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I’ve just about recovered from my first trip to IBC in Amsterdam – it was lovely to say hello in-person to so many people that I’ve been in touch with by email and on social media over the years. The show was buzzing with visitors keen to learn about new technologies and how they’re affecting our industry, and equally how our industry is influencing these new technologies.
On another recent trip, this time a family holiday, I visited an island off the coast of Cannes in the south of France, home to the beautiful Abbaye de Lérins. Two things struck me about the abbey: the
glass windows and hardly any embellishments and statues normally associated with Catholic churches. And yet despite its simplicity, sparseness and the solitude of the 21 monks that live on the island all year round, the abbey had what looked like a very modern sound system with small column delay speakers firing inwards to the centre of the abbey and outwards to the sides, all colour-matched to the stonework. It would seem that even monks need good-quality sound. I hope you enjoy the issue.
Richard Lawn General manager rlawn@worshipavl.com
Nick Smith
Digital media manager nsmith@worshipavl.com
Sue Gould Advertising director sgould@worshipavl.com
Chris Yardley Video editor cyardley@worshipavl.com
Robert Soo, considers the importance of ensuring the main purpose of a service isn’t diluted by the use of AVL technology
IT’S AMAZING HOW TIME FLIES when one is having fun as I’ve once again arrived at my final writing for the year. After touching on the many aspects of AVL’s significance in houses of worship, I was looking for a good way to sum them up in this closing article. Incidentally, I was invited to participate as a panel speaker for an event called PIFA 2024 here in Singapore, and the session was entitled “Transforming House of Worship Experiences while Retaining Traditional Practices”, and then I found my answer! Change and transformation are often inevitable, but we should always remember and respect the traditional practices and, more importantly, ensure the main focus and purpose of a worship service do not get diluted or distracted by the incorporation of technology and that the motivation is not compromised by all the complexities involved.
Let’s first state for the record that I am first and foremost an engineer and definitely a geek when it comes to AVL systems, therefore I’m always fascinated by new technologies and systems that give that “wow factor”. Deep down, I have my roots as a musician and an artiste who loves performing and doing stage productions, so I love to work with ideas and solutions that can help elevate my own artistic expressions and that of others to new levels.
influenced my system designs for all my projects.
Indeed, AVL systems have become an integral part of church worship services, enhancing not only the worship experience but also how the message is delivered to the congregation. I recall a meeting I had with a senior pastor and his church council members to discuss AV system requirements for their newly renovated sanctuary, when the senior pastor asked a somewhat stumping question: “Can we do away with video displays and just use printed handouts like we used to?” A dead silence followed, for everyone else knew
When used appropriately and in full reverence, such video displays can be an effective and positive aid in reinforcing the preacher’s message and perhaps in directing the worshippers’ focus to God’s awesome presence.
segment, from pre-service to worship leading to church announcements and to the preaching of the sermon, relies heavily on visual displays, as this is essentially how both the young and old are used to conveying and receiving information, and the church needs to adopt that communication channel in order to stay relevant.
Some church leaders are concerned that incorporating visually captivating displays like LED videowalls, IMAG and environmental projection will become a distraction to the worshippers, and the congregation will be drawn to watching rather than participating. Such concerns are not unfounded;
Sound systems have their fair share of exciting developments, with immersive audio and electronic room acoustics systems gradually inching their way into worship sanctuaries. When upgrading church sound systems, even if cost is not a deterrent, some leaders have their concerns about implementing such technologies. For example, would the sound experience be too overwhelming and distracting for the congregation (visually it can be quite a sight too)? Would the AV crew and even the musicians become too engrossed in producing creative sound mixes and risk the loss of focus on worship itself?
Stage lighting systems are often regarded as unnecessary and even shunned by some churches due to their close association with performance and entertainment, where stage lighting is perceived as bright flashy colours, moving patterns (gobos) and
The impact that AVL has on church traditions and practices
The issue is the content and not the display
haze machines. But we have learned that stage lighting doesn’t need to be all that and, in a church context, its primary purpose is to provide
If I may digress a little, another major change in church practices is the way members give (tithe). With technology, out goes the offering bag and in comes
services will be run without the use of enhanced sound, special visuals, lighting effects and even
Just an acoustic piano or guitar for accompaniment, providing a refresher on how to worship without all the sophistication of technology and ensuring members are not practise and profess their faith. As I bid farewell to this series, perhaps it is good to reiterate an emphasis I made in my very first article back in 2022 – that above
all the strive for higher quality and standards in AVL systems and practices, we need to constantly remind ourselves that “the main purpose of any church AVL setup is to support the platform ministry and to provide the right conducive environment for everyone to worship and commune with God”. It’s been an absolute joy contributing to Worship AVL magazine again this year, and not forgetting the positive and encouraging feedback I’ve received from readers. Until next time, take care and God Bless.
Some members are switching to online worship services
Wireless mic drop
Don Boomer lists his top three wireless mic problems and how to solve them
WIRELESS MICROPHONES ARE prone to interference, noise, dropouts and many other RF problems that can be disastrous for both live productions and installed systems. Here are the three most common problems and a few basic techniques to solve them.
1. Multi-path interference
Multi-path interference is when portions of RF energy arrive at the receiver’s antenna at slightly different times. You may remember an example of this
systems use this scheme today. They use two antennas that have different perspectives, instead of one, and employ a switching function that discriminates between the relative strength of the two signals. The odds that a null develops at both antennas is much lower than with a single antenna.
However, the design of the diversity receiver can solve one problem while introducing another: a poor signal will often cause the system to rapidly switch back and forth between
as “ghosts” in the analogue TV days. Radio waves always travel as straight lines, so to get around a corner they must bounce. As a transmitted wave spreads, it encounters surfaces that reflect or absorb different parts of the wave. As these waves bounce off and around surfaces, they arrive at the receiver at slightly different times and therefore out of phase – creating dropouts and dead-spots for wireless microphones. In addition, the polarity of the wave flips 180° every time it reflects off a surface. When these signals mix in your antenna, they almost always cause signal cancellation and therefore dropouts. Multi-path is particularly problematic for microphones since they are constantly in motion and changing angles. Reducing multi-path interference is usually straight forward. The diversity microphone receiver was designed to reduce interference caused by multi-path, and virtually all professional mic
antennas, leading to quick dropouts and “swooshing” sounds caused by switching noise. If your system encounters multi-path interference, the first thing to do is to relocate your receivers – or better yet, install a good remote antenna system. Employing a polarisation diversity antenna will eliminate crosspolarisation dropouts by providing the receiver with an improved signal on both branches of the diversity switching function. This causes receivers to maintain signal quality without all the switching and signal dropouts.
2. Noise floor and interference
It’s important to understand that all environments are a soup of radio waves. Most of that energy is caused by other electronic devices emitting stray (unintended) RF – computers, videowalls, LED lighting, power supplies or anything with a motor – just about any powered device.
Wireless mics need a sufficient signal-to-noise ratio to stay above this ever-present ambient noise “floor”. In general, the closer the wireless receivers (or remote antennas) are to the wireless mics, the better. This provides the transmitter and receiver a shorter distance and stronger signal which presents a higher signal over the noise floor.
Additionally, adding the appropriate band pass filter can typically reduce your noise floor by 6–15dB. The use of high-quality, 100% shielded coax cables can reduce the ingress of stray RF into your system as well. Using these specialised antennas and signal management techniques can be the difference between success and failure.
3. Intermodulation distortion and frequency coordination Frequency coordination is essential in wireless systems to avoid
signals passing through a nonlinear device, such as an amplifier. IMD manifests as ghost signals from wireless mic bodypack or handheld transmitters. These appear at predictable frequencies in the RF spectrum. If these ghosts are too close to one of the frequencies used by your microphone, audible distortion can result.
By carefully selecting frequencies, you can force the IMD to occur only at frequencies that we don’t care about, and avoid those interference events altogether. This is most commonly achieved through determining an “intermodfree” set of frequencies, which can be accomplished through various software tools like RF Venue’s Wireless System Builder or Shure’s Wireless Workbench, IAS, Wireless Manager and even on board some receivers. But getting an elegant solution from these programs
not only third-party transmitters but also the harmful effects of intermodulation distortion (IMD). IMD is the result of two or more
requires providing them with the best possible data.
Elevating the worship experience
AT SUN VALLEY COMMUNITY CHURCH
PANTHER is creating this experience from front to back, left to right, that’s so immersive. It’s changing the worship culture.
