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I’m so pleased to be able to bring you details of the recent installation of audio, video and livestreaming equipment at my home church of St Peter’s Pembury. It’s been a great experience being able to follow the whole process from start to finish. We’ve had a few bumps along the way but, given all the factors the AV industry is currently facing, the integrator went above and beyond the call of duty to help us complete the project on time. Read more about the story on p.22.
Speaking of bumps along the way, most churches will experience a few ups and downs during their AVL upgrades but having a tornado thrown into the mix added a new level of complexity for Cross Point Church in Nashville, Tennessee. Here, the integrator helped mobilise community support groups before meeting with church to determine what challenges the storms had created.
In our Tech Forum, we ask whether livestreaming is the right choice for your church or whether recording the service and posting content after the event is your preferred choice.
I hope you enjoy the issue.
AN IDEAL MOSQUE SOUND system should consist of five essential electroacoustic components – source, mixing, processing, amplification and loudspeaker – for sound reproduction. Each of these components has its role and function and this includes the loudspeaker, which functions to convert an electrical signal into sound waves. In the final part of this series, I will touch on the loudspeakers that are often used in mosques.
Two important acoustic parameters need to be evaluated to determine the sound quality inside a mosque. Audibility or sound pressure level (SPL) is calculated to ensure the sound is received by all members of the audience equally, while intelligibility or speech transmission index (STI) is used to make certain the sound is clear for the listener at any position in the audience area.
“High SPL will guarantee and provide the desired intelligibility.” This is a common misconception and is often said among users. Because of this, most of the sound systems that are designed for mosques only focus on high SPL results without considering the intelligibility aspect.
Loud sound and intelligible sound are two different things, where loud sound often depends on the specifications of the loudspeakers alone. This differs from intelligible sound as it is affected by many other factors, such as reverberation (RT60), background noise (BN), frequency response, SPL, loudspeaker directivity, etc.
Therefore, the task of improving sound intelligibility is quite complex and challenging because it requires the scrutiny of several different elements during the design process.
There is no straightforward process for determining the type
of loudspeaker, quantity needed, location to install and brand to use. But, in terms of design requirements, the ideal SPL needs to exceed +10dB above BN and an STI of 0.52 is the minimum.
Onsite measurements need to be carried out in the mosque, while preliminary estimates can be made using calculation methods or computerised models that use acoustic simulation software based on construction drawings provided by the architect.
As a rule of thumb, loudspeakers that are suitable for use in mosques are those that have a frequency range of 100Hz–8kHz because most of the activities conducted in mosques are limited to speech only. Therefore, the use of a subwoofer is not appropriate in mosques. In addition, the use
the critical distance (CD) area and therefore the STI value can be indirectly increased.
Electro-Acoustic Simulator for Engineers (EASE) developed by AFMG is an example of an acoustic simulation software that is widely used by systems integrators and audio consultants in determining the appropriate loudspeaker selection during the design process. The software can provide an initial overview of the performance of the loudspeakers and this includes SPL, STI, CD measurements and others based on acoustic data information measured or simulated
onsite. It can also provide early prediction of the difficulties that will be encountered, for example dealing with issues relating to the dome
Last but not least, the aesthetic issue is often debated after the design of a system has been decided. This is because the best loudspeaker installation locations often coincide with the decorative Islamic architecture which cannot be disturbed by the presence of other objects. Therefore, there needs to be a compromise on where or how the speakers are installed, for example, by using decorative loudspeaker stands to solve
In addition, the size and colour of the loudspeaker is another issue that is often raised. Most users tend to prefer small or slim loudspeakers as they are convenient to hide inside wall openings, or they are sleek and tidy when installed on the wall. For this reason, column line arrays and steerable line arrays are more frequently used in mosques compared to other speaker types, such as J shape line arrays which are bulky in shape and difficult for users to accept. White is a must in terms of colour selection if the speaker is installed on the surface because it can blend with the decorative Islamic architecture, such as the Mihrab wall.
I hope that these four articles I have written have provided a general overview and a better understanding of a mosque audio system. Until we meet again in the next article, take care.
Azizi Ala Founder and technical director at Acousticon Sdn Bhd Speakers hidden inside a decorative grilleATEM Mini Extreme makes it easy to create professional multi camera productions for live streaming to YouTube, Skype or Zoom! Simply connect ATEM Mini and you can switch live up to 8 high quality video camera inputs for dramatically better quality images. There are loads of video effects too! Plus, ATEM Mini Extreme has a built in hardware streaming engine for live streaming via its ethernet connection.
There’s never been a switcher that’s easier to use, as you simply press any of the
input buttons labelled by number on the front panel to cut between video sources. You can select from exciting transitions such as dissolve, or more dramatic effects such as dip to color, DVE squeeze and DVE push. Add a DVE effect for picture in picture effects with customized picture positions and background.
ATEM Mini Extreme has a built in hardware streaming engine for live streaming via its ethernet connection. That means you can live stream to YouTube, Facebook and Twitch in better quality, without dropped frames and with simpler settings. Just select the streaming service and enter the streaming key!
There are palettes in ATEM Software Control for streaming setup, plus streaming status is also displayed in the multiview.
When doing larger live productions with multiple cameras, it’s very useful to see all your video sources at the same time on a single monitor. ATEM Mini Extreme includes a professional multiview that lets you see all video inputs, preview and program on a single HDMI television or monitor! Multiview even includes status for recording, streaming and the audio mixer!
The ATEM Software Control app allows access to every feature in the switcher and features a visual switcher user interface with parameter palettes for making quick adjustments. The software lets you access full audio mixing with effects, load still frames and even do advanced macro programming! Plus, with Ethernet built in, ATEM Mini Extreme can use hardware control panels for high end workflows.
IN THE FINAL ARTICLE OF THIS current series, I will be addressing the often underdiscussed topic of acoustics for churches. The quality of sound in a church is vital to its worshippers’ experience and, whenever churches have problems with their sound, their first suspect and go-to solution would be to fix or upgrade the sound system. But, a lot of the time, it could be due to issues with the room acoustics instead, and by changing the acoustic behaviour of the space, it can bring about improvements in ways that an audio system upgrade can’t. Simply put, sound systems cannot fix acoustic issues. So, let’s first identify typical acoustical problems, causes and negative effects that need to be addressed.
Excessive echoes or reverberation are often associated with bad acoustics. Echoes in particular are problematic not only for the congregation but also for the preacher, singers and musicians, as the distinct reflections from walls or ceiling create a delay between the direct and indirect sound, which makes
will muddle up the details of amplified music, with the clashing of direct and reverberant sounds that only gets worse with more percussive, staccato and up-tempo music due to the overlapping of every note played, drum hit and consonant sung.
But how does reverberation affect the spoken word? A long RT60 reduces speech intelligibility, so this makes it very challenging for traditionally designed sanctuaries like cathedrals to strike the right balance between the acoustical need for liturgical worship and an amplified sermon, with the latter requiring a much shorter reverberation time. As such, venues suited for contemporary music will usually fare much better in this aspect.
Room acoustics are commonly managed through strategically positioned and calculated use of acoustic panels, bass traps and diffusers, in combination with
around the space. A symmetrical room with parallel surfaces often accentuates
Robert Soo brings us the fifth and final article looking at what, why and how AVL systems and acoustics matter to church worshipNon-parallel walls can aid acoustics graph
I have on multiple occasions received requests from churches to fix worship halls that sounded dull, boomy or “too dead” (acoustically) after botched jobs done by their contractors. Such corrective works will result in additional cost as well as downtime for the church, so it’s imperative that it is done correctly the first time.
Then what about cathedrals and other traditionally designed spaces where acoustic treatment is not a viable option? For example, wooden pews, hard flooring, high ceiling and walls with large stained-glass windows are integral to these places and cannot be changed. Under such circumstances, a good loudspeaker system design is critical to curbing the amount of amplified sound energy from reverberating within the space. This involves studying the sanctuary layout, plotting appropriate loudspeaker positions, aiming loudspeakers to focus mainly on the seating areas and avoiding reflective surfaces, selecting loudspeakers with the right tonality, coverage angles and projection, and so on. In addition, highly reverberant sanctuaries transiting to using contemporary band instruments like percussion, electric guitars and keyboards would be wise to implement isolation “shields” and in-ear monitoring to reduce unwanted sound bleed.
This approach would at best be considered a good compromise, as the level of reverberation can still vary substantially according to the room occupancy. When there is a full house, intelligibility and music clarity will be at its peak, with reverberation levels at its lowest due to the sound absorption provided by the people present. However, the less occupied the sanctuary is, the more difficult it is to control, so the worshippers may receive a different sound experience each week depending on how well attended the respective worship service is.
Managing the acoustics of a worship hall is not just about dealing with unwanted echoes and reverberation, as there are other aspects such as external noises from thunderstorms, traffic or even the conversations of people walking outside leaking into the sanctuary that can be very distracting during a service. There’s also the presence of noise or vibrations from air ventilation systems, usually unnoticed (until it’s switched off) but substantially raising the overall noise floor, resulting in the need to turn up
the sound system and causing listening fatigue. All these issues can be mitigated by ensuring proper planning and provision for sound insulation for walls, doors, ceilings, floors and even to the electrical and mechanical services penetrations between rooms and levels within the building. This is by no means an easy feat for a lay person to deal with and should be best left to experts like acoustic consultants who will work with the building, electrical and mechanical designers to ensure the correct construction and solutions are incorporated right from the very beginning.
I cannot emphasise enough how important addressing church acoustics is as it is fundamental to the sound experience that every worshipper gets in church. It is not about catching up with the times and certainly not about raising the entertainment value, but it is about providing a conducive environment for worshippers to commune with God. That’s the ultimate goal.
Well, I do hope you’ve enjoyed this article and the four others I’ve written prior to this. May you continue to learn, grow and use technology to bless people and for His glory! Till we meet again here in the pages of Worship AVL, God Bless.
Cory Bolen, First West, USA: We have a multi-faceted approach to making sure our services are available to the public. First and foremost, we do livestream, using RESI to platforms such as Facebook, YouTube and the Church Online platform. We also record our services, not just for archives, but also to post-edit and send for playback on a local TV station that reaches roughly 7,000 homes per week. Playback to a TV channel can be rather costly, but First West has a long-standing agreement with this particular station. Another positive to recording the service is it allows us to post-edit clips for use with our social media strategy, whether it is highlighting a special part of the service or highlighting a main point from our pastor’s sermon.
Stephen Brindley, Crossways Community Church, UK: As a church organisation, we chose to start dabbling with livestreaming in 2019, before the pandemic hit the UK. Back then, we knew that livestreaming was a great tool to help us as a church, to have a wider reach and greater impact. We also knew that it would be a great tool for those that could not get to a meeting place or were unable to attend. We started in 2019 with a single Mevo camera and played around with what was best for us as a church organisation. When the pandemic hit in 2020 and gatherings were not allowed, we were able to livestream our services straight away, thanks to our previous knowledge with the mevo and restream. We invested again and upgraded some
of our equipment with a Blackmagic Design ATEM mini broadcast switcher with multiple HD cameras and a restream licence. After some months of getting it how we needed it, our reach started to grow online thanks to streaming. Now we are back to in-person meetings, we also have an online following, so we now aim to reach both. We are currently improving our online stream, so we can really make an impact and make our livestreams interesting for those watching online. While we have managed in the past with broadcasting live via a Wi-Fi connection and with one single camera, it hasn’t always been the best. Now we are moving into new premises, we are looking at spending a month’s downtime and installing a dedicated internet line solely for our stream and investing in the right lighting and best camera angles, to give the best results and maintain the attention of our viewers. From a church point of view,
livestreaming is a great way for you to share your message and impact a wider community but, whatever organisation you are, if you can invest a little and spend some time in making it great, then livestreaming is a great way for you to expand your reach in today’s world.
Chris Lyles, Central Ministries, USA: During the lockdown portion of the pandemic, we were not able to livestream “live”. We pre-recorded services and aired them via a streaming platform. But once that season was over, we returned to streaming live. Our approach to our platform is that it’s a “window” into our services. There’s something unifying about watching things happening in real time, and we really value that bond. We consider our online audience part of our congregation/family, so we can offer an online experience of our room during the normal service times people attend on-campus.
Pete Hopper, Youth for Christ, USA: In both my roles as comms director at Youth for Christ, but also a local church leader, I do involve myself in the livestreaming process. The process is very different in each, though. At church, we have a simple, single camera setup that streams directly to a closed Facebook group –this is specifically for those in our congregation that can’t come to meet with us in-person, or for those who may have missed the service or want to re-listen to the teaching at a later date. This is purely a transfer of information, and for that reason we keep it simple. At Youth for Christ, we have a complete multi-camera live broadcast setup, enabling us to deliver virtual conferences and events. This allows us to incorporate a full multimedia setup, including live worship, guest speakers via zoom and interaction with attendees via Brushfire (which we also use for ticketing, pre/post-conference information and an on-demand facility).
Livestreaming has become a hot topic since the start of the pandemic, but is it the right solution for everyone?Livestreaming at TBCo in Nashville, Tennessee Online services at Empower Church in Pretoria, South Africa
systems is about to be bolstered by the arrival of Chris-System, which has been quietly establishing itself on home turf for the past decade, and is now pushing ahead with plans to enter the global marketplace.
Although produced overseas, the concept and design of Chris-System’s three current ranges all originate from the three company founders, Jong Min Choi, Seon Woo Lee and David Kim, who met 20 years ago while working as systems integrators. All three had discovered a passion for audio while volunteering in their local churches as they grew up. None of them had the benefit of studying audio as no colleges in Korea offered the subject then, but all had that timeless qualification for working in the industry – a fascination with taking equipment apart to see how it worked. In fact, Lee had attended theology school with a view to becoming a pastor before audio trumped religion as his chosen career path.
In 2012, Choi, Lee and Kim reunited to pool their collective acoustic and installation experience by launching S3Global with the aim of becoming a total AV solutions provider, systems integrator, acoustic consultant and distributor. Simultaneously, the trio also began working on its own pro audio brand – Chris-System. “I had always been very interested
in manufacturing my own range of speakers, but this wasn’t easy to do in Korea,” explains Lee. “Lots of the quality speaker components come from Europe and North America and, as all of the world-famous speaker brands are established here in Korea, there is already a high benchmark. When it comes to making a speaker with good sound and distributing it to the market, pricing is the main challenge. We wanted to try and break the rule that good speakers need to be very expensive. Our main philosophy is that we want to strive to make good speakers at a reasonable price.”
The worship sector is huge in Korea, and an estimated 70% of Chris-System’s turnover. The brand’s V Series line array systems have been installed into houses of worship including Anyang Methodist Church, Soodong Church, Gwangju Mission Church, Jeonju Seomoon Church and Soongin Church, all of which host congregations of a minimum of 1,000 worshippers. During Covid, business increased twofold, mainly because of churches, most of which started to improve their online video equipment for remote worship services. As people stopped attending in-person, many churches took advantage of the break to renovate their interiors and update equipment.
Over the years, the company has established three separate ranges: the V Series of line array cabinets,
and Q Series point source speakers and K Series PA range, manufactured in Germany, the UK and China, respectively. A major milestone was reached in late 2021, when national broadcaster KBS specified a system consisting of 24 V20 line array cabinets with four V28B and eight V18B double 18-inch subwoofers for its KBS Arena Hall, a 1,800-capacity venue that hosts musical performances and church services. This gave the team the confidence to think about launching their brand on an international level. “We’re starting to be selected more and more for tenders where we’ve bid for projects
against other brands,” adds Lee. “People are asking specifically for Chris-System, as most of the bigger players in the market now know who we are. Our main weakness is that the end users don’t know the name too much. For the past five years, we’ve never done much marketing, we haven’t advertised or produced any social media to promote ourselves.”
Post-Covid, Chris-System’s star continues to rise. The company is consulting on several megachurch projects in Korea, while another public broadcaster, SBS, has expressed interest in testing a system for its live music TV programmes. The company is also beginning to dip its toe into the competitive world of live sound, realising that in order to be requested on riders, the brand first needs more exposure. It is currently working with three rental companies, while several others have expressed an interest in purchasing the new T9 system currently being developed for the rental market when it becomes available.
Meanwhile, S3Global, which in addition to distributing Chris-System in Korea also represents acoustic brands Muller-BBM and Auralex Acoustics, as well as Extron and Syntax cabling, is looking to add to its portfolio in the company’s ongoing quest to increase the services it offers to Korea’s AV industry.
Heavily involved in the Korean worship sector, Chris-System, a division of SI and distribution company S3Global, is preparing to launch its range of loudspeakers to the world
L–R: Chris-System’s co-founders
Seon Woo Lee and David Kim Anyang Methodist Church is installed with a V Series line array system
The T Series point source range is manufactured in the UK
It has always been our main goal to deliver clear, natural sound to ensure every word is heard throughout the whole audience. Especially in places of spiritual contemplation it is particularly important to not just transmit speech. Using K&F PIA M makes room for the most important thing: the message. Loud, crystal clear and natural.
