakers freedom of movement while delivering crystal-clear sound.

Additionally, hall staff use a Yamaha TF5 digital console and RCF AYRA6 6-inch powered studio monitors to deliver clear and powerful live mixes for the congregation.’ www.faarayand.com

Road to Life Church broadcasts with Waves USA: The Road to Life Church, an evangelical Christian megachurch located in the centre of Michigan City, Indiana, led by pastors Dave and Vanessa Gargano, is reinforcing its FOH, monitor and broadcast stations with a range of Waves products, including the eMotion LV1 Live Mixer.

Road to Life’s main campus seats 1,500 and is equipped with three eMotion LV1 consoles. The church’s smaller campus in Chesterton, which currently seats 300, is served by a portable AV setup that is loaded in and taken down every Sunday.

Trevor Wright, technical director of RTL, describes the setup at the main church campus: ‘We are running a 64-channel eMotion LV1 mixer, a Waves SoundGrid Extreme Server, a DiGiGrid D SoundGrid-compatible audio interface and a switch at mixer.

All three LV1 mixers are connected to three DiGiGrid IOX audio interfaces onstage, and to a DiGiGrid MGB [a coaxial MIDI interface]. We run keys and Ableton off Waves SoundGrid drivers, going into the MGB to split to the other two desks. The FOH board has four monitor screens, the monitor mixer has two monitor screens, and the broadcast board has two as well as an Icon Platform M fader controller with a D2 display screen.

The monitor console is the master and shares all the I/O out to the other mixers. At the FOH station is an Alienware X51 desktop, and the other two computers for broadcast and monitors are ThinkCenter i5s. At our portable AV setup, loaded on Sundays at our Chesterton campus, we run an additional eMotion LV1 mixer [64 stereo channels] with two Dell P2418 HT touchscreens, connected to one DiGiGrid D and two DiGiGrid IOX audio interfaces.’

Explaining Road to Life’s decision to go with the eMotion LV1, Wright added: ‘We wanted to update to a larger-format console from our

12 WORSHIP AVL November–December 2019

X32, and I wanted to separate FOH, monitors and broadcast. We have always had issues with the bands’ in-ear monitors as well as at front of house – not enough gain, EQ issues because of frequencies we had to cut due to room sound, gating on drums – drummers really hate gates – and over-compressed in-ears.

So, we wanted a system that would help us solve all that. Being able to share I/Os across all three consoles without extra hardware was also very important.’

Impressed with the eMotion LV1’s performance so far, Wright continues: ‘Sound checks have

been so much faster. One of our campuses is load in/out, and we used to spend about 20 minutes just EQing and compressing drums each week, because they never sounded the same with the X32. With the LV1, I set it up the first week and I haven’t had to think about it since.

It helps create a consistent sound.

Also, training volunteers on it has been really easy. The layouts make it very user-friendly even for people who have never mixed before. The sound quality is unmatched.’ www.roadtolifechurch.us www.waves.com

NEW!!

RVON ACTIVATED

2019 at NAB SHOW

R E VO LU TIO NIZE YO UR IN T ERCOM ...

IN ONE R ACK UN IT

Next-generation intercom matrix provides an unprecedented combination of flexibility, scalability and full-IP performance – all in a compact single rack unit package Easy system expansion as your business needs require – up to eight units can be interconnected for a total of 1024 ports Offers the broadest interoperability with future, current and legacy RTS products – supports Dante-compatible OMNEO IP technology; allows seamless connectivity between analog two-wire, four wire and digital devices

For more information, contact us at +65 6571 2808, apr.buildingtechnologies@bosch.com Learn more at rtsintercoms.com/odin

NEWS

Beaming intelligibility at Cimetière de Saint-Georges SWITZERLAND: Cimetière de SaintGeorges is Geneva’s largest burial ground. At its entance lies a stone chapel designed by 19th-century architect, John Camoletti. With an RT60 measurement of more than 2s, sound reproduction proved difficult in the chapel until recently, when the city of Geneva approached Studio Equipment to design and install a new solution, leading to the implementation of Renkus-Heinz Iconyx Gen5 loudspeakers.

The chapel seats 150–200 people for funeral services that require

clear spoken words, as well as the playback for recorded music, and is relatively small at a length of 13m and 6.5m wide. However, its vaulted ceiling is 13m high and restrictions imposed on the historic building prevent changes from being made to the aesthetic structure.

‘The chapel is a listed historic building,’ confirmed Studio Equipment CEO, Terry Nelson. ‘So, we were limited to a maximum thickness of about 3mm for acoustic panels. That approach would have been labour-intensive,

inefficient and generally just a waste of time and money. Then the light went on in my head, and I thought, “We won’t change the acoustics, we’ll change the sound system”.

Our experience with Renkus-Heinz in previous installations such as the former Grand Hotel in Caux for Initiatives for Change made Iconyx the obvious choice.’

Nelson installed one IC8-RN digitally steerable line array loudspeaker system on each side of the arch leading to the space beyond the main chapel area.

‘There was not enough space above the middle of the arch for an IC16-RN, and that position would have been too high for proper beam steering,’ Nelson noted.

The IC8-RN’s low profile was key to minimising the sound system’s aesthetic impact. ‘The installation needed to be as discreet as possible. We had to use existing cable routes, which was difficult, and no cables were allowed to be visible.

‘The maximum distance you can have in the chapel between two persons speaking and still retain intelligibility is no more than 2m – and even that is pushing it,’ Nelson continued, adding that this is exactly the sort of problem beam steering was developed to solve. ‘I initially thought to use two beams but simulation in the BeamWare III program incorporated in the Rhaon II software suggested that three would be better, so I went with that. I aimed the third beam further down than the others to avoid hitting the rear wall and used a different high-pass filter cut-off point for each beam. The EQ required was minimal, and the result is very musical.’ www.renkus-heinz.com www.studioequipment.ch

Berean Church avoids costly update USA: When updates to its existing digital mixers used for FOH and monitors were going to be too costly, Berean Church in Lincoln, Nebraska decided to invest in new Allen & Heath dLive S Class consoles instead. The church holds services in a modern sanctuary with room for 2,400 congregants. Its services are contemporary in nature with plenty of live music, and the church also hosts regular concerts from renowned Christian artists such as Jared Anderson.

After a demonstration of the Allen & Heath solutions from Inspirmedia, the church purchased a pair of dLive S7000 Surfaces (one for FOH, the other for monitors), a DM64 MixRack, a DM0 MixRack, a DX168

Expander and a Waves card from the local live event production company.

‘We were impressed with the dLive’s ease of use and sound quality and it had the features we needed at

14 WORSHIP AVL November–December 2019

a price that fit our budget,’ said Berean’s technical director, Jon Sauer.

Berean services typically have more than 40 sources, including wired

mics, direct sources, audio from video and computers and up to 16 wireless mics. Sauer now uses dLive layers and banks to manage these sources and dLive scenes to recall settings. The church uses 16 wireless in-ear monitors with wedges made available onstage when needed. Volunteer technicians manage these mixes on the S7000 at stage right, as well as on iPads installed with the dLive OneMix app.

‘Training has gone smoothly and we’re ver y pleased with the level of suppor t,’ said Sauer. www.allen-heath.com www.inspirmedia.com www.lincolnberean.org

Power Trio.

(Bass power, that is.)

KS118

Commanding and Powerful

KS212C KS112

Directional

1091-2019-09-2019

Ultra-Portable

Introducing the K Subwoofer Series.

Three models. Three incredible approaches to low frequency sound reinforcement.

All 100% genuine QSC performance, quality and reliability.

Which subwoofer is right for your application? Find out at qsc.com/ks.

with Product Registration

*3 year standard; 6 years with product registration. Š2019 QSC, LLC. All rights reserved. QSC and the QSC logo are registered trademarks of QSC, LLC in the U.S. Patent and Trademark Office and other countries. PLAY OUT LOUD is a trademark of QSC, LLC.

NEWS

Immersive mixing at CLA CANADA: Christian Life Assembly (CLA) in Langley City, Canada upgraded its audio setup by investing in a DiGiCo SD12 digital mixing console and KLANG immersive IEM mixing system, all installed by Ellis Pro Media.

The KLANG system includes four KLANG:vier units, which support in-ear mixes for up to five musicians, and a KLANG:quelle that reinforces four channels of Dante-enabled digital-toanalogue conversion and high-quality headphone amplifiers. The KLANG solutions can interface with the SD12

Team members are able to easily adjust their own immersive IEM mixes said Lee. The app’s graphic interface shows a representation of the user’s head and the available input sources, so operation of the system is intuitive.

‘I don’t have to explain much – here are your channels, here’s your head, let’s place everything around your head.’

CLA’s new KLANG: app remote controller and DiGiCo SD12 console via a Ferrofish A32 Dante 32x32 AD/DA converter, which also links to a DiGiCo Dante interface card. Outputs to the Dante stream include four vocal channels, two mono electric guitar channels, two stereo pairs for the keyboard, a bass channel, ambiance mics and speaking group. Each musician can control each of their input levels and immersive spatial positioning using the KLANG:app installed on one of the church’s Android tablets or via their own smartphones.

‘Being a house of worship, a lot of our technical endeavours depend on the kind dedication of volunteers,’ said Will Lee, assistant technical director of CLA. ‘This is why DiGiCo and KLANG have been such a pleasant surprise.

They are high-level technical products, but the signal paths and functions are laid out logically in ways that are easy to navigate for skilled volunteers.’

This is particularly helpful since CLA also rents the auditorium and makes its in-house technology available to visitors. ‘At first, they’re surprised by how it works and that it’s right there on their phone or one of our tablets,’

St Sergius of Radonezh gains added reinforcement

For Lee, the new setup was his first real encounter with IP audio networking. ‘KLANG was my first introduction to using Dante and Dante Controller. It’s important to be mindful of how networks and wireless spaces work. That has stretched me, because I come from an audio background, but it’s been a nice introduction, because audio is trending toward breaching the IT space.’

Services are live streamed to the internet using a feed from the DiGiCo desk. ‘That was an interesting challenge,’ added Lee. ‘We are sending our master out and also room and ambient mics, so I mapped out the signal paths and calculated the delay from the mains to the room mics. I’m able to send one mono signal out to our live stream that has all the delay compensation in it. It took a while to figure out the physics, but it works great.’ www.clachurch.com www.digico.biz www.ellispromedia.com www.klang.com

16 WORSHIP AVL November–December 2019

RUSSIA: The Russian Orthodox church is going through a period of growth, which has resulted in the building of several new churches.

One such new sanctuary is the Church of St Sergius of Radonezh, which opened in 2017 at Khodynka Field, a few miles north-west of Moscow, without a sound system.

This has been recently rectified with the installation of Yamaha VXL Series slim line array speakers by AV integrator iProjector.

The reason for not including a sound system initially was because Russian Orthodox services are almost entirely conducted in melodic chants or singing, which echoes throughout the reverberant space. However, it soon became apparent that churchgoers were struggling to hear the services if they weren’t sat in the centre of the sanctuary. The monks sought a solution and turned to Roman Belyaev of iProjector, who specified four Yamaha VXL1W-16 slim line array speakers with three PA2120 amplifiers and an MTX3 matrix processor.

The Yamaha speakers feature wide dispersion characteristics that ensure everyone can hear clearly, wherever they sit inside the church.

In addition, their slimline profile helps them to remain discreet and to not distract from the sanctuary’s architectural aesthetic. The MTX3 processor also includes Dan Dugan automixing, which removes the

need to worry about mixing the sound for every service.

‘The system delivers a very natural sound without compromising the church’s visual appeal, helping worshippers to concentrate solely on the services, without any distractions,’ said Belyaev. www.iprojector.ru www.yamahaproaudio.com

dbaudio.com/worship

More than together.

For over twenty years d&b has been helping church audio teams achieve the same high-quality sound for every member of their congregation. This is Democracy for Listeners in action: a belief that sound should be equally experienced by all. A unique and unifying energy for expressing daily acts of love.

NEWS

FAC upgrades to HD CANADA: First Alliance Church (FAC) in Calgary, Alberta recently upgraded to an HD production setup, purchasing four Hitachi Z-HD5500 cameras to capture visuals for both its IMAG and online streaming feeds. The cameras were supplied by systems integrator, Applied Electronics.

‘When I first saw the Z-HD5500 camera package at the NAB Show, I knew right away that it was exactly what we needed,’ said FAC technical director, Paul Nadeau-Bonilla. ‘The cameras are so versatile, we can use them for our current studio-style application in our main sanctuary, as well as for ENG-style video acquisition in the future. The price point was also compelling, but the biggest thing for me was that

they work well with LED lighting in the church world. We have some less-expensive LED lights, so we wanted a camera that would provide flicker-free video despite the varying refresh rates of these different fixtures.’

One of Nadeau-Bonilla’s bugbears with the church’s old system had been that colours produced by the LED lighting looked different on-camera. ‘Nice mauves or purples would show up as blue on the screen,’ he recalled. ‘The Z-HD5500s are so much better and are really great at picking up different tones of LED blue. Now, what you see onstage is what you see onscreen as well.’

The church’s volunteer video team, led by video director Russell Moore, produces separate feeds for online streaming and IMAG. IMAG images are displayed on two Stewar t Filmscreen front projection screens set up either side of the stage. ‘IMAG is about helping those in the room see what’s happening onstage more clearly; streaming is about conveying the

Busan Peniel Church undergoes audio upgrade KOREA: TechData Co recently designed and installed a new sound system for the Busan Peniel Church to ensure clear and impactful sound for worship services and events. The new system comprises JBL, Crown, Soundcraft and dbx solutions from the Harman portfolio.

The church already possessed JBL AM6215 loudspeakers, but an upgrade was decided upon to employ the latest technologies for enhanced sound quality and ease of use. TechData was hired to offer a ‘cost-effective’ solution using Harman brands throughout the entire signal chain.

‘This project required us to configure multiple input and output channels with maximum performance

on a limited budget,’ explained Hyun Su Park, sales representative at TechData. ‘We suggested the

18 WORSHIP AVL November–December 2019

budget-friendly Soundcraft Si Impact and Mini Stagebox 32, which doubled their channel count from 40 to 80.

full experience for those not in the room,’ Nadeau-Bonilla reasoned.

‘During music and worship, what’s on IMAG is the same as the stream but, during preaching, they are different: a close-up shot from the centre camera on the side screens, and a combination of close-ups plus wider contextual shots in the stream. The Z-HD5500s and the Fujinon lenses that came with them allow us to get in nice and tight on the subject with a really sharp image. The video looks stunning on the side screens – absolutely gorgeous.’

FAC also invested in equipment from Ross Video, including a Carbonite Black 2S switcher, as par t of its HD upgrade, and has therefore benefited from the easy integration between Hitachi cameras and the Ross Dashboard open control and monitoring platform. ‘It’s difficult to find volunteers who like shading, as it’s one of the less glamorous positions on the video crew,’ said Nadeau-Bonilla. ‘The integration allows the director to shade the cameras using Ross Dashboard while also doing his other duties, which is a big asset.’ www.appliedelectronics.com www.faccalgary.com www.hitachikokusai.com

To tackle the sound issues occurring during worship in the small-spaced main stage area, we installed a dbx PMC16 Personal Monitor Controller, which allows them to create a custom mix from 16 channels of audio. We also installed JBL VRX932LA-1 line array loudspeakers that deliver a flat frequency response and high output levels.’

In addition, Crown XTi Series amplifiers were installed to power the JBL line arrays.

‘Even though they had used JBL loudspeakers previously, the client was even more satisfied after the upgrade to their audio system,’ added Park. ‘Now everybody can hear the sermons and gospel music more clearly than ever. Other similar-sized churches are also showing their interest in Busan Peniel Church’s new sound system.’ www.harman.com www.techdata.co.kr

Hearing is Believing

N-APS

Ring Diaphragm Curved wave driver Dynamic Air Cooling Quick Release Grille Instafit Magnetic Couplers for dispersion characteristics Size - 518 x 200 x 358 mm Weight - 11.2 kg Power - 1000 W / 4000 W

www.codaaudio.com

NEWS: SPECIAL REPORT

TAG takes the road to an Oasis The Australian distributor has been on several philanthropic trips in its #Ampervan.

One of the latest was to install the sound setup at the Oasis Centre in Boggabilla TECHNICAL AUDIO GROUP’S philanthropic arm, TAG Cares, has now made several trips to remote parts of Australia to offer assistance to community projects. Most recently, the TAG team took its Allen & Heath branded #Ampervan to Boggabilla, a small town of approximately 750 people in the far north of inland New South Wales, to deliver an audio system comprising an Allen & Heath Qu-16C mixer, QSC KW153 active loudspeakers and Audio-Technica microphones, to the Oasis Centre. TAG serves as the Australian distributor for all three brands.

‘An oasis is a place where people go to be refreshed,’ explained Les Hook, who co-founded the Oasis Centre with his wife, Georgie. Both of them are pastors. ‘Travellers stop in and find shade and water and often food, and we felt that this was to be a place of refreshment for the whole community.’

The Hooks have shared their vision for the Oasis Centre for more than 20 years and, after six years of construction, it has almost come to fruition. The building will serve multiple purposes. It will be a church, a community centre, and a venue for celebrations and ceremonies. It will host youth clubs, a charity shop, an after-school reading club led by Indigenous Elders and plenty more.

Boggabilla has a majority Aboriginal and Torres Strait Islander population and very few public buildings, with limited space for community

Michael Goodyear, James McKenna and Pastor Les Hook gatherings. The Oasis Centre has been built thanks in large part to cash donations and pro-bono construction work. Groups from schools and churches have travelled to the town to volunteer on the project, while builders have donated their free time to help with the structure and roof. A team of students and builders from the Redeemer Christian College in Sydney visited on four occasions to help out, and Ian Boardman, an electrician based on the Gold Coast, spent hundreds of hours creating the electrical infrastructure.

‘A few years ago, we had a chance meeting with George Mann in Bourke, which led to us helping him with an audio system install for his community project,’ said TAG director, Maxwell Twartz. ‘I dropped in on George a couple of months ago and, as we parted, he said, “There’s a guy called Les Hook in Boggabilla who’s sharing a similar vision and if you’ve got

20 WORSHIP AVL November–December 2019

any spare audio he would definitely appreciate it”.’

The #Ampervan set off to pick up the equipment from Brisbane and drove it 350km west to Boggabilla. TAG’s NSW sales manager, James McKenna, was behind the wheel once again.

‘It was great to be reunited with the #Ampervan,’ he said. ‘My last shift was Alice Springs to Darwin. This is quite different territory with even bigger kangaroos.’

McKenna and Twartz were joined by TAG volunteers Billy Armstrong and special projects engineer Michael Goodyear, who had driven up from Sydney. Together, they installed the sound setup at the Oasis Centre over the course of a weekend.

‘QSC’s KW153 is a no brainer for this type of multipurpose space,’ explained McKenna. ‘It’s a single cabinet solution that can do anything that is thrown at it with ease. As for the mixer, rather than a simple analogue unit,

we chose an Allen & Heath Qu-16C for a couple of reasons. Firstly, it’s a pathway forward for kids who are interested in music production, be it recording or live, and, secondly, we’ve set up channels to match the AudioTechnica microphones we brought and locked down some presets. Preset one is a simple FOH church service or presentation and, regardless of the mixing tasks the Qu-16C undertakes, with the single push of a button it can always return to that.’

As pastors, the Hooks’ all-Indigenous congregation has fluctuated somewhat, but their connection to the community is as strong as ever.

With the right people, they would eventually like to expand the Oasis Centre’s work to provide mental health services, musical events, cooking classes, vocational training and regular community dinners.

‘At times we can get up to 500 people come to Boggabilla for a funeral and there is currently nowhere we can accommodate that number,’ said Les Hook. ‘But, with overflow to the outside of the building and these wonderful speakers, we can bring dignity, togetherness and community back.’ www.allen-heath.com www.audio-technica.com www.facebook.com/OasisFamily-and-Community-ChurchBoggabilla-223708190989967 www.qsc.com www.tag.com.au

Your Message.

Focused.

With 6 different steerable product lines including everything from compact, visually unobtrusive columns to large format steerable line-arrays, only Renkus-Heinz has the tools necessary to place sound where it’s needed most, providing the intelligibility, clarity, and power you demand without the reverberation and reflections of traditional sound systems.

From contemporary high-energy services to traditional worship services and small congregations to mega churches, the Renkus-Heinz Iconyx family of products allows you to focus on what really matters: the message.

www.renkus-heinz.com

PROJECTS

The great leap forward Richard Lawn explores the various AV setups that feature throughout Bethesda Katong Church’s main sanctuary and extensions

The recently constructed, three-level annexe building

AS NEIGHBOURHOOD CHURCHES in Singapore increase their memberships over time, the Sunday services and other weekly functions become more condensed and somewhat cramped. Making do with existing space becomes increasingly difficult and, with relocation out of the question, most churches are forced to consider expanding their onsite facilities. Built to serve their communities, these churches have to delicately grow without upsetting their neighbours.

Since opening its hall on 29 February 1936, Bethesda (Katong) Church has continued to expand on the Pennefather Road. In 1947, new wings were constructed on both sides of the main hall, and an adjacent property was acquired two years later.

In 1973, renovations were made to the main church hall with the addition and completion of a two-storey wing

The level-two technical area

with an auditorium for the expanding congregation.

The cramped resources proved too much and, following planning approval, the old annexe was demolished to make way for a new three-storey building with an attic and roof garden in 2016. ‘We wanted to build a four-storey annexe with attic and roof garden, but planning permission was denied,’ explains church volunteer, Vincent Chua. ‘Our services that are conducted in the main hall are traditional with just a piano and organ as accompaniment for worship.

However, the audio system had fatigued over two decades and so we called upon the expert services of consultant Robert Soo.’ Arriving onsite, Robert conducted further research regarding the architecture of the heritage building.

‘Right down to the colour of the bricks, the pillars and the overhead wooden supports of the open ceiling, you’re not allowed to change anything,’ comments Robert. ‘Perhaps the most striking feature of all is that the church practises an open form of worship whereby any church member can participate in the worship service.

That person can be on any floor of the annexe or within the main hall.

Therefore, the entire congregation needs a visual on the speaker.’

The solution was to create a video control system to support bidirectional broadcasting between the main hall and the three floors of the adjacent new annexe. Having installed the previous audio system in the late 1990s, Electronics & Engineering (E&E) once again won the tender to integrate Robert’s AV designs. A Panasonic PTZ camera

22 WORSHIP AVL November–December 2019

L–R: E&E project manager Ash Mo, Bethesda Church volunteer Vincent Chua and consultant Robert Soo

The heritage building and its uneven roof structure posed acoustic challenges system fulfils this unique aspect, for which AW-HE130 and AW-HE40 cameras are managed by AW-RP50 remote controllers in the main hall, in addition to annexe levels two and three together with the attic. The video operator selects a source on a Datavideo SE-2850 12-input switcher, as well as a Kramer 1616HD-3G 16x16 matrix switcher and RCP-1616 remote. The resultant image is then transmitted on to a 2.5mm pitch 3.84m x 2.4m LED screen and all other projector and TV displays within the two facilities.

For the ministry team onstage, an Epson EB-G7000W projector and Remaco PRO-3220 screen serve as a confidence monitor. Owing to the uneven ceiling profile and multiple pillars in the sanctuary, Robert opted to section the seating areas for their audio and video requirements. ‘It’s a form of zoning, even though my design focused on an even distribution of audio and video delivery.’ As such, E&E sensitively mounted four 65-inch LED displays on ceiling-suspended poles for the congregations seated

towards the rear left and right walls.

The video upgrade is completed with the addition of a Blackmagic Hyperdeck Studio Pro video recorder.

The spoken word services required improved intelligibility and, for this, Robert opted to create a distributed audio system rather than an L-R or L-C-R configuration normally associated with more contemporary services. ‘Consistency was key, so that the congregants would not be able to tell the difference in audio quality between different seats.