–– Matt Kotthoff, SVCC Production and Integration Lead Director
With seven campuses and a streaming channel, Sun Valley Community Church, based in Gilbert, Arizona, reaches more than 70,000 congregants weekly. When SVCC wanted to support expanded programming with state-of-the-art sound technology at its main campus, the church turned to a Meyer Sound system consisting of PANTHER large-format linear array loudspeakers paired with 2100-LFC lowfrequency control elements.
The result? An immersive, intimate sonic experience that extends from the front row to the balcony. Speech is delivered with incomparable clarity. Music is dynamic and enveloping. Most importantly, even
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with thousands of people in the room, each congregant feels like the pastor is speaking directly to them.
Versatile solutions for every house of worship
Houses of worship of every scale rely on Meyer Sound to support their vision with the highest-quality sound systems available. Meyer Sound offers versatile solutions that suit any application, from discreet wall-mount loudspeakers to portable systems to line arrays. They’re simple to operate, deliver consistent coverage, and can be expanded as your needs grow. Choose the company relied on by the world’s greatest artists and most prestigious concert venues: Meyer Sound.
Don’t just hear it. Hear it right.
Visit meyersound.com/news/svcc to learn how Meyer Sound helped SVCC amplify its message with premium sound.
Building connections
Sam Kamel, CEO at Bitcentral, looks at how to build religious-based communities in the digital age through the power of video
THE GROWING IMPACT OF digital video brings new opportunities to religious, spiritual and faith-based communities. The demand for religious video content is surging with about a quarter of US adults1 regularly streaming content to enhance or replace their church-going experiences.
Delivering video content at the scale required to reach audiences across geographies and meet diverse language and accessibility needs is a challenge for religious organisations that lack specialised technical skills and advanced digital infrastructure. However, as video management and streaming evolve and become cheaper, easier to use and more powerful, churches and religious groups are empowered to connect with worshippers anytime and wherever they are. With video content now produced and distributed rapidly, digital video platforms are turning into centres for multi-platform live and on-demand worship. Additionally, religious organisations can build bigger and highly engaged communities by delivering high-quality, multi-language broadcast content cost-effectively.
The broadcast transformation
can harness the full benefits of video distribution.
First comes content management
enables religious organisations to fully control content distribution, whether through live broadcasts or making content accessible at specific times.
viewer engagement and satisfaction. However, effectively managing and delivering these accessibility features while maintaining high content quality is a complex challenge. It requires the right technology and support systems to ensure digital content reaches the right viewers in the right way.
Ensuring reliable user support for a seamless experience
Religious groups are transforming into media companies leveraging digital innovation to distribute their content globally, spreading their spiritual messages worldwide. As with any transformational journey, religiousbased organisations must address several challenges to ensure they
Houses of worship maintain diverse libraries of live and on-demand content, ranging from services and sermons to Bible readings and family-friendly movies. Effective deployment of robust content management systems allows these organisations to maximise the potential of their video assets, expand their reach, enhance engagement and drive growth. The foundation of a successful video strategy is rooted in search and discovery. The most efficient solutions can swiftly and accurately categorise, organise and provide users with easy access across multiple devices and languages. The right video management solution
Tackling scalability and stability
Strengthening and expanding connections is essential for all communities, particularly for religious ones. Religious digital content is vital for efficiently spreading messages beyond institutional borders. However, viewers demand a high-quality video experience without buffering, pixel loss or other distractions. Hosts must anticipate and manage large audience spikes during live worship service streams to prevent outages. Successful video streaming solutions must operate seamlessly and reliably from ingest to delivery of high-quality, low-latency video across multiple platforms with an uncompromising viewer experience. Only robust infrastructures can scale efficiently and adapt to rapid audience fluctuations without compromising video quality and user experience.
Embracing inclusivity through multi-language support
Houses of worship prioritise inclusivity and accessibility. Integrating features like closed-captioning, autotranscription and support for multiple languages and dialects expands
As with any modern digital solution, the end user experience is a key success factor. Providing subscribers with timely assistance, effective issue resolution and positive platform engagement is paramount. The best way to achieve this is through a scalable, 24/7 user support system. These systems ensure that user enquiries and issues are addressed promptly and effectively. Around-the-clock support enhances the overall user experience and strengthens the trust between an organisation and its community.
Harnessing digital content
Religious groups of all sizes are increasingly moving their content and services to streaming. By leveraging innovations in video delivery, they can explore new ways to expand their reach and connect with digitally savvy younger audiences who prefer the convenience and accessibility of mobile streaming.
While creating engaging content is the essential first step, managing and distributing video across geographies, languages and platforms is key to building strong communities. Delivering high-quality, accessible content not only leads to great viewing satisfaction but also creates the immersive experiences that viewers expect. The shift to streaming video content can be simple. With the right technology partner, religious organisations can seamlessly transition into digital video delivery, making it a fulfilling experience for their communities. www.bitcentral.com
Sam Kamel
Image courtesy of TBCo, Nashville, Tennessee
Image courtesy of Oak Creek Assembly of God/Sven Pro
ATEM Television Studio 4K8 is a professional live production switcher built into a broadcast control panel so it can be used for high end work while being extremely portable. You get a powerful switcher with 8 x 12G-SDI standards converted inputs, 10 x 12G-SDI aux outputs, 4 chroma keyers, 2 downstream keyers, SuperSource, 2 media players and lots of transitions!
Easy to Use and Fast to Learn!
There’s never been a switcher that’s easier to use, as you simply press any of the program row buttons 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. You can even add a DVE for picture in picture effects with customized graphics. Then you can live stream the results!
Self Contained Broadcast Quality Switcher
The ATEM Television Studio 4K8 combines a switcher and control panel into the same unit, so it’s extremely portable. The front panel includes buttons for selecting sources, triggering transitions and setting up video effects. You also get a built in t-bar for manual transition control! The front panel even has an innovative audio mixer control area with live metering on a dedicated LCD.
Powerful SuperSource Processing!
In addition to the DVE in the ATEM Television Studio 4K8, there is also a powerful SuperSource multi layer processor! Any video input can be used as sources for each DVE, then it’s all layered together over a media pool custom background or live video. SuperSource is perfect for interviews because you can set up the effect so the viewer can see each person being interviewed all within a stylish graphic.
Built In Fairlight Audio Mixer
With a built in Fairlight audio mixer, ATEM Television Studio 4K8 makes it possible to do complex live sound mixing. The internal mixer features enough channels for all SDI inputs, as well as extra channels for the XLR, RCA and MADI inputs! Each input channel features the highest quality 6 band parametric EQ, compressor, limiter, expander and noise gate as well as level and pan controls.
ATEM Television Studio 4K8
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Consistent coverage
Luthérienne de France. These two churches originated in the 16th century during the Reformation movement and founded the Fédération Protestante de France in 1905. There are over 450 protestant parishes, 1,000 places of worship and 500 vicars that make up the EPUdF, which is broken into nine regions across the country. JeanFrançois Baudet is the digital project manager for the EPUdF West, which covers major cities such as Nantes, Le Mans and La Rochelle.
“While there was no sound system in the 16th century, today, auditory comfort for parishioners is both a technical necessity and an evangelistic goal,” explains Baudet. “‘Better hearing, better seeing and better communicating’ are the three pillars of audiovisual renovation for all EPUdF churches in the western region.”
The EPUdF West receives a continuous flow of renovation requests for the churches in its catchment across the year, with nearly 25 applications processed over the last 12 months. However, the capacity to
Each church can choose between using the EPUdF’s regional digital project manager or an external service provider. However, the majority opt for this regional service. “The process is simple,” adds Baudet. “During a meeting with the church’s presbyteral council, the project manager guides them through a 360° questionnaire on ‘better seeing, better hearing and better communicating’ and then translates the parish’s needs into equipment.”
Factors taken into consideration on the questionnaire include whether the sound system needs to be fixed or mobile, how many microphones are required, whether the service is streamed live and whether it’s possible to install a fixed screen in the sanctuary. Once the questions have been answered, a technical dossier is created and validated by the presbyteral council. This is then submitted to the national funding office. After obtaining the funds, the digital project manager and a team of volunteers purchase and install the
Having the same brand of speaker in every installation simplifies maintenance and support
equipment, followed by training and support.
Baudet explains that there are three major advantages to the system. “First, this centralised management results in a 30–50% reduction in audiovisual costs compared to external companies. Purchases are made through framework contracts with negotiated prices from certain suppliers. Second, all local churches speak with each other and the feedback from all the churches leads
to highly adapted equipment choices. Finally, working with parishioners ensures strong project support. These volunteers often become the most dedicated and motivated at the end of the process and training sessions become moments of community building.”