MIAMI-BASED KING JESUS Church is taking its production to the next level with a recent upgrade to a Clear-Com intercom system. The project saw its existing Clear-Com Encore analogue partyline intercom system combine with an Eclipse HX digital matrix system, fitted with an E-IPA card, FreeSpeak II digital wireless transceivers and beltpacks, HelixNet, an LQ series of IP interfaces and, finally, the Agent-IC mobile app.
For over 20 years, King Jesus Church of Miami (KJM) has been successful with its ministry in southern Florida, with an attendance of 15,000–20,000 people each week at both its main and remote campuses worldwide. Naturally, as its ministry has grown, so has its production, broadcasting online to thousands of followers. With Latin American roots, the church’s services are often spoken in Spanish as well as English, with other languages also spoken.
KJM’s evolving production crew consists of camera operators, technical directors, a director and producer, audio engineers, graphic designers, streaming coordinators and various production assistants. It was becoming clear that this level of production required more
flexibility and bandwidth regarding comms.
Sean Sweeney of CP Communications worked with KJM technical director, Jonathan Garcia, to design an intercom system that would be able to cope with KJM’s modern requirements. Garcia explains: “Communicating on Sunday was becoming more and more difficult. When you have over 25 different people, doing 10 different things and all sharing a four-channel system, the idea of ‘controlled chaos’ comes to mind.”
Sweeney and Garcia installed an Eclipse HX Median frame with 16 ports of four-wire and
32 IP ports on the E-IPA card, four FreeSpeak II IP transceivers and 15 FreeSpeak II beltpacks, allowing staff the freedom to roam the building while staying online. Also installed was a HelixNet base station and LQ IP interface to support the FOH audio and lighting crews. To complete the new system, they implemented several Agent-IC mobile app licences with an external internet connection, enabling the production crew to roam outside the sanctuary as needed, all the while still connected on comms. Together, this system facilitates a modern workflow that takes into account hybrid and remote workflows.
“The way the new system configuration streamlined our operations and made Sunday service a breeze for all of us involved, is a total game changer,” notes Garcia after the church’s first Sunday service with the new system in place.
To help produce its global broadcasts, KJM has a broadcasting studio a few blocks aways, which is connected to the main facility over a WAN network, allowing all its communications to happen via its HelixNet beltpacks.
The studio control room is outfitted with an Eclipse HX Delta frame, V-Series Iris panels, E-IPA card, Agent-IC and FreeSpeak II beltpacks and transceivers.
Sweeney and Garcia worked together to configure the setup, creating a reliable intercom system that bridges the two buildings and allows for broadcast and streaming productions to take place.
“We now have a solid and flexible intercom backbone for our communications that will be able to grow with us as we continue to expand our operations and broadcasting reach,” concludes Garcia.
King Jesus Church expands its Clear-Com footprint after success with Encore partyline
A HelixNet beltpack with CC-28 headset
The HelixNet and FreeSpeak II beltpacks
The Eclipse HX digital matrix system
The studio control room
Professional
THIS PEARLESCENT HOUSE OF worship features 29 domes, and can welcome up to 1,900 worshippers, having been inaugurated by Indonesia’s president this spring.
The mosque’s technical committee required a powerful and pristine sound system that would be discreet against the building’s clean white interior adorned with gold religious calligraphy. Recent government guidelines put a cap on sound volumes at 100dB and limited amplified audio to inside buildings, which made the sound system choice a little trickier. At-Thohir Mosque turned to Jakarta-based pro audio supplier, Gracia Auvindo, for help.
Hendra Halim, project manager and systems engineer at Gracia Auvindo, explained that in addition to the aesthetic and SPL requirements, installation options were limited in the 28.5m2 main prayer hall. Halim said: “Furthermore, the hall is constructed of marble and granite, creating reflective surfaces throughout, compounded by the inner side of a dome-shaped roof.”
Halim worked with L-Acoustics application project engineer APAC, Chung Wah Khiew, using
L-Acoustics Soundvision to design a system that would minimise reflections by keeping sound within the audience area, avoiding the domed roof and reflective walls.
“We mapped a Syva design in Soundvision and found that its 50m throw capability would be more than sufficient for the 30m-deep prayer hall,” he explained. The graceful lines of Syva would also melt into the architecture, so Halim brought the design proposal to the mosque committee, noting that the system would be white to match the venue.
The final system design installed in the main prayer hall consists of two Syva placed 4m high and serve as the main system. Four 5XT coaxial speakers have been installed as front-fill, while an X8 serves as centre-fill. Two additional Syva, mounted 3.5m high, provide delay.
“The two Syva delays allow the mosque to avoid driving the main Syva at full power, thereby reducing reflections,” added Khiew.
Four additional 5XT coaxial speakers are installed in the antechamber, while two further 5XT are installed in the mosque’s basement, both of which are used for celebratory functions.
The main prayer hall contains two L-Acoustics Syva placed 4m high
With the new sound system calibrated, the mosque committee is said to be pleased with its excellent intelligibility. More so, congregation members have commented on the clarity of the prayer services. “Working as a team with L-Acoustics and the At-Thohir committee, we’ve succeeded in overcoming important challenges to getting great sound in this space,”
Halim said. “Soundvision was especially helpful in ensuring that our team proposed and installed the ideal system, and the satisfaction of the committee and the congregation are a great honour for the Gracia Auvindo team and me,” he concluded.
www.graciaauvindo.com
www.l-acoustics.com
Located on the perimeter of the Podomoro Golf Complex in a leafy suburb of Jakarta, At-Thohir Mosque was built by the extended family of automotive businessman, Teddy ThohirIt’s not just that the 5D has integrated audio networking. Or flexible output power sharing. Or that you can easily hide it. You’re saying “yes” to more.
A d&b system that provides the scalability, flexibility, and reliability needed for installations. Still, the 5D is a very impressive amplifier.
Discover more: dbaudio.com/5d
Photos: Thomas Peham (background), Alexander Popov, Benjamin Ch ild, Donny Jiang, Hulki Okan Tabak, Marcos Luiz, Pablo MerchanMontes, Rodan Can, William White (all unsplash)
GLEN HAVEN BAPTIST CHURCH (GHBC), just south of Atlanta in McDonough, Georgia, celebrated a milestone this year when the church turned 75 years old. And like more and more older churches, it spent its diamond anniversary looking into the future. The HOW has taken delivery of a KLANG:konductor for its 18–20 musicians and its 100-voice choir.
The KLANG:konductor, purchased through and installed by Clark Integrated Solutions, is linked to the church’s Allen & Heath dLive C3500 FOH console, whose DM64 MixRack digital stagebox hosts a superMADI card which, in turn, interfaces with a pair of DiGiCo DMI-MADI-B cards. This signal flow is used to allow the input onstage to be converted to XLR for use with the church’s Shure
PSM 900 in-ear monitors, then converted back to MADI for use with the KLANG:konductor.
“The superMADI card feeds our KLANG:konductor’s two DMI cards, then we’re sending all 128 channels from the console over the input lines, and then sending eight mixes back to the dLive and using the tie lines in the dLive to feed our in-ears via the DM64 outputs,” explains GHBC’s director of technical ministries, Brett Hill.
“We’re using the KLANG:konductor for five or six of our core musicians currently, but plan to roll it out to more of them as time goes by and everyone becomes more familiar with its operation and benefits.”
Hill is already well-acquainted with the advantages of the KLANG:konductor; until it was
installed, all monitor signals were routed through the FOH console, which had the added task of being the church’s broadcast audio console. “Now, rehearsals and sound checks are much faster and effective, and the KLANG:konductor takes a lot of the pressure off of the mixing engineers and we can work with a smaller crew,” says Hill. “Also, once a musician moves onto the KLANG platform, they tend to stay there; once they experience the ability to place themselves in the mix onstage, they’re not going back to mono or stereo. The 3D space gives them a lot more clarity on their own sound and the sound of the other musicians. They’re also making fewer changes during rehearsals and performances when they’re using KLANG.”
Those benefits are also being felt by the church’s musical director, Harrison Smith. “I was pretty sceptical about it at first but, after about an hour with it, I can see why everyone loves it,” he says. As both the church’s musical director and drummer, Smith was constantly fighting in his mixes with the critical click track on the one hand and the vocals and reverb on the other. “With the KLANG:konductor, I can dial in everything exactly as I need to hear it,” he says. “Everything is where and how you want to hear it.”
Smith says the church’s musicians and worship leaders have responded positively to the new platform. They applied it initially to the “core” band –bass, drums and two guitars – and
have been expanding its use ever since. “Once everyone gets set up on it, they’re good; they don’t need any extra help, and that’s really helped rehearsals become more productive,” he says.
Previously, Smith would have to act as a moderator between the monitor mixes at front of house and the stage, taking requests from musicians for a little more of this or that in their “cans” and communicating those to the FOH mixer. “Now, I have the KLANG:app on an iPad in the drum enclosure,” he says. “If they need an adjustment in their mix that they can’t do themselves, I can handle that from my iPad. It’s one more way it’s taking the burden off of front of house, too.” And the way the KLANG platform works, the church didn’t have to change any of its onstage monitoring infrastructure – antennas, earbuds and so on were the exact same the week after the KLANG:konductor was installed as they were the week before.
Long term, Hill expects virtually all of the musicians will switch to the KLANG:konductor platform: “As more musicians and staff get used to the system, we’ll have that many more people who can also help the next group of users get used to it,” he says.
www.clark.is
www.ghbc.life www.klang.com
KLANG:app shown on a display at GHBC’s FOH mix positionProfessional point source family
Professional point source family
Scalable system through horizontal clustering of the LINEAR 9
Scalable system through horizontal clustering of the LINEAR 9
210 LTA
210 LTA
HK Audio’s custom-designed, rotatable multicell transformer for maximum sound pressure with unprecedented sonic depth
HK Audio’s custom-designed, rotatable multicell transformer for maximum sound pressure with unprecedented sonic depth
Modern and updatable DSP at the heart of every LINEAR 9 speaker
Modern and updatable DSP at the heart of every LINEAR 9 speaker
2 x 10“ high-performance mid/high unit, two multifunctional speakers and two powerful 18“ subwoofers
2 x 10“ high-performance mid/high unit, two multifunctional speakers and two powerful 18“ subwoofers
Non-networked speakers can be integrated into the LINEAR 9 network through DSP Out Straightforward setup thanks to the lockable PowerCon and PowerCon Link connectors
Non-networked speakers can be integrated into the LINEAR 9 network through DSP Out Straightforward setup thanks to the lockable PowerCon and PowerCon Link connectors
HK Audio DuoTilt for all mid/high units enables optimal adjustment of the dispersion pattern
HK Audio DuoTilt for all mid/high units enables optimal adjustment of the dispersion pattern
Road-ready features thanks to sturdy birch multiplex cabinet and resistant PU coating
Engineered and made in Germany
Road-ready features thanks to sturdy birch multiplex cabinet and resistant PU coating Engineered and made in Germany
Indian pro audio specialist Ansata has provided New Life Assembly of God Church with an uplifting audio setup
NEW LIFE ASSEMBLY OF GOD (NLAG) Church in Kompally, Hyderabad, was founded by pastor Earl Stubbs and his wife Arlene, along with their two daughters in 1983, when pastor Stubbs began his mission of spreading God’s word throughout the city. Since then, the church has grown at a steady pace, moving regularly to new facilities only to outgrow them a few years later. It wasn’t long before the church realised that having its own dedicated building had become a necessity. In 2018, 35 years since the Stubbs family began their fellowship in their own home, NLAG Church moved to a new location with the capacity to hold 3,200 of its faithful followers.
With its new premises came the need for a new audio setup that would provide the congregation with an uplifting worship experience. The church’s search for a new sound system led it to professional audio products and services company Ansata, which has been providing pro audio solutions across India for over three decades. NLAG opted for a complete upgrade of microphones, FOH mixing consoles, studio mixing consoles, speakers, subwoofers and cabling.
Given ongoing lockdown restrictions in India, Ansata had
to rely on skilled volunteers at the church, led by sound engineer Mr Moses, for installation of the new equipment, with continuous remote technical support and guidance from Ansata during the entire process. The amplifiers were also configured remotely.
Ansata proposed six-per-side d&b audiotechnik Yi12 line arrays hung from overhead trussing in front of the stage, with eight V-GSUB subwoofers hung in between the two arrays. Four Yi10P speakers are on the far left and right of the trussing for outfill. Four M4 stage monitors are fitted across the front
the S6L-24D digital mixer for FOH duties and the S6L-16C digital mixer for broadcasting. A Waves SoundGrid Extreme Server-C has been supplied for the S6L-16C, exclusively for broadcast mixing. DPA Microphones’ CORE 4188 slim directional flex headset mics have been installed for preaching, alongside 4 Core 4mm2 speaker
sounding music,” explains Leslie Lean, CEO of Ansata. “We support our customers, no matter how sophisticated or complicated the project is. The trust we place in the products inspires our engineers to create a setup that delivers exceptional results.”
www.ansata.net
The NLAG team
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DURING THE PANDEMIC, MANY organisations that started streaming their services realised it wasn’t just about getting online, but also the quality of the video production that would keep congregations engaged.
Temple Beth Am, Framingham, a Boston-area reform Jewish temple, was just such an organisation, and decided to install a StreamingPix content production and streaming solution from Broadcast Pix to maintain high-quality communications with its congregation.
The temple holds Sabbath services every Friday evening and Saturday morning, plus a range of other religious events and community social events, which had to be curtailed or moved to online Zoom meetings because of the pandemic.
“Once people were no longer allowed to attend services inperson, our leadership immediately began conducting services on Zoom from their homes,” says Bill Rabkin, a member of the congregation who
Temple Beth Am. “That continued through the fall and our High Holidays of Rosh Hashana and Yom Kippur.”
Rabkin then started borrowing cameras and tripods through his involvement with the local Framingham public access community media station. These first virtual services were wellreceived by the congregation, but Rabkin knew he couldn’t continue borrowing cameras every Friday
both the value of bringing services online and also the value of creating higher-quality video productions,” Rabkin adds. “Rather than simply sticking an iPhone on a tall tripod in front of the rabbi and cantor, we decided it would be an appropriate investment to have a permanent installation of professional video equipment.”
Working with Marty Feldman at systems integrator Unique Media Systems, Rabkin explored video
Bill Rabkin using StreamingPix RoboPix on the wallsystem options “that would be easy to use by people who knew nothing about video” – especially important with a mostly volunteer staff – yet would allow the temple to raise its level of production quality. That search led them to Broadcast Pix and StreamingPix.
The system was installed with two robotic cameras connected by Ethernet to the Broadcast Pix server, controlled from a large touchscreen display. Camera positions were chosen to give online audiences the best views of each service. “The sanctuary is a large space with an airwall that can easily divide into two smaller areas, one for services and the other a social hall,” Feldman explains. “We mounted a camera in the centre in front of the airwall, and also on one of the side walls to give members a side angle and straight-on view.”
Further enhancing that perspective are the zoom capabilities of the system’s RoboPix cameras. “Even though they are mounted about 10–12m back in the sanctuary, we can zoom in for a nice tight ‘news anchor’ shot with plenty of detail.”
Immediately after the installation was completed, everyone saw the difference in image and production quality. “We were still in the midst of
the pandemic so there were only two of us in the temple,” Rabkin says.
“But these services were even more highly received by the participants than the previous year when we were using our borrowed TV studio cameras.”
With StreamingPix, the temple can easily change views during a service and also create recallable presets for frequently used camera settings.
“We can pan and swivel to capture anything we need,” he adds. “When we have an event in the social hall, we simply rotate the cameras 180° to pick up whatever is happening there
and do the same for services.”
The Broadcast Pix Commander control software runs in a browser, enabling users to control a show using a PC or Mac, smartphone or tablet device. “I can control the cameras and make adjustments from anywhere in the temple, or from my home or office,” describes Rabkin. “Our volunteers also use it. One member will often sit in the pews next to his wife tapping on the tablet to select the shots that we want during prayer.”
Besides inputs for the two mounted cameras, StreamingPix
has an additional HDMI input. “For special events, we can bring in an HDMI camera and locate that on the opposite side of the sanctuary to capture a third angle,” Rabkin shares. “Or that third input could be a laptop running video or PowerPoint slides so we can roll in live footage or any multimedia data source.”
StreamingPix also has direct IP connections to Zoom, YouTube and other platforms, enabling simultaneous livestreaming of the production.
Although the temple has now re-opened for in-person services, plans are continuing to provide a hybrid “physical/virtual” mix based on favourable responses from the congregation; attendance has grown significantly since March 2020 when the doors closed.
“We’re seeing 40 or 50 Zoom screens at services, with many having multiple participants, and that’s in addition to whatever number of people attend in-person,” adds Rabkin. “It brings the community together and keeps everyone connected, whether they’re attending in-person or away from Framingham.”
www.broadcastpix.com www.uniquemedia-systems.com
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St Peter’s Upper Church in the centre of the village and the Old Church located in woodland on the outskirts of the village. The Old Church was originally built around 1080AD, while St Peter’s Upper Church was built in 1847 in response to village expansion from the 17th century onwards.