The single L-R 15-inch speakers are supplemented by two 12-inch models serving the left-hand seats and a further two on the right together with a final 12-inch model that has been vertically orientated for the rear centre seats. They provide enough low-frequency punch, so subwoofers weren’t required.’ Audio mixing is conducted on an Allen & Heath SQ7 digital console in the rear technical area, which is connected via Cat-6a cabling to an AR2412 audio rack and AR84 expander that receive the 32 mic inputs onstage.

PROJECTS E&E project manager Ash Mo and his team fulfilled Robert’s requirements by installing L-R EAW MK5364i two-way speakers together with five 12-inch models in the form of EAW MK2364i and MK2394i cabinets for the lateral and rear seats, respectively. Powered

by Ashly KLR4000 amplifiers, DSP configuration has been set within the software settings of two Ashly Protea 4.8SP four-in/eight-out processors.

The ministry leaders onstage are equipped with Shure ULX-D wireless mics including an MX153 T headworn model, while the grand piano is reinforced with a pair of DPA d:vote 4099P condensers. Four EAW VFM109i wedges are also at their disposal for monitoring.

return, while Allen & Heath Qu24 consoles are connected to AR2414 stageboxes. The main projection system combines L-R Epson EB-585W ultra-short-throw ceiling projectors and Remaco PRO-2012W motorised screens. The three breakout rooms that can be created by partitioning benefit from their own Epson projectors together with slightly smaller Remaco screens and ceilingsuspended Mackie MR5 speakers.

Fulfilling user familiarity, Shure wireless microphones and ACME lighting are replicated.

The attic level incorporates a scaledback AV system including EAW JF10 speakers and a Panasonic PT-EZ590 projector. A Clear-Com Eclipse-HX

More than just a pretty face

The main sanctuary is equipped with a distributed EAW MK5396i and MK2396i speaker system The simple Sunday services have been enhanced with three lighting bars, fitted with a combination of ACME E300 spot LED profiles, TS-150 Fresnels, MP-12FC washes and XA-400 LED spot moving heads, which are controlled from a Chamsys Quick Q20 lighting controller.

The traditional manner of the three church services taking place in the main hall contrasts with the adjacent annexe, which hosts Sunday school.

Here, Robert was charged with creating a more contemporary and musical setting. ‘The three levels roughly cover the same footprint and are extremely compact,’ explains Robert. ‘Owing to the multipurpose requirements of the two main annexe levels, the church opted to add partition screens. Each sub-section requires its own dedicated audio and projection. Given the limited ceiling space and the restrictions of where you could suspend projectors and speakers owing to cabling and air conditioning units, this was always going to be a challenge.’

E&E accepted the challenge. Levels two and three mirror one another in terms of their setups, where the same EAW 15-inch MK5364i speakers are fixed in an L-R configuration. Ashly amplification and DSP make a repeat

digital intercom system supports the technical staff operating in the main hall, as well as on all four levels of the annexe, for which nine connections and five key panels support HS-6 handsets and FSII beltpacks.

‘The project was delayed by over a year, between phase one and two due to prevailing government approval processes, so we worked hand-inhand with all stakeholders closely over a four-month period to complete the final phase of the project on time and to enable the handover as a whole,’ explains E&E project manager, Ash Mo. ‘Despite the replication of equipment that was installed on all four levels, these are far from cut-andpaste installs as each level varied in terms of requirements and challenges.

The rooms are physically limited in size and the added partitions on levels two and three severely limited our options for installing the projection, lighting and speakers.’

From a Leap Year day opening to a giant step forward in terms of AV and lighting technology, Bethesda Katong Church is writing a new chapter into its rich history. www.bethesdakatong.org www.cogentacoustics.com www.enepl.com.sg

For more information on TurboRay, visit highend.com/turboray

etcconnect.com highend.com November–December 2019 WORSHIP AVL 23

PROJECTS

Sanctuary for Life New Zealand’s Life Church relocated its Mount Eden campus to a new building.

James Cooke speaks with those involved in developing the audio setup WHENEVER WE COVER A HOUSE of worship that’s had to relocate to a new sanctuary within these pages, it’s almost always for the same reason: the congregation has outgrown the old building. While most will be able to take their time in finding a new home, Life Church in New Zealand had no such luxury, when external factors dictated a move sooner rather than later for its Central campus in Auckland’s Mount Eden suburb.

‘Life’s old facility in Mount Eden was rezoned for civil service reconstruction,’ explains Dave Jacques, project team leader at Melbourne-based National Audio Systems (NAS). ‘The site had undergone a compulsory acquisition to make way for a train line. So, they needed to build a new campus to move to, while also having more room for its growing congregation.’

‘We are a growing church and had really outgrown our old facility,’ confirms Daniel Cotton from Life Church. ‘And, when our local council required our site for a new city rail station and underground tunnel entrance, we negotiated a land swap and funding to build and relocate to our new Life Central site, which is located a five-minute walk from the

old site and has more than double the land area.’

The church invited NAS to offer an audio solution while the building was still in its design phase. ‘We had worked with NAS on our previous two venue builds – Life North in 2012 and Life South in 2008,’ Cotton recalls. ‘We were very happy with their skills and support throughout those processes.’

‘We’ve worked with the church and supplied sound systems from d&b audiotechnik for nine years,’ notes Jacques. ‘They’ve been happy with our work and the solutions provided, and always call us back. It’s a competitive process against other suppliers and their proposed systems every time.

We’ve built up a great relationship with

24 WORSHIP AVL November–December 2019

Dan and the team at Life, but they still want to be sure that they’re getting the best solution possible. It ensures that we go the extra mile, as always, to provide just that.’

NAS serves as the distributor for d&b audiotechnik products in Australia and New Zealand and, therefore, knows the systems very well. Having beaten the competition once again to win the work with Life, NAS was able to start on the system design while the new building was still under construction.

‘Even in the design phase of the building, we started specifying where we would hang the loudspeakers,’ says Jacques. ‘This is a huge advantage, as we can let the architects and builders know roughly

where the speakers need to hang from the walls and ceiling, and let them know how much weight needs to be supported. The roof structure was therefore built with that in mind, ensuring it would be able to hold the weight of the speakers.’

‘We also discussed some acoustic treatment that they might choose to employ,’ adds Shane Bailey, NAS’ managing director. ‘We discussed acoustic consultants that they could engage with. We then saw some acoustic modelling that would tell us roughly what the room’s spec was going to be acoustically so that we could identify certain surfaces that we needed to avoid or make allowances for when designing the sound system.’

Another benefit of the sound design team being involved with a new build at an early stage is the constant dialogue between them, the church and the construction team.

‘To be able to have a clear line of communication with the church, where we can go back and forth and discuss potential issues, is extremely helpful,’ says Jacques.

‘Rather than just putting forward our best design based on the information we’ve been given and not getting any feedback, we were kept in the know

PROJECTS

‘We had demoed two alternative products in our South venue in the years leading up to the build,’ says Cotton, referring to a pair of the solutions suggested by the companies NAS competed against to win the project. ‘Neither out-performed the T-Series system we’d previously had installed. With all the experience we’ve had deploying d&b systems and

main auditorium,’ explains Jacques.

‘These are used as overflow areas and it’s all d&b, which is great, as you get a consistent sound whether you are in the auditorium or outside it. Daniel and his team didn’t want there to be a drop in sound quality in these spaces when compared to the main sanctuary and asked if we could align the systems with the main setup. There was a desire for the church to extend the acoustic and sonic experience to greet visitors from the moment they walked in the doors of the building, carrying all the way through to actually being in the auditorium.’

The foyer system is formed from nine d&b audiotechnik 5S loudspeakers and a further eight that have a white finish. These are complemented by a 27S-SUB

speakers on a time delay so that those walking through, from one space to another, don’t notice any transition in the audio. Because Life wanted a full, big sound with full-frequency response to match its auditorium, there’s even floating cardioid subwoofers in the ceiling to provide low-frequency support in the foyer and café.’

Everybody at Life is satisfied with the new system, although Cotton and his team always find room for improvement. ‘We are super happy with the system,’ Cotton declares. ‘It performs outstandingly, and we have continued to tweak the tuning as we have settled into the room and have had two follow-up tunings with Western Audio. No system is perfect, and there are some things we would do differently, but we’re very happy.’

working with Western Audio, the d&b products always proved very reliable and always sound great.’

The sound setup isn’t just confined to the new sanctuary. The team at Life wants the best solutions possible, and this extends into other areas. ‘We designed a distributed sound system that carries out into the foyer and café areas that lead into the

subwoofer on the low end, while a pair of 10D amplifiers drives the setup.

‘As well as being used as overflow spaces, the foyer and café can also be used as standalone spaces for smaller events,’ says Jacques. ‘So, the system here can be used on its own. However, when it’s used for overflow, projecting the audio from inside the auditorium, we’ve set the

Bailey and Jacques intend to continue building up their ties with Life. ‘It’s a great relationship,’ Jacques concludes.

‘They’re very open and very willing to push the boundaries a little bit to get better results.’

E6 front-fills back-to-back with M6 stage monitors of any changes or compromises we’d need to make early, which ultimately helped us to provide the best quality audio throughout the church.’

NAS has a policy it adheres to for each of its projects: ‘We have a firstin, last-out approach where we help with the design as much as possible,’ explains Bailey. ‘An installation company will come in to install the system, and then we come back and do the final commissioning and make sure that the system performs as we suggested it would.’

The installation company in this instance was Auckland-based rental firm Western Audio, which installed the setup specified by NAS. This comprises two hangs of four Vi-SUB subwoofers above the centre of the stage, while arrays of eight loudspeakers have been flown to the left and right, formed from a total of 10 Vi8 and six Vi12 enclosures.

Eight 21S subwoofers extend the low-end frequencies across the front of the stage, above which are four E6 speakers providing front-fill from their position along the lip of the stage, and nine M6 monitors deliver foldback to those on the stage. The system is completed by four Vi7P cabinets that serve as delays and high-level fills throughout the venue, while power is provided by eight d&b 30D amplifiers and a single D80 unit.

AS YOU WISH !

www.dbaudio.com www.lifenz.org www.nas.solutions

PRODIGY.MC I MODULAR AUDIO CONVERTER

1/4 horizontal www.directout.eu

wavl-1-4p.indd 1

November–December 2019 WORSHIP AVL 25 10.09.19 18:13

PROJECTS

The Holy Ghost Festival of Life

Hungry Earth Productions takes us behind the scenes of one of Europe’s largest gatherings of Christians for a night of fellowship, praise and prayers THE REDEEMED CHRISTIAN CHURCH of God (RCCG) is a Pentecostal megachurch and denomination founded in 1952 in Lagos, Nigeria by an illiterate man who had been called

by God to set up the church. In 1981, a young mathematics graduate and pastor, Enoch Adeboye, became the general overseer and continues in that position today.

The church in Lagos now has an average weekly attendance of 500,000, with further RCCG parishes existing in almost 200 countries around the world.

‘Under Pastor Adeboye’s leadership, land was purchased on the expressway between Lagos and Ibadan, where a church was built,’ explains Jerry Curd, producer and director at Hungry Earth Productions.

‘This area has now extended to the size of a large town known as Redemption Camp and, on the first Friday of every month, thousands of people gather there all night long for prayer, worship and teaching, known as Holy Ghost Night.’

The Holy Ghost Festival of Life (FOL) in London came 15 years later in 1996. ‘As the event grew and grew, so did the production values and, come 2001, Hungry Earth was brought on

board,’ adds Jerry. ‘Having already worked with several large churches, undertaking multi-camera productions for satellite TV, we were contracted to film FOL when the crowd in attendance was much smaller.’

Hungry Earth’s evolution Hungr y Ear th’s production capabilities have grown and evolved alongside FOL’s expansion.

‘At the beginning, we were filming in SD on Panasonic DVCPRO cameras and a JVC mixer, editing to Betacam masters for playout,’ Jerr y recalls.

By 2011, the crowd capacity had grown to more than 40,000, and the event spec had changed to six cameras, shooting in HD 1080i.

‘At first, we hired in equipment to be able to meet this, as investing in HD was unfor tunately beyond our budget. However, this was also around the time that Blackmagic was launching its first line of Atem mixers. Due to its pricing, we were able to make the leap and deliver in HD the following year.’

Combined with an assortment of Panasonic HD cameras, the team purchased an HD-SDI-based live

26 WORSHIP AVL November–December 2019

production solution, which included an Atem 1 M/E switcher, broadcast panel and a series of Hyperdeck studio SSD recorders.

The next significant investment by Hungry Earth came in 2018 when another client had booked it for a conference and required all cameras to match with full racking. ‘With enough money in the pot, we took this opportunity to invest in four Ursa Broadcast chains along with the Atem Camera Control hardware. We also upgraded our original Atem to the

new Television Studio Pro 4K mixer.

This afforded us both acquisition and control in 1080p50, and the client was most impressed. It gave us the confidence to shoot the next FOL with the same workflow; however, we still needed an extra two cameras to meet the spec.’

Jerry explains that, at the time, the Ursa Mini Pro was available as a rental option at Hireacamera, and he was intrigued by the fact it was a hybrid camera with all the familiar on-board broadcast controls.

PRODUCTS PROJECTS PROJECTS

Lighter and quieter monitors monitors are are hung hung above the the doors doors ‘I had a hunch thatabove we could hire a 1 serving serving as entrances to the the stage stage ⁄3-inch, Mini Proas to entrances replace ourto older from from both both the the left left and and right. right.

Another small-format HD camera, andAnother get a CDD8 CDD8depth has has been been installed installed at at the the main main lower of field that would match CHRISTIE HAS launched DStheory entrance. entrance. the Ursa Broadcasts, andits that Series of paid ‘lighter certainly off.and Thequieter’ match 3LCD was laser projectors a 4,000,000:1 perfect and, duewith to the identical contrast The productsSDI feature controls ratio. and Blackmagic’s 360° orientation, input/output protocol for camera control, weoptions were including HDBaseT, lowcameras.’ able to rack all of the maintenance, and up to 50,000 FOL as it is now hours of operation For this year’s event at London’s and a five-year ExCeL convention centre, the team warranty, had another realisation when one of whichever the crew obtained a Pocket Cinema comes Camerafirst.

4K to add to the mix as the The camera.

LWU900-DS and sixth ‘With only an HDMI LHD878-DS arethan mid-brightness output, rather SDI, and no ‘Since ‘Sinceofthe the church church ceiling ceiling had projectors that deliver 9,000 andaa means racking, we neverhad even height heightlumens, of of more moreusing than thanthis 12m, 12m, the the major major 8,775 respectively.

They are contemplated camera,’ challenge challenge was was‘But to to fly flyits the the system system suited to Jerry. medium-to-large spaces explains weight and as ashigh-ambient rigging rigging and and hardware hardware had to tobe be be or light environments tiny size made us think it had could fabricated,’ fabricated,’ explains explains Hilton.

‘The ‘The where higher brightness is required. ideal on a stabiliser orHilton. handheld church church isisAs designed designed aat a gothic gothic The projectors 4K 60Hz onstage. weaccept use with awith Cosmo 1200 style style architecture architecture and and caters caters to to signals, have built-in edge blending wireless transmission system and around around 3,000 3,000 people people on onaaverage. average. and warping, and feature low-power Hollyland 1000 range extender on ItIt has hasroving an an‘The area area of of approximately approximately 325m 325m22 mode. patented optical the stage camera, theengine thought and and features athat wooden wooden altar altar and and in thefeatures Christie Series is more occurred to usaDS we could take stained-glass stained-glass windows. windows.

Due Due to todid this this efficient its competition because the HDMIthan output into that.

We a architectural architectural design, there there were were aof a of theand, compact laser diode block. test evendesign, though the quality lot lot of of echoes, echoes, which whichthe were taken taken care care This design changes excitation the signal was great, itwere was a little of of by byspot carrying carrying out out some some acoustic acoustic light shape from a round spot desaturated and didn’t match the to treatment treatment to to the the church. church.

Since Since we we a rectangular shape and disperses Ursa Broadcast.’

‘The ‘The entire entire system system is is powered powered using using Powersoft Powersoft M M Series Series amplifiers amplifiers and and aa Behringer Behringer X32 X32 digital digital mixing mixing console’ console’

However, Nick Warren, the team’s colourist and DIT, came up with the perfect solution. ‘He designed a 3D LUT for each camera in DaVinci the energy on Hue the phosphor wheel, Resolve using vs Hue and Hue vs which improves reliability of the Sat curves,’ saysthe Jerry. phosphor wheel,’ explained Brad ‘And it was a great success.

Any Martin, product Christie. disparities were manager gone. Theatcolours Thethe LWU755-DS also rich a midfrom Pocket 4Kiswere and brightness 3LCD laser vibrant, particularly the projector blues and designed small- It purples from the lighting for onstage. to-medium matched with the other cameras so applications. much so that there was very little It delivers racking to do apart from aperture control, which of course 7,550 can be lumens along performed by the P4K operator.’ with built-in edge blending and warping, and advanced colour management. Available in black or white and featuring omnidirectional capabilities, the The The view view from from below below the the balcony balcony LWU755-DS projector is ideal for tight have have been been working working with with Martin Martin Audio Audio spaces. for for long longmodels time, time, we we were were able able to to use use Allaathree provide integration the the Display Display 2.3 software software to make with control 2.3 systems suchto asmake AMX sure sure that that we wetoplaced placed the speakers speakers at and Crestron, and arethe equipped In addition the Pocket 4K, thewithat the the appropriate appropriate height height to get get even even LiveViewer so users canto share audio camera positions inside London’s coverage coverage throughout throughout the room, room,their as as and video content from ExceL consisted ofdirectly twothe Ursa well well as as aa dbx dbx Venu360 Venu360 loudspeaker loudspeaker computer or laptop toJimmy the projector via Broadcasts rigged on jibs, and management management system system that that was was able able the LANtripods or wirelessly (optional USB two on on a platform 20m to to help help us us set set crossover crossover and and achieve achieve dongle from therequired). stage.

A hired Ursa Mini Pro near near perfect perfect equalisation equalisation which which was was G2 was also on a tripod, but directly in expected expected from our our side.’ side.’ front of thefrom stage. www.christiedigital.com

dLive goes ultra-compact with Wings

The prayers, fellowship and praise lasted all through the night for more than 10 hours straight, and was live streamed to thousands of viewers across the world. dLivein-house Wings team handled the FOL’s live broadcast, using an SDI audioALLEN &feed HEATH has been Earth embedded from Hungry showcasing‘The its ultra-compact Productions.

SDI feed wentdLive into a touring systems based on dLive Blackmagic web presenter,’ says Jerry.

Wings.

Central to this is Zoodio Zoodio also equipped equipped Divine Divine Mercy ‘This wasalso connected viaconcept USB toMercy the theseveral C1500 surface, which allows with with several microphones. microphones.

Five Five AKG AKG streaming laptop, which used licensed engineers to vocal manage upscale shows D5 D5 SSdynamic dynamic vocal microphones mimolive software tomicrophones output directly from a website 19-inch console, using its are are used used to tocapture capture the choir, choir, while while to FOL’s andthe official YouTube 12-inch touchscreen, assignable a apair pairof ofShure Shure CVG18 CVG18in19 gooseneck gooseneck page.’

Dove TV based Nigeria also SoftKeys and 12 faders over six condenser condenser mics can can be befound found on onthe the shared the mics live feed. layers.

Thethe C1500 can besupplied paired lectern lectern and and the ambo. ambo.

Audio Audio capture capture Big screen coverage was any ofaltar the MixRacks for at atwith the themain main altar isis captured captured byathe a by SFL Group whodLive handled all by of whenMX418 space are at took a Shure Shure MX418 D/C D/Cweight gooseneck. gooseneck. sound, AV and and projection.

‘They premium.

With With congregants congregants filling filling the thepews pewsof of my 1080p50 feed on 3G-SDI, plus Divine Divine Mercy MercyChurch Church each each and and every every six computers that had hymn lyrics,

VT playout, a clock timer for speakers and other graphics,’ explains Jerry.

This all went into a Barco E2 at FOH, fed down 24-lane fibre to a Barco EX at the stage and then to Barco HDX20 ‘Going from 36-fader surface to projectors for adisplaying on the venue a 12-fader C1500 or a touchscreen screens. can daunting at first,’ ‘Asseem you can imagine, FOL is an commented Ben Morgan, dLive enormous operation,’ concludes product manager. bit of Jerry.

‘Each year, it‘But justwith getsa bigger week, week, the the sound sound system system doing doing its planning and smart use ofisis SoftKeys, and better, and it’s amazing, as its job job in inensuring ensuring everyone everyone inside inside the amazing how quicklytoengineers ait’s production company, be ablethe sanctuary sanctuary can can hear hearconcept clearly. clearly.

In Infact, fact, embrace the Wings and to grow with it, investing in more Father Father Noronha Noronha noted noted that that Zoodio’s Zoodio’s the freedom brings.

It’s a flexible, and more kit,itthanks to accessible work work and andrig, the thewith new new sound sound system system has compact the same power has yet high-quality hardware from more more thandLive met metsuch his hisexpectations expectations and and as all than our systems, but easily manufacturers as Blackmagic.’ will willserve serveatthe the church churchand for forflown years yearson to toa checked baggage come. come. commercial flight.’ standard www.blackmagicdesign.com www.festivaloflife.org.uk www.martin-audio.com www.martin-audio.com www.hungryearth.com www.allen-heath.com www.zoodiopro.com www.zoodiopro.com www.rccg.org

|| All-in-one All-in-one Live Live Production Production Vehicle.

Vehicle.

1/2PAGE HORIZONTAL

Imagine Imagine an an all-inclusive aall-inclusive a system system em em that that combines combines superb superb big big switcher switcher performance performan performan performance with with visually visually stunning stunning 3D 3D graphics, graphics, instant instant ant ant access acce access acce ss sscclip lipservers serversand andpristine pristine ine ine audio audioclarity clar clar clarity –– with with the the reliability reliability of of separate separate system system tem tem components components-that’s --that’s -that’s that’sG Gra Gra G ra raph raph raph phite. ite.

Scan Scanthe theQR QRcode codeto to

download downloadour ournew newcatalogue catalogue ue ue CARBONITE CARBONITE| | The Thevideo video switcher switcher isisthe theheart heart rtrt of of any any live live ve ve production. production. Graphite Graphite includes includes the the pure pure production productionpower powerof ofCarbonite Carbonite––the theworld’s world’smost most popular popularmid-size mid-sizeproduction production switcher switcher––built built t tinto into dedicated dedicated cated ca cated hardware. ca hardware. Enjoy Enjoy aallll of of Carbonite’s Carbonite’s ‘big ‘big switcher' switcher'ffea eatures ea ffea eatures ea tures turesand andnever nevermi miss ssaabeat. beat. ea eat. ea eat.

XPRESSION XPRESSION | | Graphics Graphics can can make make or or break break aa show show and and Graphite Graphite comes comes equipped equipped with with the the best. best. The The Ross Ross used by by top top XPression XPression Motion Motion Graphics Graphics system system isis used Hollywood Hollywood Productions, Productions, Sports Sports ports ports T Tea Teams T ms and and Networks.

Networks.

Graphite Graphitealso alsoincludes includesXPression XPressionClips Clips––fully fully yyffea eatured ea ffea eatured ea tured turedcclip lip server serverchannels. channels.

RAVE RAVE | | Great Great video video needs needs great great audio. audio. Graphite Graphite comes comes with with aa professional professional twenty-eight twenty-eight channel channel hardware-based hardware-basedaudio audiomixing mixingengine enginewith withoptional optional Mic Micand andline linebreakout breakoutpanel panelwith withgreat greatspecs specsand and low lowdistortion. distortion.

www.rossvideo.com/graphite www.rossvideo.com/graphite www.rossvideo.com/graphite www.rossvideo.com/graphite For sales sales enquires: enquires: Ross_APAC@rossvideo.com Ross_APAC@rossvideo.com For ForFor sales sales enquires: enquires: Ross_APAC@rossvideo.com Ross_APAC@rossvideo.com

and andlearn learnmore moreabout aboutRoss Ro Ross Ross ssVideo’s Video’sfu fullll set setofoflive liveproduction productionsolutions solutions

July–August July–August 2019 2019 WORSHIP WORSHIP AVL AVL 27 27 November–December September–October 57

PROJECTS

Complex simplicity

The layout at Rivers Kyalami

The opening of a new campus in Kyalami saw Rivers Church expand on its tried-andtested AV-over-IP system design to bring maximum flexibility with minimal user expertise.