Baudet describes the relationship between the EPUdF West and Active Audio as “well-established”. After receiving photos and plans of each installation, Active Audio conducts
an acoustic study to define the type,
manufacturer in every church is a very original way of working but it’s also very efficient. The idea is to create one
speaker system and duplicate it in all the different locations, regardless of the architecture.”
Choosing both a French – and a local – speaker manufacturer was also an important deciding factor for the EPUdF West. “They like that we are French, but they also like the strength of the relationship they have with us,” continues Grandmougin. The EPUdF West’s AV division is based in Nantes, very close to Active Audio’s factory. “Our proximity makes it easy to develop new ideas or for us to provide the digital project manager with any necessary training. They really appreciate the direct contact with the factory.”
“The range of Active Audio columns is broad, which allows us to choose the appropriate equipment based on the varied dimensions of our churches,” concludes Baudet. “Their 3D simulation software is also a valuable asset. Consideration, customer service, responsiveness and reliability are significant strengths of Active Audio. For our churches, Active Audio products provide all the security they need to ensure their services run without any complications, every day of the week.”
www.arbane-groupe.com www.epudf.org
Active Audio is the preferred speaker manufacturer for all Protestant church upgrades in the west of France
Seven considerations for elevating worship experiences
AtlasIED considers the seven most important factors for creating intelligibility during a worship service
IMAGINE ATTENDING A WORSHIP service where prayers, sermons and hymns are muffled or distorted, making it challenging to connect to the intended message. Clarity and crispness of sound, or intelligibility, play a pivotal role in the effectiveness of communication during religious events. Whether it’s the pastor delivering a sermon, the choir singing hymns or a scripture reading, every word holds profound meaning. Without clear intelligibility, the impact and resonance of these messages can be lost, leaving congregants feeling disconnected and less engaged. Intelligibility is often considered one of the most crucial components for religious events, masses and worship services for several reasons:
the religious community, allowing a diverse group of people to feel connected and involved.
1. Communication of religious messages: Worship events typically involve the communication of religious teachings, scriptures and messages. Intelligibility ensures that the audience can clearly hear and understand the spoken word, enabling them to grasp the intended meaning and teachings of the religious leader or speaker.
2. Active anticipation: Worshippers are encouraged to actively participate in rituals, prayers and responses during religious services. Clear and intelligible communication allows attendees to fully engage in the worship experience, responding appropriately to the prayers, readings and sermons.
3. Community bonding: Gatherings often serve as a communal experience where people come together to share their faith. Intelligible communication fosters a sense of unity and togetherness as everyone can follow the proceedings and participate collectively in the worship activities.
4. Inclusivity: Intelligibility helps ensure that everyone in the congregation, regardless of age or hearing ability, can comprehend the messages being conveyed. This promotes inclusivity within
5. Emotional impact: Religious services often aim to evoke strong emotions, inspire devotion and facilitate a spiritual connection. Intelligible communication enhances the emotional impact of sermons, hymns and other elements of the worship service, helping attendees connect with their faith on a deeper level.
6. Education and guidance: Worship events often include educational components, such as sermons that provide guidance on moral and ethical principles. Intelligibility is crucial for the effective delivery of these teachings, ensuring that the congregation can absorb and reflect on the spiritual lessons being imparted.
7. Respect for tradition: Many religious traditions place a strong emphasis on the spoken word as a means of transmitting sacred knowledge. Intelligibility upholds the respect for these traditions by ensuring that the sacred texts and teachings are conveyed clearly and reverently.
Intelligibility in worship events contributes to a meaningful and enriching experience for all participants. Creating a conducive environment for spiritual connection is paramount.
One often overlooked but crucial aspect is the role of premium audio technology to ensure a clear and immersive experience during church and worship services. The key to a truly uplifting and transformative worship experience lies not only in the spiritual content but also in the delivery and reception of the message.
Premium audio technology
HOUSES OF WORSHIP ARE typically among the more acoustically challenging environments, often constructed of highly reflective materials such as stone and glass. To address the challenge of clear intelligibility, many houses of worship are turning to premium audio technology such as steerable column arrays. This advanced audio equipment goes beyond the capabilities of standard systems, offering a heightened auditory experience that elevates the overall worship atmosphere.
In the pursuit of creating a spiritually enriching environment, houses of worship should prioritise the enhancement of audio technology. The investment in premium audio systems not only improves the overall worship experience but also demonstrates a
commitment to providing congregants with a space where the divine message can be heard with clarity and reverence. By ensuring clear intelligibility, these advanced audio solutions contribute to a more profound connection between the worshippers and the divine, fostering a sense of unity and spiritual growth within the community.
If you’re looking to enhance your worship environment, AtlasIED has a lot to offer. We specialise in audio technology that can optimise acoustics, improve communication and create a truly immersive experience for your congregation. Whether you’re in need of better sound quality, clearer speech or a more engaging atmosphere, our team can help. To learn more about how your organisation can leverage our expertise, please don’t hesitate to get in touch with us. We’re here to assist you and answer any questions you may have.
The Aimline series
Aimline installation at the Observantenkirche in Münster, Germany
HIGH DEFINITION SOUND
HL 6
SYSTEM THE SIZE YOU REQUIRE. THE POWER YOU DON’T EXPECT.
Discover the power of the RCF HL 6, an ultra-compact speaker system designed for maximum impact in diverse settings. Alongside the HL 35-S flyable subwoofer, this lineup delivers exceptional sound across the spectrum with a minimal visual footprint. Efficiently powered by a single XPS 16K amplifier for up to 6+6 HL 6 arrays and 3+3 HL 35-S subs, it ensures seamless integration and superior audio performance in a surprisingly lightweight package. The HL 6 system adapts effortlessly to your environment, providing clarity and coverage beyond expectations for such a compact setup.
Raising the AV Production Bar in HOWs
AJA considers the importance of high-quality yet intuitive equipment for HOW volunteers to operate
WHEN IT COMES TO ATTRACTING
and engaging congregants in today’s digital era, more houses of worship (HOWs) are turning to highquality video production. Churches, mosques, synagogues and other religious facilities are leveraging dedicated AV workflows ranging in scale and complexity to deliver live video across campuses, as well as to produce live and on-demand video content to share with online audiences.
In some instances, workflows comprise a simple camera, streaming device and Content Delivery Network (CDN), whereas others are more elaborate. Megachurches that run multiple satellite campuses, for instance, often require dynamic graphics tools and IMAG capabilities. Regardless of the setup, versatile, reliable gear that can deliver high-quality, low-latency audio and video is key. That gear must also be intuitive enough for volunteers to operate. This is where tools like AJA’s Ki Pro GO2 multichannel HEVC/AVC recorder, Dante AV 4K-T transmitter and Dante AV 4K-R receiver shine.
Generating highquality recordings for content creation needs
Turning over high-quality recordings quickly for online audiences to view on demand has become paramount
Multiple Ki Pro GO2 units can be combined for “group recording”, should a HOW require it, and the device is equipped with extensive connectivity options, including four 3G-SDI and four HDMI digital video inputs. It also features flexible channel assignments and is compatible with a broad range of video sources, from professional and prosumer cameras to DSLRs. Conveniently, there’s no need to genlock video sources because of integrated input frame synchronisers, while high-quality de-interlacers on each input enable progressive recordings from interlaced sources.
Robust audio capabilities, including high-quality, two-channel embedded audio or balanced XLR analogue audio that can be assigned to any
for many HOW AV teams, and AJA’s Ki Pro GO2 recorder is making the process easy and cost-efficient. The device’s intuitive web-based UI and built-in LCD display ensure that anyone can record services and events in high-quality HD 1080p H.264 or H.265 to off-the-shelf USB drives and/or network storage. HOW teams can use it to produce higherquality video at lower bit rates, and
media status and audio meter overlays on SDI and HDMI monitor outputs, providing additional visual information as required.
Managing audio and video across locations on-campus
Sending audio and video to various locations is also often a necessity for HOW AV teams, whether to an overflow room, event hall or other locations. For facilities with an existing Dante audio network, or those considering one, they can also easily transport and control ultra-low-latency, professional-quality 4K/UltraHD/2K/HD/VESA Dante video and audio to/from 12G-SDI or HDMI 2.0 devices over a 1 GigE Dante AV network. Integrating technology like AJA’s Dante AV 4K-T transmitter and Dante AV 4K-R receiver offers a simple solution. These devices allow AV teams to route video and audio to anywhere
recording channel, are another standout feature, while multichannel matrix monitoring enables HOW production teams to view multiple video channels on a single HDMI
they can connect an AJA Dante AV 4K-R receiver and output the signal to 12G-SDI and HDMI 2.0, so that they can easily broadcast services to wherever they need. The device
grade Dante AV management platform (available for purchase through Audinate’s valued resellers worldwide), which gives HOW technical directors and teams greater control when routing and connecting multiple Dante devices across a church campus.