The audio system at both churches was long overdue for an upgrade. The setup in the Upper Church was 30 years old and was both obsolete and unreliable, with only one working microphone. Upgrading the existing equipment was quickly ruled out as the speakers were discontinued long ago. With over 50% of the congregation aged 70 and above, many reported that they found it hard to hear what was being said in the
Among those pioneering the update was licensed lay minister Gill Betts, who dedicated so much of her time to St Peter’s – she was actively involved in youth ministry, but her creativity was being hampered by an old projector and portable screen that had to be set up and dismantled each time. Very sadly, Betts lost her battle with cancer in early 2021.
Richard Worssam. “I was teaching on a diocesan course for licensed lay ministers and Gill was one of those attending. So, it was a delight to see her engaged in active ministry when I came here as vicar.”
With the onset of the pandemic in March 2020 when St Peter’s doors were closed for the first of two UK lockdowns, the church made the decision to switch to Zoom for weekly services. There wasn’t the infrastructure to even consider streaming services live on YouTube once the church was allowed to reopen. And so the plan to upgrade the AV system became not only one of necessity but of a desire to carry on Betts’s work and fulfil her dreams of being able to use new technology to involve the younger members of the congregation.
When the AV upgrade journey began in February 2021, St Peter’s had been holding Zoom services for almost a year. While no one was sure when Covid restrictions would be lifted, Zoom services had raised accessibility to homebound worshippers, including residents in the village’s two care
Karen Wallace’s home church of St Peter’s Pembury has taken delivery
Mark Willetts shows Reverend Worssam the livestreaming setup at the Old Church
homes. St Peter’s is designated as an Inclusive Church – a church that celebrates and affirms every person and does not discriminate on disability, ethnicity, gender, learning disability, mental health or sexuality –and the need to maintain and grow this inclusion in services was paramount. A fundraising campaign was launched in the summer of 2021 and was met with a very generous response from members of the congregation.
Local systems integrator, Ashdown AV, which had recently installed an Electro-Voice EVA line array system into a nearby church, was one of the companies contacted to provide a quote for the upgrade. The PCC accepted Ashdown’s proposal in July 2021. Following a lengthy Diocesan Advisory Committee (DAC) approval process, permission was finally granted to go ahead with the AV upgrade in both churches in February this year.
“St Peter’s was an obvious choice for me to manage because I specialise in listed and graded buildings and English heritage projects,” explains Ashdown AV senior engineer, Mark Willetts. “It was a real pleasure to find a church in this condition – it was well decorated and well kept. I love ancient churches –they are challenging to deal with but working in the Old Church was an absolute delight. The more difficult it is, the more I enjoy it. When you realise how old churches were built, you really start to understand where all the nooks and crannies are, how all the old ducts and heating pipes run and so on. It’s as though you have x-ray eyes and you can see into the floors and into the walls.
“In the Upper Church, you only had to look at the speakers to realise that the original installation had been modified over the years to try and make it a bit more useful as the church grew but, in the process, had caused quite a few issues. However, it did make it easier for us to follow some of the cable routes that were already there and helped me overcome one of the biggest challenges, which was getting the cables from the balcony where the main AV rack was to be situated into the church without being seen.”
At the Old Church, drilling and fixing equipment proved the biggest problem for Willetts. The PTZ camera at the back of the church sits on the stone arch capital but he couldn’t fix it into the stonework, so it had to be fitted into the mortar joints. “We had to create custom bracketry to make sure that we only picked
up where the mortar lines were and then use stainless-steel fixings so that they didn’t rust or cause any discolouration of the stonework. There always has to be extra sensitivity in old buildings.”
However, when the time came to begin the installation, a couple of all-too-familiar setbacks delayed the start by a couple of weeks –nearly the entire Ashdown AV team contracted Covid in May and supply chain issues resulted in items on the original specification no longer
being available. Additionally, between quoting for the job and installation, the audio processor and the main projector in the nave had to be replaced. “You have to be agile and be able to redesign on the spot, especially at the moment, which can be quite tricky with lead times,” adds Willetts.
The audio system at the Upper Church consists of four ElectroVoice EVC-1082 two-way, full-range speakers, located 5m up and titled down to ensure even coverage from
front to back. Two EVC-1082s cover the nave, with the other two located in each aisle. “The EVC-1082s have excellent low end and this allowed me to remove the sub from the design,” explains Willetts, “and, because they’re positioned in a corner, it has the added benefit of increased low-frequency output by taking advantage of the ‘boundary effect’. By placing them 5m up, the sound level is constant across all seats and therefore the reflections (echoes) are lower, you don’t have to have them so loud and the room reverberates even less, ensuring clearer reproduction of audio.”
In the chancel, an Electro-Voice ZX1i fires backwards and down towards the east window for speech reinforcement – particularly important when the screen is lowered as it can block sound coming from the four main speakers – while two EVID S4.2T speakers have been installed in the upstairs and downstairs children’s rooms. An Audio-Technica Pro44 unidirectional boundary microphone has also been fitted on the balcony as a congregational microphone and is utilised by the streaming system. In the rack upstairs on the balcony are two Dynacord C Series amplifiers for the main speakers and aisle speakers, a Yamaha MTX3 digital matrix, three Audio-Technica 2000 Series radio microphone receivers and an AudioTechnica combiner for the aerials.
A Yamaha PA20 100V line amplifier drives the chancel speaker and the speakers in the children’s rooms, and is on a separate channel to the other
View of the two EVC-1082 nave speakers and the central projection screen from the balcony of the Upper Church One of two Yamaha VXL1W8 eight-driver line array columnsspeakers. This setup allowed for all the speakers to be independently configured for the best sound and level. In terms of projection, initial plans involved the installation of two large monitor screens, fixed to the columns on either side of the chancel arch. However, while more expensive, it soon became clear that the DAC was in favour of retractable screens that would not obstruct the line of sight when not in use. Ashdown proposed a central winch projection screen which is fixed behind the main chancel arch and lowers on two thin steel cables. Two wallmounted projection screens have been installed in the side aisles, due to the view of the main screen being partially obstructed by the columns.
The main white Barco G60-W7 projector with a long-throw lens is located above the balcony, with two black Panasonic PT-FRZ50BEJ laser projectors fixed to the wooden beams on the ceiling in the side aisles. A Samsung 55-inch confidence monitor has been attached to the balcony, which relays the same images as the main screens and is used to assist those leading from the front, facing the congregation. An Extron IN1604 four-input HDCP-compliant scaler has three HDMI inputs and one VGA input, while a Pulse-Eight neo:4 4x4 HDBaseT matrix facilitates distribution to four displays – the main projector, two side projectors and the confidence monitor.
The layout of the Old Church differs from the Upper Church, with the altar located at the east end of the church immediately under the east window and a longer chancel area for the choir. Two L-R Yamaha VXL1W8 eightdriver line array columns – measuring only 54mm x 480mm x 104mm (WxHxD) – have been installed at the front of the nave, on the edge of recessed windows, directly replacing the original speakers. A Yamaha VXS10S subwoofer is located on the floor on the right of the nave behind the pew frontal and immediately in front of the lectern, while a Yamaha PX3 amplifier is situated in the vertical rack in the choir stalls.
The loop system in both churches also needed updating. Ashdown specified a new Ampetronic ILD122 induction loop amplifier for the Old Church and an Ampetronic C5-1 C Series induction loop driver for the Upper Church.
Both sanctuaries are now using two Audio-Technica ATW-2110BP radio systems with clip-on lapel microphones and one ATW-2120B system comprising a handheld microphone. In the Old Church,
choice for weddings given the age and beauty of the building, and so there’s also a requirement for music, but this is the only aspect that needs full range.
“All the microphones come out of the small Yamaha speakers and the full-range music, which uses the sub tucked away on the corner, is purely routing the music, which keeps the whole system very subtle and stable,” says Willetts. “The acoustics in the church do not have much reverberation, which means you can turn the speakers up considerably before feedback. Choosing the line array speakers meant that I could fire the sound directly into the congregation knowing that all seats would get the same level and coverage. Because the sound is so directional on a line array, it’s firing not only into the congregation but a little bit of the sound reflects onto the flat walls at the back and it’s enough with the ambient sound in the church for anyone in the chancel to hear clearly.”
Betts’s funeral at the Upper Church in February 2021 was limited to just 30 people, so her family planned to have a much larger memorial service when Covid restrictions were lifted. This took place in July 2022, just one day after Ashdown completed the installation. “St Peter’s had a definite end date, so I had to find replacements for equipment that was no longer available and make them work,” explains Willetts. “Normally, you would ask a client if they could wait a bit longer and I would have more control over the end date and the equipment. This was unique and, unfortunately, I didn’t have control over either of those things. It made everything a lot more challenging.”
Audio-Technica ES935 gooseneck microphones have been added to the pulpit (with shockmount) and lectern, while a further ES935 with shockmount has been added to the lectern at the Upper Church. “The pulpit in the Old Church is really ornate,” explains Willetts, “and, because it’s used for weddings, whatever you do, the equipment cannot steal the show or look ugly in the photograph. The ES935s have a very natural sound so you hardly have to EQ them and the feedback rejection is amazing. Another reason I put Audio-Technica into all churches is that they have an easyto-get-to on/off switch for the user.”
While there was no requirement for projectors or screens at the Old Church, the livestreaming setup at both churches is identical. An Avonic CM40 PTZ camera has been fitted discreetly to the front face of the balcony in the Upper Church and to the tower arch in the Old Church. A controller for the PTZ, a HANNspree 24-inch display with HDMI, DVI and VGA inputs and a Blackmagic Design ATEM Mini Pro complete the livestreaming setup at both churches. The audio setup at the Old Church is much simpler than the Upper Church with the amplification being primarily used for the spoken voice. However, the Old Church is a popular
However, with Willetts’ help and training the day before the memorial service, as well as assistance on the day, everyone gathered to give thanks for everything Betts had contributed to the life of St Peter’s. “It’s good that we can gather without restrictions to give thanks for Gill’s life and celebrate all that she meant to us,” explains Reverend Worssam. “And it’s very fitting that this is the first service in which our new AV system is being used as Gill’s family contributed to the microphones and speakers. We’re looking forward over the coming weeks and months to exploring the new potential that this system will have for us and we give thanks to Gill who was the one who set us on that road.”
www.ashdownav.com
The livestreaming setup at the Upper Church The eagle lectern in the Old Church with an Audio-Technica ES935 mic The Old Church Avonic CM40 PTZ sits on the stone arch capital
IN 2019, CROSS POINT CHURCH in Nashville, Tennessee, embarked on an upgrade for its presentation and broadcast video systems at its downtown campus, and approached creative event technology company CTS AVL to carry out the project. After working through design concepts and meeting with manufacturers at several tradeshows to evaluate new equipment, a final design and logistical plan for the church was taking shape.
However, on 2 March 2020, a series of tornados tore through central Tennessee, destroying property, taking lives and devastating communities. The Cross Point building was one of many impacted by the storms. Cross Point’s main campus sustained significant damage during the storms. The tornados had torn off large portions of the roof, knocked out entire sections of the building and the large sign bearing the church’s name (that had become a landmark for many in Nashville) was destroyed. The portions of the building that were left standing experienced extensive wind and water damage. Rooms where walls remained intact either had standing water throughout or a thick layer of dirt and debris, almost as if the building had been abandoned years before.
What had begun as a system upgrade turned into a full facility rebuild. And to complicate matters further, the global pandemic hit in full force just weeks after the tornados. The priority after the storms was to first ensure that families were safe. Cross Point began mobilising community support groups to help those in areas that needed it. Soon thereafter, the church staff checked in on their multiple campuses to
determine what challenges the storms had created.
“We knew the church had been directly impacted and, because of our existing relationship with Cross Point, we immediately connected with them and offered to help in any way we could,” explains Neal Watson, vice president of integration sales and design at CTS AVL. “Because CTS is both an AVL integration and live production company, we knew there was something we could do to support them.”
Cross Point expressed a desire to continue offering church services for spiritual support on top of its other efforts to care for congregants and the entire church community. To support the church in this endeavour, CTS brought in its live events team to provide production assistance. The church was able to secure Lipscomb University’s Allen Arena as a venue to host services the Sunday following the storms and the CTS production team was able to provide systems for this service within the week.
Almost as quickly as these shortterm plans were established, Covid-19 restrictions were enforced. Cross Point was then faced with a new set
decisions.
“The church was not new to broadcasting services, but this became more convoluted since the majority of their equipment had been destroyed or compromised,” adds Watson. “The media team worked incredibly hard to keep online content running during unquestionably difficult times. In addition, CTS helped get the church up and running with their broadcast stream.”
As many churches did during early lockdowns, Cross Point began filming worship services and teaching content at pastors’ homes and other remote locations. The church would then edit the content and publish it for the congregation to view online. As restrictions lifted, Cross Point was able to begin combining livestreamed content with pre-captured content.
While all of this was taking place, the church began evaluating the building damage and planning for facility recovery. “Cross Point brought us in to assist with damage assessment; more specifically, they tasked us with leading the AVL systems evaluation and coordinating with the church on the insurance reporting since we
had experience in those areas. We also began to work in a design-build capacity for the recovery and rebuild plan,” describes Watson.
As the pandemic restrictions eased and in-person meetings resumed, CTS continued to work with Cross Point on its temporary solutions. Most of the building remained unusable, but the general contractor was able to get the worship centre cleared for temporary occupancy, despite no new systems installed and only partially functioning equipment remaining. At that point, the CTS production team was able to supply lighting, LED walls and infrastructure rentals to support Cross Point’s return to services at home, even while construction continued throughout the facility.
“A recovery and rebuild project of this nature is always going to prove challenging,” continues Watson.
“Locally, the church had to deal with the fact that they were one of thousands impacted by this event, which inevitably led to long delays, slow response times from insurance providers and a shortage of construction crews due to the massive rebuild efforts across the state.”
Additionally, the congregation and staff were displaced from the facility.
Cross Point had been holding weekly services in the building, so they needed to ensure that the facility was clean, safe and functional for Sunday services while heavy construction was going on.
Furthermore, there were logistical complications that came with the pandemic, including government restrictions and global supply chain issues. By the time everything was finalised – including the insurance
Following a devastating tornado, CTS AVL has helped Cross Point Church rebuild after the building sustained significant damage in the stormfitted with Canon Cine-Servo lenses, along with two Panasonic HRP100GJ and two Skaarhoj RCP v2 networked camera control units. From Ross Video, CTS selected TD2S and TD1 TouchDrive switcher panels, an Ultrix router with Ultriscape multiviewers, plus remote panels and various conversion and distribution cards. The broadcast setup is supported
when it comes to the well-being of its clients. We’re there to offer help in our clients’ times of need because of the expertise we’ve cultivated and the passion and commitment we have for serving our clients.”
www.crosspoint.tv/nashville www.ctsavl.com
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The colour system also allows the church to complement and colour match what is happening onstage, whether it’s a church service, musical performance or special event. “I’ve been able to match the house lights to all my other pre-existing colour palettes,” Pagan confirms. “The lighting rig isn’t large, so this was also a way to add more colour-changing lighting to the show and gives me more options to play with.” When a dedicated lighting person is not available, church or school personnel can easily bring up a variety of colour and colour temperature looks on a preset panel.
Orangewood Christian School also benefits from the system when putting on plays and other shows. Russell
Florida, and used Elation’s energyefficient Colour Pendant downlight to improve light quality while opening up a number of new creative options.
The Presbyterian church in Orange County is affiliated with Orangewood Christian School and both the church and school share a number of facilities, including a gymnasium, which on Sundays doubles as a sanctuary. The space housed an older system of incandescent lights originally designed to light sports and other school activities, a setup that proved increasingly unsatisfactory for the church’s needs.
Pagan, an independent lighting designer, works at the church part time, programming lighting for Sunday services and events. He comments: “The coverage from the incandescent lights was really dark and blotchy throughout the house. Our technical director, Chris Russell, was approached by the team about what could be done and Chris and I worked on what solutions were available. Once we saw how much power we would save with LED, we knew that was the way to go.”
Thanks to their myriad of design possibilities, colour-changing and white-light-tunable pendant lights have revolutionised house and area lighting. They have particular benefits for a contemporary house
says.
The lighting designer researched possible solutions and visited churches in the area with dynamic house lighting systems to see the impact first-hand. He then contacted PRG and talked with company sales rep, Martee Nuruddin. “He helped us look at solutions and demo products. We also did a comparative shootout and in the end the Colour Pendant came out on top.” Nuruddin, who unexpectedly passed away in April,
risers might look blotchy with hotspots, the unit’s uniform flat field output and 41° beam spread allayed any worries. “I like how smooth the beam is and there is no hotspot whatsoever. It worked out perfectly. I also like the saturation of the colours,” Pagan adds while referencing the fixture’s RGBW colour system. “Usually, red is the weakest point on a fixture but the Colour Pendant produces a really nice red. The variable white also looks great for traditional house lighting.”
low 110W max power consumption per
was used in white light only, until a special service when colour was introduced for the first time. “Everybody loves them,” Pagan concludes. “The colour really adds to the services and the overall impact has been great. The area where the congregation sits was always the darkest and poorest lit area but now they can see their notes and books. The change has literally been night and day.”