Simon Luckhurst takes the tour BEING ONE OF THE BIGGEST Christian worship organisations in South Africa, Rivers Church is constantly growing and always on the lookout for new locations to expand into. As a result of this, Rivers recently opened a new campus in Kyalami, Johannesburg capable of accommodating up to 1,000 of its newest members. Built to mirror the experience that worshippers have at its flagship Sandton campus nearby, the new complex is sizable and is able to accommodate all of the church’s growing needs, with enough space to dedicate specific areas to each of the individual age groups the congregation makes up.

Formerly known as Theatre on the Track, the new Rivers location is an old theatre/conferencing venue – perfectly suited for the church’s upcoming needs but requiring a complete overhaul to turn into a functioning worship space. This meant outfitting each of the areas with sound reinforcement and presentation solutions, as well as complete AVL systems for both the main and overflow ‘theatres’. Having worked closely with the church at its other campuses in the past, local distributors Stage Audio Works (SAW) and DWR were bought onboard to assist with the AV renovation.

Rivers’ audio HOD Andy Illgner and SAW’s technical director Nathan Ihlenfeldt ‘We purchased the space in the middle of last year, but we officially took ownership in December. It was quite an old theatre built in the early 1990s and we had just two months to turn it into a church,’ recalls Andy Illgner, the audio HOD at Rivers Church. ‘Being a theatre already at least helped with the acoustics of the space and was a good starting point, but we had to have a look at what we could reuse and what we could keep.

It turns out there wasn’t much we could reuse. We ended up practically gutting everything.’

With three auditoriums at the main campus in Sandton, the decision was

28 WORSHIP AVL November–December 2019

made to pull the sound system out of one of those to bring to Kyalami, and then upgrade the Sandton site.

As a result, the main Kyalami worship space now houses a Meyer Sound distributed speaker system. ‘We wanted to give the old system a try first because there was a lot of other stuff we had to allocate budget for,’ notes Illgner. ‘The system works just fine, but we will look to bring in the same solution as in Sandton in the future for consistency.’

In addition to the main auditorium, Kyalami’s smaller auditorium now serves as a children’s church, while the rest of the complex boasts six

classrooms tailored to various children’s age groups. ‘Everything is tied together via a Dante network and everything runs through QSC’s Q-Sys integrated audio platform,’ Illgner elaborates. ‘It’s a fully networked campus. When we started using Q-Sys we realised the potential it has.

Instead of placing mixing consoles in every room, we decided to go fully digital so everything can be controlled by a tablet.’

While DWR was responsible for the theatre lighting system in the main auditorium, SAW was responsible for the rest of the AV integration throughout the complex. ‘We were quite specific in what we wanted,’ remembers Illgner, ‘and SAW had all of the products that we required and were great at supporting us. We’d also worked closely before at some of our other sites.’

Having worked together in the past and already familiar with integrating the type of systems Rivers was looking for, the biggest challenge for SAW was not so much the technical aspect, but the site management issues of concurrently renovating the complex while the project was being carried out. Having started at the beginning of January, the entire AV integration – all 110 Dante endpoints spread far and wide throughout the

MORE THAN MEETS THE EYES WITH LASER PROJECTIONS. IT’S IN THE DETAILS. With 3LCD panels, every projection gives you spectacular true colours.

Sales Enquiries

800 120 5564

EpsonSEA

@EpsonSEA

@EpsonSEA

EpsonSoutheastAsia

Epson Southeast Asia

For latest specifications, visit www.epson.com.sg/projectors or call +65 800 120 5564.

Epson Singapore Pte Ltd 1 Harbourfront Place, #03-02 HarbourFront Tower One, Singapore 098633. Tel: (65) 6586-5500 Fax: (65) 6271-9755 Epson Customer Care Centre 108 Pasir Panjang Road, #04-08 Golden Agri Plaza, Singapore 118535. Epson Helpdesk: 800 120 5564. Operating hours: Monday - Friday, 9am - 6pm, Saturday, 9am - 1pm. Closed on Sunday and Public Holiday.

PROJECTS building – was completed by the end of that same month. ‘Thankfully we already knew that the technical “recipe” worked, it was just liaising with everyone efficiently to get the work completed in such a small space of time,’ explains SAW technical director, Nathan Ihlenfeldt.

The setup in the offshoot children’s church rooms typically includes various configurations, depending on the size of the room, of Audac loudspeakers for audio playback, Sennheiser wireless mics with Dante AVIO audio network adapters for inputs and a wall-mounted tablet for control. A variety of Audac ceiling and wall-mounted cabinets also serve BGM requirements throughout the common, public spaces, such as the entrance foyer.

‘One of the biggest challenges here in terms of the Q-Sys programming was actually building the intercom over Q-Sys,’ shares Ihlenfeldt. ‘We hadn’t done that before at the other campuses. We have these Studio Technologies Model 370 Danteenabled beltpacks and we had to design and deploy an intercom matrix from scratch. In Sandton, we have a Riedel matrix intercom, so we tried to replicate as much of that same

Audac HS208 two-way horn speakers cover the entrance lobby

functionality here. There are a lot of great things about a system of that nature, but it’s incredibly expensive and we didn’t really need all of that functionality. What we’ve designed, I think, is working really well. Plus the beltpacks are powered over Ethernet which really simplifies the cabling infrastructure.’

basic things,’ adds Ihlenfeldt. ‘With Q-Sys, even the cleaning staff can come in during the week when the tech team are not here and turn on what they need to do their job.’

‘Q-Sys is like having an extra staff member,’ jokes Illgner.

Back in the main auditorium, mixing is handled by a Dante-

The backstage audio equipment rack

A Yamaha QL5 at FOH in the main auditorium Central to this networked design thesis is the deployment of a large number of regular Windows-based tablets throughout the facility.

From these positions, users can select public space BGM and announcements, house lighting and control – all integrated through Q-Sys. The technical level of volunteers at Rivers is typically quite high, and the team were happy to deploy a system favouring greater flexibility instead of focusing purely on simplicity.

‘Training our volunteers is something we’re very keen to promote in-house,’ explains Illgner. ‘But, at the same time, a system like this has massively reduced our volunteer overhead.

Traditionally, they would have had to be a lot more involved to keep everything running. Our technical team now consists of about 40 people and between us we are able to manage everything at all of the Rivers campuses.’

‘It’s also about logistics, and not needing to have someone available onsite at all times just to operate

The video monitoring setup in the rear control room

30 WORSHIP AVL November–December 2019

enabled Yamaha QL5 console and is connected to a computer running Reaper for multi-track recording. A Meyer Sound Galileo handles audio processing, while Sennheiser ew 500 wireless mic and ew 300 IEM units support the pastor and presenters onstage. A gigabit Ethernet fibre ring has also been installed that feeds into seven racks and runs around the campus and auditorium.

‘We deployed a Layer 1 fibre network,’ explains Ihlenfeldt. ‘In our industry in South Africa, there aren’t many companies able to do this, so it makes sense when you deliver a project with modern infrastructure of this nature that you can do all of the optical work yourself.’

Onstage, SAW has deployed a 3.9mm pixel pitch LED wall developed in-house. ‘This is our Pixel Plus XCite series and it’s specifically designed for house of worship applications,’ comments Ihlenfeldt. ‘It has a number of features from an image quality perspective and great usability.

Electronically, it features the newest generation Novastar control system that allows for a really deep grey scale at low brightness.’

Video is also a major part of the experience at Rivers. While this makes the quality of SAW’s LED videowall all the more important, it’s also led to a sizable setup of video equipment to pull off cheaply, reliably and effectively. ‘We are quite a visual church,’ highlights Illgner. ‘Even if the pastor is here in person, there’s a lot of different slides and presentations that aid the preaching.’

At the back of the auditorium is a control room housing the video

equipment. The team uses a StreamDeck, a device typically used by video gamers for recording and livestreaming, with a Blackmagic solution capable of recalling different presets and providing the necessary switching capabilities. Everything is filmed and streamed in Full HD. ‘The main infrastructure is all Blackmagic, which has become an organisation-wide standard now,’ notes Ihlenfeldt. ‘But we’re also using a Living as One live link system which is pretty cool. It’s specifically designed for the house of worship market, and their key technology enables reliable live links over unreliable connections. In the past, to do this kind of thing, especially with the quality requirements for a big screen, it would require really expensive connectivity.

It’s based on a Google Cloud backend and works really well. It adds some latency to achieve this, but no more than two minutes, which is perfectly fine for our use.’

The fast-moving integration project at Kyalami has been both typical and unique in equal measure. A vast array of complicated and flexible technology has been integrated in a way that allows the system to function simply but effectively for every-day and non-technical use. For the Rivers tech teams, it’s the best of both worlds and ticks all of the boxes.

‘You never quite know what the future holds but, from a technical perspective, I think we are well set up,’ concludes Illgner. ‘We will look at bringing the sound system here in line with our Sandton campus in the near future. Although the Q-Sys design is expansive, it’s also really quite simple from an audio processing perspective.

There’s no limitations to what we can do here.’ www.rivers.church www.stageaudioworks.com

PROJECTS

Lessons & Carols for Christmas A trio of Knoxville churches banded together last year for a concert that retold the story of Christmas. James Cooke discusses the technical setup with Harmonic Production Services Images courtesy of Hayden Antal

SHORELINE CHURCH IN KNOXVILLE, Tennessee partnered with Hope Fellowship Church and City Church in 2018 to stage the inaugural Lessons & Carols event in the city’s Bijou Theatre. Described as a special night of scripture and song, Lessons & Carols was conceived by Shoreline’s worship pastor, Chuck Hooten, to deliver the story of Christmas and its message through music.

Harmonic Production Services was brought in to deliver the sound and lighting equipment. The company is based around 100 miles away in Chattanooga and has an established relationship with Shoreline.

‘We have a great partnership with Shoreline,’ explains Drew Hornback, Harmonic’s production designer for the event. ‘Their tech director, Collin O’Neil, has really utilised our services over the years to help the ministry grow.

‘We are a turnkey production house that loves partnering with ministries.

Our ministry clients are our biggest joy and allow us to do what we love: to partner with churches, like Shoreline, to support their production needs.’

While Harmonic works on nonchurch-related projects, such as the recent Riverbend Music Festival in Chattanooga, headlined by Lionel Richie, Keith Urban and Macklemore, ministry work is the company’s bread and butter given the backgrounds of the staff and the relationships it is able to develop with churches such as Shoreline.

‘Most of us have worked within the church previously,’ says Ryan

Image courtesy of Alaina Williams

Coffey, owner of Harmonic Production Services. ‘I used to work at Brainerd Baptist Church in Chattanooga.

Our lighting technician and general manager Max was at a large church in South Carolina, and Drew has been with a few churches down in Houston and in Knoxville.’

For Lessons & Carols, Coffey served as audio system designer. He was joined by Ricky Ashford on monitors and backline manager Johnny Smith.

‘We used 12 L-Acoustics Kara modular line array speakers with four SB28 subwoofers and an LA-RAK modular touring rack,’ says Coffey. ‘For

32 WORSHIP AVL November–December 2019

microphones, we used Sennheiser 2000 Series Wireless and performers wore Shure PSM 900 in-ear monitors, supplemented by Adamson M212 stage monitors.’ The monitor setup was powered by Lab.gruppen PLM 10k amplifiers.

A Midas PRO2C digital mixing console was employed at FOH, while a PRO6 handled monitors. Harmonic used a Klark Teknik DN9650 Dante network bridge to connect the Midas consoles to the network. Multiple Focusrite RedNet AM2 stereo analogue output devices were also connected to the Dante audio-over-IP network for

hardwired in-ear systems. ‘We had something like 48 tracks of Dante for recording,’ recalls Hornback.

While the sound setup was required to reinforce and faithfully reproduce the songs and lessons vocalised during the evening, the lighting rig needed to set the tone visually, capturing the right mood at the right time. Hornback was the lighting programmer for the event, on top of his role as overall production designer.

The aforementioned Max – Daniel Maxwell – was the lighting technician, and Brandon Smith took on the role of show producer.

‘We turned to our Elation lights to accent what the churches were doing,’ says Hornback. Harmonic is an Elation Lighting dealer and has a range of the manufacturer’s fixtures within its rental inventory. Lessons & Carols provided Harmonic with its first opportunity to use Elation’s zoomable Artiste DaVinci LED moving heads.

‘They wanted an immersive design, so we designed a rig that highlighted the Artiste DaVinci as our profile with Fuze Wash Z350s adding colour,’ Hornback explains. ‘The DaVinci was the right fixture for the job. The CMY colour mixing and the gobos provided incredible texture to the stage.’

In total, a dozen Artiste DaVincis were used with an equal number of Fuze Wash Z350s. Eight of the DaVincis were flown in the rig and the remaining four were positioned on the floor. The Elation setup also included four DTW Blinder 350 IP fixtures and was supported by an eNode8 Pro

PROJECTS eight-universe Ethernet-DMX node.

A pair of Antari F-4D fazers were employed to add atmosphere.

‘Another thing we did was to incorporate lasers,’ Hornback says.

‘Max and I work with a company called X-Laser, a manufacturer in Laurel, Maryland. We were able to add their lasers to really enhance what we were doing with the lighting. Instead of having to add beam fixtures like you would normally do on a lighting rig, we went ahead and implemented six Skywriter M-5s. The “M” stands for Mercury Laser Control System.

Mercury allows us to completely control the laser from our lighting consoles. So, I didn’t need to use any

Image courtesy of Alaina Williams

external software. It meant I could run them just like a moving light. The M-5 has over 400 gobos, nine prisms, and has multiple wave and motion effects built into the system.’

The X-Laser systems provide other benefits too. ‘They’re a really instrumental part of what we do with our clients because we’re able to create some unique environments: whether it’s a liquid sky across the room, or creating the impression that we’ve lowered the ceiling to make people think that they’re in a much smaller, more intimate setting. During Lessons & Carols, we had lasers pointed down at the stage to give us some really cool backdrop colour.

Loading in through the snow ‘Our partnership with X-Laser has really been instrumental in what we do at Harmonic. For example, we’ve done some work at a student camp this year where we used lasers instead of beams and profiles, which is much more cost-effective for our clients.’

With the first Lessons & Carols event having gone without a hitch, the Harmonic team has been invited back again to provide the technical setup for the second edition, this December. ‘We have grown our inventory drastically in the last year,’ says Hornback. ‘In fact, Harmonic itself has grown to almost double from what it was last December. Whereas we used to have 12 Kara speakers in our inventory,

we’re now up to 30. We’ll be able to provide everything we did last year and build on it.’

‘We hope to provide a video setup this year too, and incorporate some scenic ideas,’ adds Coffey, ‘in addition to the audio and lighting setup.’

Following a successful Christmas Past and amid work on Christmas Present, it appears as if the relationship between Harmonic and Shoreline Church will also have its Christmas Future. www.elationlighting.com www.harmonicproduction.com www.l-acoustics.com www.shorelineknox.com www.x-laser.com

LivePremierTM series

1/2PAGE HORIZONTAL The fully scalable and modular

4K/8K live presentation systems, delivering memorable presentation experiences to captivate your congregation.

Powerful ® Versatile ® User-friendly

www.analogway.com November–December 2019 WORSHIP AVL 33

KnowHOW

Taming the acoustics Gordon Moore reveals how to get acoustics under control on a budget ON OUR FIRST VISIT TO THE CHURCH where I currently serve, the first thing my wife and I noticed was the incredibly poor acoustics. The room was reflective with virtually no intelligibility. It was large with a 9m ceiling, 18m across and nearly 36m deep – note that the width was twice the height and the depth was twice the width. This is almost the per fect formula for an echo chamber. If you clapped your hands, the flutter echoes would last over 5s. I would see couples arguing – she could hear and he could not, even though they were sitting next to each other. He would be sitting where everything phase cancelled, she would be in a hot spot even though they were sitting side by side. It took considerable concentration to hear the message clearly. After six months, we formally joined the church and I asked if I could offer some assistance. No good deed goes unpunished and 25 years later I am still involved with our church’s technology and acoustics.

The church had large volume and very hard sur faces – drywall and concrete. The only soft sur face in the room was the carpet, which was a very thin, glued down carpet with no padding. The pews were upholstered but added hundreds of square metres of reflective hard oak.

Acoustical problems are the bane of every sound operator. Many churches are designed by architects who are unschooled in acoustics.

Some even deliberately follow the old-school theme of making the space reverberant as though they were designing a 12th-century cathedral. Last time I checked, most churches do not conduct services with Gregorian chants anymore. So, how do you identify and resolve acoustical issues?

When sound reflects off a sur face, the nature of that sur face plays a big factor in the behaviour of the reflection. The worst-case scenario is a per fectly smooth, hard, unbending sur face such as glass, a polished hardwood wall or smooth drywall with no texturing. The reflection will be very sharp, clear and retain much

This is a reflection from a far wall

Early reflections from various surfaces close to the source

Here the reflections are about 400ms later, the time it takes for the sound to travel 60m out and then back at the speed of sound; therefore, the offending wall is about 60m away of the original energy. As the sur face becomes less smooth, more flexible and softer, it has a tendency to absorb the energy of the sound and/or scatter it in a less coherent form. So, if you are having acoustical issues, the first step is to determine where the problem originates.

You can do this with sophisticated software such as Smaart Live or you can do it using a simple recording program such as Audacity and an omnidirectional microphone.

The process is known as taking an impulse measurement. You need a sharp, loud acoustical source. In the past, some acousticians used a starter pistol (not recommended),

but any loud sudden noise will work. I like using two pieces of hard wood slapped together. If you are using Smaart, follow the prescribed procedure for a transform function using a known sound source.

Smaart will parse out the impulse response on a live basis. If you are using Audacity, simply place a microphone in a listening position, start recording then make your loud noise once. One very loud clap.

Make a note of how far from the microphone you are at the time.

Review the recording by looking at the waveform in your editing program with the timeline. You will see the initial sound from the clap.

Then you will see the reflections

in the display. Use the timeline to measure how much time elapsed between the first sound and the reflections. You can use these times to calculate the distance the reflections had to travel. Then simply look at the room and see which sur faces are that far from where the microphone was placed.

These are your offending sur faces.

Once you know which sur faces are problematic, you can treat them to reduce your problems.

Hard sur faces need to be softened so that the sound that hits them is widely dispersed in a non-cohesive waveform or, even better, absorbed. An absorbent sur face is a soft sur face. There are many commercially available treatments for sur faces sold by manufacturers that can help cover these sur faces with aesthetically attractive solutions. If your church has the budget available, I strongly recommend them.

They will meet all fire-retardant standards, they will be proven and designed for years of use. But many churches, such as mine, simply do not have the resources financially for these beautiful solutions. For my church, we used a combination of commercially available solutions and some homemade ones as well.

To tame large room problems, we used a wooden panel called Tectum

Three acoustical panels homemade from cloth and insulation; the drapery also helps quell excessive echoes

34 WORSHIP AVL November–December 2019

SK 6212

Size matters — performance counts.

Huge expectations meet a compact design.

Performers find this mini bodypack transmitter neither heavy nor conspicuous. Technicians appreciate an easy set up and proven reliability. The digital SK 6212 is now heralding a new era.

This mini bodypack provides 12 hours of operating time and its intermodulation-free transmission concept enables more reliable channels, even in congested frequency ranges. Meet the next generation of an industry standard: sennheiser.com/SK6212

KnowHOW

This large wall hanging made by the quilting group suppresses echoes in the narthex area which is a wood shaving product sprayed with a stiff mineral silicate covering. Highly fire retardant, Tectum was designed for use in gymnasiums which are typically very poor acoustically. We opted for the 4ft x 8ft panels. To tame the echoes off our walls, we needed to add over 223m2 to the walls.

Tectum is good at dispersing the higher frequencies – the straw-like nature of its sur face disperses the high frequencies very well. But we wanted a wider range of absorption, so we mounted the panels on the wall on furring strips – 1cm x 1cm wooden strips that elevated the panels away from the wall. Before we screwed the panels in place, we placed batts of fibreglass insulation (without barriers) between the strips, fuzzy side out. (Make certain that you wear dust masks, eye protection and wear protective clothing while hanging insulation.)

This insulation absorbs the sound energy, extending the low-frequency absorption. When the sound waves

hit the insulation, the fibreglass strands convert the sound waves into mechanical kinetic motion.

This treatment worked well for the high areas of the walls, which caused the majority of the reflections. Up high (over 2.5m) and out of reach, the panels look good and we arranged them in an attractive geometric pattern. We also placed a panel behind the sound booth to stop reflections from the back wall. The RT60 (reverberation time for a 60dB drop) for the room dropped from 5.5s down to 1.75s – still lively and sounds great for music.

But we also struggled with reflections from the wall behind the stage where the praise team and the choir stood. For that section, we need treatment lower down where people would interact with them. The treatment needed to be inconspicuous, providing no visual distraction. Commercially available panels were beyond the budget.

So, we placed a wooden frame in each section using 40mm x 90mm framing wood. The frames covered the reflective wall sections. We again placed insulation (R19) – fuzzy side out between the frames

Installing a panel; note the insulation between mounting strips on the wall

The geometric placement of sound absorption panels on the wall

36 WORSHIP AVL November–December 2019

A different pattern was used for the back wall to help suppress the long axis echoes – and then covered the entire frame with black cotton-based embroidery cloth. The embroidery cloth is a stiff, open weave, per fect for allowing sound to pass. The cloth is treated with fire retardant to safeguard the congregation. Always make sure your insulative or soundproofing materials are fire retardant.

These panels effectively eliminated the annoying reflections and made the clarity of sound coming from the stage sharper and better defined.

An alternative design uses a similar framing but covered on top of the fabric with a criss-cross pattern of fine hardwood strips with varying gaps in between. It looks like a wooden fence with random gaps between the boards.

By randomising the gaps, the absorption of different frequencies is addressed and the diffusion of any reflected sound more evenly distributed.

How else can you tame unwanted reflections? Remember, any soft absorbent sur faces help. Does your church have a banner or sewing committee? If so, have them make large attractive banners that can be hung on walls or from ceilings.

Rugs on the floor can help soak up unwanted sound; carpeting with thick comfortable padding is best.

Quilted banners hanging across the ceiling will suppress flutter echoes between parallel walls.

Set designs can help as well.

If you have a black box stage – a common trend among many churches today – the stage design can help with acoustics. Avoid hard smooth sur faces and materials.

A cloth panel has the same visual impact as a smooth, hard Masonite panel but weighs less and can help tamper reflections. If it is quilted with absorbent material, it will be

even more effective. Heavy curtains or rough sur faces (such as roughcut wood) can help as well.

A strong word about safety: stages are often built on very minimal budgets and without consideration about the flammability of the materials. Sets will incorporate lighting fixtures that can generate a lot of heat. Make absolutely certain that: 1.

All stage materials are flame retardant or treated with a flame retardant. Cost-effective flame retardants can be purchased in liquid form and sprayed on with simple pump sprays like those found in garden supply houses. Wool is naturally flame resistant – modern synthetics can be highly flammable. Treat everything. Be safe.

2.

All power cable extensions are power strips with builtin safety fuses. Whenever I find a simple extension cord without a safety fuse, I immediately cut the cord into small pieces and throw it away.

3.

All set materials are situated far enough from lighting fixtures to avoid contact and the possibility of igniting the material.

Poor acoustics are the sound operator’s enemy in delivering a great worship experience. With some hard work, simple materials and careful analysis, you can tame the echoes and help your congregation hear the Word clearly, joyfully and worshipfully.

Be blessed and mix well.

KnowHOW Image courtesy of Action Church

Live streaming tips and tricks James Cooke details what you need to consider for live streaming and mistakes to avoid LIVE STREAMING HAS ENABLED almost everyone to become a broadcaster. The advent of YouTube and social media channels has resulted in an ever-growing list of unlikely stars, from singers to gamers and everything in between.