The Dante AV 4K-R also provides the ability to scale from UHD to HD, so HOW teams can receive a 4K signal, and display that to external devices that support 1080p. Both the 4K-T and 4K-R also offer subframe, ultralow latency and time synchronisation, while keeping the timing of video and audio precisely aligned across the network – ensuring perfect lip sync to screens. This is especially crucial when sending IMAG video to projection screens, LED walls in the sanctuary or even TV monitors outside the doors.
These devices also provide extensive flexibility, supporting conversion of one channel of video and up to eight channels of audio to/from 12G-SDI and HDMI 2.0 equipment to/from a Dante AV network, via the integrated Dante AV Ultra codec. HOW teams can leverage them to select mixes from an aux send output on their consoles and then embed that audio feed to multiple video destinations.
Visit www.aja.com to find out how AJA Ki Pro GO2 and Dante AV 4K-R and 4K-T can improve your HOW workflow.
Journey of discovery
KNOWN AS SPAIN’S GOTHIC jewel, or the Cathedral “Primada” of Spain, Toledo Cathedral is currently playing host to a 50-minute experience taking visitors on a nocturnal, sensorial and personal cultural journey. Using light, sound and video projections, Lumina Catedral de Toledo features the mapping of large-scale artistic and architectural elements within the building, precise and captivating surround sound and a lighting design that makes the cathedral’s architecture appear even more impressive.
Overseeing the project is Alfonso López Rivera, managing director of the Meraki Cultura Audiovisual. “Lumina Catedral de Toledo is a multimedia and cultural nighttime experience that is unique in the world,” he explains. “The idea for Lumina arose from the desire to create an innovative initiative that would combine the most advanced technology with culture, history, art, tradition and spirituality. The project aimed to fill a gap in
the nighttime cultural and leisure programming of the city of Toledo and to make it possible to enjoy the Cathedral ‘Primada’ of Spain, a monument that has been declared an Asset of Cultural Interest, in a completely new way that respects its conservation.”
Meraki Cultura Audiovisual designed and developed the project from the beginning. The team is multidisciplinary and made up of 29 historians, professional scriptwriters, audiovisual engineers, video mapping technicians and communication specialists. Working in close collaboration with architects, curators and the “Cabildo” church institution, the team has created a nocturnal cultural experience that respects the monument and temple in which it is located, as well as making a qualitative and quantitative leap at a technical level designed to impress and excite visitors through a unique sensory journey.
aspects,” continues Rivera, “from setting up the multidisciplinary team of experts to finding, selecting, acquiring and installing the audiovisual technology implemented, taking into account absolute respect for the monument and the requirement for it to respond to the needs of the script and the artistic direction.”
Making such a complex installation in such a sensitive location posed many challenges for everyone involved. “If I had to highlight one part, it would probably be the integration of the lighting technology and its synchronisation with the other audiovisual media in Lumina,” explains Rivera. “We tried to hide all the lights as much as possible and direct the viewer’s gaze towards the experience itself. As for the sound, it was also a special challenge, due
to the large dimensions of Toledo
When selecting the luminaires, Rivera focused on very specific characteristics from the outset, namely size, weight and silent operation. It was also important for the movements and control paths to be precise and linear, as the details of the cathedral’s architecture are repeatedly emphasised by extremely slow panning, tilting and dimming movements. “By using four Cameo OPUS SP5 FC profile spotlights and 14 EVOS W3 wash lights, we are able to give to the audience the exact impressions we were looking for,” adds Rivera. “Four ZENIT W600-Ds also had a special job: we used them to illuminate two of the cathedral’s most beautiful stained-glass windows from the outside.”
The project also required compact loudspeakers that could cover the enormous dimensions of the Toledo Cathedral and, at the same time, provide high speech intelligibility. Rivera specified 18 LD Systems CURV 500 S2 array satellites, 12 CURV 500 SLA 70/100V SmartLink adapters, four CURV 500 I SUB 10-inch installation subwoofers and four CURV 500 I AMP four-channel Class-D installation power amplifiers. “As LD Systems’ CURV 500 is a modular system, we were able to adapt it perfectly to the requirements onsite,” concludes Rivera. “For budget reasons, we had to use some loudspeakers from the previous installation at the start of production. They will now gradually be replaced by CURV 500 systems. The sound is more precise, transparent and natural at every step.”
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Forwards momentum
An almost continuous phase of audio, video and lighting upgrades at Cottonwood Creek Church has helped dramatically improve the quality of the experience for both in-person and at-home worshippers
COTTONWOOD CREEK CHURCH
in Allen, Texas, has been a church on the move. Founded in 1882, it has moved house several times over the past 140 years, with a common theme emerging every time – the congregation just keeps on growing. Starting out as Mount Olive Baptist Church in a small building in the countryside surrounding McKinney, the HOW moved to Fairview in the late 1950s and into its first brick-and-mortar property. Three further moves followed in 1986, the mid- and the late 1990s, each time because the church was struggling with capacity. The last move saw Cottonwood Creek arrive at its final destination where the church bought some property and 40 acres of land. With available space to grow, the HOW expanded the facility in 2004 and again in 2019. Today, the main worship centre currently has the capacity to hold just over 2,400 worshippers.
“One thing that happened during the pandemic is that it drove churches online but we’d been broadcasting as well as producing on-demand content since 2008, so we were able to make the switch quickly to have everything either live or online,” explains Will Chapman, online
minister at Cottonwood Creek Church. However, it was during the lockdowns that the church team realised that improvements needed to be made to the quality of the audio, video and lighting equipment. With an increase in staff and funding, the church was able to move forward. “The leadership
team came to me and said that they wanted to take our digital content to a level where people at home could feel connected and just as engaged as they would be in the sanctuary.”
Cottonwood Creek made its first investment in Panasonic equipment back in 2020 with the manufacturer’s 150 Series PTZ cameras. “We were really pleased with the cameras’ optics, even though we were only broadcasting in 720p at the time,” describes Chapman. “But what really made a lasting impression on us back then was how the Panasonic rep Carl Hicks gave us a roadmap of where we could go in the future to develop our entire video production system with Panasonic Connect. We knew we wanted to continue to grow and he laid out a path for us not only from a budget point of view but also from a production and engineering standpoint
The main control room at Cottonwood Creek
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PROJECTS
so we would have time to increase our funds and also increase our staff and volunteers to manage the new equipment.”
In 2021, Cottonwood Creek decided that the main cameras and video switchers in the worship centre weren’t meeting the church’s needs. “We met with James Long and Carl at CFX and decided to the make the investment in two Panasonic AK-HC3900 studio cameras along with box lenses from Fujinon,” explains Brycen Welborn, Cottonwood Creek’s AVL systems director. “Once they’d been fitted, we couldn’t believe the difference. At this point we also started to talk about Kairos and took part in a demo at InfoComm in Las Vegas, so we were familiar with the product. In early 2023, Panasonic sent us a single server and a controller to demo for three months and there was no question that we would purchase the product at the end of the trial.”
Mixed in with the upgrade to Kairos, the church invested in further Panasonic cameras in the upstairs
song lyrics or key takeaways. People have commented that the detail is incredible and they can see things that they weren’t able to see before.”
Further iColor HDR LED screens were then added to the sides of the stage in late 2023, with an additional three
much as implementing a new system so it was in the best interest of the church to invest in something new and enhance clarity, coverage and sound for new seats.”
education wing. “We’re constantly looking at ways that we can turn to the Panasonic ecosystem because Kairos gives us control and function over every room,” adds Welborn.
In late 2021, the church invested in a large 13.4m x 6m (WxH) Absen LED videowall behind the stage. Instead of having to dedicate time and money redoing the stage for every sermon series, Cottonwood Creek can now use the videowall to create visual elements for any service. “We use it to display key points the pastor wants to emphasise and it adds an engaging visual element to the service,” explains Welborn. “The screen serves as a piece we can take apart, grow and make stronger, plus it can be controlled by Kairos for added flexibility. We use a program called Resolume to generate the backgrounds, which are ingested into Kairos, which then pushes out the background and allows us to overlay
small LED screens fitted on the back wall which can be used by the worship team to look out at the audience and see the lyrics.