MICHAEL PAGAN HAS DESIGNEDElation house lighting upgrade is like “night and day” at Orangewood Church in Florida
WITH SO MANY MOVING PARTS and pieces to the modern church service, it’s easy to miss important details that impact the experiences of guests. As easy as it may seem, church space design is complicated. One of the biggest challenges is the need for today’s church to be multi-generational. How do you balance the needs of those long-time members, who have become pillars to its existence, while attracting the younger or unchurched generations?
How does the design of a new build or a renovation affect the unchurched and does the design have anything to do with their resistance or attraction to the church?
Based on what we have seen in thousands of multi-generational church spaces over the last 20 years, here is a list of the four things that get overlooked most often in church space design.
The design should start with the end user in mind. Too many times the focus is on a formula for how many people can fit in a designated space. If we intend to create engagement between the stage and the seat, then our focus needs to be on the elements that enhance the listener’s experience. If we are trying to build a community, then we need to intentionally design margin space where connections can occur and relationships are developed. Through exhaustive programming and needs assessment, we must determine what the right experience is for each particular church and each specific space.
Crowds are noisy. Whether you are putting 1,000 people in a room to worship, 50 kids in a pre-school play area or 25 people in a coffee shop, none of them will have a great
experience if they have to shout to be heard. Acoustical treatment often gets overlooked by architects who don’t fully understand the science necessary to create a pleasing experience. Flooring, glass, ceilings, interior furnishings and walls, all have a significant impact on the acoustical environment. Don’t miss this critical element in the design of your space.
Signage, wayfinding and obvious entrances are critical in the design of church spaces. Nothing is more frustrating to first-time guests than not knowing where to go. When developing a signage plan, your goal should be to make it obvious and make it easy for your guests to get to their desired location as quickly and effortlessly as possible. The most embarrassing thing for a firsttime visitor is to make them ask for directions.
A brand establishes your church within your community, conveys your purpose, increases awareness and reminds others daily of your mission. It’s more than a logo, slogan and some wording. It’s a visual identity and a brand
promise. Churches have started spending more time working on their branding, just like successful corporations do. What is your church brand? Why is it important? How is that tied to your mission? These are vitally important questions for a church to answer. Once that brand is determined, it needs to be seen throughout the design of the church spaces. It should weave its way through the fabric of the design, from interior finishes, signage, wayfinding and colour schemes.
Church design is complicated, especially renovations of spaces where there are limitations. At the end of the day, the design of church spaces needs to be very purpose-
driven and intentional. Our spaces should reflect, at a minimum, a commitment to excellence, a place for authentic community, a lifestyle of worship and purposeful discipleship. They should welcome multigenerational people from all walks of life. They should offer connectivity, excitement, a sense of belonging, encourage relationships and remove facility barriers. After all, our goal is to keep them coming back for more –and bringing their friends with them. One such example is Tabernacle Baptist Church in Carrollton, Georgia, which was trying to reach a new generation and new people. The Paragon 360 team proposed renovating the lobby and hallway spaces which would provide an immediate improvement in guest experiences. Repurposing unused library space, the lobby was expanded and created an open area for fellowship. The paint colour, carpet, fabricated finishes, lighting, acoustics and signage were all taken into consideration. According to Tabernacle project manager, Eddie Adams, “Paragon 360 led us through a process that has resulted in a facility enhancement that will be instrumental in our ministry efforts for years to come”.
www.paragon360.com www.tabernacle.org
Donnie Brawner – founder, owner and CEO of Paragon 360 – highlights the problems demographics and cultural differences can pose to church designExample of signage at Tabernacle Baptist Church The quiet and welcoming coffee space at Tabernacle Baptist Church
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YOU FINALLY HAVE YOUR NEW LED wall and nothing can stop you from creating the worship service of your dreams … until, out of nowhere, a squiggly line appears right above your pastor’s head. What starts as one line begins to multiply and, before you know it, your pastor is asking you to move your new wall out of the camera shot. You try contacting the company you purchased it from, but they are nowhere to be found. In order to prevent this nightmare turning into a reality, it’s essential to prepare yourself for the different types of artefacts that can occur when you combine LED videowall and camera technology.
As wonderful as LED technology is, making it work with your camera system can be daunting. It is essential to be equipped with the right tools for the job, and not all LED walls or camera systems work well together. LED display technology is widely used everywhere, from road signs to high-end movie theatres. All these various use cases have different design priorities. LED displays
Livestreaming at Prestonwood Baptist Churchused as camera backdrops must be for the eye of the camera rather than the physical eye. Human eyes can dynamically resolve images in a way that camera sensors cannot. Because of this limitation, the eye of the camera must be synchronised with the LED display being recorded. Most professional broadcast cameras feature a genlock input. By connecting the LED display processor and cameras
to the same reference generator, they can all march to the beat of the drum. This eliminates the scrolling lines that are often encountered when shooting LED screens. Other artefacts often encountered with cameras and LED displays are caused by how the display and camera sensor process the images. Most cameras today use what is known as a rolling shutter. With a rolling shutter camera, the camera
sensor processes the image rapidly from top to bottom. Depending on the speed of this processing, you might notice small black or grey lines in the fine greyscale of the LED display’s image. The faster the processing, the less noticeable these artefacts are. Cameras with global shutters process the entire image simultaneously instead of from top to bottom. Global shutter cameras are the best choice when budget allows, with rapid process rolling shutter cameras coming in second.
In the same way that camera sensors do not process the entire image simultaneously, LED displays rapidly process the image in groups of pixels. LED displays with slower scan rates process more of the image at once, whereas displays with faster scan rates break the image into smaller chunks. In the same way, a slow-rolling sensor camera can show artefacts in the greyscale, an LED display with faster scan rates can deliver the same artefacts. Balancing these two dynamics will give you the best
Chad Rose, CEO and co-owner at LED specialist ReveLux, discusses the challenges of using cameras with LED display backgrounds and how to overcome them
results. You would have a global shutter camera and a slow scan rate LED wall in an ideal world. This is precisely what you will see being used in Hollywood, where they are filming LED screens as set backdrops. Unfortunately, this technology comes at a cost. LED screens with slower scan rates require more expensive IC drivers inside the panels themselves. These are not things that can be upgraded at a later date, as they are built into the individual LED modules. Global shutter cameras are also still relatively new and more costly to produce. Thankfully, you can often mitigate the other. A high-quality LED wall is usually compatible with a broader range of cameras, as a global shutter camera can make up the deficit of a budget LED wall. If budget is a concern, using a mid-level camera and LED display produces good results.
Another challenge with filming LED walls is moiré, an interference pattern that is produced when filming patterns. You have most likely encountered it when seeing a news anchor on TV with a checked tie or an announcer with a small, checkered shirt. This is the same effect in LED displays as the pixels are arranged in a tight pattern of dots. The key to illuminating this
involves utilising the depth of field of the camera lens. The lower the F stop used on the camera lens, the less the image will be in sharp focus. This F stop number is relative to the size of the camera sensor. The idea is to get your pastor or worship leader in sharp focus while the LED wall behind it is slightly out of focus. This will cause the tiny dots of the LED display to blend into a smooth image.
If you think about it, whenever you are close to the LED screen, you can see the individual pixels but, when you back away, they form a more cohesive image. When specifying an LED screen, you always want to match the pixel pitch or distance between the diodes with the distance of the closest viewer. If the screen is primarily viewed closely, you want the pixels closer together.
If there is more distance between the viewer and the screen, you can get away with the pixels being farther apart. When filming an LED screen, you shorten the viewing distance as the camera lens zooms in. Bringing the screen a little out of focus relative to the talent can make up for the camera’s closer view of the screen. Having the wall farther back from the talent is another trick. If budget allows, using a tighter pixel pitch than what is necessary for physical viewing is always advantageous.
While many challenges are associated with using cameras with LED display backgrounds, the result can be stunning when done right. Finding the right partner to connect you with the right tools is essential to making your LED wall as awesome as everyone wants it to be. There is no need to go at this alone. While LED walls and cameras are now more affordable than ever, you want to make sure to purchase the best options and not just the cheapest.
You can create the worship service of your dreams with the right choices and keep it from becoming a nightmare.
www.revelux.com
Champions
John Black uses the end of the year as an opportunity to refocus, redefine and rebuild
AS WE GET NEAR TO THE END of 2022, it’s hard to forget what a tumultuous year it has been. Regardless of where you are in the world, Covid has probably impacted you personally, as well as your work, worship services, and the volunteers and staff that you work with. As worship venues are opening back up, you may be finding yourself with a lack of volunteers to help serve on your lighting team due to prolonged absences. Or you may have a full crew, but the technical needs and requirements may have changed from pre-pandemic.
Whichever your situation, this time that we find ourselves in is an opportunity to refocus, redefine and rebuild. As we do this, let’s remind ourselves of what is truly important – we lead people, whether that be those on our teams or those attending the services that we light. I want to focus on this aspect as we come to the end of the year and either begin or continue the process of rebuilding our lighting teams.
When first approaching the topic of training a lighting tech team, my mind – as with many tech leaders I am sure – immediately focuses in towards the teaching of technical skills. I often think to myself, “there is a task or job to be accomplished and I need my team members to do that task or job, so I’ll give them the technical skills to be able to do it”.
As I’ve reflected on the needs around me to rebuild, I’ve narrowed down four goals that I want to always be aware of as I am training and interacting with my tech team: to value, to equip, to motivate and to grow them individually and corporately.
Though a team member may successfully accomplish a task or job assigned, I may still have failed them if they don’t feel that I value them, that they have a purpose or that they don’t feel connected to the rest of the team.
It doesn’t matter if you have a paid staff or volunteer crew.
Teamwork is key to successful ministry Image courtesy of KLANG:technologies and Seven Rivers Church
A people-oriented training plan will help you continually develop, maintain and retain individual members, allowing your team as a whole to be stronger, more productive and more effective moving forwards.
I work almost exclusively with volunteer tech teams comprised of high-school members. Many of them get involved because of the
spectacle and wonder of working with moving lights, operating control consoles and putting on a really great visual show. The majority don’t realise the amount of work that happens behind the scenes in the preparation of an event, which can often be less glamorous, long and tiring.
My goal, even before teaching technical skill, is to try to educate members on where they fit in to the team, as well as where the lighting team fits into the overall production
team when putting on events. Adults and teenagers, whether paid or volunteer, will all take on a sense of ownership and pride in their work when they know the value of the work and time they are contributing. When the days get long or work becomes monotonous, the feeling of being valued and a part of something greater than themselves is vitally important.
This goal is something that will be a constant, continual process that I try to work into each day. As the majority of the work done by the tech team is behind the scenes, team members often do not receive praise or gratitude for their efforts. There are an infinite number of ways, both large and small, that gratitude can be expressed. I try to verbally thank the team at the end of every day. I also will let the team leave at the end of a full-day rehearsal or the final performance of an event and clean up/shut down the systems for them if it’s been a long day. Other small acts of service that seem simple – such as distributing water bottles before an event or providing food when working through meal times – show the team that you value them.
In my experience, when my team members feel valued, they will continue to be involved and, as a result, continually increase their skills and productivity. Conversely, when team members do not feel valued, their commitment, work ethic and ownership suffers, which can spread to other team members and have a negative impact on the rest of the team.
The next goal that I have for my tech team is to equip them with the technical and non-technical skills that they need to be able to successfully complete the jobs and tasks assigned. Equipping team members is a continual process that doesn’t just focus on learning new skills, but reviewing and reinforcing skills that may have already been learned to keep them up-to-date and maintain good habits. Technology is constantly changing and I know that due to the pandemic, I have made changes and updates that previous members will not be up-to-date on.
I tend to use two different methods of training to equip my crews. The first, and what I’ve found to be most effective, is what I call “on-the-job mentoring”. As my team is comprised of high-school students, each year I have members graduate and I also take on new members. To speed up the training process, I always have the team working in pairs with one experienced member paired with a
newer member. Through working on actual events, the new crew members learn skills and processes – such as focusing fixtures, console programming and stage wiring – that the crew uses on a daily basis, while contributing and seeing the fruits of their labour immediately.
The second method of skills training that I do are focused in-service days. I try to schedule three or four in-service days a month with the entire team. At least one of the days
The third goal that I have is to motivate my team members. While closely tied to the goal of valuing team members, building motivation involves ensuring all team members know what is expected of them, what their responsibilities are and instilling a clear sense of purpose.
One of the most effective ways that I have found this to be successful is to involve the crew in the creative
skills that I feel need to be reviewed. For example, as the light board operators rotate frequently, the team as a whole may need an update on some basic programming, such as fixture patching, recording cues or new palettes that have been added to the default show file. Another day will be a maintenance day, where the crew learns and performs basic equipment maintenance and cleaning. In this way, the crew helps to keep the equipment and facilities in good shape and operating correctly, being good stewards of the resources that we have. The other days, I try to focus on either teaching a new skill or, when getting in new equipment, unpacking it, setting it up and teaching the team how to operate it.
Using these two methods in combination, the team learns not just from me, but from each other, which helps to build team unity and ownership. The key to equipping is not to over-do it as it is possible to burn out team members with information overload. This is a reason that I like to use the “on-thejob mentoring” method of training, as newer members gain skills in an active environment where those skills are used immediately when preparing for an actual event.
process. While this primarily helps develop a sense of ownership and pride in the team, it also is time that lighting design and creative skills can be taught. Once I’ve identified events where I can work this into the schedule, I will plan a number of “design meetings” with the team to involve them in the planning process.
The results of these meetings then provide a production goal that motivates the team during the following work days or weeks. Ensuring that they have a clear picture of what that end goal is –even for events that they haven’t participated in the planning process –is important in combatting the feeling that they are just a labour force. Especially in my situation where my volunteers are young people, the feeling of being just a labour force is perhaps one of the most destructive feelings they could have and is one I must be very aware of.
The last goal that I have in my training is to grow my members as individuals into a functioning, effective team. If there isn’t any room for relationships to develop and have a bit of fun, then motivation and value run dry and the team will suffer.
To help create this sense of connectedness and unity, I try to ensure that the start of each work period is relaxed and free for catching up with members of the team. Though I only plan about 10 minutes for this, it gives me the chance to “check in” with the members and hear what’s going on in their lives before getting into the work needing to be accomplished. When I jump straight into work tasks without spending this time, that sense of being a labour force begins to rise, work period.
Another way that I grow my team is to make sure that I plan a “team activity” one to two times per month. My team works 5–6 days a week in order to support the quantity of events that we do. The team activity day therefore is a workday without any work. Its sole purpose is the team – to bring them together around food, games or another activity for the sole purpose of connecting and building relationships. When gathering feedback from team members when they leave about their experience, the most common response that I receive is about the community created and how that made the work enjoyable and the experience rewarding.
Balancing these four training goals is how I will rebuild my team to be effective, skilled, creative and connected. As a tech leader, it is all too easy to focus only on the technology and production but, when training becomes about the team, then all of the production work is stronger and the experience rewarding for my team members and myself. This may be a once-in-a-lifetime opportunity to refocus, redefine and rebuild in this way. Let’s not waste it.
Cleaning and maintenance helps to keep the equipment and facilities in good shapeTHE QUEST TO PROVIDE listeners and audiences with the most realistic audio experience has taken a significant upgrade. With a growing demand to raise the level of live performances, the need to further develop immersive sound mixes has dominated in recent years. From the adoption of surround audio to more complex audio accompanying a visual production, the inclusion of immersive audio has raised the aural listening bar and successfully ticks the box of added value in ever-increasing ticket prices. Having adopted it into their workflows, audio technicians are now working in three dimensions to provide the listener an audio experience that fully envelops them in sound. By moving the interface around, the object-based approach of enveloping the audio beyond stereo allows the audio engineer to deduce the best loudspeaker output available. Earlier this year, Worship AVL published a mini-series of some of the most prominent immersive technologies available on the market, including d&b audiotechnik’s Soundscape, L-Acoustics’ L-ISA, Meyer Sound’s Constellation and Yamaha’s AFC. Further breakthroughs are continuing to push the technological envelope and the larger megachurches are now integrating the technology into their workflows. Immersive audio
technology has been credited with raising the worship experience to another level. Combining high power, coverage and intelligibility with its loudspeaker systems, German manufacturer CODA Audio has been enhancing its brand values since 1995 among clientele ranging from rental production companies to military applications and houses of worship. In late 2021, the release of the Space Hub digital processor announced the company’s arrival into the 3D world and another significant chapter in the company’s development.