For houses of worship, the ability to communicate with the world has opened up new ways to engage with a congregation, and live streaming in particular has helped those without the budget or the means to broadcast via traditional television to present services to a global audience. In this article, we’ll take a look at some of the dos and don’ts.

Plan and prepare What is it you’ll be streaming onto the internet? If you’re planning to stream a weekly service or event, you’ll need to figure out when the stream will begin. Will it be just before the worship leader takes to the stage or will it open as they utter their first words of welcome?

If the inside of the sanctuary is the first thing viewers see, this is called a cold open. Cold opens are used in plenty of television shows, typically sitcoms, where there’s no introduction. Alternatively, you could prepare a video package, perhaps to some music, as a way of letting viewers that have tuned into the

stream know that the service is about to begin. Sort of like an opening credits sequence.

You will have also planned out camera angles, ensured that the audio is working and that the lighting looks good on video. Make sure everyone knows what they’re doing and that all devices have enough power – preferably from the mains.

But, as for the stream itself, make sure your internet connection is working well. Check the recommended internet speed of the CDN (content delivery network) you’re using to ensure a good connection for streaming. Run an internet speed test and see if it’s fast enough. If not, it may be worth exploring alternative internet packages or providers. It’s also worth noting that wired internet connections are more stable than wireless. If you’re running any wireless devices as part of the production or live stream, make sure that they have a strong and stable connection wherever they’re located. If they’re too far away from the router, look into installing a Wi-Fi booster or extender.

Finally, take a look at how your stream will appear to viewers at home. Some of the systems you might be using will be capable of showing you what the live feed looks like on a range of devices, platforms

38 WORSHIP AVL November–December 2019

and browsers. A good CDN will also be able to show you this.

Keep checking Even when ever ything’s all mapped out and ready to go, keep on testing your equipment to make sure ever ything works. If possible, run through a full rehearsal with a test stream to ensure ever ything runs smoothly and that it looks good onscreen. Regularly check that all of your equipment is in working order and always make sure that anything running off of batteries is fully charged.

There’s nothing more frustrating than streaming live to the world and then having a camera or

microphone cut out, unless it’s a more integral par t of the streaming setup that causes the entire feed to go black.

You should also keep a constant eye on the quality of your feed – audio as well as video. During your frequent tests, keep an eye on how the video feed is looking and listen to the sound coming through.

Fingers crossed, it’ll all be fine. If, however, there is a dip in quality, check all equipment related to the problem. If, for example, it’s an audio issue, test ever ything from the microphone to the mixer and all cables and connections until you identify the issue. It might be that something is faulty, or it could simply be time for an upgrade.

KnowHOW Be sure that all of your kit is up to the same standards, such as resolution, so that your content is consistent. And always have backups available where possible so that if something does malfunction, you can act fast to fix the problem when it’s showtime.

CDNs When it comes to choosing a method of delivery, do a bit of research and look into what best suits your needs.

Facebook and YouTube provide a good, free service for live streaming that is easy for viewers to find and play back. Both are easily accessible on just about all devices a congregant is likely to have, and provide the added benefit of allowing viewers to follow your account. If your house of worship already has a Facebook page, streaming on the social media site will mean those who like the page will see the video pop up in their feed. Depending on their settings, some followers on Facebook may even receive push notifications on their phones to let them know you’re going live.

If you’re looking for something a little more professional without the branding of Facebook or YouTube, it could be worth subscribing to a paid

service. Benefits of this include the ability to easily stream directly via your house of worship’s website and technical support. They also promise reliable, good-quality streams, with added security and marketing services for your money. It should be noted that YouTube and Facebook videos can be embedded onto a website once the stream has ended and they become video-on-demand content, and it is possible to embed live content, although this can be rather tricky.

a little disheartening to put in all the work, only for nobody to tune in to your inaugural stream, but, thankfully, when houses of worship decide to begin streaming video content, they have a built-in audience ready to broadcast to.

Put up posters on the notice board in the foyer and ask the worship leader to let the congregation know that services can be watched online, as well as how and where, or if there is any other upcoming live content.

Remind followers on the house of worship’s social media pages, posting frequent status updates to let people know when a live stream is coming up. And word of mouth is a powerful advertising tool – get congregants talking and ask them to share on social media. Promoting a live stream

is much like trying to draw in new congregants to the house of worship or attendance for a special event. You have a full licence to get creative in coming up with how to market it.

Have fun and keep learning The entire process is a creative endeavour, so have fun with it and that sense of enjoyment will stream through to your audience.

While you can do your best to avoid errors, mistakes are bound to happen – it’s par t of what makes live content so exciting. Just be sure to learn from your mistakes and always look for new ways to improve.

Promotion With all the planning, preparation and hard work that goes into the technical side of producing a live stream, it can be easy to forget to let your audience know that they’ll be able to watch.

This is a common problem facing live streamers of all kinds. It can be

LEVEL UP

to extreme performance

Introducing the D2 Digital Wireless Mic System

• 8 channels in a single RU • 24 Bit/48 kHz digital audio for studio grade sound quality • 3 receiver diversity modes • Backward compatible Digital Hybrid Wireless® transmitters!

Leverage your current investment!

1/2PAGE HORIZONTAL

®

November–December 2019 WORSHIP AVL 39

Dante® is a registered trademark of Audinate Pty Ltd.

KnowHOW

Additional lighting for special events John Black provides several economic ideas for adding extra lighting for special events ANY HOW TECHNICIAN KNOWS AND has experienced the variety of special events that can occur, particularly around holidays. These events may not involve additional lighting needs in smaller facilities but, in some, weekly service routines can turn into massive productions, such as around the holidays of Christmas or Easter, with highly produced pageants.

As these events are in the planning phases, you may be asked how you can provide something special to really make the event unique.

You may have a large budget for purchasing or renting equipment not in your inventory, or you may have no budget and be tasked with coming up with creative solutions using only equipment already at your disposal.

If you’ve been reading the lighting KnowHOW section over this past year, you would have read about setting up a basic lighting grid and where to hang lighting fixtures within that grid to be able to light weekly services as well as special drama performances.

In this final piece of the year, I’m going to explore in some more detail three of the ways that I employ additional lighting for special events.

Specials Let’s refer back to setting up a basic lighting grid. In all of the facilities that I manage, I have included a number of ‘specials’ in the house plot for the specific purpose of being able to quickly and easily set up a lighting request for a one-off event. It could be a short drama presentation that needs a tight spotlight as opposed to using one of my stage lighting zones.

It could be a cross brought onstage during an Easter service that needs to be lit independently of the rest of the stage. It could be anything.

Having these fixtures ready to go in my rig means I don’t have to hang a new fixture and program it with every new request. The fixture is sitting in my rig, plugged in, patched and ready to go with only the need to refocus.

40 WORSHIP AVL November–December 2019

MEET THE AUTHOR John Black serves as the theatre manager for Seoul Foreign School in Seoul, South Korea. Holding a degree in Theatre Design, he 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 professionallevel technologies in a demanding production environment.

The ease of building specials into your rig and adjusting them depends on the architecture of your facility and how you can access your lighting fixtures. In one of my theatres, I have catwalks for accessing all of the

John Black, theatre manager for Seoul Foreign School

lighting positions without the need for ladders, genie lifts or focusing from a lowered pipe. This makes it easy for me to be able to manipulate these fixtures. In another one of my theatres, the AP positions hang over

The Sound of Speed

New Networking Options for SQ

48-channel, 96kHz digital mixers with class-leading latency, for live sound, AV and installation.

www.allen-heath.com

ALLEN&HEATH

KnowHOW the audience and are accessible only by lowering them in, focusing the fixture(s) and flying the pipe back out. To make meeting special lighting requests easier, I went ahead and installed automated lighting fixtures as my specials so that I refocus, colour or otherwise manipulate the light as needed directly from the lighting console.

When considering where to place these fixtures, I would recommend starting primarily with front-light positions. In my experience, the majority of requests that I receive are in relation to lighting a speaker, actor or object from the front in a unique, customised way. This may be a certain beam size adjustable with an iris, the addition of a gel for a front colour wash, a gobo for a special projection onto a surface or simply providing front light in an area not covered in the standard stage zones.

I typically always have 6–10 fixtures dedicated to meeting these needs on an event-by-event basis.

Fairy lights: fast and economical Particularly true of the Christmas season, the addition of fairy lights to the stage or auditorium can simply – yet effectively – introduce some sparkle to the room that is not normally there during the rest of the year. I like to add warm-white fairy lights to Christmas trees and garlands around the stage, around

More often, however, I will use fixtures – automated or conventional – that I can place a gobo in to create unique beam effects in the air. If the fixture is equipped with a gobo rotator, it is also possible to animate these beams to create interesting movement effects.

Structural lighting refers to fixtures that are changing the lighting look in the space through illuminating elements of the existing room or set in ways that the congregation or audience isn’t accustomed to. For example, I have placed LED wash units at the base of my auditorium walls extending out from the stage,

Gobos on the back wall for a special concert controlled – through the lighting system to be able to dim them if need be.

I have also used these strands in creative ways outside the methods I just mentioned. For example, I have hung a series of fairy light strands from pipes upstage to create a star-like backdrop effect. When placed against a black curtain or backdrop, but upstage of where your backlighting begins, it can create the effect of a deep, endless space even if your actual stage depth is quite shallow. The trick here is to not light the strands with your other lights. Additionally, if you use video in your service for IMAG or broadcast, this can create an interesting video backdrop with a bokeh-type effect in

Fairy lights lining scaffolding to create a unique effect the stage apron and around the front lip of the balcony in my auditorium.

The commercialised, flashing multicolour or cool-white strands detract (in my opinion) from a HOW setting, whereas the warm-white strands give the room a glow that is both inviting and uplifting, not to mention festive during the Christmas season.

Though many of these strands have gone LED, I still prefer to use the incandescent-type fairy lights that can be powered – and therefore

that the fairy lights will be out-offocus behind your subject depending on the depth between the subject and the fairy light strings.

One last way that I have used fairy lights is to line structural elements or to create structural elements (such as Christmas trees) on the stage. This can take on many different forms depending on the lines, patterns or images that you create using the strands, and therefore can provide an

42 WORSHIP AVL November–December 2019

almost endless range of creative possibilities.

Changing lighting direction Another addition that I do for lighting special events is to place fixtures in locations that provide lighting in a different direction than attendees are typically accustomed to during a ‘normal’ service. For me, this is usually accomplished by the addition of fixtures placed on and around the stage on floor stands or lighting trees.

Adding these fixtures to the system is simple as they can be set up quickly without having to haul out ladders or work at heights. In fact, I will even use flight cases around the stage to provide variations in height that the fixtures are sitting at. The flight cases can be left exposed or covered with a material matching the theme of the event.

Most of my special events have additional scenic elements added to the stage design but, even when they don’t, adding lighting at different directions can change the look and feel of the room for that special occasion.

As I just mentioned, I will often do this through floor-mounted fixtures, and I personally broadly categorise their focus in two ways – aerial and structural.

Aerial lighting refers to fixtures that are changing the lighting look in the space through effects that can be seen in the air. The key element to this is hazing the room, and without that ability creating these effects is not possible. When a space is hazed, it becomes possible to see the light beams. It then becomes possible to create additional depth and texture and colour through the focus – and movement – of these light beams in the air. Sometimes I employ colour wash fixtures to create large shafts or washes of coloured lighting in the air.

Fixtures on floor lighting up with haze and up-lighting home-made material pillars providing up-light washes on the walls of various colours. This is an effect that I wouldn’t necessarily use on a regular basis. Another example would be to place lighting fixtures underneath raised platforms that are wrapped in spandex or another light-coloured material that would then also be lit up in a variety of colours, creating not only a cool visual effect but the appearance of the platforms floating.

Conclusion As with many creative endeavours, the possibilities truly are endless.

Whether you are a big-budget HOW or a small-budget facility, creating special lighting looks and atmospheres for Christmas or other special events is possible. I hope that these three techniques that I use have provided a bit of insight into the many ways that you employ additional lighting. Start with what you already have available to you and identify creative and unique ways you can use that equipment that your congregation may not be accustomed to. Often, subtle changes can provide that ‘wow’ or ‘a-ha’ experience simply because it is different from what the observer expects.

WE LISTENED, NOW IT'S YOUR TURN Compatible Rigging System with all VTX-A Series Products New JBL Transducers for Best Sound Quality and Output Multiple Horizontal Coverage Options (90°|110°|120°) Best-in-Class Rigging System for Fast and Safe Deployment Compact, Truck-Friendly Dimensions Full-Range of Innovative Accessories Complete Solution Including Software and Amplification Small-Format Application Subwoofer Improved Linearity and Wider Dynamic Range Full Series Compatible Rigging (8” and 12” arrays) Reduced System Amplifier Requirements

Learn more now at JBLpro.com.

A12

A12W

A8

B18

NEW

NEW

For Product demos and enquiries write to us at HPro.APAC@harman.com or contact your authorized country partner

MAINTENANCE

Video cameras Cleanliness is key, reports Frank Wells, when it comes to keeping camera performance at its peak VIDEO CAMERAS ARE COMPLEX devices but, fortunately, modern cameras and camcorders are largely free of the twiddling and calibration tasks that once were essential for peak performance. Aspects that affect what the camera captures, like white balance, are largely automated and policed by the internal electronics. Camcorders now use solid state memory on cards, eliminating the maintenance required by the electro-mechanical tape-based recorders of old.

Thus, routine maintenance returns us to the familiar theme of cleanliness, starting with the lens.

Video lenses, as the eyes upon the worship stage, must be kept free of dust and grime to provide a clear, sharp image for display within a house of worship sanctuary, and for sharing electronically either live or ondemand from video archives.

Keeping camera lenses clean is a relatively simple task. Cleaning kits are available that often include a soft brush along with a rubber bulb that can be squeezed to produce a burst of air, helping to dislodge dust as it’s brushed away. Microfibre, lint-free cleaning cloths are also essential in a camera cleaning toolkit, used after any major dust buildup is brushed away to further clean lenses, and to polish away any fingerprints or other smudges that can interfere with capturing a clear, crisp image. After significant

use, cleaning cloths can acquire a buildup of skin oil or dust, so should be washed regularly to keep their usefulness optimised. Soap will remove the oils, followed by a thorough rinsing to remove any soap residue. In general, cleaning cloths can be just thrown in a clothes washer with laundry, though fabric softeners or other laundry cleaners that leave a residual component such as a scent should be avoided. Let any cleaning cloths dry completely before using them once again.

Should a humid environment result in dust-engrained grime on a lens, cleaning liquids can be used to loosen debris for removal. Commercial window/ glass cleaner can be too harsh for camera lens use; eyeglass cleaner or chemical mixes made specifically for lens cleaners are gentler and formulated to protect the coatings that are often a part of lens manufacture.

When spraying lens cleaner directly on a lens, spray bottles that produce a light, tight application of cleaner should be used. If the application of lens cleaner produces any drip of fluid, the spray that the applicator is producing is too coarse and

A video camera cleaning kit

44 WORSHIP AVL November–December 2019

Cleaning is job one with modern video cameras the solution should be sprayed onto a cleaning cloth, not onto the lens itself. Care must be taken to prevent any liquid penetration into the camera housing where it could harm electronics or mechanical components.

Lens cleanliness should be inspected regularly – a good task to add to your weekly, pre-service checklist of maintenance tasks.

Don’t neglect the lenses on PTZ remote-controlled cameras, even when they may be mounted where the lenses are harder to get to for inspection and cleaning.

Camera housings and controls should also be kept dust free. Bulb and brush tools can be effective for removing light dust, though remember that dust becoming airborne can settle back onto the camera and lens. A vacuum-mounted brush might be a better choice.

Camera controls can accumulate skin oils and other buildup from the operators’ hands. A cloth lightly dampened with water or alcohol (never dripping wet) can remove such debris.

Most houses of worship leave cameras mounted in position so that they can be rapidly put into use. There’s nothing wrong with

that practice in general, though it does leave the cameras open to dust buildup. A soft cloth bag can be placed over cameras not in use to protect against dust.

Where HOWs have interior climate control, some houses of worship economise by turning off heating and air conditioning when their facilities are not in use. In humid environments, warm, moist air can produce condensation on the outside, and even on the inside, of video cameras, which can be detrimental to long-term performance. In such an environment, a plastic bag can be placed over the camera when not in use, even when it remains mounted.

The better such a bag can be sealed with twist ties or such, the better that penetration of warm, moist air can be avoided. It is best to remove the protective bag when climate control has brought the room back to operating temperature. Porous bags of moisture-absorbing desiccant, such as those found in the packaging of new electronics, can be placed inside the camera protection bag to help control moisture. In extremely humid environments, it may be best to put cameras in sealed cases when not in use, also including a desiccant.

Keep it clean!

Future-Proof Technologies / Reliable Solutions / Safe Investment /

THE ONLY INTERCOM THAT... talks all audio standards including AES67 SMPTE2110-30/31

THAT...

THAT...

THAT...

supports the SMARTPANEL concept

integrates BOLERO, the state-of-the-art wireless intercom

loads a full conďŹ guration in less than 3 seconds www.riedel.net

TECHNOLOGY

PRODUCTS

Audio vocab 101 Chauvet adds to Maverick series

CHAUVET HAS added to its Maverick series. Both the Maverick MK3 Profile and MK3 Spot feature an output of more than 51,000 source lumens. The LED optics include CMY ENSURING THATmixing, YOURaAUDIO IS AT and CTO colour 9:1 zoom aratio highand standard during worship an adjustable CRI from events is an important role toan take.

73 to 93.

Both lights include The audio world always changing, animation wheel,istwo independent with products and equipment and new overlapping prisms and two frost making hard to understand or keep options it(superlight and medium).

The up with the ever-evolving MK3 Profile incorporatesterminology. a four-blade This canframe be confusing, especially shutter system with a full if you’re new120° to the field, so here blackout, rotation and twoare gobo some keywords will The wheelscommon (one rotating, onethat static). often comecomes up. with three gobo MK3 Spot

round ‘eyes’ or pixels. It is engineered with 12 square sections that can be controlled individually but appear together without separation and create a variety of colour control and amplifiers musteffects. be balanced and pixel-mapping The unit is the speakers need to be within their IP65-rated and equipped with DMX frequency power limits. and RDM and protocols.

Becky Abel explores some of the most common keywords in the world of audio

wheels (two rotating, one static). In ACTIVE/PASSIVE: active device terms of weight andandimensions, requires to that operate, as opposed Chauvet power reports the products to passiveand device thatcompact doesn’t than area ‘lighter more need power. Examples include ‘active any luminaire with a comparable crossovers’ and ‘activehave monitors’. output’. Both fixtures a 6–54° Active speakers are those with an zoom angle. integrated amplifier, while passive The Maverick Storm 1 Wash has speakers must beIP65-rated powered byRGBW an become the first external amplifier.

Osram LED moving head to join the Maverick series. Featuring a compact AMPLIFIER: a devicealuminium that increases and rugged die-cast ahousing signal’sbuilt power, or current. withvoltage marine-grade stainless steel screws, it has an BALANCED/UNBALANCED SIGNALS: output of over 6,000 lumens and when are effects used toand carry offersconductors pixel-mapping a

Lastly, COLORado Solo Batten 4 is BIT DEPTH:four-cell also referred to as an RGBAW LED batten with aend-to-end word length or bitrate. in colour mixing. ItUsed has four digital audio, the bitrate controlled is the homogenised, individually dynamic range that taken during square sections that is reportedly recording.

The higher the sound’s project smooth colour mixing without dynamic range, the higher the separation or dimmed lens corners. bitrate.

The fixture is IP65-rated and can be

Maverick Storm 1 Wash Maverick MK3 Profile virtual gobo wheel. The RDM-enabled unit features 16-bit dimming and can Biamp crossover be controlled via DMX, W-DMX, sACN and Art-Net. anThe audio signal, Rogue R1 with FX-Baisbalanced said to signal, three conductors used. have an infinite rotation are of both Two these conductors a pan of and tilt from its five carry individually positive andheads, negative signal,by while controlled powered five the third is used 15W for grounding. pixel-mappable RGBW LEDs. With unbalanced signal, only Otheranfeatures include 16-bit two conductors useddimmer; – one dimming of theare master carries positive signal while built-in the colour and tilt macros; the other carries the negative continuous movement of panand and istiltused for grounding. cables functions; and a 7°XLR beam angle can used transmit balanced andbe 11° fieldtoangle.

Control is

achieved with DMX, Art-Net, sACN or Kling-Net. Chauvet has also expanded its COLORado range with the COLORado Solo Batten, which projects a single homogenised wash with smooth signals.

While unbalanced signals colour mixing, giving it the appearance are complicated, they more of aless bright single bar of lightare without vulnerable to noise problems.

used as a wash or for pixel-mapping BRIDGED in power, audio effects. It MONO: includes used IP-rated amplifiers, this is aconnections, method in as DMX and Ethernet which amplifier is well asa atwo-channel large, password-protected bridged display. into one load, creating twice as much power. www.chauvetprofessional.com

BUS: where many signals in a point of a circuit are connected.

With mixers, a bus carries signals from several inputs, mixes them together then transpor ts them to an output. The higher the amount of busses that a mixer has, the more flexible its routing and controlling capabilities COLORadowill Solobe.

Batten

BIAMP: a technique that involves feeding a loudspeaker with two separate amplifier channels, one for low frequencies (woofer) and a second for middle and high frequencies (tweeter). In order to biamp a system, the power from the

of Music, Sound and Entertainment Technology

in

an headlin

Matt Redm

nce 1/2PAGE HORIZONTAL

xperie E p i h s r o W r Elevate You

Night of g at NAMM

maha

ented by Ya

es Worship pr

#NAMMShow

Get inspired to take your worship services to the next level! The NAMM Show returns to Southern California, uniting a global community of professionals across music, sound and entertainment technology. Make plans to attend and discover the latest products, new ideas and possiblities for your worship venue.

When you’re a one-man-shop, you don’t necessarily have an experience with everything. To be able to be exposed to new technologies and new solutions that’ll be a perfect fit for the next church you’re working with, it’s a great opportunity.

January 16–19, 2020 Southern California

Trent Perkins • Owner/Founder • Whole Hearted Productions

Register and book hotels starting August 2019 46 WORSHIP AVL November–December 2019

namm.org/attend

September–October 2019 WORSHIP AVL 65

systems systems integrator integrator Ecosystem, Ecosystem, CoreLab, CoreLab, as as well well as as specialist specialist sound sound Sky Sky Sound Sound worked worked alongside alongside three-day three-day youth youth retreat retreat itit once once held. held. subwoofers, subwoofers, from from Sky Sky Sound Sound for for aa ‘Choose ‘Choose aa video video solution that can can VR8 VR8 monitors monitors and andsolution BF151 BF151that compact compact support support aa wide wide range range of of delivery delivery rented rented an an Alcons Alcons system, system, comprising comprising platforms platforms and and Center, also also provide provide aa variety variety Chunma Chunma Arts Arts Center, but but had had also also of of features, features, including including the the ability abilityin to tothe having having staged staged several several events events in the schedule schedule recordings recordings and and streams streams that that particular particular system system firsthand, firsthand, automatically automatically from from calendar calendar inputs,’ inputs,’ Church Church had had not not only only experienced experienced explains explains Button.

Button. ‘For ‘For production productionCentral recommendation. recommendation.

Gyeongsan Gyeongsan Central scenarios scenarios with multiple multipleto sources that that Yeongnam Yeongnamwith University University tosources back back up up his his require require aa Arts live live line line cut cut to to be distributed distributed Chunma Chunma Arts Center Center at atbe the the nearby nearby via via streaming streaming platforms, platforms, there is is now now ultra-compact ultra-compact line line array arraythere system system in in the the aan aan range range of of powerful powerful I/O I/O devices. devices.