Along with the growing Panasonic infrastructure, the church recently implemented an upgrade to its audio system with the purchase of a TT+ Audio line array system.
Sixteen GTX 12 line array speakers are supplemented by 12 GTS 29 subwoofers in end-fire configuration. Centre-, out- and delay fills are all TT4 powered point source speakers.
“I believe Cottonwood is the first permanent installation in the world of the GTX series,” adds Welborn. “Upgrading the speakers wasn’t initially on our radar but the church has grown 20% since Covid. We launched a campaign to create more space, including building a new youth facility and adding stadium seating to our worship centre. Upgrading our old PA system would have cost almost as
Cottonwood Creek went through a two-part lighting upgrade in 2019, followed by a further campaign during Covid with new fixtures purchased at the same time the PTZ cameras arrived. “Updating the lighting was necessary when we implemented the PTZ cameras because everything had to look the best it could on video,” describes Welborn. “Any time we got a new camera, we needed new lights to enhance the quality. While we had been streaming before Covid, the visual quality of those livestreams would not meet the standards of remote worship at the time. We now have a mixture of Chauvet and Artfox lighting – we see lighting as key to enhancing the worship experience by giving our stage a vibrant colour palette. We’ve moved away from conventional lighting to all LEDs, except in some of our beam fixtures.”
It’s been a steady upwards trajectory for the church over the past four years, but a path that Chapman feels has been taken at the right speed. “We need to make sure that we can walk before we run – there is so much that Kairos can offer us but we’re probably only using about 15–20% of its capabilities at the moment. As we upgrade all our equipment, we need to be able to upgrade our backend infrastructure to be able to support the new technology – we need to make sure that our engineering spaces and routers can support everything we’re doing now and in the future.”
taking most of the available funds but we’d like a studio package for our comms office which is currently using eight- or nine-year-old cameras. We’d also like a jib for our worship centre so we can use some Varicam-type cameras, and for our large group and children’s spaces we want to put in some PTZs so we can start streaming the children’s services on Sundays. It’s a really exciting time to see our ministries grow and reach more people. New members nowadays mostly come to church for two reasons – because they’ve received a personal invitation or they’ve watched a service digitally. Without the quality of the digital service, they’re not likely
The proof is certainly in the pudding, with the church’s at-home worshippers commenting on the improved quality of the digital ministry. “They were giving us feedback saying how much the production value had improved, that the colours were brighter and the cameras were moving more smoothly, so we know we’re definitely on the right path,” adds Chapman.
Despite the scale of the setup, there’s still a wish list of further equipment the church would like to purchase. “There’s a building campaign at the moment which is
The Kairos platform has helped the church improve the experience for in-person and stay-at-home worshippers
The church uses an extensive Panasonic setup
The HOW invested in Panasonic 150 Series PTZ cameras in 2020
Promoting peace
Attendees at the Jalsa Salana UK 2024 were able to strengthen their link with God, increase their religious knowledge and rejuvenate their community bonds
THE ANNUAL CONVENTION OF the Ahmadiyya Muslim Community UK took place at the end of July. It is the UK’s largest Muslim convention that brings together more than 43,000 participants from more than 100 countries to increase religious knowledge and promote a sense of peace and brotherhood. Eminent speakers discussed a range of religious topics and their relevance to contemporary society. Additionally, a number of parliamentarians, civic leaders and diplomats from different countries also addressed the gathering and underlined the convention’s objective of enhancing unity, understanding and mutual respect.
The Ahmadiyya Muslim Community was founded in 1889 by Hazrat Mirza Ghulam Ahmad of Qadian, India, who organised the first Jalsa Salana (which means annual convention) in Qadian in 1891. He claimed under divine guidance to be The Promised Messiah and Imam Mahdi, whose advent was awaited by the major religions of the world. He championed the peaceful teachings of Islam and inspired his followers to build a strong bond with God and to serve humanity with a spirit of compassion and humility.
“The community is now established in more than 210 countries and it spearheads an international effort to promote the true message of Islam, service to humanity as well as a global peace campaign to champion respect
and human rights for all,” explains Mahmood Rafiq, head of external relations for the Ahmadiyya Muslim Community UK. “The UK chapter of the community was established in 1913 and now has 147 branches, making it one of the oldest established Muslim communities in the UK.”
With the first annual convention held in the UK 58 years ago, the event has grown over the years and is now held at Hadeeqatul Mahdi, Oaklands Farm in the countryside of Alton, Hampshire. The 210-acre site is transformed into an event village during the convention period with over 240 marquees and other advanced infrastructure. It is then returned to its natural state within days after the event. All this is achieved with the help of over 7,000 volunteers.
“The special feature of the convention is the presence of the Caliph, His Holiness Hazrat Mirza Masroor Ahmad, the head of the worldwide Ahmadiyya Muslim Community,” adds Rafiq. “He addressed the convention over each of the three days, providing an invaluable insight into religious teachings and how they are a source of guidance for the world today.
His Holiness frequently meets with parliamentarians and heads of state and has delivered keynote addresses at the United States Congress and the European and the UK parliaments.”
The event was also broadcast live globally via satellite TV on Muslim Television Ahmadiyya (MTA) International in up to 12 languages. Onsite, live translations in up to 20 languages are provided via headsets. In addition, it was broadcast live on the community’s digital (DAB) 24/7 radio station, Voice of Islam. Through this, Jalsa Salana reaches millions worldwide.
“We also introduced several new events this year,” says Rafiq, “including improved interactive displays, exhibitions showcasing freedom of religion or belief, exhibits highlighting the impact of the Israel–Gaza conflict and calling for the need for peace, as well as an exhibition showcasing the
humanitarian work the community does across the world.”
All audio and video equipment for the event is rented, with the organiser calling on the services of RG Jones for the last few years. Sound for both the men’s and women’s marquees is a Martin Audio solution consisting of WPS and MLA Mini optimised line arrays with additional FP12 coaxial point source speakers providing out-fill. A Yamaha Rivage system was provided for front of house control with a PM5 in the men’s marquee and a PM10 in the women’s, with everything working on a Dante network.
“A further ground-stacked Martin Audio MLA compact line array system along with Martin Audio and L-Acoustics’ point source boxes were used to provide support for the outside overflow areas,” describes Rafiq. “The perimeter of the site, where people queue to enter, was covered with TOA 100V horn speakers, with local control systems fed via a 2W RF link. RG Jones also supplied us with a range of Shure Axient Digital microphones for use in various areas across the site.”
To cover the replay of live content, AV and IT supplier DBpixelhouse provided a range of LED screen solutions, including three Unilumin UPAD III 2.6mm SMD LED screens in both the main men’s and women’s tents. The three displays consisted of a single 6m x 3.5m screen positioned next to the main stage, providing a 2,307x1,346 resolution, with two
Broadcast cameras were hired for the livestream
The Jalsa AV team with national president Rafiq Hayat
Mission accomplished
The Shrimad Rajchandra Mission has a new spiritual complex at its Dharampur ashram
NAMED IN HONOUR OF SHRIMAD Rajchandra, late 19th-century selfrealised saint, poet, philosopher and reformer of Jainism, the Shrimad Rajchandra Mission was founded by devotee Pujya Gurudevshri Rakeshji in order to pass down the spiritual legacy. Today, the mission operates through more than 200 centres across six continents. On a quiet hill outside Dharampur in Southern Gujarat is its international headquarters, Shrimad Rajchandra Ashram, which has been under construction since 2014, with its Raj Sabhagruh satsang and meditation complex opening in December 2023. Trustee Raman Tikka has been involved with the Shrimad Rajchandra Mission since 2001 and was selected to oversee the development of what was previously a 225-acre barren site. “We had to build the entire infrastructure from the ground up: roads, electricity, water – everything –to realise our plans for the spiritual complex, providing a marble temple, an auditorium, a meditation centre and open-air amphitheatre with a 10m statue of Shrimad Rajchandra-ji,” explains Tikka. Around the periphery is housing for 6,000 people – permanent residents who help to run the ashram and visitors taking part in retreats –plus a large dining complex. “We have an enlightened master who has provided sincere spiritual seekers with this beautiful ashram, both of which are
very conducive to spiritual development. We are a spiritual organisation that invites members of all faiths who seek to attain the ultimate truth. One of the most important foundations of Jainism is to be open to all faiths.”
The ashram has its own AV department which produces films and music, recording all discourses by Pujya Gurudevshri and sharing them on its YouTube and social media channels.