Space Hub was officially launched at the Tonmeistertagung 2021 event in Düsseldorf and the 3U processor now serves as the integral component within this immersive audio system solution. Currently capable of rendering up to 128 audio sources into 128 outputs, Space Hub features advanced spatial audio algorithms for the positioning and movement of sound objects for 3D immersive listening experiences. By adopting advanced 3D audio algorithms, audio objects can be perfectly positioned and the audio can be moved in real time through a three-dimensional soundstage.
So far, so good. However, CODA Audio differentiates itself by claiming to offer perfect timing in the complete
audio chain. “Basically, immersive sound means the positioning and moving of audio objects in a 3D space and this happens in the time domain,” explains managing director, Svetly Alexandrov. “Humans perceive the direction of sound by comparing the arrival time of transients at either ear, therefore perfect timing in the entire audio chain is the most essential part of creating a true immersive experience. Electronics usually provide a precise transient response but the time-domain characteristics of the loudspeakers are the most critical part.
“As an immersive experience, Space Hub goes beyond the processor –it’s the system in total,” furthers Alexandrov. “Without a precise time
domain of the whole audio chain, there is no truly immersive experience. Electronics are more precise on the time domain than the speakers and, with our DS FIR technology, we can linearise the phase response of the speakers from say 50Hz up to 20kHz with less than 12ms group delay.
All the CODA speakers incorporate linear phase response which means 100Hz will arrive at the same time as 1kHz or 10kHz. They are constant in their time performance. With phase linear loudspeakers, you can create a true immersive space and precisely position some sounds where you want without any phasing. This is the difference when compared to conventional immersive systems.”
Richard Lawn explores CODA Audio’s arrival into the world of 3D immersive listening experiences
Space Hub Control positioning screenshot
Alexandrov further highlights why linear phase loudspeakers are an essential part of this proprietary technology. “The principal advantages of linear phase loudspeakers become more important in multichannel 3D audio. Ensuring phase accuracy with no differences in timing between the various loudspeakers, the essential timing information is transmitted to the listener with perfect phase coherency and transient accuracy.”
As a designer and manufacturer of transducers and drivers, CODA is one of the few developers that can create bespoke electroacoustic loudspeakers for its customers. Its high-brand credentials in houses of worship have been cemented by providing superior speech intelligibility in highly reverberant heritage settings. Compact systems including CoRAY, TiRAY and APS offer discreet but powerful solutions that deliver maximum quality and coverage without any aesthetic compromise, while ViRAY- and AiRAY-based systems fulfil the concert-style charismatic requirements of today’s largest congregations.
Most recently, CODA removed the wraps off its dedicated Immersive Audio facilities at the company’s headquarters in Hannover. Designed to allow visitors a hands-on
experience of the technology, the new demo rooms – dubbed the Auditorium and the White Room – will allow CODA’s engineers to communicate the technology and philosophy of Space Hub.
to bring their own content for testing and gain a comprehensive insight into the workflow and the way object-based mixing works in 3D.”
The rooms are equipped with 3D setups comprising CODA Audio
iPad with touch-surface-optimised OSC control are available. A tracking system will follow shortly.
“Our motto is ‘Hearing is Believing’ and we’re certain that anyone who visits our Immersive Audio facilities will know exactly what we mean when they hear what we have to offer. As well as an incomparable listening experience, we aim to educate and inform our visitors about every aspect of the technology at work and make clear the possibilities it can open up in so many applications.”
“We’re excited about the development of the new facilities,” continues Alexandrov. “The demos which took place at the Tonmeister exhibition were well-attended and the reaction was very enthusiastic, with a general feeling among those in attendance that our approach to immersive sound is setting a new standard. The creation of our new facilities will allow audio professionals
HOPS8 loudspeakers on several levels, SCV-F sensor-controlled subwoofers and the pivotal Space Hub immersive processor. A second Space Hub serves as a backup unit to demonstrate redundant system configuration. In addition to content feeds from various DAW programmes, the native Space Hub control software, a mixing console with Space Hub remote control interface and an
Following its successful trial at the 2021 fully immersive Utopia Festival in the south of France, many audio engineers including Damien Ripoli were happy to appraise the latest immersive technology. “Whatever the source is you’re putting in the box and you want to listen to, you always get a nice timbre and you recognise your mix and your sound directly. This for me is a big plus as it saves a lot of time. With other brands, you worry about phase coherence between the different products.”
Following the successful launch of Space Hub, a world of exploration awaits as CODA boldly goes where few other developers have gone before.
www.codaaudio.com
Space Hub Control DAW pluginIT IS HARD TO DISCUSS troubleshooting video problems without also discussing video monitoring as well. In my 34year career in video production and broadcast operations and engineering, I have monitored a lot of video and I have troubleshot just about as much. Of course, I have done plenty of troubleshooting with analysers where I don’t even see the video image itself during the process, but even an analyser on a transport stream or video signal is a “monitor”. In this article, I am going to talk about two of my favourite pieces of gear that I have in my toolbox that I use frequently, if not full-time.
First, I will talk about the Digital Forecast Bridge X TS Trouble Shooter test set. I have had this device for a couple of years now and from day one I asked myself how I ever worked a day without it. Everywhere I go on the campus of the church I work at I need this test set. It not only displays video on a monitor, but it can also show you audio meters, waveform, vector scope
and SDI jitter. It will show CRC/ TSR/loss errors, estimated cable length (which has proven to be very accurate), signal format, presence of HDCP (and if you don’t know how important that is, you probably will someday) and more.
But it does more than monitor and analyse. It generates. Nearly as often as I need to monitor a signal, I need to generate one. Make some quick settings changes and I have a test signal generator that can produce several different patterns as well as tone. I really want another one of these so that I can generate and monitor at the same time.
This tester can handle signals over SDI, HDMI, CVBS (composite video), component video, VGA, DVI and analogue audio or AES/EBU. In and out. Additionally, if I want to install this for full-time studio monitoring, it has an HDMI output for external display so that I can display it on any size screen I want.
If you are not familiar with when a device like this would be beneficial, then I will explain. Several years
in Tyler, he spent the past 25 years in broadcast television working for multiple television stations in the US. He has worked as a broadcast technician for a major telecoms company, managing national and international television broadcast signals over a switched fibre-optic network. He also owned and operated an independent video production firm in Tulsa, Oklahoma for 10 years before returning to Tyler in 2016.
ago, I was working on our video feed from the Worship Center platform to our broadcast suite. We had always sent analogue composite video over that line, and I wanted to upgrade it to HD-SDI. But the second I tried to pass even SD-SDI, the signal would
break up. HD-SDI would not even pass.
Quick side bar: SD-SDI (standard definition 525-line video over BNC cable) has a transport rate of 270Mbps. HD-SDI at 720p or 1080i has a transport rate of 1.5Gbps, 1080p is 3Gbps, 4k is 12Gbps. Therefore, you may need better cable to pass HD-SDI and you will definitely run into shorter maximum cable length thresholds with HD than you do SD digital or analogue video. So, at this point, I figured I was running into a cable length issue. But why? Just assuming the path that the cable was taking from point A to Z was direct (a homerun), I estimated we were below the 90m that HD-SDI is spec’d for. But unless you know, you really don’t know. I was guessing. So, I left the line analogue until I received this test set where I could then really find out what was going on.
Once I received the Trouble Shooter, I set out to figure this out. I placed one of my field cameras on bars and used its SDI output to output HD-SDI at the platform connection which, of course, did not make it into the broadcast suite just like before. But across the hall from our broadcast suite, there is a utility closet where we
Casey Hawkins introduces two of his favourite tools for overseeing and improving video contentCasey Hawkins
have a rack of equipment where many of our building distribution video lines demark. We have tie lines from that closet over into our broadcast suite. From that closet, video gets distributed all over the Worship Center part of our campus. Our feeds to all our hallway IMAG monitors demark in that closet as well as some fibre transmitters to our Chapel and Student Center buildings. There is a lot going on in that room, so I decided to start my troubleshooting there since, technically, the video line from the platform should be a homerun to this closet. When I placed my Trouble Shooter analyser on the closet end of that platform cable, I saw HD video perfectly and without any errors. The cable length was showing around 90m to boot. I had decided that the hop over into our broadcast suite from the closet’s demark jack field was just barely putting me over the distance threshold for HD-SDI to succeed. Hard to believe that short hop was the culprit, but it was.
I then placed the Trouble Shooter on the closet end of the tie line over into the broadcast suite but, this time, I used it as a test generator. It saved me a trip to the platform to grab my camera. Once I generated a signal on the tie line at the closet end, I saw my test signal in the broadcast suite. Then I knew I had a solid signal from the platform to the utility closet and I had a great feed from the utility closet to our broadcast suite. At that point, I was confident that I had a working system, I just needed to overcome a cable length issue. I did that with a Freak Show SDI signal amplifier, and it has worked great for years without fail. In fact, I have bought another Freak Show for the same problem with a different feed since then. At
I wanted to place the Freak Show at the platform end or the utility closet end. I chose the closet because that meant less gear in the floor pocket on the platform. It is safer in the utility closet.
I am not saying that I could not have figured this issue out without the Trouble Shooter. However, it would have taken longer because I would have had to assume that there was something else in the line that was a problem. That would have just wasted my time. What this device did was provide me with the confidence of what the problem really was, and quickly. When you have a lot of video engineering tasks like I do, then saving time is paramount.
Another time this was a great tool was when a travelling road show came to our campus and all they needed to do was tie their lighting, audio and video systems into ours. Their video “engineer” told me he would hand me 1080i/59.94 which is what I told him I needed. He was coming off a Decimator MD-HX (which is another one of my favourite
was indeed handing me that format. But when I tied him into my system, there was no signal. Instead of going back and forth and playing the blame game and wasting tons of time and reputations, I placed my great Trouble Shooter on the end of his cable and discovered he was sending me 1080/60p. I simply advised him of that, and he changed his Decimator settings to
Finally, when speaking of monitoring video signals and troubleshooting problems, it stands to reason that I recommend another tool I like in my arsenal. It is the Decimator MultiViewer. They make several different configurations of this device, depending on how many signals you want to monitor. I use the six-channel unit at the church for monitoring many of our sources that air on our cable TV channel. It has looped SDI inputs and SDI and HDMI outputs. Essentially, this is a portable and customisable multiviewer. You can attach a computer to it via USB to set up the parameters
presence of audio monitors for each input, screen arrangement, source titles, safe area indicators and more. These devices can really help you troubleshoot signal issues by providing you a monitor point.
Between the Digital Forecast Trouble Shooter and the Decimator MultiViewer units, you can cut down your time hunting down video problems and, for their price, they
Decimator MultiViewer display/output
Decimator MultiViewer
alone, and well before electrification, it was important that light shone into parish buildings. With developments in architecture, light openings were designed and positioned in such a way that in specific seasons and at specific times, certain areas in the house of worship, such as the altar, were highlighted, whereby the sun would shine through and bathe the
mainly used for functional lighting for orientation purposes, and actually should be described as lighting for cleaning. Filament bulbs and sometimes discharge lamps provided a certain basic brightness so that church cleaners could see the dust in the corners.
The advent of LED lighting technology has made a fundamental change possible. On the one hand, there are physical advantages such as energy savings, or greater options with existing connected loads, as well as the lack of harmful radiation on the historic frescoes and plastics from the LED light. Current LED white light can deliver such a high-quality light that it can only be distinguished from halogen or incandescent light with a highquality light meter.
On the other hand, and this is the biggest change, there are LED spotlights with different light colours and dispersion characteristics.
For example, hard light for hard shadows and contours, soft light for soft brightening without shadows, narrow-beam spotlights for accentuating or bridging
long distances or broad-beam spotlights for uniform illumination across the entire area. Light in all conceivable colours and white light with colour temperatures ranging from warm to cold. In addition, the colour, brightness, dispersion and even direction of light from these spotlights can be changed at the push of a button, in the same way that we experience it at the
theatre or at a concert. And this is also necessary today, because houses of worship have long been multifunctional rooms, which are used for worship, festivals and funerals.
It would be nice if different lighting moods were available for different events so that light could be used to emphasise the message of the word. Lighting moods are usually
Cameo F1 T compact Fresnel spotlight with tungsten LED
Simply changing the light colours gives a room a completely different character
Vilaka Sacred Heart of Jesus Church in Vilaka, Latvia Image courtesy of Ērika Baltina and Alvils Baltinš
Herbert Bernstädt, product specialist, light technology at Cameo, looks at how architectural lighting has developed over the years and the product types on the market today
perceived unconsciously but have a significant impact on perception.
Light can make a room beautiful and festive, or sober and cold. As a rule, it has been shown that 6–8 different basic moods provide sufficient variety for different types of events. Religious buildings are generally listed. Cutting a slot in the wall for your cable is not allowed. Fortunately, the power supply is
Unfortunately, despite all the possibilities that are available today, mistakes can be made. The room can be made bright, but people may then have difficulty reading the hymn book. Or luminaires with a poor colour rendering are used, making the paintings on the wall appear faded, grey and difficult to recognise. There is a tendency for this to appear when filament bulbs are
lighting framework will be in use for the next 30 years. As modern LED spotlights can continuously change the colour and dispersion of light, you can easily redesign the light after a short time if you want to make the room appear different, without having to replace the lighting system. You simply reprogramme the light scenes. This makes it possible to optimally meet different requirements
change immediately visible to avoid uncertainty.
In the case of spotlights, it should be ensured that the dimming, which usually takes place via pulse width modulation (PWM), is well above 400Hz and can be switched to higher frequencies. To explain, an LED is dimmed by switching an LED on and off very quickly. We perceive the average value of the cycle time as a dimmed brightness. Frequencies below 400Hz can cause discomfort, poor concentration or headaches.
Switchable, much higher frequencies are required so that, for example, camcorders running during a wedding do not start flickering if your sampling frequency is close to the PWM frequency. When used in a house of worship, it is just as important that the spotlight is able to operate completely silently. Unfortunately, this is not a matter of course for LED spotlights that offer functions such as DMX control, colour change or variable zoom settings. There is nothing more annoying than a constant fan noise during a service. So, it should be possible to switch off the fan of the spotlight, even when it is lit up. It would be best if such functions could also be controlled via DMX. Profile spotlights are used for contour-rich hard light. Their adjustable shutters make it possible to limit the cone of light so that it does not fall onto unwanted areas such as the floor in front of the altar, or for framing a painting.
A smooth edge of light that allows you to seamlessly line up multiple spotlights to illuminate a large area, or with an adjustable beam angle to create a narrow cone of light for intense accentuation – this is what Fresnel lens spotlights or short steps offer (due to the staggered arrangement of the Fresnel lens). Floodlights or PAR spotlights are used to illuminate columns or walls where it is not necessary to change the beam angle.
replaced with energy-saving bulbs. From this experience, we can now also understand the great scepticism towards LED light. Therefore, before any conversion or modernisation of the lighting in a house of worship, advice from a specialist with proven experience in religious buildings, from a lighting designer, is necessary. It is best to look at completed conversions
without further expenditure. When selecting the lighting control, do not attempt to use the heating system control, even if it is recommended. This is because it is usually very complicated to convert to create a light scene. Furthermore, a lighting control system should also be easy for non-experts to operate. Pulling up on a lever or pressing a button should make the
With modern lighting control and LED lighting devices, a church can literally be transformed into an experience venue. Lighting design makes it possible to reflect the multimedia world, the fast pace and dynamics, in order to then redirect to a phase that implies calm and contemplation, which again gives us strength and courage. Especially at this time, we need more visual incentives with light than ever before to find a common ground with the community in the current environment.
Cameo iDMX stick for wireless control without cables
Image courtesy of Ērika Baltina and Alvils Baltinš
Microphones has released its first-ever kick drum microphone. The 4055 Kick Drum microphone is a specialised kick drum mic for the low-frequency, high-SPL instrument. Different from traditional kick drum mics, the new addition is a durable mic solution that is not pre-tailored to any specific sound, allowing sound engineers to shape the sound exactly as desired. The mic is suited for a variety of applications, such as pop, rock, jazz, folk or any other house of worship musical style. According to the manufacturer, it has been built to withstand the rigours of life on the road and or in fixed installations.
With an intentional use for kick drum-specific applications, the 4055 is said to deliver the true, clear sound of the instrument. The mic also offers a linear frequency response, both onand off-axis, which reportedly results in a very tight, natural, well-defined sound. The low end is “punchier” and dials in the
tear in the drum skin. It can also be placed both inside or outside the kick drum, so finding the ideal placement is described as quick and effortless. Additionally, the 4055 has a large housing and ample wind damping foam, positioned in front of the capsule
to DPA for our miniature solutions, we know that they are also used to using a large kick drum mic that can handle high SPLs and dampen the inherent wind created by the movement of the drum skin. We took all this into account when designing the 4055 Kick
Drum mic and we worked with several engineers throughout the development to create a solution that is large, yet unobtrusive.”