When When Alcons Alcons LR16 LR16 compact compact and and LR14 LR14

TECHNOLOGY KnowHOW Know HOW

an an Allen Allen && Heath Heath SQ-6 SQ-6 digital digital mixer mixer array array solution. solution. ‘The ‘The hall hall is is 30m 30m long, long, Along Along with with the the new new loudspeakers, loudspeakers, explains explains the the decision decision to to install install aa line line needed.’ needed.’ well well by by aa point point source source system, system, Beck Beck The The Alcons Alcons speakers speakers are are all all that that are are While While the the room room was was once once served served and and had had them them removed removed from from the the hall. hall. side side walls walls and and ceiling.’ ceiling.’ decided decided they they were were no no longer longer needed needed also also minimising minimising reflections reflections from from the the the the Alcons Alcons system system before before the the church church the the control control room room at at the the back, back, while while about about two two or or three three weeks weeks along along with with characteristics characteristics from from the the front front row row to to the the old old subwoofers subwoofers were were used used for for sound sound pressure pressure and and frequency frequency says says Beck.

Beck. ‘Following ‘Following the the installation, installation, we we could could deliver deliver the the best best possible possible frequencies frequencies down down to to around around 40Hz,’ 40Hz,’ ‘The ‘The Alcons Alcons solution solution ensured ensured that that The The AJA AJA Ki Ki Pro Pro Go Go is is aa portable portable multichannel multichannel work very very well well in in reproducing reproducing explains explains Glenn Glenn Suh Suh from from CoreLab. CoreLab. H.264 H.264 video video recorder recorder suitable suitable for for HOW HOW work venues venues ‘The ‘The LR14B LR14B line line array array bass bass modules modules were were aa very very good good combination,’ combination,’ paired paired with withso third-party third-party software, like like graphic graphic overlays overlays to to be be fed fed into into concerns concerns were were unnecessary.’ unnecessary.’

CoreLab, CoreLab, so the the three threesoftware, companies companies vMix vMix or or Wirecast, Wirecast, these these devices devices allow allow asystem,’ asystem,’ livestream livestream to to the the user’s user’s delivery deliveryour adds adds Glenn.

Glenn.

‘However, ‘However, our construction construction installation installation partner partner for for for for live switching switching between between sources sources and and platform platform of of choice.’ choice.’

18-inch 18-inch subwoofers from from the the previous the thelive LR14, LR14, and and has has also also worked worked as as aa How How do dosubwoofers the the transducers transducers and andprevious the the

www.happymaker.or.kr www.happymaker.or.kr www.corelab.co.kr www.corelab.co.kr

TECHNOLOGY KNOW HOW

www.alconsaudio.com www.alconsaudio.com

with with the the best best possible possible sound.’ sound.’

AJA’s AJA’s Helo Heloin allows allows users users to to another stream, stream, DYNAMIC MICROPHONE: their their faith faith in the the newly newly renovated renovated hall hall record record and deliver deliver content content type of and microphone where the sound worship worship at at this this facility facility are are reinforcing reinforcing waves induce current by causing ministers ministers and and a young young people people who who avery moveable or coil Glenn. to generate very happy,’ happy,’wire concludes concludes Glenn.

‘The ‘The electrical signals. does not audio audio system system and and This everybody everybody is is require external power.

They are ’The ’The church church now now has has an an excellent excellent less sensitive than condenser mics the the church.’ church.’ and high making very verycan well wellhandle together together to to SPLs, the the benefit benefit of of them more suited to able loud to sounds and and CoreLab CoreLab –– were were able to work work and high SPL environments such as companies companies –– Sky Sky Sound, Sound, Ecosystem Ecosystem live concerts. church church and and its its needs. needs. All All three three

How to place a microphone – part part one three 1/2PAGE Your video productionHORIZONTAL checklist

Gordon Gordon Moore Moore Park Park reminded reminded the the committee committee of of

Gordon Gordon Moore Moore

‘We ‘We therefore therefore decided decided to to retain retain the the systems systems in in other other locations, locations, including including preamps preamps alter alter the the instrument’s instrument’s had had previous previous experience experience with with the the Cardioid worried worried about about was was low low frequency.’ frequency.’

‘Ecosystem ‘Ecosystem has has installed installed Alcons Alcons sound? sound?

Park Park Sang-hyun Sang-hyun and and Sky Sky Sound Sound worship.’ worship.’pattern system system would would work, work, but but what what we we were were experience controllers. controllers. experience during during this this project, project, while while longer longer suited suited to to the the changing changing style style of of Condenser from Neumann CARDIOID: abrand; heart-shaped polar ‘We ‘We knew knew how how fantastically fantastically the the LR14 LR14 they Sentinel10 Sentinel10microphone amplified amplified loudspeaker loudspeaker they could could draw draw upon upon specific specific past past aa reputable reputable brand; itit was was just just no no pattern that rejects any soundfrom that the the entrance. entrance. powered powered and and controlled controlled by by aa pair pair of of churches,’ churches,’ Beck Beck notes. notes. ‘This ‘This meant meant point point source source speaker speaker system system from Depending Depending on on the the architecture architecture patterns patterns and and how how to to maintain maintain audio advice advice on on camera camera lenses lenses on on the the a DAMPING: anreach effect that decreases comes from praise. the rear. background noise isn’t generally allowed allowed us us to to reach 100dB 100dB as as far far as as String 1.

1. Research Research your video video two two LR14B LR14B line line array array bass bass modules, modules, and and point point source source speakers speakers in inaudio other other high-energy high-energy praise.

ItItyour was was an an old old String sections sections and andthe age age of of the the building, building, this this could could quality, quality, read our our KnowHOW KnowHOW on onarray p36 p36 market, market, take take asix look look at at our our Buying Buyingand the amplitude of vibrations. problem. for the LR14 LR14 line line array array system system as as itit right right arrays arrays of ofasix LR14 LR14 speakers speakers and for already alreadyread installed installed Alcons Alcons line line array to tocamera keep keep up up with with the the youth youth pastor’s pastor’s camera options options mean mean low low lighting lighting levels levels or or harsh harshto in the the March–April March–April 2019 2019 issue. issue. had Guide Guide on on comprises p52 p52 in in the the flown May–June May–June 2019 2019 not COMPANDER: improves signalnot aa small small hall. hall. So, So, we we decided decided to go go in ultimately ultimately comprises flown left left and and several several companies. companies.

‘Ecosystem ‘Ecosystem had its its age, age, reaching reaching its its limits limitsthe in in trying trying Invest Invest in in aa‘It good good camera camera and take take reflections reflections from fromto stained-glass stained-glass issue. issue.

DAW: thestage abbreviation of DigitalItIt is to-noise ratio by compressing a CROSSOVER: a device thatwhich creates from from the the stage to the the entrance. entrance. is to to provide provide the the new new system, system, which also also the the result result of of teamwork teamwork between between distributor. distributor.

‘It had had started startedand showing showing The The HH HH TNi-4030 TNi-4030 cabinet cabinet isis an an ultra-compact ultra-compact full full range range loudspeaker loudspeaker the the time time to to analyse analyse all allKorean the theonto features. features. windows. windows.

Understanding Understanding how how Audio Workstation.

A DAW is to atoItIt isis designed signal before it is South recorded a two or three output signals from a which which was was the the desired desired effect. effect.

ItIt is is CoreLab, CoreLab, Alcons’ Alcons’ South Korean in in the the Tessen Tessen Installation Installation Range.

Range. designed to to provide provide maximum maximum 5.

5.

Software Software is is your your friend friend performance performance in in its its class class and and be be visually visually unobtrusive unobtrusive ItIt isis designed designed The The Sentinel10 Sentinel10 amplified amplified loudspeaker loudspeaker controllers controllers Is Is DSLR DSLR sufficient? sufficient?

DSLR DSLR options options manipulate manipulate your your lighting lighting setup setup will will software program specially designed tape. single input signal.

There are two appears appears simple simple on on the the surface, surface, explains explains Beck Beck Seung Seung Hoon Hoon of of 2.

2. Get Get aa tripod tripod primarily primarily for for fixed fixed install install use. use.

There There are are plenty plentyHall of of video video editing editing can can usually usually record record in insuitable,’ 1080p.

1080p. pay payrecord, off off dividends. dividends. to editrange andPassive playback audioBass Reflex types of crossovers: active and new new Multiplex Multiplex Hall sound sound system system system system was was no no longer longer suitable,’ • • 44 xx 3″ 3″ Full Full range Passive Speaker, Speaker, Bass Reflex Dynamic microphone –Church’s Shure’s Opt Optflexible for for aaAn fluid fluid head head to torack fully fully capture capture software software tools tools to to choose choose from from SM58 Are Are you you hoping hoping to achieve achieve more more from a computer.

COMPRESSOR: ato signal processor passive. active crossover needs Gyeongsan Gyeongsan Central Central Church’s their twenties and and the the previous previous audio audio power, • • 90°H 90°H xx 30°V 30°V directivity directivity enables enables precise precise control control of of sound sound field field The Thetheir HH HH M Mtwenties Series Series power power amplifiers amplifiers are are ultra-high ultra-high power, flexible 44 channel channel 2U 2U rack amplifiers amplifiers designed designed toat provide provide maximum maximum performance. performance.

Compatible Compatible with with wide wide range range of of industry industry standard standard mounting smoother smoother pans.

Tripods Tripodsconnections; vary vary wildly wildly that that vary varymounting in in complexity complexity and and price. price. immersive immersive video video footage? footage?

Will Will in that reduces orto ‘evens out’ the both powerpans. and ground delivered. delivered. services services aimed aimed at young young people people in 4.

4.• • Focus Focus on audio audio hardware, hardware,on including including the the HH HH bracket bracket • • Four Four Channels, Channels, Bridgeable Bridgeable to to 2, 2, 3 3 or or Channels on (HH-BRK10 (HH-BRK10 available available separately) separately) in in the price price and and hand, not not always always for for good good Well-regarded Well-regarded editing software software you you need need to to film film in in is 4K 4K or or HDR? HDR? DECIBEL: measures signal volume dynamic range of an audio signal.

EIN: short forediting equivalent inputalso other passive digital digital wireless wireless system, system, were were also ‘The ‘The Multiplex Multiplex Hall Hall is used used for for44 Channels • • Balanced Balanced XLR XLR In In and and Link Link Out Out x4, x4, • • Weatherproof Weatherproof IP55 IP55 rated rated enclosure enclosure Sound Sound reinforcement reinforcement for for your your reason. reason. Stability Stability is key key and and anything anything tools tools include include Avid Pro Pro and and Adobe Adobe How How advanced advanced does does your your video video levels using a logarithmic scale. noise.

This isAvid the overall rating of crossovers don’t is require power to headset headset units units and and a a Shure Shure QLX-D QLX-D as as the the old old system’s system’s successor. successor.

Why Why use use a a mic? mic?

• • Ultra-Light, Ultra-Light, Class Class D D • • Frequency Frequency response response (-10) (-10) :: 85 85 –– 20kHz 20kHz worship worship venue is is(Peak) very very different different otherwise otherwise will will look look unprofessional. unprofessional.

Premiere Premiere Pro, Pro, while while4088 more more basic basic camera camera need need to to be? be? You You will will need need Abbreviated to dB. CONDENSER MICROPHONE: asetup type noise performance from directional an amplifier filter the signal.

DPA DPA Microphones Microphones 4088 directional Audio Audio LR14 LR14 pro-ribbon pro-ribbon speaker speaker setup • • Heavy Heavy Gauge Gauge 2U 2U chassis chassis • • Max Maxvenue SPL SPL (1M) (1M) (Peak) :: 112dB 112dB • • High High Quality, Quality, over over engineered engineered Universal 90-260V 90-260V Regulated Regulated Power Power Supply Supply to to audio audio for for video. video.

The The audio audio in in100W video editing editing packages packages include include to to understand understand its its advantages advantages and and • • 400W 400W Peak, Peak, 200W 200W Continuous, Continuous, 100W RMS RMSvideo of microphone that uses aUniversal capacitor measures its quietness.

Athat A variety variety of of microphones, microphones, including including sound sound system, system, suggesting suggesting an an Alcons Alcons • • Anti-Tamper Anti-Tamper Panel Panel Included Included • • Nominal Nominal System System Impedance: Impedance: ohm ohm a a sanctuary sanctuary might might be be flawless flawless88in in Vmix, Vmix, iMovie iMovie and and Windows Movie Movie its its limitations, from from zoom zoom range to to DANTE: short for Digital Audio Network DSP: short for digital signal as a limitations, pickup. are usually from was was installed installed to to Windows manage manage the the system. system. replacing replacing the theThese whole whole front front of ofrange house house 3.

3.

Lighting Lighting is is crucial crucial • • Output Output Power Power :: 3Kw 3Kw Max Max • • Injection Injection Moulded Moulded Cabinet Cabinet March–April March–April 2019 2019 WORSHIP WORSHIP AVL AVL 33 the the• • venue venue but, but, once once streamed, Maker.

Maker.

Some Some of ofelectro-magnetic these these are are free, free, and and33 autofocus and and specific specific camera lens lens Through Ethernet, Dante is a mixture EMI: stands for processing.

DSP is astreamed, form of anautofocus external source as a mixing • • Minimum Minimum impedance: impedance: 22such Ohm Ohmcamera White White or or Black Black finish finish lighting lighting kit kit is is crucial crucial for fornetwork most most could could suffer suffer reverberant, reverberant, reflected reflected many many with with aa price price attached will will allow allow requirements, requirements, depending depending on on how how interference, whichattached occurs where an ofAAsoftware, hardware and manipulation on a digital audio console.

They are more sensitive HOWs HOWs as as the thedistribute majority majorityuncompressed, of of filming filming will will sounds. sounds.performing For For more more top top tips on on video video you you to to sign signdevice up up for forisaaused free free trial trial before before and anddynamic what what you youmics wish wishand to to shoot shoot and and protocols that electronic in range of signal, thetips same than are typically take take place place inside inside worship worship venue. venue. streaming, streaming, microphones and pickup pickup committing. committing. where where the the content contentapplications is is going. going. For For more more multichannel digitalaamedia through an electromagnetic field. This is also functions asmicrophones an analogueand signal used in low-volume WAVL WAVL Pg32-33 Pg32-33 Gyeonsan Gyeonsan Central Central church.indd church.indd 33 33 09/01/2019 09/01/2019 standard Ethernet networks. known as radio frequency interference. processor. such as recording studios where

MEET MEET THE THE AUTHOR AUTHOR MEET MEET THE THE AUTHOR AUTHOR

TNi-4030

M3000

PROJECTS

10,11,25,33,35,40,41,47,55,69 10,11,25,33,35,40,41,47,55,69 WAVL WAVL MAR-APR MAR-APR 19.indd 19.indd 33 33

10:33 10:33

28/1/19 28/1/19 12:20 12:20 PM PM

H6 HEADSET Your message has never been more clear.

1/2PAGE 1/2PAGE HORIZONTAL HORIZONTAL Impossibly small.

Incredibly rugged.

countryman.com/H6 52 52 36 36 40 40

July–August July–August 2019 2019 WORSHIP WORSHIP AVL AV AV 49 AVL 49 November–December 47 35 35

TECHNOLOGY EQUALISATION: abbreviated to EQ, equalisation is the process of adjusting various audio frequencies to correct or enhance the sound.

Common types of EQ include parametric and graphic.

POINT SOURCE LOUDSPEAKER: as the name suggests, this is a single speaker, or multiple speakers placed far apart, broadcasting a full range of sound from a single point.

ENVELOPE: defines how a sound will vary over time in terms of four attributes: attack, decay, sustain and release.

FREQUENCY RESPONSE: a way to measure the frequency range from an audio system that can handle, transmit or receive.

FILTER: a frequency-dependent amplifier circuit that is designed to amplify, pass or attenuate ranges of frequency. Common filter types include high-pass, low-pass and bandpass filters. High-pass filters (also known as low-cut filters) attenuate the output of a signal below a specific frequency. Any frequencies higher than the cutoff point are passed through. A low-pass filter or high-cut filter performs the opposite action, while a bandpass filter can pass frequencies between its two cut-off frequencies while attenuating frequencies outside that range.

GAIN: the amplification level of an audio signal which is usually expressed in decibels. It can be stated either as an input to an output voltage, a current or power.

HEADROOM: the difference between the maximum level of the signal being carried and the maximum level the device is capable of before distortion. By having more headroom, quick bursts of loud sounds will be reproduced cleanly and clearly. Headroom can be thought of as a safety zone, allowing transient audio peaks to exceed the nominal level without clipping.

HERTZ: a unit of sound frequency that is abbreviated to Hz. IMPEDANCE: resistance in an electrical circuit that is measured in Ω.

LIMITER: a type of compressor designed to limit the level of a signal to a certain threshold. While a compressor will begin to smoothly reduce the gain above the threshold, a limiter will almost completely prevent any additional gain above the threshold. A limiter is a compressor with a very high compression ratio.

An RCF line array at Evangeliums Christen Baptist LINE ARRAY: a combination of identical loudspeakers that are mounted together in the shape of a vertical line and fed in phase to create a line source output.

MIXING CONSOLE: used to edit or mix multiple audio signals. Also used to change the volume, frequency content, stereo position, dynamics and effects of these signals. This is also known as a soundboard, mixing board, mixing desk and audio mixer.

Mixing console – the SD7 from DiGiCo OMNIDIRECTIONAL: a microphone that can equally pick up sound from any direction.

PEAK: the highest level of strength of an audio signal or the level at which the signal begins to distort.

PHANTOM POWER: a +48V DC current sent through audio cables to provide power for devices such as condenser microphones.

PHASE: if two or more waveforms are involved in producing a sound, their relative amplitudes can often be different at any one point in time. The relationship between the two signals is known as the phase.

If two identical signals are played back 180° out of phase, they will completely cancel each other out.

PLOSIVE: when an air blast goes into the microphone, producing a distorted sound. Typically occurs when a vocalist or presenter uses words that include a ‘per’ sound.

48 WORSHIP AVL November–December 2019

PROCESSOR/EFFECT: a processor is a piece of hardware or software that completely alters the pitch, speed, loudness or tone of a sound, while an effect inserts its own signal to the existing one. These are used in either live or recording situations.

RESONANCE: when physical substances vibrate at certain frequencies with more energy, for example, certain features of a room may resonate when music is played at a high volume.

TIMBRE: a wave pattern that occurs when overtones are present with the fundamental frequency. A violin playing the same note as a trumpet sounds different because each possesses a different timbre.

TRANSDUCER: a device that converts electrical input energy into mechanic output energy or vice versa. Examples of this include a microphone or a loudspeaker.

TWEETER: a transducer created to solely deliver high-frequency sounds.

REVERBERATION: the audible effect of the early reflection of sound waves bouncing off walls and other objects.

QUANTISATION: used in analogueto-digital conversion, mathematical quantisation changes an analogue signal to a smaller set of steps in a digital quantity.

SENSITIVITY: the amount of a signal needed from an input in order to create a standard level of output. Both loudspeakers and microphones process sensitivity specifications.

SIBILANCE: the energy of the vocal sounds of ‘s’ and ‘sh’ that can sometimes cause recording problems. To fix this issue, a deesser is used without disrupting too much of the vocal recording.

SOUND PRESSURE LEVEL: the measurement of volume or how loud a sound is, measured in dB. Abbreviated to SPL.

Tweeter from beyma WAV: stands for Waveform Audio.

Created by Microsoft, this is a standard PC audio file format that is used for high-quality digital audio storage.

WAVELENGTH: the distance between two crests or troughs of a waveform. The crest is the highest point of the wave and the trough is the lowest. The closer the crests and troughs are to one another, the shorter the wavelength and the higher the pitch of the sound. The further apart they are, the longer the wavelength and the lower the sound’s tone.

XLR: an electrical connector that is associated with balanced audio interconnection. This is used in professional AV and stage lighting equipment.

STEREO: a system of recording or reproducing sound that uses two channels, each playing a portion of the original sound in such a way as to create the illusion of locating the sound at a particular position in space.

SUBWOOFER AND WOOFER: loudspeakers that replicate very low bass frequencies. Typically, woofers are designed to output frequencies between 200Hz to 5kHz, while subwoofers output frequencies below 200Hz.

XLR There is so much going on in this field; however, with the help of this glossary, you can become a bit more familiar with the world of audio.

TECHNOLOGY

An evolving breed of content producer Planetshakers has upgraded its video production with Grass Valley cameras

Grass Valley explores how houses of worship are adopting broadcast technologies to spread their message TOP-TIER TELEVISION NETWORKS and large production companies, with their high production values and high-quality images, have set the standard for producers of all sizes for many years. Today, smaller broadcast and production operations, from regional/satellite television stations to houses of worship, and corporate enterprise to education institutions, are able to produce content and distribute it across multiple screens in a similar way to further engage their audiences.

As production, post and distribution demands increase, teams are faced with managing content coming from multiple sources and in multiple formats – typically a complex and time-intensive task. To ease this pressure, production teams – however large or small – can now benefit from powerful production management workflow tools that help to handle assets as they enter and leave their facility. These workflow tools enable production teams to easily and quickly locate files as well as tag and deliver content to a range of platforms, from linear and online to social media.

Meeting the needs of today’s productions It is not just broadcast stations and production operations that are faced with the challenge of better media management. Houses of worship are producing a wide range of content, leveraging it to engage with their local congregations both in person and across multiple campuses – and even continents. Primarily run by volunteers, house of worship production and media management workflows must be simple to use and flexible enough to meet the needs of everything from a weekly service to large concerts.

Managing this rapidly growing volume of content across a wide range of functions and channels means deploying several individual systems to suppor t each aspect of the workflow — and the technical knowhow to set up and manage them. In environments where space is at a premium, staff is small, and training is minimal, this poses a challenge. Typically, these individual systems are complex, requiring weeks for install and commissioning by specialist engineering staff.

50 WORSHIP AVL November–December 2019

These ever-increasing standards of production within houses of worship haven’t gone unnoticed by manufacturers that typically targeted the broadcast industry. For example, Grass Valley has developed the GV Stratus One to meet the shifting production needs in environments such as schools, colleges and houses of worship. It is an all-in-one production management solution – from ingest and content management to playout – that can be deployed in a matter of hours without the need for specialised technical assistance and has been designed to allow a resource-constrained operational staff, such as the volunteer team in a house of worship, to more easily handle every aspect of the media workflow, from the moment content is captured to final delivery via any platform.

Going pro This is just one of many solutions being made available by broadcast manufacturers aimed at the house of worship market. But it’s not just simplified all-in-one workflow systems that can be used by houses of worship. More and more places of worship adopt professional broadcast

equipment to cover their services and events, including Australia’s Planetshakers Church. This year, Planetshakers chose to build its upgraded video production around Grass Valley cameras.

To attract a growing congregation and facilitate the production of live events, Planetshakers was looking for a camera technology provider that could deliver unbeatable image quality. Grass Valley was chosen as the vendor, offering crucial expertise in live production. A newly deployed camera system delivers broadcast quality HD production with a clear upgrade path to 4K UHD, HDR and beyond. Grass Valley’s LDX 86 cameras give the Planetshakers production team superior performance and sensitivity, as well as the flexibility to add 4K and HDR with the GVeLicense upgrade plan.

This is, of course, just one example of many houses of worship that have upgraded their broadcast setup to one more in line with a traditional broadcaster. What changes have you made, or planned, at your house of worship as production standards continue to rise? www.grassvalley.com

Kobra-KK102 Stainless steel meter-long line array element with 2� drivers | k-array.com

The Kobra-KK102 is compact passive loudspeaker featuring Pure Array Technology that effectively reproduces natural sound uniformally – perfect for discreet installations in houses of worship.

TECHNOLOGY

House lighting

Coloured house lights at Pulpit Rock in Colorado Springs

Bob Mentele, worship market manager at Elation Professional, explains what house lighting is and how it differs from entertainment lighting Bob Mentele THE TERM ‘HOUSE LIGHTING’ typically refers to the audience area of a performance space. It has been expanded to encompass other venues’ seating/gathering areas as well. The term is used to classify and separate performance/ entertainment lighting from general area lighting. House lights are intended to simply improve general illumination of a space but are also used to highlight architectural details in the audience area. New advancements in house lighting instruments allow for colour-changing options. These versions can be used to enhance the mood of the space and expand the feeling of inclusion in the performance area.