“We have a studio in the ashram and one in Bombay, and our team members from the AV department have gathered experience by attending exhibitions and travelling all over the world, so they know the market and the brands,” continues Tikka. “Of course, when a project of this size and scale came up,
everybody was interested to participate, so we invited the leading brands to present their designs and looked at the reliability of the equipment and what the level of support and after-sales service was in India.”
This was of particular importance when it came to constructing and equipping the Raj Sabhagruh satsang and meditation centre, an architecturally striking structure designed to resemble a lantern, which houses a 5,000-capacity auditorium with a meditation hall situated above it, a library, two multipurpose halls and several classrooms where multiple programmes can be held simultaneously. The complex can house 10,000 people at its peak capacity.
“The most important criteria for us in the auditorium was speech clarity; our master gives live discourses here at least seven or eight days per month, and we have several one-week festivals throughout the year for Diwali, New Year and so on,” explains Tikka. The intelligibility issue was complicated by the fact the auditorium is circular, with a meditation chamber situated above it. A search to find an acoustic consultant was resolved by Andy Munro, who has been active in studio design in India since an initial project at Mumbai’s Famous Studios in 1995. Now largely retired, Munro was backed up by the team from Munro Acoustics India headed up by Kapil Thirwani, working closely with Kapil Gupta from the project’s architectural firm, Serie Architects. The final auditorium design had been finalised: a cylindrical drum housing the auditorium and meditation chamber above, with a ceiling above the auditorium forming an inverted lotus. Innovative Systems and Solutions Pvt Ltd (ISSPL) was initially hired in 2020 as a consultant to evaluate the design for the client’s requirements. Six months in, the company was awarded the contract for AV integration across the entire complex.
“The first building we worked on was the dining complex, optimising the design and switching the back end to Cloud Electronics with Biamp and Powersoft amplifiers with Bosch
The spiritual centre is built on a previously barren 225-acre site
The 2,000-capacity Shri Dharampur Tirth
speakers,” explains ISSPL CTO, Bhavin Sureliya. With the dining hall underway, work on the auditorium had also begun. Enter Carlos Sallaberry, who’d recently joined Adamson as head of education and applications engineering for APAC. Receiving designs from Munro Acoustics in EASE and SketchUp software, Sallaberry designed an L-C-R system of three hangs of Adamson E12 – nine per array – with four hangs, each of three E219 subwoofers, added to minimise low-end bleed onto the stage.
Meanwhile, ISSPL started work on the 10,000-capacity outdoor amphitheatre, installing a five-per-side system of Tannoy VLS 30 concentric beam steering column array speakers with Turbosound front-fill speakers and subwoofers in cardioid mode, a Behringer mixer and Lab Gruppen amplifiers, all sourced from Indian distributor, Alphatec. ISSPL also deployed a Dante-enabled AVoIP solution based around two Q-SYS Core 110f DSPs, an Allen & Heath SQ-5 mixing console and QSC AD-S162T column array loudspeakers in the white marble, two-level, 108-pillar Jin Mandir and Guru Mandir (Shri Dharampur Tirth).
“We started discussing the temple around 2018/2019, assessing the requirements and conducting onsite demos with different speaker brands,” adds Sureliya. “We designed a backend that can be scaled up at a later stage, giving the venue the flexibility to insert and extract audio and video from anywhere.” The 2,000-capacity temple is in regular use, with music played three times across the day: for morning and afternoon prayers and an Aarti (lamp ceremony) in the evening.
Both the marble construction and the complex building structure of the temple proved challenging. “We couldn’t compromise the structure of the building and damage the marble in any way,” continues Sureliya. “This meant that getting cabling from the first floor to the ground floor proved difficult. If we routed a certain way, we exceeded the standard length of the cable run. So, we worked with the temple designers and came up with a conduit map that was implemented onsite. We planned for around 100 possible speaker points as the interior plans weren’t complete at that point –we are only using 20 of them at the moment but we can add more speakers if needed in the future.”
Sureliya describes the temple as having its own natural reverberance. “It’s quite soothing,” he explains, “and I personally love the reverberant sound there because of the significance of the space. If something is spoken through the speakers, the natural reverberance
is added. It’s surrounding you in an immersive space. The temple is also networked to the entire complex, so there is provision for events to be relayed to the other spaces on the complex.”
Pujya Gurudevshri Rakeshji addresses a crowd of around 3,000 people every Monday from wherever he is (he currently spends half the year travelling to the mission’s worldwide locations). For the rest of the week,
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from Tuesday to Friday, discourses are presented, while weekends are given over to retreats themed around a particular scripture and attended by up to 5,000 people. For larger events, 10,000 people can be accommodated by using the meeting rooms, meditation hall and other overflow areas connected to the AV network.
“The audio team have done a fantastic job, going out of their way to provide us with astounding sound,” concludes Tikka. “That’s not just my personal opinion but also that of regular visitors who’ve said that from any position, the speech clarity is amazing and they can hear the discourse perfectly. This, of course, is exactly what you need when you’re being given spiritual instruction.”
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The speakers in the Shri Dharampur Tirth blend in perfectly with the white marble
Mission to upgrade
Global Mission Church in Seoul relies on a mixture of decades-old speakers and newly acquired desks to broadcast its five in-person services each Sunday
WITH INCREASINGLY RAPID developments in technological operations, audio systems in houses of worship are ageing faster than ever before. Additionally, the effects of wear and tear, user neglect, lightning strikes, voltage surges, lapsed equipment guarantees and other degradations ultimately demand complete, or at least partial, system overhauls. Owing to some luck perhaps, but more importantly its dedicated audio engineers, one megachurch in the suburbs of Seoul has veered down a different path. Dedicated to spreading the gospel through missions, Global Mission Church (GMC) has established itself in the southern Seoul suburb of Bundang. Founded in January 1994 by Daniel Dong-Won Lee with 60 members, GMC swelled to 40,000 members in just three decades. In addition to the five in-person services it conducts each Sunday, a sophisticated broadcast stream is also transmitted to its remote
worshippers. The full-time broadcast team of operators are continually challenging themselves to enhance the existing AV technology whenever a suitable window in the church’s hectic schedule permits.
The 2,800-capacity main sanctuary in the Kim’s Club building upgrades its AV requirements on a piecemeal basis. The magnificent upper-level venue is a testimony to the adage, “if it isn’t broken, don’t fix it”. Here, the main Meyer Sound MSL-4 point source arrays and MSW subwoofers faultlessly operate 24 years after their initial installation. Meriting an extremely profitable ROI, the continued servicing and careful engineering practices of the self-powered enclosures is a testimony both to the church technicians and the Californian brand itself.
“We recently lowered them from situ and tested all the components in both arrays,” confirms sound engineer Han Jung Suk. “Having
GMC’s 2,800-capacity sanctuary in the Kim’s Club
serviced and retuned them, we didn’t discover any faults or blown drivers. Remarkable.” The 12-inch trapezoidal loudspeaker system was an industry icon at the turn of the millennium in large venues requiring long throw distances and precise coverage. Maximising coverage and SPL, the integrated high-Q horn continues to faithfully offer a consistent beam width across its 65Hz–18kHz frequency range. It is hard to think of another venue that consists of such a varied assortment of loudspeakers. The intermittent upgrades that have taken place over three decades provide an interesting snapshot of delay and fill loudspeakers. Offering clear speech intelligibility, the under-balcony areas are served by horizontally orientated Bag End TA6002-S dual 6.5-inch loudspeakers. The compact, timealigned cabinet provides detail and
clarity and an off-axis frequency response courtesy of the highfrequency compression driver being positioned to one side of the dual woofers.
More recently, the delays have been filled by adding several wallmounted Meyer Sound ULTRA-X40 speakers towards the rear of the sanctuary. Featuring a concentric driver configuration, amplification, processing and a rotatable horn, the point source cabinet employs dual 8-inch neodymium drivers coupled to a low-mid waveguide surrounding the single 3-inch diaphragm highfrequency compression driver.
The congregants appreciate the style of the charismatic Sunday services for which clear instructions are delivered within a highly musical framework. An impressive choir of up to 200 singers can assemble in the stage right area. Onstage, the worship leaders and singers rely
transmitted over the ULX-D wireless digital microphone platform and boosted by UA874 active directional antennas.