This new kick drum mic exhibits the same qualities as all DPA directional mics with a flat on-axis and a very controlled, linear offaxis. Thanks to this flat curve, the sound of the 4055 can be tailored as necessary, depending on what genre is being played. Unlike other drum mics, users can reportedly hear the differences in sound when the DPA 4055 mic is placed at various angles to the kick drum. Being a condenser mic, it is fast and produces a tight and clean sound, even at very high SPL (max SPL is 164dB).
However, the DPA 4055 is not limited to the kick drum. It works equally well on other instruments, such as electric guitar cabinets, bass and horns. Its flat frequency response and ability to bring uncoloured sound works well on many instrument types.
The 4055 microphone can be placed either inside or outside the kick drum
Marking
THE FLETCHER Machine is an audio rendering processor promising simple operation with highly efficient spatialisation tools. Described as an entirely new development in objectbased mixing, it utilises amplitude and time localisation to ensure that objects are clearly perceived at their intended position. The rendered signals that are sent to loudspeakers are calculated from the object’s pointof-view, which the manufacturer says ensures the best spatial coherence for most listening positions.
The Stage Unit is a 3U rackmount device capable of controlling either 64 or 128 inputs and outputs, with the more compact Traveller Model being able to handle either 32 or 64 inputs, paired with 32 outputs. Both devices are available with hardware configurations operating in AVB/MADI or Dante audio at 48kHz or 96kHz. All configurations reportedly keep latency at a low 1.33ms.
The platform’s user interface is based on a digital mixing desk approach and includes a complete set of mixing tools, including EQ and compression for each object, up to four auxiliary sends and up to eight VCAs, loudspeaker positioning in three dimensions and a high-quality integrated reverb with “vast amounts of control”. The Fletcher Machine can also receive OSC and MIDI messages so it can also be controlled using external devices, and it can be interfaced with tracking systems to accurately track object movements.
Remote operation software is available for either Mac or Windows operating systems.
With the introduction of the IS213 subwoofer and the IS5c coaxial loudspeaker, the manufacturer has also extended the IS-Series.
Intended for use in ground-stack configurations and small spaces, the IS213 subwoofer is a compact, high-powered subwoofer. The enclosure is loaded with two 13-inch ND13-S Kevlar neodymium drivers that incorporate the Canadian brand’s Advanced Cone Architecture.
Mounted in an efficient front-loaded enclosure, the IS213 is housed in marine-grade birch plywood and is equipped with two front and two rear speakON NL4 connectors or barrier strips. Integrating handles for lifting and rubber scuff guards on the top and bottom for mating with additional IS213s when vertically stacked, the handles can be removed to allow it to fit into tight spaces.
Designed as a fill cabinet or as a standalone loudspeaker within smaller applications, the IS5c is
a compact, lightweight, passive two-way coaxial loudspeaker. Offering a 100° conical dispersion pattern, the enclosure comprises a 1.4-inch dome compression driver coaxially combined with a 5-inch LF transducer. Housed in marine-grade birch plywood, the IS5c is equipped with two speakON NL4 connectors and a two-point barrier strip. A plate and screw rigging system located on the top and bottom of the enclosure promotes installation within a variety of applications when combined
with available accessories. Both the IS213 and IS5c can be fully weatherised.
In brief, Adamson has released the latest update to its Blueprint AV proprietary audio system design and simulation software. Version 1.3.2 adds profiles for Adamson’s newest IS-Series cabinets, the IS213 ultracompact, install-focused subwoofer as well as the IS5c coaxial point source enclosure.
The world has emerged richer with never-before-seen technologies. Pew Research Center predicts that by 2025, the world will tele-everything – telework, telemedicine, virtual schooling, e-commerce and more. This necessitates greater reliance on AI to mitigate the consequent increase in security risk. All these are unfolding at unprecedented speed – driven by Professional AudioVisual (Pro-AV) technologies.
Discover the latest Pro-AV solutions that are transforming every industry. Learn how they can take your business further – beyond a post-pandemic future.
Gain insights into trends and developments from technology experts and industry leaders.
TWO NEW cabinets have been added to JBL’s VTX line array series in the form of the VTX A6 element and B15 arrayable subwoofer. The dual 6.5-inch passive array element and 15-inch subwoofer provide a more compact footprint while retaining big-system clarity and coverage. Suitable for use in small- and medium-sized touring and fixed installations, the A6 and B15 aim to provide versatile options for houses of worship.
The A6 6.5-inch passive twoway line array element functions as a standalone system or as a supplement to larger VTX systems. It houses two custom 6.5-inch woofers and a 3-inch annular-diaphragm compression driver and features JBL’s patented Radiation Boundary Integrator (RBI) and Differential Drive dual-voice coil, dual-magnet woofer. The cabinet provides low-frequency extension to 6Hz and 134dB max SPL.
The low range can be further extended with the B15, with two versions available: the arrayable B15 and the B15G, which is designed without rigging hardware for groundstacked applications. The B15 features acoustic advancements such as SlipStream double-flared exponential ports and Differential Drive dual-voice coil design and is based on the manufacturer’s new 2285H 15-inch woofer.
The A6 uses the VTX A Series’ patented rigging system. Users can set splay angles while components are on the ground, then, once the system is suspended, a locking mechanism automatically secures cabinets in designated positions. The B15 has the same cabinet width and suspension hardware as the A6, allowing the two products to be used together in flown and ground-stacked configurations. The B15 supports cardioid array configurations. The cabinets themselves are constructed from exterior-grade birch plywood
with a black Duraflex finish, intended to withstand the harsh conditions of touring and outdoor installations, and feature powder-coated, hex-perforated stainless-steel grilles with acoustically transparent cloth backing.
Including dual 6.5-inch and dual 10-inch powered line array elements
The SRX900’s 2432H-3 compression driver features a neodymium magnet structure, 3-inch titanium diaphragm and a 1.5-inch exit. The woofers are based on JBL’s Differential Drive dual-voice coil, dualgap design, which reportedly delivers better heat dissipation, lower power
deliver optimal sound in confined spaces and for smaller stages, HK Audio has developed the Polar 8 as a highly portable, smaller addition to the Polar 12 and Polar 10 speaker systems. The subwoofer’s birch plywood 13kg enclosure incorporates a 1,200W amplifier with 24-bit DSP and an 8-inch long-excursion woofer that is capable of operating down to 50Hz (±10dB). Optimised for powerful midrange response, the top section is loaded with six 2.5-inch neodymium midrange drivers with a 1-inch voice coil in a curved column arrangement. Tuned to project a 120° throw pattern and impede feedback, the Polar 8 can also be adopted
along with 18-inch and dual 18-inch powered subwoofers, the JBL SR X900 Series has been designed for rental companies, fixed installations and musicians seeking to combine performance and portability.
With a cabinet design created for easy handling, fast rigging, minimal space displacement and streamlined transport, the SRX900 Series provides high power handling transducers, precision waveguides for accurate pattern control and user-configurable DSP and design and management software tools for hands-on control from any computer or mobile device. Other features include the manufacturer’s Radiation Boundary Integrator, which mounts both the high- and low-frequency transducers on a single horn, improving horizontal dispersion while minimising cabinet size. A proprietary waveguide provides cabinet-tocabinet summation for reportedly seamless front-to-back coverage, and a large horn extends low-frequency control and reduces unwanted energy behind the array.
compression and wider dynamic range than conventional single-coil designs.
The SRX900 models feature built-in DSP that is said to provide everything users need to optimise and tune their systems, including 24-band parametric EQ, 2,000ms of delay and gain control. JBL’s Array Size Compensation filter corrects for different array sizes, while the FIRbased Throw Distance Compensation filter compensates for air-imposed sound loss, for more uniform sound distribution. A rear-panel LCD provides access to key control features.
The SRX900 systems can be deployed in a variety of ways, from pole-mounted to ground-stacked to flown arrays of up to 16 cabinets. A three-point rigging system is said to make suspending systems safe and easy, regardless of size or user experience. The SRX900 products are designed to work with other JBL touring products, thanks to common voicing targets and phase characteristics.
The
A6 with
SRX900 Series
A SECOND generation of Yamaha’s STAGEPAS 1K portable PA system has been unveiled by the Japanese manufacturer and is complemented by the launch of the DXL1K, a userrequested sister system that omits the onboard mixer.
Featuring a high-frequency array of 10 1.5-inch speakers and a 12-inch bass-reflex subwoofer, all driven by an integrated Class‐D amplifier, the STAGEPAS 1K is an all‐in‐one portable PA system that provides professional audio performance from a small footprint and slimline vertical profile. The new mkII variant adds enhanced sound pressure levels and more flexible remote control capabilities.
A fully redesigned, 1,100W Class-D amplifier delivers 125dB SPL, while functionality is enhanced with STAGEPAS Controller, a new software application that allows users to remotely control all STAGEPAS 1K mkII parameters using an Android or iOS device. In addition, a scene recall feature allows for the saving and recalling of settings for individual songs or applications, reducing the setup time during rehearsals or performances.
The DXL1K shares an identical power amplifier, speaker arrays, cabinet construction and slimline profile, without the onboard
WITH THE introduction of the TRK PRO Series, RCF has created USB 2.0 bus-powered audio interfaces for music production and content creation. Comprising balanced connections, ultralinear mic preamps and low-noise converters, the TRK PRO Series has been designed to record and monitor with detail. The TRK PRO 1 is a small one-in/two-out interface and the TRK PRO 2 is a two-in/two-out model with zerolatency monitoring and removable rackmount ears.
Features include mic and instrument/line combo inputs, independent gain control with signal-peak LED, independent headphone volume control and an LED output meter. Housed in a metal chassis and integrating linear mic preamps and 24-bit/192kHz converters, audio performances can be directly recorded to any computer-based DAW. A front control panel includes variable
and +48V phantom power.
Connecting to iOS or Android devices, both models are USB class-compliant.
Over a quarter of a century on since its original launch and RCF continues to evolve the ART
characteristics together with an onboard digital mixer, Bluetooth and advanced control capabilities, the ART 9-AX is the latest addition to the family.
Operating solo or paired with other speakers and subwoofers in wired or wireless mode, the ART 9-AX’s available functions and parameters are accessible from the rear panel via a capacitive colour touchscreen with encoder knob. Alternatively, a dedicated app can be downloaded to iOS and Android devices. RCF LiveRemote allows full control of the internal ART 9-AX engine to recall and save presets, set desired volume levels, perform tuning and adjust EQ, reverb, compressors and FX settings. Adjustments can be made to True Resistive Waveguide, FiRPHASE and Bass Motion
mixer. In addition to being suitable for use as a standalone powered speaker system with a separate audio mixer, linking STAGEPAS 1K mkII and DXL1K systems provides increased coverage and output power for larger‐scale events. A 1:1 system can be set up to deliver either stereo or mono sound. If the STAGEPAS 1K mkII is set to deliver mono audio, the inputs of the DXL1K and STAGEPAS 1K mkII can both be used, meaning up to five mono inputs plus one stereo input are available. Similarly, two DXL1K can be used with two STAGEPAS 1K mkII –or three DXL1K with one STAGEPAS 1K mkII – to cover a wider or deeper area with either stereo or mono audio.
www.yamaha.com/proaudio
and digital AES/EBU inputs/outputs, Dante audio networking and a complete set of tools for signal processing and tuning. It combines two 40-bit floating-point SHARC DSP chips at 96kHz and two more 32-bit DSP chips to independently manage audio processing and signal routing for maximum sound quality and redundancy. Onboard DSP handles input/output delays, IIR/ FIR equalisation, crossover filters and thermal/RMS/peak limiting. The XPS 16K also includes RCF speaker presets with signal processing options for “fast and accurate system tuning”. The XPS 16K integrates four Ethernet ports on the rear panel with an internal 1Gb/s switch so that users can daisy-chain multiple amplifiers or integrate the system into any existing Ethernet
Class-D electroacoustic design also incorporates 48V microphone preamps and line inputs, an internal six-channel digital mixer with advanced DSP, Bluetooth audio input and remote control for both single and dual paired speakers.
The XPS 16K amplifier boasts 4x 4,000W continuous power outputs, routing options with four analogue
devices can be connected to other RDNet-compatible devices, or to one or more computers running RDNet software without requiring an external RCF CONTROL Series device. The XPS 16KD is equipped with a Dante board that makes eight additional digital inputs available.
The STAGEPAS 1K mkII with the DXL1K
ART 9-AX
OFFERING DEEPER sound, higher SPLs and enhanced tonal definition, K-array has developed the Thunder-KS series of subwoofers. Fully managed by integrated DSP processors, the
are completely integrated into the chassis, while flexibility is enhanced with the inclusion of an M20 threaded flange on the top for combining with stands and pins of the Pinnacle and Axle systems. Hardware accessories allow them to be suspended with the Mugello line array and in clusters composed exclusively of subwoofers. The dedicated amplifier for the Thunder-KS line features a powerCON True connector housed in a self-shelter recess within the sub chassis.
With Kommander, K-array has embarked on a new chapter for the manufacturer’s amplifier catalogue and a new era for
OFFERING OPTIMAL intelligibility and minimum aesthetic impact in the architectural audio space, the US-based loudspeaker manufacturer has expanded its column array loudspeaker portfolio with the addition of the PCX Series. Building upon its flagship Iconyx self-powered steerable loudspeakers, the PCX Series provides an additional solution as a unique passive loudspeaker.
Passive UniBeam technology addresses each transducer with a specially designed passive filter network to generate an asymmetrical vertical dispersion pattern, shaping the coverage downwards and delivering consistent front-to-back coverage with minimal side lobe artefacts. A discreet appearance ensuring the lowest possible architectural intrusion has been aided by incorporating neodymium 3-inch full-range drivers. The combination of an included wall-mount bracket (optional pan and tilt) and Passive Unibeam enable flush-mounting in most applications.
The PCX4, PCX8 and PCX16 models are weather resistant (IP64) as standard, salt spray and UV resistant, in addition to being subject to high/ low operational temperature and humidity testing. Each model includes a gland/conduit knock-out input cover
for added security and enhanced weatherisation. Low insertion loss transformers have been added with an accessible tap switch for
USB player and web stream receiver, the osKar operating system can also control the main DSP functions, including volume, routing and presets, directly from the device.
The remote control of the Thunder-KS subwoofers can be managed via three software platforms ranging from the K-framework for Windows and Mac, passing from a more intuitive web app and arriving at the more simplified mobile app (Wi-Fi). In addition, there are also APIs and plugins to control the devices via third-party controllers together with LEDs located on the front of each unit.
Housed in Finnish birch plywood and finished in black or white polyurea paint, the front mesh is treated with a powder coating to provide salt and weather resistance. Side handles
DSP offering control over the EQ and level of each channel, routing matrix and delay. Tuning is managed courtesy of the Integrated Electronic Brain (IEB) implemented into K-array amplifiers. The built-in microelectronics driven by the osKar integrated operating system features expansive sound processing offering complete user control over the system performance. A mobile app and dedicated professional interface, volume, signal routing, presets and a complete USB player can be remotely monitored and controlled.
The Kommander, Thunder and Mugello amplifiers are the first products on the market to incorporate Audinate’s Dante Ready licensing programme.
www.k-array.com
DEVELOPED FOR applications with reflective surfaces or space constraints, CODA Audio has announced the expansion of its HOPS (high output point source) range with the launch of the HOPS12T. The three-way point source HOPS12T incorporates 12-inch neodymium cone drivers with 4-inch voice coils adapted from the AiRAY line array. Dynamic Airflow Cooling (DAC) technology and phase linearity are included, while both the 90° x 60° and 60° x 40° variants are rotatable.
The HOPS12T enclosure incorporates exchangeable Instafit Magnetic Waveguides that allow adjustments to directivity, ensuring broadband energy can be focused where required and away from reflective surfaces. Vertical and horizontal U-Brackets are available, in addition to an integrated mobile suspension for quick attachment
grille ensures no further tools are required. Weatherproofed as standard, the HOPS12T can be used as a standalone full-range system when paired with the U4 subwoofer, and both cabinets can be mounted vertically or horizontally.
www.codaaudio.com
Thunder-KS1 Kommander-KA14DESIGNED FOR medium-throw live and fixed installation applications, Audiofocus has developed the Carys C6 loudspeaker. The passive column is the first in its class to be equipped with a 6.5-inch AMT (Air Motion Transformer) HF driver, dual 6-inch LMH and triple 6-inch LF transducers.
Capable of producing a maximum SPL of 135.5dB, the Belgian manufacturer has incorporated a specially engineered horn and waveguide that delivers broad horizontal coverage with a H/V of 120° (+5°/–20°).
Incorporating a 15-inch neodymium LF transducer with Tetracoil technology, the accompanying Carys C15LS is a combined LF/sub. Capable of producing 137dB SPL, the cardioid designs of the Carys C15LS and C6 mean they can be placed close to walls or in corners.
Tuned full-range cardioid vents also allow increased gain before feedback when used to reinforce headset and lavalier mics.