House lighting differs from entertainment lighting in a few ways. One major difference is intent. House lighting is meant to provide general illumination at a specified level evenly throughout a space. It is not typically meant to draw focus or attention. With that intent in mind, the design for a house light differs from an entertainment fixture in a few ways.

House light fixtures are typically designed to favour increased output

and light quality. Most are larger in size than an entertainment fixture because they are designed to be convection cooled through the implementation of heat sink fins. This eliminates the need for a fan to cool the fixture, allowing it to be completely silent. Fans can quickly become an audible issue in quiet environments or when large numbers of fixtures are located in one area. This feature is not one to be overlooked.

Care is taken when designing a house light fixture to ensure that the light output from the lens is even and homogenised. This reduces the visibility of multiple shadows being cast from a fixture, which can be an issue with fixtures that use multiple LED arrays or optic lenses, which are common in entertainment wash fixtures.

Lastly, house light fixtures are designed for a flexible installation in both mounting of the fixture and termination of the connections. A well-engineered fixture will allow for multiple mounting options, like yoke mounting, pendent mounting or direct mount. Manufacturers also use terminal connections for power

52 WORSHIP AVL November–December 2019

and data wiring, in lieu of installed connectors, like those required in entertainment fixtures. This enables an easier, straightforward installation. Most electricians are not as familiar with termination of entertainment connectors.

What to consider When looking at house lighting options, houses of worship initially need to decide what function they would like the lighting to perform.

Are they wanting to simply illuminate the room in white lighting, which is typical for most spaces? They can also select colour-changing fixtures that would allow for white lighting, as well as colour-changing options.

A physical consideration to take into account would be the ceiling structure. Is the ceiling exposed and can the lighting be exposed as well, or is it a covered ceiling that will require recessed fixtures? What other obstacles are in the ceiling?

HVAC elements, fire sprinklers, support beams and other factors need to be taken into account when laying out the fixture placement.

Those elements could also dictate

at what height the fixtures can be installed. The installation height will determine the size of the beam of light cast by the fixture once it hits the floor area. The size of beam is what is used to lay out the fixture placement and lens to use in the unit.

Another consideration to make is the need to include data signals to each fixture, as well as power. Some fixtures allow for wireless data transmission but running physical wires is the preferred method as it is more reliable than wireless methods.

Discussions should also be had with the installation electrician about the emergency lighting system.

Some jurisdictions require separate emergency lighting from general lighting systems. If the general lighting can be used for emergency lighting as well, considerations need to be made about providing power and DMX signals to the fixtures in an emergency situation.

House lighting is fairly ubiquitous across various spaces. Most want fixtures that provide even, adequate light output. Most typical designs can be implemented in any space.

TECHNOLOGY The main option that is affected by design would be the fixture colour.

Most are available as simply black or white. Some can be custom painted by the manufacturer if something unique is required. If the more industrial look of the exposed lighting fixture is not desirable, shrouds or covers can be offered and installed over the fixture. The other consideration is if exposed lighting fixtures are acceptable. If not, a recessed fixture should be considered.

Entertainment fixtures as house lighting?

Using a fixture designed for house lighting is typically not recommended for use in enter tainment applications due to the design of the connections for power and data, as well as mounting capabilities. However, some enter tainment lighting fixtures can double up and do get used as house lighting. PAR fixtures are the most common that get placed in these systems as they provide soft, even fields of light. Care should be taken when using these fixtures in this fashion for a couple of reasons. Most PAR fixtures use fans to cool the LEDs.

The house lights switched on at Vintage Church in Edmond, Oklahoma Those fans can be noisy, and they also need room around the fixture for airflow. They are also not approved for recessed or enclosed applications.

One other issue with using enter tainment lights for house applications is the fact that they are not designed to be left on constantly. The duty cycle of enter tainment fixtures needs to be considered and restricted.

Specifically designed architectural lights are produced for constant power applications. www.elationlighting.com

NEW

Coastlife Church, Venice, Florida

THE STAGE ACTIVE

VARIABLE COVERAGE

PASSIVE

MONITOR

SUPERCHARGED 1/2PAGE HORIZONTAL

• 138dB Peak SPL* • Multiple directivity inside a box • Quick release grille • Magnetic flanges • 20kg * With NEXO NXAMP4X2MK2 Powered Controller, measured at 1 metre in passive mode.

Combine P12 with the L15 sub to create highperformance FOH or stage monitor systems.

Touring and install versions available.

Thinking. Inside the box.

November–December 2019 WORSHIP AVL 53

BUYING GUIDE

Projectors Canon’s European product marketing specialist for projectors and former church production manager Colin Boyle provides considerations for HOWs seeking new projectors BRIGHTNESS AND RESOLUTION ARE the two key considerations when buying a projector. It’s important to check that the projector is bright enough for the lighting in the environment. For instance, in ambient lighting, it will be essential that the projector can deliver enough lumens of brightness to ensure faithful image reproduction.

Take into account the projected screen size and the type of content being displayed when you are thinking about what resolution projector you might need. For certain media, a WUXGA and Full HD projector would deliver the image quality needed. However, as content is increasingly made in 4K, there might be a requirement to invest in a 4K projector to future-proof these investments. In fact, this is a very important factor – think about what

Colin Boyle you will need in the long term, not just currently. It’s important to lay down the foundation of a projection infrastructure that will support future requirements.

Depending on the installation environment, other specifications

become significant: do you need interchangeable lenses to allow for flexible installation or to achieve the desired screen/image size?

HDBaseT and connectivity – what type of signal are you sending to the projector and can that be done effectively and efficiently over the distance required? HDBaseT offers the ability to run high-resolution signals up to 100m, aiding the installation process and maintaining the quality.

If the projector is being used for IMAG from a live camera feed, then latency times need to be considered or there will be a big delay in the live movement to what appears onscreen. More importantly, with IMAG or video comes the need for accurate colour reproduction, so that what appears live looks the same onscreen.

Brightness, contrast and resolution are crucial. Depending on whether the content has a lot of black or dark scenes, then the contrast ratio must be high – especially if video is being used. A high native contrast will ensure that the image stands out, but also look at the dynamic contrast, which actively monitors the content detail and lowers the light output to help with black images or dark scenes.

Test the brightness output in the environment and, if possible, do a comparison between several different makes and types of projector to see what delivers the strongest output.

While ANSI lumens is a standard for light output, some manufacturers may state lumens based on the technical design specification of the light source rather than what actually

Environmental projection surrounding a rear projection screen at St Anne’s Cathedral Image courtesy of Niall McNally from Cast Ireland

54 WORSHIP AVL November–December 2019

BUYING GUIDE TECHNOLOGY more approach will allow devices typically rely lens uponor anreaches leavesgranular the projector you to zero on thepotentially likely trouble Ethernet connection, a screen at ainparticular distance. much faster than if interchangeable you quickly ruling systems.

The benefit If youout areolder using an replace components withoutisrhyme of using Ethernet, of course, lens projector, all manufacturers or reason. flexibility afforded the network’s specify the lumen by output based on This approach can further higher bandwidth.

The data the standard lens.

Ifbe you aresent using applied from everything to dead via MSC can lens include all manner of a long throw or ultrawide lens, microphones (always the as performance parameters, then the quality of thecheck lenssuch becomes batteries first) to groundUp loop hum lighting desk submaster and increasingly significant. toplayback 20% – a trulywith requires own settings. ofproblem light canthat be lost a pooritslens, write-up, as ground is not the MSC-compatible soAllyou could pay forloop adevices 7,000-lumen only source hum. and instruments are to lumens projector andofonly getable 5,600 communicate on your screen.with each other Be prepared for trouble and computers programmed to understand the messages as Congregants and venue Another way tothe avoid trouble is they all follow same, standard to andthe beneeds MSC specification, using MSC Theexpect age ofit’s thecoming congregation prepared with options.

Command Set.backup This means each to be considered on several levels.

System breakdowns can be from quickly product transmits anbenefit identical Aging congregations avoided events message for thecritical same MSC event, IMAG andduring clearer words/images, –while suchas as holiday pageants or such hitting a particular cue. younger generations expect live performances – byengagement. keeping As all MSC-compatible musical high-quality video and additional cables, batteries, instruments feature a built-in MIDI Even in a medium-sized housepower supplies and microphones on hand. interface, they arewill able toatfollow of worship, many look the Adding anscreen extra power the any number of MIDI-over-Ethernet projection even ifamp they to can rack is also anoraffordable upgrade protocols. see the stage front of house area. for the small-are orhouses medium-sized MSC messages assigned to In even some traditional church orthat worship venue the cues device is seeking able of worship, theaaesthetics are to to insurewithin against worst-case manage thea show controller’s important, so having features on the scenario. cue list. These arelarge transmitted projector to allow amounts of from the controller’s MIDI output lens shift, geometry correction or Partner for success automatically during theallow show,the as keystone correction will commanded byinstalled either the user or projector to be discreetly, Finally, themeeting biggest step you can the internally timed whilecontroller’s still the needs of the take in ensuring your worship venue sequences. projection.

RME’s Fireface UC audio and MIDI interface Canon’s XEED 4K600STZ projector

Other show control options

While USITT developed DMX512 in thelighting 1980s,rigs theand Entertainment High gain screens help with with fans, the There are,but of course, otherangles.

Services Technology Association contrast, also viewing noise canand easily build but, with the entertainment control alternatives (ESTA) over thecontent standard in in Many houses of worship make type oftook music and used available withofwhich youtheir can main build a 1998.

After ESTA revised ANSI (the the mistake viewing contemporary houses of it, worship, show control system. likely American National Standards Institute projection screen fromYou thewill point of this is less of an issue. be familiar or at least have – which established ANSI lumens view of the with, PC operator or vision Live music at Manley Baptist inlayout Tennessee installed heard of, some of them.

Forthe example, as arecently measurement forAshly’s light output Costs and maintenance mixer.

Instead, think about Pema integrated DSP amplifier technology you may havecongregation seen theand letters of projectors) accepted DMX512 in of the whole and DMX check appear in this 2004.

Today, Professional Lighting Work out howthe many hours a week on that thetogether sightlines and magazine image quality remains andwhere running is toInstitute partner previously.

The United States and Sound (PLASA) • Committed manufacturers average theAssociation projector will be used are goodup from everyone sits. with an integrator and manufacturer forWhether Theatre Technology’s (USITT) manages standard, following live technical support a yearprovide andthe check this against theits the operating noise a that provides troubleshooting DMX512-A is often regarded as the merging with 2011. both forESTA end-users and the warranty length of in your projector projector makes has an impact really standard lighting options and support.

Youfor don’t need current manufacturers, That means that toAlthough seeintegrator. if itseveral meets your needs.

A even dependsindustry on the installation position. control systems. worksthe asout aprojector control to sit there aloneIt working a most which produce lighting control the system installer needs to laser ifof will offer longer life with less In some environments, method communicating digital problem with only your between search consoles, pitched for DMX get involved, they too to willbecome maintenance but will demand ahave may need to be installed underengine a lighting consoles and entertainment as a guide. ahigher show controlinvestment. standard for all that AV are support from the people initial This is balcony, so it is quite close to a lighting fixtures,ofdimmers and effects elements, network limitations and powering system. reflected by thethe warranty, which small number the congregation. machines such asbe fogangenerators and Live can come in a few lack ofManufacturers speed idea was • are also is typically fivemeant yearsthat for athe laser If so,support noise may issue.

When strobes. different never considered. beginning to rethink modelwidely and only three for athe lampinstallingforms: many projectors along

Otherproduct contenders on in the audio end design many oflaser based device.

For this reason, of the their spectrum for Audinate’s the HOWif the models aresolutions alsoinclude a better option Dante andwill CobraNet. The change latter is is the market.

One major projector be installed somewhere older the two,tohaving around the integration of been web servers that isof difficult access. since the mid-1990s.

It islike considered within devices. This means For basic maintenance, the first commercially successful a third remotely hoovering theparty filter,can dusting the lens digital audio network solution. connect to a system andUsing check and housing, houses of worship can asave mix money of hardware anditsoftware software to things from the side by doing themselves. manage, CobraNet still enjoys they out to a your Whenbefore it comes to head more complex large base to this day facility. istoasee huge boon to tasks,installation alwaysThis look what extra and isthe licensed to several proonsite audio as it adds to the support isend-user offered, such as manufacturers. potential of a quick support or a next-day loanfix. unit. If you Dante another term that you may •are A is partnership with the investing the time and resources well becompany familiar with browsing that from integrated your to install a projection system, then these pages.

When comes to audio meansitwith you always build asystem relationship awill local networking, is largely considered haveoraitsystems local support team. company integrator for to be theMake heavyweight champion.

Taking sure areyou keeping support.

They canyou help plan for its from the of the in touch with your an name installation thatabbreviation offerstrusted you room phrase Digital Audio Network Through integrator partner throughout to expand as your needs change.

Ethernet, is aabout propriety the ityear any solution potential Recommendation for distributing changes uncompressed, to your system or any multichannel, low-latency digital audio issues that you notice.

Early Laser projectorsnetwork. definitelygoes a via an detection Ethernet ofare problems worth considering.

As well as Whatever systems and standards long way to avoiding anybeing bigger capable of high brightness, you choose to use, it is vital they to also issues. have a that long everything lifespan which means ensure you are less adopting is able to requirements communicate.

If youmaintenance partner with the right and generally lower total cost of Some solutions mayintegrators, be better manufacturers and ownership.

Single-chip DLP projectors suited to a particular entertainment you’re assured a helping hand are prone colour breakup so, aspect.

Fortoexample, it may make when things do go awry.

And, if if you combine plan to project video content, sense to employ Dante network you thatawith appropriate then lookand for 3-Chip or you’re LCOS for audio.

However, you’re looking planning a levelifDLP head, technology. for a to solution to control the whole sure be ready when things do show, MSCget could be a simpler, yet eventually problematic for your www.canon.com all-encompassing, option.

HOW venue.

1/2PAGE HORIZONTAL

September–October July–August 2019 WORSHIP AVL 47 November–December 55

NEWPRODUCTS

PRODUCTS

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

A–ZCONTENTS

More power and memory for gx series favourite

disguise takes the wraps off its latest flagship media server for the gx series BRINGING WITH it the opportunity to build environments with more particles, effects and richer scenes, at higher resolutions and smoother frame rates, the gx range of media servers has been expanded by disguise, with the gx 2 also becoming its new flagship model in the series. The manufacturer has maximised GPU and memory, as well as new features such as 10-bit and HDR, with the latest release, which comes as a result of user requests for greater real-time content per formance.

‘As one of our most popular server ranges, the gx 2c was born out of the innovation of our in-house teams designing and creating bespoke

server packages for some of the world’s most well-known artists, including U2 and Justin Timberlake,’ said Fernando Küfer, CEO at disguise.

The gx 2c can capture eight 3G-SDI inputs, said to unlock new workflows for broadcast and live events, where users will be able to use more live feeds than before. The video inputs permit the capture of two 2160p60 (4K at 60), four times the capability of its predecessor, the gx 2. The inputs have the same low latency as existing pro and gx range machines.

This is achieved with a powerful GPU, a Xenon Quad Core 3.7Ghz processor and 16GB RAM, allowing users to render content in real time.

Absen ADB Stagelight Alcons Audio Allen & Heath Audio-Technica Avonic Ayrton Barco Bose Calibre Chauvet Christie Chroma-Q Countryman d&b audiotechnik Digital Projection disguise Ecler Elation Electro-Voice Epson GDS K-array L-Acoustics Lectrosonics Magewell Martin Audio Neutrik NEXO Panasonic Powersoft Riedel Shure Sommer Cable Studer Vari-Lite Williams AV Yamaha

The gx 2c also has double the amount of media storage than the gx 2, with a 4TB NVMe drive fitted.

The increased storage, combined with more capture capabilities and rendering power, will reportedly help creatives to grow and expand their vision even further. It also features disguise’s VFC technology, which allows users to output HDMI, SDI, DVI or DisplayPort without changing the system, as well as mix signal formats and resolution types in the same project. The server features two VFC slots and ships with the manufacturer’s HDMI 2.0 VFC cards.

Like all gx range servers, the gx 2c will come with an integrated

N Plus Hathor Gate CRS8/LR24/QR20 GX4816/DX012 ES925 CM40-IP/CON300-IP Perseo-S XT series/UDM ControlSpace additions 4K QuadVision Ovation E-910FC IP Roadie 4K40-RGB Space Force onebytwo A3 halo gooseneck A-Series Satellite MLS gx 2c eCMP8/eCMP12 Smarty Hybrid IP65 MFX-12MC/MFX-15MC EB-L30000UNL Prodigy/Work Lights Lyzard-KZ1 LS10 D Squared/M2C Pro Convert AIO RX BlacklineX Powered/WPS opticalCON Dragonfly P12/L15 PT-RQ50K/PT-LRZ35 Mezzo 1200 Series App MXA910/SystemOn 3.1 HDMI Knight Glacier Series V1.1 VLZ Profile/VL6500 WaveCast Dante/FM+ PC Series/AFC4

60 68 62 64 66 60 68 58 66 56 69 57 69 65 62 58 56 66 69 62 58 68 61 67 65 57 63 60 61 58 61 67 65 68 64 69 64 60

two-year Notch playback licence.

With a reported increase of almost 50% on Notchmark performance, disguise believes the gx 2c provides a large step up in terms of capabilities and per formance levels.

Manufactured to scale and fit in as par t of a bigger media ser ver system, the gx 2c also enables creatives to go beyond the power of a single ser ver solution and into distributed systems. Although designed for generative content, the gx 2c includes the disguise production suite, built-in pro audio and two 10G network por ts. www.disguise.one

High-performance switching CALIBRE’S 4K QuadVision HDMI 4K scaler–switcher with multiviewer and matrix output modes has been designed for a broad range of applications and provides a solution for environments that need the ability to manage multiple images, but for which a fully featured scaler– switcher may not be cost-effective.

With support for 4K at 60 4:4:4 video and an HDMI bandwidth of 600MHz, the 4K QuadVision is compliant with HDCP1.X/2.2.

It provides four HDMI 2.0 input ports and two HDMI output ports,

together with a balanced stereo output. Its multiviewer output is characterised by its flexibility, with options including four screens of

As well as providing front panel control, the 4K QuadVision provides an RJ45 port for IP/remote control via a browser which allows a

design measuring 438mm x 49mm x 276mm, making it suitable for deployment in more confined spaces. It is housed in a black

equal size, three smaller screens with a master screen, two screens side by side or a single screen with picture-in-picture.

broader range of management functionality. An RS232 port is also featured. The 4K QuadVision weighs 3.4kg and has a compact

aluminium chassis and consumes 27.5W of power.

56 WORSHIP AVL November–December 2019

www.calibreuk.com

PRODUCTS

Magewell expands IP workflows CONVERTING LIVE NDI streams into high-quality SDI or HDMI outputs for connection to baseband devices such as monitors and projectors, Magewell’s Pro Convert AIO RX hardware-based NDI decoder simplifies the use of NewTek’s media-over-IP technology in applications such as digital signage and videowalls. It lets end-users output any NDI stream to baseband presentation or distribution equipment such as displays,

Pro Convert AIO RX

projectors and routers. It can also be used to integrate legacy equipment such as switchers into NDI-enabled production workflows, or simply paired with an NDI encoder to enable longdistance transport of audio, video and power (PoE) over a single IP network cable.

Designed with image magnification in churches in mind, the Pro Convert AIO RX also features DHCP-based automatic network configuration, while a browserbased inter face provides access to status monitoring and advanced features such as FPGA-based up/down/ cross-conversion. Two on-device buttons also enable users to select source content and match

the output format to their target display without requiring a computer: one for choosing between all NDI streams available on the network and a second for picking a preset output resolution and frame rate.

In related news, the new Pro Conver t HDMI TX and Pro Conver t SDI TX dedicated NDI encoders are said to deliver userfriendly conversion capabilities of the company’s Pro Conver t Plus models in streamlined, encoding-only configurations. The Pro Conver t TX devices include many of the Pro Conver t family’s features, including PoE suppor t, programme and preview tally lights, NDI-based PTZ camera control and a standard ¼-inch20 thread for camera mounting.

They also include automatic input format detection and network

Pro Convert HDMI TX configuration and a browserbased inter face that provides access to status monitoring and advanced conversion settings such as FPGA-based video processing. The Pro Conver t HDMI TX suppor ts inputs up to 2048x1200 via its HDMI 1.4 inter face, while the Pro Conver t SDI TX handles sources up to 1080p60 over 3G-SDI. www.magewell.com

Christie hits the road SIMILAR IN design to the D4K40-RGB, Christie’s Roadie 4K40-RGB doesn’t need external chillers, remote laser racks or special pedestals because everything is incorporated into a single, all-in-one chassis. As the name suggests, the Roadie is built for life on the road and comes with a wide colour gamut and omnidirectional capabilities, plus is reportedly compatible with most Christie Boxer lenses. The projector

Roadie 4K40-RGB

only requires single-phase 220V power and produces greater than 95% of the Rec. 2020 colour space.

Said to be capable of delivering over 30,000 hours of operation to 80% brightness, the Roadie has a 5,000:1 contrast ratio and incorporates Christie’s patented sealed optical path. The unit weighs 135kg.

In other news, the Mirage Series has a new member. The Mirage

4K40-RGB is an allin-one pure laser projector with greater than 95% of the Rec. 2020 colour space. It features builtin warping and blending, nearfield communication monitoring and an at-a-glance preview screen.

The UHD654-X-HR is a new 65-inch, ultra-narrow bezel flat panel incorporating the manufacturer’s AV-over-IP solution, Christie Terra. It is a turnkey videowall solution with 4K AV signal distribution, extension and control, and a remote and redundant power supply. The UHD654-X-HR delivers 3840x2160 native resolution.

Increasing in size to 98 inches, the UHD982-P is a plug-and-play display.

Lastly, Christie has introduced its Core Series and unveiled the next generation of CorePlus.

With pixel pitches from 1.2mm to 2.55mm, redundant on-board power and an ADA-compliant mount system, the Core Series of

UHD654-X-HR videowalls install directly on any wall without a mounting frame.

CorePlus, meanwhile, has been combined with the E600 controller to provide HDR10 compatibility and the optical per formance has increased to over 97% of the NTSE 1987 colour spectrum.

Available in 1.2mm to 4mm pixel pitches, CorePlus also incorporates Christie’s Clear view image processor and a choice of on-board or remote power. www.christiedigital.com

November–December 2019 WORSHIP AVL 57

PRODUCTS

Epson brightens up Satellite projection DIGITAL PROJECTION has created its Satellite Modular Laser System (MLS) to cater towards a wide variety of projection applications, from single projector installs to beaming content for complex, multichannel applications.

The manufacturer has separated the light source from its associated power and thermal management systems, allowing for a small, compact projection head that only contains the necessary optical and video processing components. This projection head has been developed to be quiet, lightweight and consume little power. The head and the light source are linked by fibre-optic cables that run up to 100m. This provides integrators with more installation options that might be available with

a traditional projector, particularly in smaller spaces.

Satellite MLS is developed with WUXGA, native 4K and 8K resolutions, and incorporates Digital Projection’s MultiView technology. With its modular design, the manufacturer states that there can be one-to-many or many-to-one relationships between the light sources and the projection heads. In a one-to-many relationship, a 10,000-lumen light source feeds multiple projection heads, equally splitting the luminance of each image through the life of the system. A manyto-one relationship, on the other hand, sees several 10,000-lumen Satellite MLS light modules combined to feed a single, ultra-compact projection head. www.digitalprojection.com

EPSON HAS released its brightest 3LCD projector to date, the 30,000-lumen EB-L30000UNL. It boasts a maintenance-free laser light source, which reportedly provides 20,000 hours of operation. The EB-L30000UNL supports screen sizes of up to 1,000 inches with

ELPLX01

EB-L30000UNL a WUXGA resolution and 4K enhancement technology, as well as a 2,500,000:1 contrast. It is a bodyonly system that provides a choice of 4K optional lenses designed for a variety of applications. Its compact design and 360° installation potential simplifies installation to suit the needs of different environments.