Talented musicians including keyboardists, pianists, guitarists, bassists, percussionists, flautists and violinists, all benefit from bespoke in-ear personal and traditional wedge monitoring. The church’s piecemeal upgrades are best exemplified by the eclectic assortment of onstage loudspeaker monitors, including Martin Audio LE2100, Tannoy dual concentric and d&b audiotechnik M4 enclosures together with Meyer Sound UM-1P and PSM-2 models.
musicianship with IEM technology
took broadcast team leader Kim Hang Bae to Seoul-based distributor, Soundus. “Following a demonstration, I was intrigued by the KLANG immersive in-ear mixing processors,” explains Kim. “Although our existing IEM system sounded great, produced higher audio levels and provided more individual control, all the musicians prefer the KLANG:kontroller immersive experience. The benefits include less ear fatigue and a more focused musical performance. Once
KLANG:kontroller sports an intuitive
L–R: GMC’s broadcasting team leader Kim Hang Bae with sound engineer Han Jung Suk
Meyer Sound ULTRA-X40 cabinets have recently been added as delays
One of the DiGiCo Quantum 338 consoles is used for broadcasting in the main production suite
Martin Audio low-profile LE2100 monitors onstage
PROJECTS
immersive mixing. “Our previous 16-channel setup would include outdated name tags and we would have to dial through all the channels, but the controller displays clear channel names and colour coding,” continues Kim. “With the musicians now in full control of relevant audio functions, the engineers merely need to monitor and control the mixes via the KLANG:app or DiGiCo consoles.”
Integrated binaural ambient microphones can be blended into the immersive in-ear mix, together with a local stereo aux input. The mix is returned to the Dante network or, alternatively, the ambient microphones or aux input can be shared with other musicians. “Technically, there were no issues implementing the 24-channel
but it took some time for all the musicians to become accustomed to the technology with settings such as Azimuth (pan) and width (stereo),” adds Kim.
Since converting from a Soundcraft analogue to a DiGiCo digital mixing platform in 2009, GMC has maintained a solid relationship with the UK brand. The previous DiGiCo setup for the church’s broadcast and mixing featured one SD7 for FOH expanded with an EX-007 in the broadcast room, meaning that both sets of operations could be managed on either console. However, with a need to expand the channel capacities of both consoles, Kim and his engineering colleague Han Jung Suk opted to upgrade from Stealth to Quantum 7
that can be applied to any node on the auxiliary section of the console, allowing us to send unique processing on each send from multiple channels. I can now create dedicated mixes that were not possible before.”
Speeding up the process of managing large channel numbers for Kim and Han, the True Solo system allows the monitoring system to mirror any section of the console, in addition to how the source is processed and heard over the wedges or KLANG IEMs. The Quantum 338 can connect up to 128 input channels with 64 busses and a 24x24 matrix. There is also access to four stereo AES/EBU in/out, triple redundant MADI in/out, dual DMI card slots and support for dual Optocore loops, together with an integrated UB MADI USB interface.
churches are connected by fibre optics and as such bilateral AV signals can be transmitted, where a DiGiCo SD10 console continues to be used for FOH duties in the main worship hall.
The internal audio broadcasting in Suji is connected over the Optocore network with a DiGiCo SD9 used as the broadcast console and an S31 situated in the smaller worship hall. “We considered other digital consoles prior to confirming the 338 upgrades,” Kim reveals. “However, our lead pastor, David (Sung Eun) Choi, demanded a consistency of audio in addition to operating familiarity for the engineers. We conduct multitrack recording on the broadcast 338 console, so it was important that the feeds from the broadcast and FOH consoles matched.”
digital processing. Recalling and transporting 2,000 channels across 688 processing paths at 96kHz, the Quantum 7 combines three large-scale FPGAs inside its engine.
As a result, GMC took delivery of two Quantum 338 control surfaces and three SD-Racks (two for FOH and one for broadcast) from the same supplier, Soundus. “We have now segregated mixing of broadcasting and FOH on the two 338s,” confirms Han, who transferred to GMC for four years following a career working for rental production companies. Both Han and Kim are enjoying the benefits associated with Mustard, Spice Rack and Nodal processing. “We’re particularly enjoying the Nodal processing
The triple 17-inch, highbrightness, multitouch screens built into the Quantum 338 surfaces come with meter bridge and soft quick select buttons on each screen. The intuitive layout has contributed to improved mix operations. “The high-definition touchscreen almost resembles a phone, and the 100mm touchsensitive faders laid out in three blocks of 12 fader banks are much lighter,” adds Han. “We were reluctant to upgrade from the SD7 initially as we had grown accustomed to that control surface, but we are really enjoying mixing on the 338.”
GMC conducts English as a Second Language services at both the Bundang church and a sister church in Suji, which was incepted in 1999. Located 8km away, the
The budget set aside for the main loudspeaker system is fulfilling other audio shopping lists, as Han illuminates. “The MSL-4 continues to defy our expectations, although we are aware that supporting this for spares and repairs is getting harder. However, its continued operation means we can divert investment for a Quantum 338 Pulse upgrade, which will increase the channel count from 128 to 156 channels. We will also add a Fourier Audio transform.engine, which will add Dante-connected, studio-grade audio software plugins to our productions and broadcasts.”
Bag End TA6002-S speakers serve as under-balcony fill
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A warm welcome
Formed by uniting four existing parishes, Upper Annandale Parish Church in Moffat, southwest Scotland, has upgraded its audio and video system and extended its reach into the community
PART OF THE CHURCH OF Scotland South of Scotland Presbytery, the Upper Annandale parish was formed following the merger of four previous parishes: St Andrew’s Parish Church, Moffat; Kirkpatrick Juxta Parish Church, Beattock; Wamphray Parish Church; and the parish of Johnstone. St Andrew’s was built in 1887 in the early English Gothic style of red sandstone from a local quarry. Renamed Upper Annandale Parish Church following the merger in 2023, the building is set in spacious grounds close to the heart of the town.
“When I joined in 2020, the church was still called St Andrew’s,” explains Reverend Elsie Macrae.
“We had a good debate among the four parishes – although we cover Moffat, Beattock, Wamphray and Johnstonebridge – to come up with a new name, and Upper Annandale was the best solution because geographically that’s where we are.”
As part of the merging of the parishes, St Andrew’s felt it was time to also consider modernising the building with the knowledge that it would be serving a larger congregation in the future. The primary concern
was the heating, which hadn’t been modernised since the church was built nearly 140 years ago. There were issues with the pipes and leakages, and the church was continuously having to spend money calling out engineers to fix problems. “The heating was the biggest driver of this upgrade, then the audio and video followed,” continues Macrae. “There were times when it was warmer outside! We’ve now got underfloor
heating and a solid floor that is sealed and insulated so no more draughts.” Once the decision was made to upgrade the heating, changing the audio system at the same time was a logical step. The previous setup consisted of a fairly basic system of six same-sized speakers downstairs, with second-hand speakers upstairs on the balcony. “The control desk was also up in the balcony,” describes Donald Walker, session clerk at the
Two Cuboid 12s provide coverage of the main seating area
Upper Annandale Parish Church
church. “This caused a problem because the person operating that desk couldn’t hear the volume that was being delivered downstairs.”
After seeking a couple of quotes from systems integrators, Upper Annandale selected SW Audio to fit the new AV equipment. “Sandy [Sweetman, SW Audio owner] has local connections to Moffat, so it was the obvious choice,” adds Walker. “Sandy’s after-sales support has exceeded our expectations, particularly when we had problems with one of the units that had been fitted. Having him local has been a real blessing.”
The audio setup consists of two L-R Optimal Audio Cuboid 12 speakers positioned forward of the performance area, which provide good coverage of the main audience seating area. Two Sub 15 passive 15-inch subwoofers have been placed in the transepts for aesthetic reasons, while 8-inch speakers act as delay 1 and transept fill and two Cuboid 5s function as delay 2 located near the mix position for reference. For audio control, Sweetman selected one Optimal Audio Zone 4P four-zone audio controller with DSP, amplification and WebApp and one ZonePad 1 single-zone wall controller. The balcony overhang, which stretches the full length of the church, allowed SW Audio to hang the speakers discreetly and out of sightlines. The setup also comprises an Allen & Heath Qu-24 digital mixer along with AB16 and AR84 stageboxes, while amplification is provided by a Martin Audio VIA2004 for fill and delay and a VIA2502 for the subwoofers. A Sennheiser EW-D wireless microphone system, Denon DN500 media player and Denon DN300 Bluetooth receiver complete the inventory.
product support from Optimal Audio made them our preferred option for speakers and DSP,” explains Sweetman. “We chose Martin Audio amplification thanks to their low noise and multichannel options. The simplicity of Allen & Heath’s Qu-24 user interface, combined with the desk’s ability to manage the more complicated streaming and band requirements, was the obvious choice. We’ve programmed preset scenes to allow the church to always go back to a good starting point and also allow complicated patching to be recalled at the touch of a button. This was specifically required when the transept fills are changed to foldback speakers when the band perform. The option for tablet control was also attractive to the band so that they can mix on their own monitors.”