By utilising the plug-and-play amplification and audio connection
VIRO5 IS Audac’s latest two-way coaxial loudspeaker which comes in both 8Ω and 16Ω variants and with optional toroidal transformer modules. Available in black and white, the VIRO5 combines a soft, silk-domed tweeter for smooth tonality with a 5-inch two-way coaxial speaker driver.
Using the optional 70V/100V line transformer enables the VIRO
series to be used not only in low-impedance installations but also in 70V or 100V systems.
By removing the back plate, the transformer can be easily inserted.
The full aluminium construction and stainless fasteners make sure the speaker stands up in the toughest environments. In order to further comply with the IP55 certification, Audac has made sure
the front grille is water repellent and that the speaker comes equipped with rubber cable grommets for fixed installation along with optional speakON connectors. The multifunctional mounting bracket means that the VIRO5 can be mounted on any wall or ceiling. In addition, there are several optional mounting adapters for poles, stands and ground pins.
www.audac.eu
devoid of additional amplifiers or cabling, the Carys C6 can be C15LS for a quick full-range PA setup. VIRO5TAIDEN HAS introduced the HCL-804A controllable column loudspeaker together with 404 Series and 210B Series loudspeaker/ subwoofer combination loudspeakers.
The HCL-804A is a two-way controllable directivity column loudspeaker that features eight 4-inch midrange units and 24 ¾-inch tweeters. A built-in multichannel DSP engine and high-performance Class-D digital amplifier can control each individual array element with precision in a programmable manner. It can be divided into two independent beams for control and adjustment, providing simultaneous input of analogue and AES/EBU digital audio signals to achieve a hot backup. Loudspeaker setting and monitoring are all carried over standard Ethernet. The speaker can
also be paired with a subwoofer to complement low-end output as required.
The 404 Series cabinet is a single-drive, full-range, two-way column loudspeaker that combines four 4-inch midrange units with 12 ¾-inch tweeters. Three of those tweeters form a linear tweeter subarray in combination with a coaxial transducer and a midrange unit to create a smoother off-axis response. Its fixed 15° vertical coverage and wider horizontal coverage is said to optimise sound field uniformity, meeting sound reinforcement needs in small- and medium-sized spaces. When used with the 210B Series woofer, the system obtains greater dynamic energy. The HSP-210B is the new 210B Series 10-inch powered companion subwoofer and
includes multiple preset modes to handle different situations, extending the limits of the system in the lowfrequency range.
www.taiden.com
ALCONS AUDIO has introduced the CRS12/9090 to its portfolio, a two-way, passive-filtered, fullrange loudspeaker designed to meet the requirements of current and future immersive, surroundsound formats. Featuring the manufacturer’s patented pro-ribbon driver technology, the CRS12 combines clarity and intelligibility with what is described as an “unusually” high dynamic range.
The CRS12/9090 system comprises the RBN401 pro-ribbon driver for the high frequencies and a vented 12-inch mid-bass for LF reproduction. The HF section has an 800W peak power input,
enabling a 1:16 dynamic range with reportedly up to 90% less distortion from 1kHz to beyond 20kHz.
Crucial for the imaging in height channels of immersive systems, the speaker’s patented 90° horizontal and patent-pending 90° vertical dispersion characteristics offer a wide and consistent coverage up to the highest frequencies. By using identical MHF components as in Alcons’ screen systems, voice matching between screen and surround systems can be achieved, resulting in a wide and uniform sound stage throughout the entire listening
with Powersoft, the DA amplifier series has been released by French loudspeaker manufacturer APG together with the SPOT2.6, a passive full-range compact loudspeaker.
The SPOT2.6 comes equipped with a pair of 6.5-inch transducers and a HF compression driver loaded with a 70° x 50° constant directivity horn. The speaker is said to offer perfect directivity control over a wide frequency range thanks to two lowmid d’Appolito mounting transducers coupled with a rotating horn for high frequencies.
The SPOT2.6 is available with a range of optional accessories,
including a stand base, U-Brackets for horizontal and vertical installation and link plates for clusters of up to three loudspeakers. Available in 4Ω (SPOT2.6/4) and 16Ω (SPOT2.6/16) variants, the units come with a fiveyear warranty and can be coupled with an optional 200W external transformer for 100V line setups. The DA amplifier series launches with two models. The DA8 and DA12 are four-channel amplifiers with signal processing, as well as analogue, AES3 and Dante/ AES67 inputs and outputs, and a bright 4.3-inch IPS touch display. The four channels reportedly offer high power and voltage, allowing
area. The 10° slanted baffle, together with the upside-down speaker arrangement and the enclosure design, allow for lowprofile wall or ceiling mounting.
The CRS12 is available in 8Ω and 4Ω versions and, for full system performance, needs to be driven by an ALC controller-amplifier. The Signal Integrity Sensing pre-wiring ensures complete cable/connector compensation between the CRS12 and ALC, which the manufacturer says increases response accuracy, regardless of cable length and system impedance.
www.alconsaudio.com
for high SPLs, even when running 8Ω or 16Ω loads. They are capable of delivering 4x2,000W (DA8) and 4x3,000W (DA12) at 4Ω. The amplifiers’ power supply has been designed to operate anywhere in the world and an internal energy storage system allows the amplifiers to keep performing consistently in the event of a power drop. The amplifiers can be controlled via the touchscreen, with functions including preset recall, gain, delay and muting. Both units can also be controlled remotely using Powersoft’s ArmoníaPlus software.
The 404 and 210B
THE VIDA L is the heart of Kling & Freitag’s VIDA system and is a 48-channel signal processor with a multichannel amplifier. Due to the high resolution within the system, users can control the beam in real time in steps as small as 0.1°. The J-Beam algorithm is the
latest addition to the VIDA platform. With the manufacturer’s standard beam, it’s possible to tilt the beam and control the vertical opening angle; with J-Beam, users can now continuously adjust the level distribution within the beam and achieve the same volume from the first to the last row if needed. The open FPGA platform enables the manufacturer to constantly work on new technologies which will be added to VIDA in the coming years.
Kling & Freitag has also released its CA 106 PRO. With its multifunctional housing and a rotatable horn, it’s been developed for use in almost every application. And with the speakON channel selector, users can connect several speakers in line and still feed them with separate signals. In addition to low distortion and high gain before feedback, the CA 106 PRO can be used on its own in smaller events or as a fill system in larger installations, or even as a personal monitor. It’s best paired with the D-, PLM- and IPX-Series amplifiers but its crossover design means it can be used on linear power amplifiers.
www.kling-freitag.com
FEATURING INTEGRATED audio networking and flexible output power sharing, the 5D is a four-channel Class-D amplifier with a high-density form factor and a 1U/9.5-inch footprint. It uses DSP to incorporate loudspeakerspecific configurations and user-definable setups from E-, xS-, xC- and T-Series, equalisation and delay functions. The amplifier has been designed to drive smaller
up to 300ms. The DSP unit has a fixed latency of 1.1ms.
The amplifier has a dynamic range of 111dB (unweighted) and is designed to drive a selected range of d&b loudspeakers while providing comprehensive management and protection capabilities. The user interface of the amplifier consists of LEDs for power, data and channel information about signal, gain reduction, overload and mute
Soundscape systems. Signal processing extends the level of functionality of the onboard features. These include a range of loudspeaker-specific filter functions plus a user-definable eight-band EQ, which facilitates system tuning. The delay capability covers a range of
system configuration changes and convenient deployment of decentralised system designs. According to the manufacturer, the 5D amplifier improves the affordability of a d&b system.
www.dbaudio.com
The flagship Avatus S is available in sizes from 12 to 96 faders for all applications with maximum overview and very fast direct access. Available from 12 to 96 faders with removable displays for wall or swivel arm mount, the Avatus D is a flexible option for auditoriums. Designed as a mobile extension for larger consoles or as a remote console wherever space is an important consideration, the compact Avatus C promotes comprehensive control in sizes from 12 to 36 faders. Available as 24 and 36 fader consoles and boasting the shortest depth, Avatus E is suited for encodercentred operation and for venues
Avatus audio console comes with four user interfaces. The user interface can consist of either one
Nexus network, unlimited resources can be accessed using audio inputs and outputs of any format.
The Stagetec community is growing with a network of partners to make management of audio and video signals available to all. With Nexus IP Link, internal audio connections can be distributed and controlled over an IP infrastructure
of ST 2110-31-compliant audio IP streams. Nexus endpoints fitted with an AES67 card benefit from fully integrated audio distribution and existing AoIP features including redundant networking with ST 2022-7-compliant seamless protection switching and wide area networking connectivity for remote production.
www.stagetec.com
Ambiance can be controlled via the L-ISA Controller on both Mac and Windows platforms, through the built-in configurations on the Processor or with Q-SYS and Crestron third-party control systems.
16x16 architecture in a 2U chassis with seamless Milan-AVB redundancy. Each of the 16 output channels delivers up to 1,300W at 8Ω or 1,100W at 4Ω. The amplified controller will drive both current and future L-Acoustics loudspeakers for more efficient and sustainable installations. It offers flexibility to meet real-time power needs, energy efficiency and the ability to address multichannel and hybrid applications, including the L-ISA Ambiance room enhancement software.
With the LA7.16i, L-Acoustics has also introduced L-SMART, a suite of advanced power management technologies that allows designers to mix and match any L-Acoustics loudspeaker onto one amplifier.
L-SMART uses proprietary predictive modelling algorithms to manage the power supply unit (PSU) and the individual amplification channels. Hardware sensors within
PSU can then provide extremely high short-term peak power or lower power over longer hold times. This energy is delivered intelligently to the advanced Class-D output stages, reportedly assuring optimum system performance at all times. The LA7.16i can drive any L-Acoustics speaker up to K2, enabling high-resolution amplification and processing of large-format speakers with less system budget.
The L-ISA Ambiance virtual acoustic enhancement system uses hardware – speakers, amplifiers and processors – that is already a necessary part of modern venues. Adding strategically placed microphones to capture the existing acoustical energy of a space, Ambiance processes signals from the mics through the L-ISA Room Engine that’s built into the L-ISA Processor II, where reflections can then be individually managed with separate EQ, time and space
SokaAdding to its range of solutions designed to meet the demands of the installation market, L-Acoustics has also introduced the Soka and its companion subwoofer, the SB6i. Inspired by the success and design principles of the Syva, the Soka integrates nine 3.5-inch MF drivers and three 1-inch HF transducers to impart a wide 140° horizontal coupled with a highly controlled 26° vertical directivity. The Soka and SB6i have been designed to be easily enclosed in-wall or discreetly mounted on-wall. Despite its diminutive size, the Soka reportedly delivers 124dB over a wide bandwidth that extends down to 70Hz when used with the full-range preset. Using the SPL preset, the Soka offers an even higher 130dB down to 100Hz. With two 6.5-inch neodymium LF drivers and the L-Acoustics Laminar vent technology found in the manufacturer’s concertgrade reference subwoofers, the 4Ω SB6i can operate down to 29Hz and produces as much as 114dB, again via two presets, matching coupled or decoupled configuration with the
WITH THE introduction of its Pro Convert AES67 multi-format IP audio encoder, decoder and capture device, Magewell has extended its media processing and IP workflow technology into the audio domain. Supporting standards and protocols including AES67, NDI and SRT, the device converts between different IP media technologies and serves as a bridge between analogue audio, software and IP networks.
Capable of sending and receiving multiple eight-channel unicast or multicast AES67 streams, Pro Convert AES67 operates with third-party AES67 audio solutions and supports SMPTE 2110-30 for delivery of PCM digital audioover-IP networks. The device also transports uncompressed audio using the NDI media-over-IP
technology or compressed AAC decoding IP audio streams in Pro Convert AES67 can be used as a plug-and-play audio capture device. For audio streaming applications, the device also offers AAC stream encoding and transmission plus AAC and MP3 stream receiving and decoding. A virtual audio matrix is accessible through the device’s browser-based user interface and allows routing or mixing of any analogue or IP-based input channel to any analogue, IP or UAC output. Encoding and processing parameters can be configured through the web interface, with centralised configuration and control of multiple Pro Convert units available through the Magewell Cloud multi-device management software.
www.magewell.com
DESCRIBING IT as the world’s most powerful all-in-one audio solution for content creators, RØDE has unveiled the RØDECaster Pro II, a fully integrated audio production studio for creators of all kinds that combines superior sound quality with ease of use and customisability.
The RØDECaster Pro II offers users four studio-grade Neutrik combo inputs for connecting microphones and instruments, with each input featuring RØDE’s ultra-low-noise, highgain Revolution Preamps. The device also features a full suite of studio-quality APHEX audio processors that have been completely overhauled from the original RØDECaster Pro and remodelled using componentlevel analysis of analogue units. RØDE claims that the unit’s high-performance quad-core audio engine delivers “significantly more processing power than any other content creation console on the market”, while onboard effects allow users to craft their own
unique sound. The high-definition, full-colour touchscreen combines with tactile rotary encoders for
production. Any of the nine audio sources can be allocated to any fader, allowing users to design
the touch of a button. The onboard effects and APHEX processors are also fully customisable. All processing and effect parameters can be saved as presets and loaded at any time on
channels, six broadcast-quality physical faders and three virtual faders, the RØDECaster Pro II can adapt to any creative recording application, from livestreaming and gaming, to podcasting to music
sending MIDI commands to external software and hardware, to activating automated mixer actions like fade-ins and fade-outs. The bank switching buttons provide access to eight banks for a total of 64 unique actions at
In terms of output connectivity, the console has four high-power headphone outputs and ¼-inch balanced line outputs for connecting speakers for monitoring and playback. Dual USB-C interfaces accommodate the connection of two computers or mobile devices simultaneously, with an extra virtual USB channel for connecting chat applications. The RØDECaster Pro II also offers Advanced Bluetooth connectivity with wideband speech for high-quality audio transfer between mobile devices, in addition to Wi-Fi and Ethernet connections, allowing users to update firmware wirelessly and integrate with hardware and software. Users can record in stereo or multitrack either to an onboard microSD, computer or external storage device.
www.rode.com
TWO 20X HD PTZ cameras have joined the fold at Lumens Digital Optics, one capable of delivering secure IP streaming (VC-A51P) and the other with NDI|HX for networked production (VC-A51PN). Both models feature a high-sensitivity 1/2.8-inch 2.16MP Sony CMOS sensor with WDR (wide dynamic range) and 3D noise reduction. With advanced auto-focus and auto-white balance algorithms, the cameras are said to produce sharp and well-exposed video, even in low light environments. They also integrate a new motorised
ports, as well as multiple IP control and streaming protocols, including RTMPS and RTMP, in order to work seamlessly with popular streaming services, such as YouTube, Twitch and Facebook. Incorporating SRT, the cameras offer broadcasters secure remote production over the internet at low latency.
The cameras support RTSP output for compatibility with IPbased production and streaming platforms. The VC-A51PN adds the high-efficiency NDI|HX protocol for low-latency video networking using NewTek’s popular open standard, enabling live video distribution and
extended its range of broadcast production cameras with the UHK-X750. Integrated into a robust metal housing, the full studio and OB camera includes high frame-rate capture for slow motion applications, global shutter sensors and versatile connectivity.
Distinguishing elements of the UHK-X750 include a lower centre of gravity and easier staging compared to a portable camera and an optimum weight balance for operation in combination with a large lens. Weighing 19kg and measuring 315mm x 329mm x 398mm (WxHxD), the camera’s low body height brings the accompanying VFL-701D viewfinder closer to the optical axis of the camera.
Incorporated into the optical front end of the UHK-X750, three 2⁄3 -inch
when shooting LED screens or scenes illuminated with flash or strobe lighting. Full HDR/SDR support is included, plus the ability to choose between BT.2020 and BT.709 colour spaces. High-frame rate shooting at up to 2x speed in UHD or up to 8x in HD via the base station is an option. Five neutral density filters and four chroma filters (3200, 4300, 6300 and cross) are included. When combined with the Ikegami BSX-100 base station or CCU-X100 CCU, the UHK-X750 supports simultaneous output in UHD and HD video formats. An IP interface of video, audio and intercom inputs and outputs conforming to SMPTE 2110 and NMOS standards is available as an option at the base station or CCU.
www.ikegami.de
VC-A51P
BLACKMAGIC DESIGN has introduced a new family of ATEM Constellation HD live production switchers. The new models are a 1 M/E model with 10 3G SDI inputs, a 2 M/E model with 20 3G SDI inputs and a 4 M/E model with 40 3G SDI inputs. All models include full standards conversion on every SDI input, four ATEM advanced chroma keyers per M/E row, a DVE per M/E row, media players and a larger media pool. They are designed for ATEM Mini customers who need to upgrade or expand their existing setup.