Also new is the EB-L1070UNL, a compact projector with a brightness of 7,000 lumens. As with the EB-L30000UNL, it features 4K enhancement technology and interchangeable lenses.

Speaking of lenses, Epson has additionally released the ELPLX01 ultra-short-throw lens with a zero lens offset. It is reportedly able to project images parallel to the lens position.

It is designed to be discreet with a quieter fan noise. www.epson.com

Panasonic simplifies set up PANASONIC HAS announced the release of four new projectors. With 50,000 lumens, the PT-RQ50K laser projector can achieve Native 4K resolution with red and blue lasers in a dual Solid Shine Laser Phosphor drive. The PT-RQ50K has a simpler installation, set up and adjustment process due to its compact, singlebody design.

Meanwhile, the PT-LRZ35 uses discreet RGB LEDs to

PT-RQ50K translate pictures. The HDMIMHL on the LED projector allows interoperability between mobile devices and projectors with HD

screen mirroring. Single-chip DLP technology is in place to support a filter-free design along with a dustresistant cabinet.

The PT-MZ16K 16,000-lumen projector features a new Triple Laser Engine with failover circuitry, a secondary backup signal input and Information Monitor to show error information. The compact body weighs 22.3kg and runs at 38dB.

Lastly, the PT-RCQ10 incorporates a 4K Smooth Pixel Drive that shifts pixels diagonally to achieve 4K-equivalent, on-screen resolution.

The projector supports optional Slot NX interface boards and 4K signal input. It is compatible with Panasonic’s 1-Chip DLP lens lineup, while flexibility can be extended with the addition of the ET-DLE020 ultra-short-throw lens.

ambient lighting conditions and includes dual data redundancy.

Weighing almost half as much as its predecessor, the UDX, Barco’s latest projector is said to reduce installation time, along with shipping and labour costs. The UDM is a compact, lightweight and rugged 22K laser projector with a wide colour spectrum.

It incorporates Barco Pulse’s proprietary Single Step Processing technology, so that warping, scaling and 4K UHD processing are reportedly done in

one step. Other features include a 90° ultra-short-throw lens, a motorised rental frame and a fibre card solution for 4K distribution over long distances.

In addition, Barco has added to its E2 family with the E2 Gen 2. It comes with 16 4K60p inputs and ships with the company’s secondgeneration single cable 4K60p video interface cards. With a linkable chassis, the E2 Gen 2 can reportedly expand beyond the capabilities of a single box to support large canvases without the need for additional processing or matrix routing.

www.panasonic.com

Barco stays indoors THERE ARE four products that make up Barco’s XT series of 27-inch tiles, all with a 16:9 aspect ratio to create native Full HD or UHD screens. This is said to allow users to display video in the most common formats in full, without distortion or unused canvas. With pixel pitch ranging from 0.95–1.91mm and optimal viewing distances spanning from 1.8–3.8m, all the LEDs are designed for indoor wall mounting with access for maintenance provided at the front. The products are powered by the manufacturer’s Infinipix processing platform that reportedly provides constant image quality and grey scale levels for all

One of four products in the XT series

58 WORSHIP AVL November–December 2019

www.barco.com

Get the Ideal Fusion of Performance, Features and Value with the FUZE Series.

FUZE PROFILE

FUZE SPOT

RGBMA Color Engine with CMY Emulation Native CRI >92, Virtual CTO and Gel Library High Output 9000+ Total Lumens Silent Operation

Booth #602 Nov 22-24, 2019 Las Vegas, NV

Feature Packed Profile and Spot Versions * Elation’s Extended 5 Year LED Engine limited warranty applies to all Fuze Series products.

See your Elation dealer for details.

C R E AT E T H E V I S I O N | D E L I V E R T H E E X P E R I E N C E WORLD HEADQUARTERS (USA) ELATION PROFESSIONAL EUROPE ELATION PROFESSIONAL MEXICO www.elationlighting.com info@elationlighting.eu ventas@elationlighting.com info@elationlighting.com +31 45 546 85 66 +52 (728) 282 7070 +1.323.582.3322

Get Social

PRODUCTS

Lightweight indoor displays ABSEN HAS launched the N Plus series, featuring three new, flat panel design videowalls at 3.2mm, 4mm and 5.14mm. All panels weigh 10kg with cabinets that suppor t three, four or five modules.

The aluminium die-cast cabinet can be arranged in a horizontal or

vertical orientation and features a magnetic module design with smart remote monitoring and diagnostic with live per formance and failure detection, including a live feed to a mobile device. Other features include a fanless design for less noisy operation and a refresh rate of 1.92kHz across all products.

The permanent indoor solution is par ticularly suited for house of worship venues. All video displays come with a front and rear

IP40/IP21 rating and a brightness level of 800 nits. www.absen.com

Avonic offers IP support EVENT CAPTURE and recording of output formats up to 1080p60. company Avonic has unveiled Controllable via RS485 and its CM40-IP PTZ and CON300-IP RS232, the camera supports serial- and IP-based controller for PoE using industry-standard PoE PTZ cameras. As well as dual switches. A single cable provides concurrent H.264/H.265 connectivity, control and IP low-latency streaming, power. A ‘privacy’ mode the CM40-IP features a is provided where the 20x zoom and supports camera automatically turns 3G-SDI, HDMI and ‘backwards’ when not in USB 2.0 outputs. Its use to provide reassurance Panasonic CMOS sensor that the camera is not delivers a high signalrecording. to-noise ratio and the The CON300-IP is a camera is reportedly development of the CM40-IP capable of a broad range manufacturer’s CM300

Redefining simplicity NEUTRIK HAS added to its opticalCON family of products with the opticalCON Dragonfly Fiber Optic Camera Connector Series. Reportedly providing reliable connectivity that is easier to maintain than common hybrid camera signal transmission systems, Dragonfly is based on Neutrik’s patented XB2 technology. The fusion splice, highperformance lens transmits UHD 4K and 8K signals with very low loss as the signal surface of the XB2 lens is 322 times larger than the physical contact surfaces. This is said to result in low insensitivity against dust and dirt.

The fusion splice technology also allows the connector to be serviced in the field. The unit reportedly offers high-performance/low-loss attributes and protects against vibration and extreme temperature fluctuations. The hybrid connection transmits both power and data over a single connection, with low maintenance intervals. Dragonfly fits into standardised broadcast cutouts and offers a long life of 10,000 mating cycles thanks to its push/ pull mechanism, IP68 dust and waterproof rating in mated condition and its anti-kink boot design. www.neutrik.com

60 WORSHIP AVL November–December 2019

CON300-IP controller. It supports legacy cameras using RS485 and RS232 interfaces as well as Avonic’s range of IP-based cameras, including the CM40-IP PTZ camera. Up to 50 cameras can be

controlled by the CON300-IP via a serial interface, and over 250 via IP. Nine presets are available for each camera, while a joystick provides 3D pan/tilt/zoom functionality.

The user has direct control of iris, brightness and colour correction, and the CM300-IP supports both auto and manual focus as well as PTZ speed control. The unit features five RS232/485 serial RJ45-style connectors and RS485 on a Phoenix connector. A LAN RJ45 connection is also provided. www.avonic.eu

Next-generation power YAMAHA HAS released a raft of new products and enhancements, with new generations of its PC Series network amplifier systems and AFC Active Field Control systems.

processors come equipped with capabilities such as FIR EQ, 16-band PEQ, crossover, filter, delay and protection features such as peak limiting and RMS limiting. It is also

The PC Series The Japanese manufacturer describes the latest PC Series D/DI models as a new kind of power amplifier equipped with ‘state-of-theart signal processing’, Dante audio network connectivity and a 20x8 input matrix. The matrix allows audio from analogue or Dante inputs to be output via Dante to another amplifier using the on-board processor, increasing scalability and allowing it to take on a role beyond just a simple amplifier.

The PC Series comes with four different Class-D models to choose from: 1,200W or 600W output power options and standard or installed variants. They are all compatible with ProVisionaire Control/Touch remote control and monitoring software applications. The amplifier’s DSP

possible to output equalised sound to other amps by using the input matrix and Dante output.

The AFC4, the fourth-generation of the Active Field Control systems, is said to provide significant upgrades in performance, sound quality and flexibility. The increase in sound quality comes from the system’s DSP and connectivity expansion. The processor’s sampling rate, fixed FIR taps, FIR presets and configurable FIR tap settings have all been upgraded.

The new version is also equipped with a FIR EQ in favour of the AFC3’s parametric EQ. The system now also boasts a total of 32 mic inputs and 96 output channels. uc.yamaha.com

PRODUCTS

Powersoft makes a Mezzo Nexo’s first 12-inch enclosure DEVELOPED FOR the AV/IT market, Mezzo comprises eight amplifier models, each with dif ferent power and connectivity options. Mezzo is a selfconfiguring amplifier system whose units feature a compact design with Class-D technology that is said to be easy to install and operate. The system can also be monitored remotely.

control system or a plug-in in a DSP matrix platform.

The smaller 320W models are able to deliver 80W/160W per channel into 2Ω, 4Ω, 8Ω or 16Ω as well as 25V, 70V or 100V. Meanwhile, the larger 600W power sized models can deliver 4x150W or 2x300W, and can drive 2x 16Ω, as well as 25V, 70V or 100V. Each

Two Mezzo units fit into one 19-inch rack The eight Mezzo models of fer four power options: smaller power versions provide 320W in 4x80W or 2x160W configurations, while the larger 600W options supply either 4x150W or 2x300W. Each model is available as an ‘A’ (analogue) model or an ‘AD’ (analogue/ digital) variant that adds Dante/ AES67 capability.

All eight models are networkable and feature automatic set up for audio parameters, reducing deployment time during installation. They each of fer load monitoring, allowing users to monitor system parameters such as temperature, power usage and per formance over time. These parameters can be monitored and controlled via Powersoft’s Armonía system manager or via an external

channel repor tedly has sufficient headroom for power sharing according to the specific needs of an installation, meaning one Mezzo amplifier can drive zones of var ying sizes, and design changes can be accommodated without having to alter equipment choice.

Each unit comes with rackmount accessories that fit two units into a standard 19-inch rack, or one unit into an 11-inch compact rack. A Mezzo unit can also stand alone on its rubber feet within a credenza, be mounted to the wall or hidden behind a video screen. The unit is designed to be ‘ultra-quiet’ and requires no ventilation. In terms of per formance, Mezzo can repor tedly deliver enough power to drive multiple subwoofers.

THE P12 point source cabinet from Nexo is the company’s first 12-inch enclosure and has been designed for a wide range of short-throw sound reinforcement applications at FOH, onstage or as part of a distributed system. The curvilinear enclosure is made from custom birch and poplar plywood and employs a 12-inch LF neodymium driver and 3-inch diaphragm HF driver in a coaxial configuration. The cabinet measures 531mm x 432mm x 317mm and has a frequency response of 60Hz to 20kHz. The SPL is 138dB peak (passive) or 140dB peak (active mode).

The horn flanges can be interchanged to deliver a variety of directivities – from 60° x 60° provided as standard, to 90° x 40° or an asymmetrical 50–100° x 40°.

Users can switch between different

directivities by removing the steel grille with a coin and replacing the flare, which uses a magnetic fixing.

Weighing less than 20kg, the P12 includes carry handles on each side, pole-mount fitting and threaded inserts for connection of mounting accessories. The speaker can be used on a pole mount with the L15 sub-bass cabinet, or wall mounted or flown in landscape mode beneath an L15 enclosure using a specially designed yoke bracket.

Nexo believes that one of the principal applications of the P12 enclosure will be onstage. ‘For a vocalist, there is better dispersion because of the angle of the cabinet, and variable dispersion means each box can be precisely tailored to its user, from a lead guitarist to a horn section or a backing singer,’ describes Denis Baudier, sales director at Nexo.

The P12 is the first Nexo speaker to be purpose designed to use the processing capacity of the NXAMP4x2mk2 amplifier, although it is fully compatible with the larger NXAMP4x4.

To partner the P12, Nexo is launching the L15 sub-bass cabinet, specially designed in a matching footprint that makes it ideal for flown applications and for use as a drum-fill. With a new acoustic load using a 15-inch bass horn, nearly all the front face of the cabinet is used as a radiating surface to provide a frequency range of 40–120Hz and 139dB peak SPL. Touring and installation versions of the P12 and its partner L15 sub will be produced in black and white paint finishes.

The P12 and L15

www.nexo-sa.com

www.powersoft.com

K-array’s Lyzard shrinks even smaller KNOWN FOR squeezing high output from unbelievably tiny speakers, Italian manufacturer

K-array has gone one step fur ther with the addition of the Lyzard-KZ1.

Weighing just 23g and measuring 200mm x 350mm x 200mm, the solution makes use

of a ½-inch long excursion driver inside of an ‘ultra-resistant’ aluminium chassis and is intended for use in intimate environments where high-quality background music is needed.

The IP54-rated speaker ships in a variety of finishes and, in terms of specs, of fers an 850Hz to 18.5kHz (±6dB) frequency response, 72.5dB sensitivity and peak SPL of 77.5dB. www.k-array.com

November–December 2019 WORSHIP AVL 61

PRODUCTS

Pro-ribbon immersion THE CRS8 is a two-way, passivefiltered, full-range loudspeaker, built

by Alcons Audio for use with the range of immersive surround sound formats currently available and under development. It features the manufacturer’s Alcons pro-ribbon driver technology, consisting of the RBN401 pro-ribbon driver for HF and a vented 8-inch mid-bass for LF reproduction.

The CRS8’s HF section has an 800W peak power input, allowing for a 1:16 dynamic range with up to 90% less distortion from 1kHz all the way up to 20kHz. Due to the pro-ribbon transducer technology’s

‘compression-less’ design, the system reportedly delivers a fully linear response, with the same tonal balance at all SPLs for a 1:1 performance.

With both 90° horizontal and vertical dispersion of the waveguide, the CRS8 offers wide and consistent coverage up to 20kHz at 3dB, making it particularly suited for the imaging in height channels of immersive systems. The CRS8 is driven by the Sentinel amplified loudspeaker controller (ALC), its Signal Integrity Sensing pre-wiring ensuring dynamic cable/connector compensation between the CRS8 and the ALC.

CRS8 Meanwhile, Alcons has filled the gap between its LR18 compact mid-size and LR28 large-format pro-ribbon line array systems with the launch of the mid-size LR24. The Dutch manufacturer states that the

LR24 offers its signature high-fidelity pro-ribbon audio with up to 90% less distortion than other conventional line array systems. In addition, it boasts extended 1:15 RMS-to-peak power ratio dynamics, a lobe-free HF wavefront with laser-accurate projection and extended throw.

For smaller applications, Alcons has unveiled the QR20 modular line source array column. It is intended for use where the directivity of its larger Q system sibling solutions is required, but SPL and throw requirements are lower. www.alconsaudio.com

Augmented loudspeakers Electro-Voice launches Multi-Function Monitors

THE LATEST A-Series from d&b audiotechnik combines ‘variable splay angles with advanced waveguide design’ to address applications where coverage flexibility in both the horizontal and the vertical is paramount.

Realising the adaptability of a point source cluster with the extensive control options of a line array, the system comprises the AL60 and AL90 loudspeakers, with the ALi60 and ALi90 offering cabinets designed specifically for permanent installation.

Using the appropriate frame, up to four AL60/AL90 and ALi60/ALi90 loudspeakers can be flown either in vertical or horizontal arrays. Variable splay angles between adjacent cabinets can be set in 5° increments from –10° to +10°, allowing for fine adjustments and ensuring sound is directed more precisely to where it is wanted.

Meanwhile, midrange directivity control ensures frequencies between 200Hz and 2kHz are evenly distributed, regardless of the splay angle. With 60° horizontal dispersion

and directivity control down to approximately 550Hz, the AL60/ ALi60 can cover a distance of up to 30m. The AL90/ALi90 – with its 90° horizontal pattern control down to 370Hz – reportedly ensures the same optimal acoustic result is achieved more consistently.

The AL60/AL90 loudspeakers share a passive two-way design featuring one 1.4-inch exit HF compression driver with a 3-inch diaphragm mounted to a wave-shaping device, and two 10-inch neodymium LF drivers. The A-Series is also compatible with d&b amplifiers and subwoofers so that the system can be tailored to meet specific application needs. The fourchannel 30D, D20 and D80 amplifiers provide user-definable equalisation containing two 16-band equalisers with parametric, notch, shelving and asymmetric filters as well as delay capabilities of up to 10s. The V-GSUB and Vi-GSUB also come recommended for low-frequency extension using the A-Series. www.dbaudio.com

62 WORSHIP AVL November–December 2019

ELECTRO-VOICE HAS unveiled the MFX Multi-Function Monitors range, engineered to complement the Bosch brand’s X-Line Advance X1, X2, X12-128 and X12-125F line array models and corresponding installation versions.

This MFX catalogue comprises the 12-inch MFX-12MC and 15-inch MFX-15MC. They are two-way coaxial monitors that use highoutput, coaxially aligned HF and LF transducers paired with a new Constant Directivity waveguide and crossover design. Coverage in monitor orientation is 40° x 60°.

The dimensions and location of the waveguide are said to interact with the woofer to create a bipole output that enhances coverage control through the midrange frequencies.

As well as providing a stable sound image when the performer moves off-axis, the compact coaxial design of the cabinets reportedly results in a low-profile footprint onstage in comparison to other high-end

MFX-12MC

monitors. The cabinets also employ a brand-new concept with dual monitor angles of 35° and 55° that allows the output to be focused directly towards the performer.

The MFX Multi-Function Monitors have been optimised for use with TGX10 or IPX10:4 amplifiers from EV’s Bosch sibling, Dynacord. Both the MFX-12MC and MFX-15MC can be deployed in passive or biamp configuration, and can be put to use for different applications via DSP settings in the amps. Power handling for the MFX-12MC is 450W (continuous) and 3,000W (peak); the MFX-15MC delivers 500W (continuous) and 3,500W (peak). Both models have maximum SPL ratings of 135dB and 136dB, respectively.

In addition, the MFX monitors feature an integrated pole cup, allowing use as short-throw main/full-range loudspeakers for sound reinforcement when needed. www.electrovoice.com

PRODUCTS

Powered by the X factor MARTIN AUDIO has added to its BlacklineX family with the 12-inch XP12 and 15-inch XP15 full-range enclosures, and the 18-inch XP118 subwoofer to form the BlacklineX Powered series. The products offer optional Bluetooth control, streaming and a built-in, threechannel mixer to reportedly provide

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

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

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

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

BlacklineX Powered

wearing textured paint.

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

In other news, Martin Audio has added the fourth model to its Wavefront Precision optimised line array series. The WPS is a passive, three-way system that integrates a high density of drive units in a very compact enclosure.

It features two 8-inch LF drivers, four 4-inch midrange drivers and four 1-inch exit HF compression drivers loaded by a moulded HF horn that occupies the full width of the enclosure, defining the

The WPS 100° horizontal constant directivity coverage pattern of both the HF and midrange sections.

The 4-inch midrange drivers are compression-loaded to raise efficiency and enter the horn walls via annular slots close to the HF throat to sum effectively with the HF wavefront. The four 1-inch compression drivers reportedly deliver high-frequency sound without the harshness and distortion of larger-format devices.

The 8-inch LF drivers are set back behind the walls of the HF horn, with a small volume of air in front of each driver increasing the output at the upper end of its operating range. The LF exit apertures are spaced apart horizontally to provide LF horizontal pattern control. www.martin-audio.com

1/2PAGE HORIZONTAL

November–December 2019 WORSHIP AVL 63

PRODUCTS

Allen & Heath expands its appeal FOLLOWING THE launch of the Dante-enabled I/O boxes, Allen & Heath has expanded its ‘Everything I/O’ ecosystem with the addition of two new remote audio expanders.

Designed to be a high-channelcount remote expander, the 96kHz GX4816 is a central hub for all stage I/O that connects via a single cable link to SQ and dLive systems.

Incorporating 48 dLive mic preamps and 16 XLR outputs in a 4U chassis, the GX4816 is equipped with two DX ports for further expansion or

In other news, the manufacturer has released Custom Control, a cross-platform control app for dLive systems. Users can design multiple interfaces tailored to different levels and device types. Access to all levels, mutes and sends is provided, together with preset recall, source selection and metering.

Tabs can be configured for access to multiple control pages or zones.

Once complete, the configuration is uploaded to the core of the system, the MixRack, ready for deployment.

The GX4816 and DX012 bridge connection to an ME personal mixing system. In addition, the DX012 is a 1U output expander that feeds IEMs and amplifier racks. A second DX012, DX168 or DX164-W can be cascaded to the unit, while a redundant connection can be made to compatible hardware. The current array of I/O options includes the 48kHz AR2412, AR84 and AB168 audio racks for Qu and SQ digital mixers, the modular DX32 rack, the portable DX168, the wall-mount DX164-W for SQ and dLive systems and the Dante-enabled DT168 and DT164-W. Larger systems can also be facilitated by the DX Hub expander.

Finally, V1.4 firmware for the SQ series has been unveiled. Three new audio tools – multiband compressors, dynamic EQ and de-esser – allow SQ users to have up to eight instances that can be inserted on any input channel, group or mix. V1.4 also introduces an offline mode for SQ’s MixPad app, which is now being released for PC and Mac. Offline mode allows engineers to create files without the need for an SQ, manage content offline and send and receive content over a wired or wireless network.

WaveCast Dante

Dante assistive listening WAVECAST DANTE from Williams Sound is a Wi-Fi platform designed for applications where high-quality sound is required for streaming audio in real time to smartphones or tablets.

The interface is based on the Audinate UXT Ultimo chipset which supports both AES67 and SMPTE 2110. Dante’s Ultimo UXT support of AES67 and SMPTE 2110 gives integrators various audio options to choose from for greater interoperability with other audio equipment in their system design. This allows the WaveCast Dante to be controlled by Dante Controller, Dante’s software used for setting up and managing audio routing of Dante-enabled products on an audio network.

Professional audio inputs on the WaveCast Dante include ¼-inch/ XLR, phantom power and a linelevel output jack. In addition to multi-stage gain control inputs, the DSP features include AGC, limiters, high- and low-pass filters, and adjustable range compressor control. The 16-bit DAC provides a 48kHz sample rate for a smooth digital stream and minimises digital harshness.

WaveCast Dante supports both unicast and multicast network configurations, while up to

four WaveCast systems can be connected to the same Wi-Fi network to provide multiple listening channels, supporting 45 users in unicast mode or more than 1,500 users in multicast mode.

Continuing the theme of assistive listening, FM+ is described by Williams Sound as the first system able to broadcast both FM and Wi-Fi audio from a single source. The FM+ integrates WaveCast Wi-Fi audio server technology into a Williams Sound FM assistive listening system so that end-users can listen with either an FM receiver or with their own smartphone (via the WaveCast listening app). The FM+ is built on a professional DSP platform and comes with an optional Dante inter face to provide integrators with a full audio networking solution.

Venues no longer need to choose between providing FM or Wi-Fi assistive listening systems. The FM+ supports both the new iOS and Android WaveCast apps, in addition to all of the current and legacy Williams Sound FM receivers operating on the 72–76MHz bandwidth. www.williamsav.com

www.allen-heath.com

V1.1 enhances mixing workflow for Glacier V1.1 SOFTWARE for the Studer Glacier Series has introduced several new features and improvements to the mixing workflow, including the introduction of Channel Widgets and a Virtualised Central Module. The Channel Widget enables users to control up to six channels from the Central Module with full channel control including fader, mute and PFL. The Virtualised Central

64 WORSHIP AVL November–December 2019

Module provides tactile buttons in parallel from a tablet without losing functionality.

Additionally, the update brings improved logging control. Logging is not enabled by default but can be enabled on different log levels to prevent files from extensive size increase or customise event logging based on log levels. www.studer.ch

PRODUCTS

D Squared = four-channel evolution

The D Squared system INCORPORATING LECTROSONICS’ fourth-generation digital architecture, the D Squared wireless system includes a DSQD four-channel digital receiver, DBu digital beltpack transmitter and a DHu digital handheld transmitter. System features include 24-bit/48kHz digital audio, two-way IR sync, three levels of encryption and a tuning range from 470–614MHz. The DSQD receiver incorporates high-resolution colour display, analogue or Dante digital outputs and rear BNC antenna ports with loop-thru buffered BNC outputs to another receiver. It is compatible with the DB Series and DHu, the stereo DCHT and the half-rack M2T. Three different receiver diversity schemes can be used, including switched, digital ratio diversity or digital frequency diversity. The DSQD includes digital talkback capability when used with any talkbackenabled transmitter such as the DBu and DHu digital transmitters.

The DBu beltpack and DHu handheld transmitters are capable of extending their operating time on two AA batteries, offering RF power selections at 25mW and 50mW, respectively. Input gain is adjustable over a 45dB range in 1dB steps to allow an exact match to the input signal level, reportedly maximising the dynamic range and signal-tonoise ratio. Two-way IR ports allow for encryption key transfer and other data sharing between units.

M2C

The DBu beltpack unit features a removable antenna with SMA connector, incorporating a TA5 connector with servo-bias input for use with a wide range of lavalier and dynamic mics together with line-level sources. A multi-function switch on top of the aluminium transmitter can be configured as power on/off, mute, talkback or bypassed altogether.

The DHu handheld transmitter is compatible with the HHC cardioid condenser capsule for use with capsule heads incorporating standard 1.25-inch openings and 28-thread pitch.

A programmable button on the outside of the housing can be configured as a push-to-talk, cough or mute and power switch.

Lectrosonics has also announced the release of the M2C active antenna combiner. Designed as a matching component to the manufacturer’s digital transmitters, up to eight transmitter sources can feed a single antenna to minimise cabling in multichannel systems. The M2C inputs are isolated to reportedly minimise crosstalk and intermodulation between RF channels. Front-panel LED indicators display active status of RF inputs, and a USB port is provided for firmware updates. The M2C is a 1U, AC mainspowered, fan-cooled unit with eight 50Ω BNC input ports and a single 50Ω BNC output port. The frequency range is 470–614MHz and the unit accepts input sources up to 100mW. www.lectrosonics.com

Countryman takes to the podium BASED ON the A3 podium microphone, Countryman Associates has introduced the A3 halo gooseneck microphone.

One of the microphone’s main features is the Active Plus Vibration Cancellation which is said to reduce table thumps and microphone handling noise without the need for shock mounting. The in-mic jumper system reportedly allows installers to reconfigure the pins of the A3 halo’s XLR5 to match the most common halo gooseneck configurations without the need for system rewiring. The microphone comes with a screwon, multistage windscreen and is available in a choice of three

lengths in a rugged, semirigid design.

The A3 halo includes an ultrabright LED indicator ring and a dual-element design which allows for a switch-selectable omnidirectional, cardioid or hypercardioid polar pattern, vibration rejection and wind noise reduction.

It has been designed for houses of worship or any other environment where presenters require a versatile, podium-style microphone to ensure their message is clearly heard. www.countryman.com

Microflex gets smarter

MXA910 SHURE HAS unveiled a new version of its Microflex Advance ceiling array microphone that builds in IntelliMix DSP. IntelliMix DSP in the MXA910 comprises acoustic echo cancellation, noise reduction and automatic mixing, while Autofocus Technology continually fine-tunes the position of each lobe in real time for consistent sound pickup. The array is said to ease deployment and out-of-thebox setup by including simplified templates and the Autofocus Technology. It can also directly connect to a hardware or software codec using the DSP embedded in the ceiling microphone. When used with a Shure audio network inter face, it gives users a simplified solution that provides a microphone

and DSP in a single package.

Shure has also introduced version 3.1 of its SystemOn audio asset management software to provide users with a 360° view of the inventory.

The software monitors device health and history to help events run smoothly, including tracking network connectivity, low battery status, RF performance and audio levels.

SystemOn 3.1 now supports Shure’s ULX-D digital wireless system, the MXA910 ceiling array and MXA310 table array microphones, P300 IntelliMix audio conferencing processor, ANIUSB-MATRIX USB audio network interface and SCM820 automatic mixer.

In brief, Shure has announced that it is expanding its lineup of MXW6/8 and ULXD6/8 wireless boundary and gooseneck base transmitters, along with its corresponding MX405/410/415 goosenecks, with the introduction of white colour variants. www.shure.com

November–December 2019 WORSHIP AVL 65

PRODUCTS

Audio-Technica’s latest mic-drop AUDIO-TECHNICA HAS added new models to its Engineered Sound, MicroSet and UniPoint ranges.

New to the Engineered Sound line of modular microphone systems is the ES925 gooseneck microphone.

With interchangeable components allowing users to configure each microphone system from a choice of three different polar patterns (the ‘C’ model representing cardioid, ‘H’ for hypercardioid and ‘ML’ for MicroLine), the ES925 is also available with four power module options (DS5, FM3, FM5 and XLR) as well as six different gooseneck lengths, meaning there is a total of 72 variants on offer.

The cardioid, hypercardioid and MicroLine versions offer acceptance angles of 120°, 100° and 90° respectively, with an omnidirectional element available separately. The desk stand, flush-mount power modules

ES925 and all mic element housings feature RGB LED status indicators. The five-pin desk stand is additionally equipped with a touch-sensitive, capacitive-type user switch with local and remote switching options and a UniSteep filter that provides steep, low-frequency attenuation for improved sound pickup that reportedly doesn’t affect the

vocal reproduction quality. The threepin and five-pin flush-mount power modules are designed to mount in table tops unobtrusively and come with isolators that mechanically dampen the mounting surface. Both versions are equipped with a capacitive touch switch to locally enable muting of the microphone.

Meanwhile, the MicroSet line of headworn microphones has three new models. The BP892x, BP893x and BP894x are updated versions of the BP892, BP893 and BP894 models with the addition of detachable cables and more secure ear loops for added comfort.

Finally, the UniPoint U843R threeelement multidirectional boundary microphone offers three cardioid condenser elements within a single housing. It is phantom powered, making it suited to surface-mount installations, and is said to be ideal for a variety of video applications. The UniPoint U891, meanwhile, has been updated with the addition of a two-state RGB LED status indicator and a touch-sensitive, capacitive-type user switch that can be set to three modes. www.audio-technica.com

Open-architecture DSP BOSE IS now shipping its new ControlSpace engineered sound processors: the ESP-880A, ESP-880AD, ESP-1240A and ESP-1240AD. The ‘A’ designation indicates Bose AmpLink connectivity, while the ‘AD’ designation indicates both AmpLink and Dante connectivity. They feature analogue audio I/O – mic and line level – and advanced signal processing with 48kHz/24-bit audio conversion, low latency and ultra-low noise operation.

In addition, the ESP-880AD and ESP-1240AD feature front-panel RJ45

Ethernet connection for localised configuration and monitoring.

ControlSpace ESP processors can be configured using ControlSpace Designer software and its signal processing

modules, including automatic mic mixers, predictive feedback suppressors, room combiners, multiband graphic and parametric EQs, Bose loudspeaker libraries, signal

generators, routers and mixers. Each processor also supports integration with industry-standard control systems, such as Crestron and AMX. The processors are compatible with Bose’s three digital ControlCenter controllers: the CC-1D, CC-2D and CC-3D. They also work with the ControlSpace Remote app, which allows end users to adjust volume, mute, tone and source selection from their mobile devices. www.pro.bose.com

Musical projection ECLER HAS expanded its range of sound projectors with the eCMP8 and eCMP12. The eCMP8 is a highefficiency musical projector for outdoor applications due to its waterproof and sun screening building material (IP56).

It consists of an 8-inch LF driver and 1.4-inch HF coaxial driver, 150W at 8Ω nominal power and 70V/100V line transformer with 37.5W/75W/150W at 8Ω power options. Other features include 100° x 100° dispersion, a frequency response of 80Hz to 18kHz (–3dB), a crossover frequency of 2.1kHz (passive) and a maximum sound pressure at 1m of 117dB. The eCMP12 is also rated IP56 and comes with a 12-inch LF driver and 1.7-inch HF coaxial driver, 300W at

In other news, the WPNETTOUCH is a remote control TFT touchscreen compatible with all EclerNet products such as the MIMO4040DN. WPNETTOUCH incorporates a capacitive 10-inch touchscreen, a server client and User Control Panel (UCP) server. Each unit could be configured to work as a single zone

control panel or as a global multizone controller. It allows executing UCPs that are able to control volume, sound source selection, preset recovery and communication via TCP/UDP with external devices. It is fully compatible as a server for other clients like WPNETTOUCH, WPmSCREEN as well as a UCP for third-party devices (iOS, Android and Windows).

The last new product from Ecler is the ACLASSCAN6L, a fireproof back can to cover the back of the IC6CLASS-54 loudspeakers mounted in false ceilings with a free air gap greater than 4 inches to provide the speaker with a secure and robust finish.

WPNETTOUCH

www.ecler.com

eCMP8 8Ω nominal power and 70V/100V line transformer with 50W/100W/200W at 8Ω power options. Compared with the eCMP8, the dispersion is 80° x 80°, the frequency response is 60Hz to 18kHz (–3dB), the crossover frequency is 2.1kHz (passive) and the maximum sound pressure at 1m is 122dB.

66 WORSHIP AVL November–December 2019

PRODUCTS

Riedel launches smart app for 1200 Series RIEDEL HAS developed a new API based on the open NMOS standards for its 1200 Series SmartPanel to allow the use of the SmartPanel as a user interface for control, monitoring and automation solutions. Dubbed the 1200 Series SmartPanel Control Panel App, it enables the system to take on additional responsibilities within broadcast workflows.

The app can trigger actions in control/automation systems and provide visual feedback on the status and any configuration changes on the panel using colours, labels and symbols. ‘Its NMOS underpinnings allow a third-party system to

automatically discover all of the panel’s control elements and assign any desired functionality,’ explained Riedel’s Marco Muckenhaupt.

Another new app is the MediorNet Processing App, which delivers decentralised signal processing capabilities to MediorNet networks.

It is built on the MicroN 80Gb media distribution hardware and includes two channels of up/down/cross-conversion, four channels of colour correction in the RGB and YCbCr spectrums and two multiviewer screens. It supports 4K and IP workflows.

Avnu-certified network switch unveiled by L-Acoustics L-ACOUSTICS HAS launched the Avnu-certified LS10 AVB switch as an out-of-the-box solution for providing ‘simple and reliable’ AVB networking. As a founding member of the Milan workgroup, L-Acoustics has made a commitment to AVB for real-time media transport and, as a result, the new LS10 is based on Milan open standards.

‘We know our users don’t have the bandwidth to be IT experts, spending all their time configuring networks,’ explained Genio Kronauer, director of electronics at L-Acoustics and member of the Milan workgroup since its founding.

‘With the LS10, you get a rugged AVB switch that works effortlessly.

All you have to do is plug in the LS10 and you are ready to send audio through your entire network in seconds.’

According to the manufacturer, two LS10 units can be mounted side-by-side in a 1U rack space for redundancy. With front and rear connectivity, the LS10 can also be mounted in the LA-RAK II, distributing audio and control to other amplified controllers or other LA-RAK II units through eight EtherCON connectors and two SFP cages for fibre-optic transceivers.

The LS10 also operates in silence with no need for internal ventilation. www.l-acoustics.com

www.riedel.net

1/2PAGE HORIZONTAL

November–December 2019 WORSHIP AVL 67

PRODUCTS

Sommer’s knight in armour Intelligent lighting The HDMI Knight’s connectors are fitted with Glandmaster protective sleeves that protect against loss with a stainlesssteel rope. This makes them ideal for rough mobile use, claims the German

GOING BEYOND armour plating of the exterior cable housing, the latest solution from Sommer Cable adds protection to the connector itself. The HDMI Knight features an integrated stainlesssteel corrugated tube capable of withstanding tensile forces up to 800N, while the strain relief of the connector is rated to withstand 650N. Furthermore, the cable boasts a halogen-free and notch-resistant PUR jacket with a 5.8mm thickness and a minimal bending radius of 20mm.

manufacturer. Thanks to Active Optical Cable technology, the transfer of the high-speed contents is based on glass fibres – this facilitates a maximum transfer distance of up to 100m with a UHD per formance of 18G.

THE PRODIGY lighting controller from GDS is described as a compact DMX and DALI hybrid with Art-Net. It is equipped with an on-board webserver and dedicated smartphone app and comes with scene scheduling, a built-in lighting desk and a remote device management suite. Scalable for small or large indoor venues, Prodigy contains four inputs for interfacing with fire alarm or paging systems and four outputs for third-party integration with blinds or projectors. Four isolated RJ45 ports are available should a cable fault occur and the input voltage is 48VDC (via PoE or PoE+).

The 150W Work Light pendant light has an adjustable suspension height and achieves a uniform ambient lighting with high

www.sommercable.com

Light in a box

The Prodigy lighting controller

ADB STAGELIGHT has launched the Hathor Gate system made for PC via USB connection.

It offers two DMX ports and includes a backup mode along with many of Hathor’s previous functionalities. The compact system weighs 112g and is said to be a small enough box to fit in a pocket with a size of 65mm x 65mm x 40mm.

Hathor Gate works with the Behringer X-Touch and Korg Nano

GDS’ Work Lights are high-bay LED flood fixtures that are direct replacements for 200W and 400W discharge fixtures. Available in two sizes (150W and 300W), the lights can be controlled via DMX and have an input voltage of 100–240VAC. They have a frequency range of 47–63Hz and a colour temperature of 5,000K. Rated IP65, the fixtures provide a beam angle of 112° and are suited for an operating temperature of –30°C to 50°C. The Reality Series, meanwhile, consists of a wide variety of products, all available in large and small versions. The Alundra

Control MIDI keyboards and can provide 512 control channels and 512 DMX addresses across several universes if required by the user. The Wily! for Hathor smar t lighting app is also compatible with the system to act as a remote control that can be used with an iPad or iPhone. www.adbstagelight.com

visual comfort by using a wide optic. The Alundra recessed spot light and Alundra spot light both have a 90° angle on the horizontal plane and a 360° rotation around the vertical axis. The Alundra surface light and surface mini light are surface-mounted luminaires that incorporate a twist-and-clip system for quick installation.

Finally, the Alundra track light and track driver spot light are highefficiency luminaires with passive dissipation and come with a threecircuit global track adapter. www.gds.uk.com

Compact outdoor lighting AYRTON HAS released the Perseo-S, its first multi-function, compact, IP65-rated fixture. The Perseo-S is the latest addition to Ayrton’s new range of profile, spot and wash fixtures. It can be controlled by DMX-RDM, Art-Net or a wireless link using CRMX TiMo RDM from LumenRadio.

Developed for outdoor use, its moving-head skeleton, made from die-cast aluminium, is said to achieve full weather proofing, with

a phase-change liquid cooling system, submersible fans and a water-resistant menu navigation system.

Featuring a 27,000-lumen output calibrated at 800K, Ayrton is hopeful that the Perseo-S can reach an optimal resolution to improve distortion at wide angles. Perseo-S also offers a CMY colour mixing system, a CTO and a wheel made up of six colours that can create both saturated and pastel shades.

68 WORSHIP AVL November–December 2019

Due to the positioning of the four shutter blades, Ayrton claims an operator can frame any object, wherever the fixture is positioned.

Users can expect 18 glass gobos on two wheels with an effects section that features a 15-blade iris diaphragm, two frost filters (one soft edge, one hard edge) and two rotating prisms (one circular with five facets and one linear with four facets). www.ayrton.eu

PRODUCTS

Smarty Hybrid gains IP65 rating THE NEW Proteus Smarty Hybrid from Elation is an IP65-rated version of its Smarty Hybrid luminaire. It features the same feature set as the Smarty Hybrid and uses the same Philips MSD Platinum 200 Flex 280W lamp, while adding sufficient dust, humidity and

water protection that allow it to be exposed to the elements in outdoor use.

The Proteus Smarty Hybrid has the flexibility to be used as a beam, spot or wash, making it suited to a wide range of applications. With an output of 11,000 lumens, Elation has given

Chroma-Q enters the Space Force CHROMA-Q HAS entered the Space Force onebytwo into the market for those seeking a variable white LED soft light panel. Designed as a ‘modern replacement’ for traditional soft light sources, it would be well suited to houses of worship that broadcast or stream their ser vices.

The fixture is CCT variable between 2,800K and 6,000K and reportedly offers an output of up to 13,900 lumens. Quiet operation is allowed thanks to convection cooling, while manual and remote-controllable LED frequencies of up to 96kHz allow for flicker-free operation when seen on screen. Wired

it a smart and low-maintenance design so that it can be adopted indoors.

A motorised zoom with auto-focus is built into the Proteus Smarty Hybrid. It has a beam angle range that differs between beam and spot modes with gobo projection focus from 1–18° in beam mode and 3–27° in spot mode. The manufacturer notes that no hotspot is visible while in spot mode. A frost filter for a PC lens-type concentrated wash is included, and the light is zoomable from 5–33°. www.elationlighting.com

Vari-Lite gets a new Profile THE VLZ Profile luminaire is part of Vari-Lite’s new generation of LED moving head fixtures and is said to use the latest white LED sources with 24,000-lumen output projecting through a 140mm front lens. The luminaire adopts a CMY-CTO colour system, teamed with a ‘shake

from a console. The product is equipped with an iris and fourblade framing system. This gives operators the ability to control the beam softness and beam-shaping control, using three-way frost control.

Vari-Lite has also introduced the VL6500 wash light that shares the same format as the VL6000 beam but also includes the manufacturer’s Dichro fusion blades which offer diffusion with the variable beam width and are said to

VLZ Profile

Space Force onebytwo features the manufacturer’s Space Force LED space/soft light technology.

The onebytwo part of its name derives from its 1:2 aspect ratio, which enables multiple units to be mounted side by side in either ratio, overhead or on a wall when a larger volume of light is needed.

or optional LumenRadio CRMX and RDM functionality are also available. Optional accessories include a low-profile hanging offset bracket, a four-way bridle and several beam control components. www.chroma-q.com

Chauvet enjoys the summer DESIGNED WITH outdoor events in mind, Chauvet has introduced the Ovation E-910FC IP, an ERS Stye fixture featuring the same RGBA-Lime LED colour mixing system as its non-IP cousin. Along with rich colours

and bright whites, the LED produces a flat, even field of light for gobo projections,

and wheel spin’ control feature.

Mid-air effects and projection are accomplished by the two gobo wheels, with seven interchangeable, fully rotating and indexing gobos and seven interchangeable fixed gobos. The additional rotatable animation wheel is said to enhance the projected effect.

VLZ Profile offers users a choice of four fan control modes: standard, studio, studio two and whisper. The multiple fan levels can match the output required by users and can be controlled remotely

especially when paired with the company’s IP-rated gobo rotator, the GR-1 IP. The Ovation E-910FC IP includes Chauvet’s standard beamshaping shutter assembly and lenses, as well as colour temperature presets of 2,800K to 6,500K to match the output of a tungsten source. A

VL6500 be reminiscent of the classic VL5.

The CYM+CTO system along with its fixed colour wheels work to provide variable colour mixing and saturation control. These features are said to deliver a powerful visual impact. The VL6500 offers operators the ability to create split colours, both in air and on the Dichro fusion blades. www.vari-lite.com

virtual colour wheel can also be used to match popular gel colours. Other features include ultra-smooth 16-bit dimming, 8-bit dimming curves to create smooth fades and adjustable Pulse Width Modulation to avoid flickering on most cameras. The LED also features Remote Device Management to provide flexibility for both outdoor and indoor applications. www.chauvetprofessional.com

November–December 2019 WORSHIP AVL 69

THE TECH VIEW

Worship pastor, integrator, unicorn Doug Hood is a worship pastor at Central Ministries, owns an AV systems integration company that works with hundreds of churches each year, and is the author of The Worship Unicorn Doug Hood

SINCE I WAS A YOUNG BOY, I’VE always been involved in church music, first by playing piano offertories, and then gradually getting involved in worship teams, and eventually leading worship.

As an adult, I was the general manager of Custom Sound Designs (CSD) for many years, and ultimately purchased the company in 2011. CSD was started by another individual in 1989 and, in its early days, started out working with car audio and home theatre projects. It didn’t take too long until we had our first opportunity to help a church and, once we did, we knew we had found our calling and our passion. Not long after that, car and residential projects were abandoned, and our focus became churches, auditoriums and per formance-type spaces.

From an integrator’s perspective, I’m constantly reminded that all churches have some similarities, but also that each ministry is unique and deserves to have its AVL process customised for what they need for their individual campus. Too many people try to copy what someone else has done. That might work, but often it doesn’t. You might even have a very similar worship centre as the church down the street or a church across

nudge to write a book in 2018 and I would occasionally jot down a few ideas. I didn’t tell anyone, then in mid-2018 one of the guys at my office sent me a message that said, ‘Have you ever thought of writing a book?’ I took that as my confirmation that this was something God wanted me to do.

I know a few people who have written books, so I know the time commitment it takes. I had a business trip planned to Fort Myers and for some reason felt I needed to reserve a few extra days there.

I didn’t know those few extra days would be the time I would take to write The Worship Unicorn.

the world, but your needs might be totally different. Sadly, there is a lot of bad information out there, and sometimes within our worship tech community, you will see a novice ask a question to a group of novices and the advice they receive is not beneficial. In fact, it can be harmful to a successful implementation of AV technology.

Another big problem in our industry is that churches often make a purchasing decision based on an ad that they saw, or a brand that they like. In contrast, what you need to do is sit down with your team and talk through things like workflow.

How do you need tech to support your ministry vision, and how skilled or unskilled are your operators? It is during these types of processes that a custom system will emerge that is right for your church, your team and your budget.

Working in the church has also taught me a lot as an integrator. I have been with Central Ministries for 27 years and involved with other churches prior to that. It frequently

70 WORSHIP AVL November–December 2019

reminds me that many churches don’t know what they need. They don’t know what to ask for and don’t know how to express their expectations. A great integrator is one who can serve as a consultant and an advocate for the church. Their job is to ask probing and pointed questions to extract the vision and the DNA of that church. Once the vision can be defined, it can be delivered. Too many churches blow past the vision step and just start buying stuff.

Whether you have the smallest budget or the largest, if you buy equipment without defining a path, you will most likely miss the mark, not to mention cause frustrations for your team.

Because I’ve been leading for so long, I know all of the ups and downs that go along with being a worship pastor. It’s a tough job.

When it’s awesome, it’s awesome.

But when it’s bad, it can be really discouraging. I started to feel a

For worship leaders, techs and volunteers, my heart is in giving them ideas of how they can find their uniqueness as a church. I also want them to build a rock-solid unity within their teams that cannot be shaken. I want them to resist the urge to copy another church. For the worship leaders, I want them to be worship leaders – not song leaders.

There’s a big difference. www.centralministries.com www.csdus.com www.worshipunicorn.com

Mosque sound made simple Pray with faith

“IACAD is pleased with results in development of sound system MX-6224D for Mosques from TOA, This partnership yielded a significant development of distinctive sound system for the mosques. This was achieved by dedication of engineers on both sides to add improvements which is the result of experience accumulated over 30 years.�

Commented by :

MX-6224D

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

The MX-6224D incorporates DSP function and a two channel class-D amplifier. An optional remote controller is also available, making it simple and easy to use. The MX-6224D is the perfect choice for your mosque.

We supply sound, not equipment. www.toa.com.sg I TOAasiapacific www.toa.eu I TOAeurope www.toa.jp (TOA Global)

Elevation Church - Charlotte, NC, USA

ENGAGE YOUR CONGREGATION SOUND SOLUTION FOR HOUSES OF WORSHIP

L-Acoustics systems are renowned for their uniform, full-range, natural sound. Our flexible, lightweight systems project crystal clear sound to your congregation, avoiding reverberant architecture. From the front row to the very back, your worshippers will never miss the message. Generous power ensures each congregant has the feeling of being in the heart of your music. Let our sound systems help you achieve maximum engagement for your house of worship. www.l-acoustics.com