The ATEM Constellation HD switchers feature a compact rackmount design with a builtin control panel allowing for
change switcher settings via onscreen menus. The compact design is ideal for portable live production, with the rear of the switcher including the connections for 3G-SDI inputs, 3G-SDI aux outputs, balanced audio and Ethernet for control. The top 4 M/E model includes RS-422 for serial
single monitor, while a wide range of broadcast-quality native transitions are included, such as mix, dip and wipe. Built-in talkback supports a five-pin XLR headset connector, plus a rear-mounted RJ12 connector for interfacing with industry-standard talkback systems, such as Clear-Com or RTS. With a built-in Fairlight
audio mixer, the ATEM Constellation makes complex live sound mixing possible. The internal mixer has up to 156 input channels, with audio de-embedded from all the SDI video inputs and passed to the audio mixer.
The device also features advanced keyers for high-quality chroma or luminance keying. The SDI inputs will also handle embedded audio and mix audio from all video inputs. In addition, the programme outputs include talkback, tally and camera control information, which means users can connect any of the switcher SDI outputs back to the camera for programme return, camera control and talkback.
www.blackmagicdesign.com
BUILT TO facilitate open, interoperable infrastructures that support compressed and uncompressed 4K IP signal transport over ST 2110 and IPMX-ready networks, the ConvertIP series of transmitters and receivers from Matrox is a new family of standards-based IP devices that enable broadcast and pro AV professionals to transform standard and existing infrastructures into interoperable, cost-efficient and scalable 1GbE, 2.5GbE or 10/25GbE networks to support a wide range of compressed and uncompressed 4K AV-over-IP applications and workflows. In tandem with the launch of ConvertIP is the company’s ConductIP signal routing software. Designed to simplify content distribution in AV networks of any size, the industry’s first IPMX-ready signal routing platform features a customisable, 360° view
ready audio, video and ancillary signal on the network.
The ConvertIP transmitters and receivers are built on ST 2110, the NMOS suite of open APIs and IPMX-ready industry-standard-based technologies. Combined with pro AV, JPEG XS and uncompressed codec support, the manufacturer
professionals to use existing 12G-SDI, HDMI and HDBaseT hardware to deliver lightly compressed and uncompressed 4K AV-over-IP transport with sub-frame to zero latency performance. ConvertIP supports both copper and fibre networks, while their compact form factor and fan-less design make them suitable
ADDING TO its catalogue of all-weather fixtures, Chauvet Professional has developed a range of IP65-rated moving heads in the form of Maverick Storm 2 BeamWash, Maverick Storm 4 Profile and Maverick Storm 2 Profile.
The Maverick Storm 2 BeamWash is characterised by its bright output of almost 10,000 lumens. The 18kg fixture features 19 50W RGBW LEDs in its centre pixel array
and an outer ring of 0.2W RGB LEDs. The wide zoom range from 3.6–53.4° can create a multitude of designs from tight aerial beams to wide washes.
The versatility of the BeamWash is enhanced with a pixel-mappable 12-zone RGB LED outer ring that of fers individual pixel control.
Positioned under a stealth filter, the outer ring is easier to incorporate into a wide range of
Maverick Storm 2 BeamWashbased command centre that allows users to access, control and operate all ConvertIP devices from any location. Also included is the ConvertIP Manager application, which features a dashboard view for multi-unit setup/ maintenance and routing operations.
www.matrox.com
designs. Built-in foreground and background LED macros facilitate the creation of pixel-mapped effects. Smooth fades result from its 16-bit dimming, and six distinct dimming modes and the fixture’s user-selectable 7,500K calibrated white together with the pan and tilt movements add further creative possibilities.
www.chauvetprofessional.com
PROLIGHTS HAS unveiled its EclNanoPanel TWC, the smallest member of its EclPanel range, containing all the features of the larger-format soft lights in a compactsized, battery-operated luminaire. The fixture has a 30W RGB+WW source, producing a 1,800-lumen output.
Its colour technology is the same as the other ECL soft lights, producing rich colours, high-quality white tones, colour gel matching and onboard pixel cinema effects. The EclNanoPanel TWC is also Spektra calibrated, matching in colour and whites as the other fixtures in the soft light range.
The EclNanoPanel TWC has three precision encoders, with multiple standalone control modes: CCT with ± green shift, CCT presets, HSI, saturation and intensity, RAW RGBW mode, XY and cinema effects mode. There are also several colour control modes available: RGBW, RGB, CMY, HSI, XY, RAW Direct, CCT Linear and CCT presets with ± green shift, source emulation and industry-standard colour gels. It’s also possible to create pixel-mapping effects through the four-section pixel control, using a USB-C to DMX/RDM cable or the integrated Wireless DMX control (W-DMX and CRMX).
The EclNanoPanel TWC has a long-lasting battery, with selectable battery-life options, balancing a bright output for a shorter time (approximately two hours at full) to a run time of more than 18 hours.
The fixture recharges with a USB-C connector in under three hours. With the EclPanel TWCXL, Prolights has created a bright LED soft panel with a large light aperture for use in large-scale productions and long-throw applications. Maintaining colour fidelity, the 1,500W RGB+WW LED source outputs over 136,000 lumens. Creating a light quality with high CRI, TLCI and TM-30 values, the EclPanel TWCXL comes with a full range of white tones ranging from daylight to tungsten. The panel has a wide CCT range from 1,800–20,000K, colour modes including HSI, RGBW, gels, source emulation and XY coordinates, and is equipped with W-DMX and CRMX. The inclusion of 48 sections with individual control promotes pixel mapping media content.
THE FOCUS Flex from ADJ Lighting is a versatile moving head luminaire capable of creating wash, beam and pixel effects. Designed to provide lighting designers with both flexibility and creative potential, it is suitable for event production and rental applications as well as for permanent installations. The fixture is powered by an array of seven 40W four-in-one RGBW colour-mixing LEDs, each of which can be controlled independently. Through mixing the intensity of the primary LED colours, a large variety of
of the lime LED chip is said to help certain colours appear more vivid and also boosts the CRI to in excess of 90. Offering a wide native beam angle of 80°, the fixture is also supplied with a lens kit. This comprises both 40° and 50° lens options, which securely clip to the front of the fixture to provide a narrower beam angle.
Designed to create aerial effects both inside and outdoors, the Hydro Beam X12 is a moving head beam fixture with an IP65 rating. Incorporating the latest Philips Platinum 12R LL MSD Discharge Lamp technology, the unit creates a piercing beam of light with a tight 2° beam angle. It features 14 colours plus white, including UV, CTO (3,200K) and CTB (6,000K), with support for split colours and bidirectional scrolling. A static gobo wheel features 16 patterns (plus open) optimised for aerial effects, including four beam reducers, and offers gobo shake and bidirectional gobo scrolling effects. The fixture also includes motorised focus, a frost filter to create a wash
ELATION PROFESSIONAL expanded the Proteus and KL series of luminaires with the development of the Proteus Rayzor Blade and KL Profile FC. Housed in an IP65 linear fixture, the Proteus Rayzor Blade is a combination of linear wash, high-intensity strobe line and SparkLED FX. Available with six or 12 independently controlled 60W RGBW LEDs, the Proteus Rayzor Blade provides mid-air beams up to 12,500 lumens of wide and even wash coverage. In addition to wide zoom and dynamic tilt axis, two strobe lines
Elation’s exclusive SparkLED effects add depth and visual impact.
Incorporating a 305W RGBMA LED engine, the KL Profile FC is a full-colour ellipsoidal framing fixture with a 7–50° zoom. Designed for a wide array of applications and capable of outputting 10,000 lumens, the fixture requires no additional lens tubes. A 16-bit rotating gobo slot and full blackout framing system are included with an optional Fresnel wash conversion kit.
www.elationlighting.com
any mood or desired look. The fixture features a convenient Virtual CMY mode, which allows control alongside native CMY colour-mixing fixtures using hardware/software CMY colour picker/pallete tools. It also offers Virtual Foreground and Background Color Wheel control as well as white light output with variable colour temperature between 2,700K and 10,000K. This can be accessed either via linear control or a collection of 10 convenient presets.
The COB Cannon LP200ST is a wash lighting fixture that can be used for a wide variety of applications. It harnesses the power of an efficient 200W COB RGBAL LED light source, which generates an even output with no colour shadows. The unit has a variable colour temperature of
effect and two rotating prisms (sixfacet linear and 24-facet circular).
Finally, the Encore LP32IP is a multifunctional LED wash lighting fixture with an IP65-rated casing. It is part of ADJ’s Lime Par Series of LED fixtures utilising high output four-in-one colour-mixing LEDs that each include individually controllable red, green, blue and lime elements. Each LED is rated at 20W and offers a wide variety of colour options achieved through mixing the four primary colours at varying levels of intensity. These include white light with a variable colour temperature between 2,700K and 7,000K, which can be easily selected using either linear control or preset macros.
www.adj.com
DESIGNED TO withstand inclement weather, yet with weight and size comparable with similar non-weatherproof fixtures, the VL3600 Profile IP comes with a 1,000W monochromatic light engine producing 85,000 source lumens. Thanks to a CMY+CTO colour wheel mixing system, the fixture produces a wide range of rich colours while eliminating the appearance of blades in the lens, improving direct view applications.
With dedicated CRI boost and colour correction filters, colours are
The IP65-rated fixture has been created so that designers no longer need to choose between lighter, non-weatherised fixtures or heavier IP-rated ones, reducing the budget and environmental impact of event or installation. The VL3600 Profile IP includes the manufacturer’s VL*FX animation wheel, as well as gobo wheels, a dual prism and frost, framing system, iris, zoom and focus. The lighter weight and V*Track Calibration System are said to reduce the tension in the suspension and address the “swing after startup” issue.
Proteus Rayzor Blade
KL Profile FC
Hydro Beam X12
Focus Flex
ARRI’S ORBITER LiOS2 software update for the Orbiter LED luminaire aids synergy between cameras and lighting by incorporating three new operation modes – Sync Mode, Cue Mode and Optics Audio Adjust Mode. The three new modes establish new possibilities for crews to work and cooperate both faster and smarter.
changes in different lighting modes. The transition can be selected from five different options, already known from SkyPanel.
The Optics Auto Adjust Mode offers colour stability with any optic and any focus. Utilising the accessory recognition of Orbiter’s QLM (Quick 2 Lighting Mount), the ARRI Spectra light engine is modified to maintain the maximum colour stability no matter which configuration is used, including textiles such as Softboxes or Domes, a reflector in Open Face or lenses such as the new Orbiter Fresnel Lens. Also, with the Fresnel Lens, the LiOS2 software ensures the colour rendition across its entire zoom range. This gives the camera crew time to focus on other important settings.
The first of the three modes, Sync Mode, allows the lighting parameters to be enabled or changed in sync with the camera frames – frame brightness or CCT range can be changed to accommodate new creative ideas. Exact timing is key for capturing dynamic images and Cue Mode reportedly enables precise lighting control on the spot. Besides variable timing and working options, the new Cue Mode even allows for fluid and easy light
Network and remote control are becoming essential on more and more productions and the new DMX Mode Spec V5 allows for more convenient network operation and additional features within the LiOS2 update. For example, the zoom range of the Orbiter Fresnel Lens can be operated, allowing for Extended Colour Control (ECC). All elements are also addressable via RDM.
www.arri.com
THE FIRST product in Claypaky’s Volero line of LED bars is the Volero Batten Aqua. Designed to stand out from other moving battens, the light source is made up of 10 60W Osram RGBW LEDs, which Claypaky reports makes the Volero Batten Aqua capable of emitting a much higher light power than most of the LED bars on the market. Each LED adopts 80mm x 80mm lenses, which is described as an unusual width that allows users more versatility with focusing the power of the LEDs and optimising their luminous efficiency and resolution.
several product units combinable horizontally and vertically, in order to obtain clusters that are conceptually like audio line array systems.
The fixture’s strobe section is based on two strips of very powerful white LEDs and a large beam angle aperture. The blinder and the wash functions are obtained thanks to four large central RGBWW LED reflectors of 100W each, individually controllable in each function through Advanced Layers Management.
The presence of warm white LEDs allows for the “warm” effect typical
SolaPix 19 XT wash luminaire is an IP65-rated SolaPix 19 designed specifically for indoor and outdoor events. It uses a weatherproof housing and sealed glass front lens to deter the ingress of dust, water and other liquids. With a wide variety of looks to help set
the mood, SolaPix features an additive LED, RGBW colour-mixing system for powerful saturated colours and tunable white control, a versatile 4.5–60° zoom range, FleX Effects Engine and Pixel mapping on all models.
www.etcconnect.com
The unit allows separate control of the zoom in two groups from five adjacent lenses to create a dynamic movement of the light beam. In addition, the Volero Batten Aqua also offers Advanced Layers Management, with which the operator can choose to use different levels of effects simultaneously. With its IP66 protection rating, optional Wireless DMX control and a large amount of effects and built-in macros, the Volero Batten Aqua is suited for both touring and installation markets and works equally well for both indoor and outdoor applications.
Claypaky’s Tambora Flash is a three-in-one LED bar that is said to be the only hybrid fixture on the market that can simultaneously act as a strobe, wash and blinder. The Tambora Flash was conceived and developed with the idea of making
of blinders. However, the blinder effect can also be obtained by using coloured LEDs, for a more dramatic effect than usual. Both strobe and blinder effects are reportedly powerful enough that the unit can be used in concerts and live events in broad daylight, and even in bright sunlight.
The Tambora Flash’s core unit is suitable for smaller venues and is contained in a modular design that can be quickly connected together to create larger units for use in bigger venues. The unit offers two quick coupling modes and the adjustment of each single fixture within the cluster on a 30° angle, in order to adapt to every application. The fixture offers an IP66 degree of protection, permitting its use in outdoor applications.
www.claypaky.it
Tambora Flash
GRAEME SPENCER HAS worked in the church/Christian media industry for over 25 years, mainly in the Christian TV broadcast sector. He has also had his own television and video production and consulting company since 2002 and, in late 2020, started a mentoring/ coaching/training-based business to help churches, ministries and individuals develop and grow their skills in the visual and digital ministry.
“I believe the opportunity the church has right now to use digital ministry to connect with people has never been greater or more exciting,” explains Spencer. “I use my experience to help churches in the UK and Europe maximise the opportunities they have. Since the start of the pandemic, the growth in how people are using digital is off the charts, but it has also revealed a big need for more strategic planning and training.”
The company’s main focus at the moment is to help churches assess if they have the right strategy in place to grow and expand what they have started in the digital ministry space.
Spencer has found many people had to start something during the pandemic but are either struggling to maintain it or have found that what they started isn’t bringing the results they were looking for.
“I’ve always believed that digital ministry should be critical for every church but, since the pandemic, things have changed. There is no longer a need to persuade people to consider this –everyone now sees how important this is,” adds Spencer. “But for most, the challenge now is how to build a long-term sustainable strategy that is right for their individual circumstance.”
One of the big changes Spencer believes the HOW market will see is that many churches will change from a livestreaming approach to a more thought-through and nuanced approach. He expects many to start using video content in a way that better serves the audience they are looking to reach. He also believes that churches that continue with livestreaming will also look at
Graeme Spencer, Media Mentoring founder“Then, once you have clarity on that, the tech questions become much easier to answer. I always try and move people away from the tech and towards the strategy –then we can come back and look at tech later.”
One example Spencer points out is a ministry in Germany which was creating a large amount of video content but wasn’t seeing
use it in a way that produced the quality of content they wanted.
Spencer helped train their team to get the most out of the equipment, while at the same time helping the church define its strategy, so it knew which direction it wanted to go in.
Looking ahead to next year, Spencer wants to launch a YouTube channel and possibly a
Speaking at a GOD TV conference
he hopes to see is an increase in the quality of the output people are producing. This, he feels, will be one of the things that will define successful digital ministry over digital ministry that doesn’t fulfil a church’s vision or mission.
Spencer is surprised people often still start with a question regarding technology, such as “what camera should I buy?” He believes that that’s the wrong starting point. “The first and most important thing to work out is your strategy and how you will sustain it,” he explains.
them redefine their strategy and build an infrastructure that would help sustain a long-term vision,” explains Spencer. “They stopped creating as much content and started creating more focused content for their audience and then saw their engagement grow in a way they hadn’t experienced before.”
Another example is a church in the UK which had spent considerable money on equipment only to realise it didn’t have the skills or expertise in-house to
project is to start a brand-new digital ministry academy which aims to provide ongoing training, support and encouragement for churches and ministries who want to see more success in what they are doing with digital ministry.
He says: “Giving practical help, training and support to people is crucial if we want to take full advantage of what the new digital world opens up for us as the church.”
Graeme Spencer, founder of HOW video consultancy firm Media Mentoring, is helping churches deliver a sustainable strategy in digital ministry
Utilizing state-of-the-art object-based mixing technology, L-ISA Processor II provides sound creatives the ability to scale to their project by choosing the license that fits best. Upgrade from the standard 16 outputs license to either 32 for bigger events, 64 for large-scale installations and musicals, or hit the most significant projects at 128 outputs - all at 96 kHz for premium quality sound. As a Milan-certified device, L-ISA Processor II streamlines and secures audio distribution with a redundant AVB and elevates its reliability with a ruggedized 3U chassis and redundant PSU. Unlock the sound possibilities. l-acoustics.com