“We now have zoned speakers, with larger models at the front and smaller models at the rear to compensate for the delay. The desk is also downstairs now, and that’s made a huge difference,” adds Walker. “Before, you could tell that people were sitting near
properly – now you can sit anywhere in the church and you’ll hear exactly the same sound.”
“And it’s the same for the heating,” jokes Macrae. “People would make a beeline for the old radiators, but now it’s such a warm place to be. It’s just as much the audio, the video and the heating that are now contributing to create such a welcoming atmosphere.”
However, upgrading the video equipment didn’t feature when the original plans for the heating and audio were started six years ago. Sweetman has installed four Datavideo PTC140 PTZ cameras along with an RMC180 controller and Blackmagic Design’s ATEM Mini Extreme Switcher to allow the ministry to capture different angles during services and events, with one located at the front of the church, two at the side and one at the back.
A Screen International Major Pro C 5m motorised screen, a Panasonic MZ14 projector with T850 lens, an IIlyama 32-inch reference monitor, all controlled via an SY control panel at mix position, complete the video setup.
“The first part of the installation was the 5m projection screen, installed just below the stained-glass window,” describes Sweetman. “We had installed 4m screens before but never a 5m and at this height. Scaffold was used and a team of volunteers were recruited to assist with lifting the screen in place. It was hung from the wall using Unistrut Hangers which were secured using several stainless-steel rods drilled right through the church wall. Following adjustments to allow the screen to pass over interior ornate plaster work, all went to plan.”
“As we are now serving four parishes, it’s nice to know that our livestream can reach out to those who aren’t physically able to come to church,” adds Macrae. “Before Covid, using a screen as part of your sermon was
just something that you could do if you wanted to but, now, families can use the system to show photos and videos at a funeral and we’re doing things today that we couldn’t in the past.” But it’s not just about improving the quality of Sunday services – it’s about creating a space that can be used by the community across the week. Upper Annandale now hosts concerts, lectures, debates, talks, festivals, orchestras, comedians, Pilates, yoga and a whole range of events in the church. “There’s a growing trend in the Church of Scotland for buildings to be used more than once a week on Sundays,” continues Macrae. “I used to walk in and there wasn’t much going on in the week but now there’s something happening nearly every day. It doesn’t matter how secular the event is – being in this sacred space is really special.
“Before the upgrade, we’d already started to make the building as accessible as possible without removing the pews,” continues Macrae. “But while we were making it more accessible, we weren’t making it equal – in that there was only one place where wheelchair users could sit. We had a chancel before, but we felt that if you want to be all-accessible then the entire church needs to be on the same level. Despite concerns that the congregation wouldn’t be able to see the children during a nativity for example, with the screens and cameras everybody just looks up now, so it’s a vast improvement compared to before when not everyone could see to the front.”
Needless to say, with all the events taking place, the community has welcomed the arrival of the AV upgrade and is clearly embracing what the venue can now offer. The locals are even surprised at how the church still looks so good, even though the pews have been removed. “It’s such a joy now to see what we can do with all this equipment in all its glory,” concludes Macrae. “But we’re still not using it to its full potential. We’re starting to stretch what we can do but we know that there’s more that we can still achieve.” With such a busy schedule in the week, along with the improved audio and video quality of its Sunday services, Upper Annandale has been placed firmly on the map as a welcoming – and warm – worship and events venue in Moffat.
www.martin-audio.com www.optimal-audio.co.uk
www.swaudio.co.uk
www.uapc.co.uk
Two Sub 15 subwoofers are tucked away in the transepts
Band planning and frequency coordination for churches
Karl Winkler, executive vice president of product design and distribution at Lectrosonics, discusses the steps to take to ensure you have the best possible frequencies for your devices
THE CONCEPTS OF FREQUENCY band planning and coordination are often overlooked when designing a new facility, upgrading an existing one or even when operating day-today or during services with wireless microphones, IEMs and comms. First of all, let’s define the two concepts: Frequency band planning: developing a list of the potential wireless devices involved with live performance in a given venue and allocating specific sections of the available RF spectrum to the different device types or purposes. The main goal is to keep your comms in one area of the spectrum, your IEMs and other foldback or PL devices in another and your wireless mics in yet another. Doing so will make frequency coordination much easier and more efficient, saving you or your clients an enormous amount of trouble once the system is up and running.
Frequency coordination: developing a specific list of frequencies for each device to avoid any interference from outside sources, while also avoiding any interaction between devices in the system.
Band planning: the details
Let’s get into the details of a frequency band plan. Ideally, this process will start before the equipment is even chosen. In fact, the equipment we select should depend somewhat on the band plan for the intended venue or event. For instance, if you have higher channel counts for performance mics and IEMs, you may take up a good deal of the available UHF spectrum, while avoiding active TV channels. There may not be room left in this area of the spectrum to add comms, so the systems being considered should take this into account and be placed in different areas of the spectrum.
Modern offerings from any of the reputable major equipment manufacturers will usually include several variants in different frequency ranges. I recommend developing a list, usually in spreadsheet form, detailing the various lists of equipment needed, the number of channels for each and the frequency ranges offered by the manufacturer. Equipment
makers will usually provide information about minimum spacing between channels, which gives us an approximate measure for how many channels of each device we might be able to fit into a given amount of spectrum. And don’t forget to include spares. You and I both know that last-minute requests for “another microphone” along with the rare equipment failure at the worst possible moment means you should plan for about 5–10% more channels/units/frequencies than you think you’ll actually need.
Another key thing that should happen in the earliest planning stage is to have an RF spectrum scan conducted for the site in question. This will show where the available open slots truly are. Keep in mind, however, that spectrum changes over time and adjustments may be needed to the band plan when the job is closer to completion, and even after you are operational. With this in mind, it is also wise to choose equipment that has a fair amount of tuning flexibility and includes frequencies outside the originally intended band plan. Then, if some adjustments
are needed, they are easily accomplished with the existing hardware rather than requiring the purchase of additional gear at an inopportune time.
Let’s take a look at a sample band plan based on equipment available now for various purposes:
UHF range: 470–510MHz, IEM systems from Shure, Lectrosonics, Sennheiser and others.
UHF range: 510–560MHz, wireless mic systems from Shure, Lectrosonics, Sennheiser and others.
UHF range: 560–614MHz, wireless mic and backline systems from Shure, Lectrosonics, Sennheiser and others.
ISM range: 902–928MHz, comms systems from Clear-Com, Coach Comm and others.
DECT range: 1.9GHz, Riedel Bolero, Saramonic, Hollyland and others.
Wi-Fi range: 2.4GHz, various comms systems, low-cost backline wireless.
The above band plan is only a sample and should not be taken as “gospel” so to speak. The real plan you develop would be specific to the equipment you choose and the spectrum available at the site where you plan to install or use it. One of the key concepts here is to work towards keeping everything possible out of the prime UHF “TV” bands, so that there is enough spectrum left there for your critical mic, IEM and backline channels. Since backline channels often have the transmitters and receivers fairly close to each other –think guitar transmitters and pedalboard receivers – they can also sometimes be moved to the 2.4GHz range, although I don’t personally recommend this. 2.4GHz is so crowded and unpredictable that it is usually not suitable for professional applications.
Lectrosonics’ Wireless Designer Software makes frequency coordination quick and easy with connected and non-connected devices
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New transmitters can be powered by two AA alkaline or a Li-ion battery and conveniently recharged via type-C.
Frequency coordination: the details
Now that we have established a band plan for your site, next up is frequency coordination. This will allow all the devices in the system –whether comms, IEMs, backline or frontline wireless mic channels – to work together without conflict. The main technical idea to be aware of is that any radiating or amplifying device – such as a transmitter, an active antenna, an RF booster or even a receiver – can generate “phantom” frequencies based on the frequency it is on, combined with anything else that is transmitting close by. Intermodulation frequencies are those generated in the devices. There are mathematical relationships between “original” frequencies (what your devices are transmitting on) and the “generated” frequencies due to intermodulation distortion.
The simple formula for two-tone intermodulation products can be calculated using the equation Mf1±Nf 2, where M and N can be 0, 1, 2, 3 and so on. The order of the distortion product (3rd order, 5th order, etc.) is the sum of M and N Needless to say, as straightforward as this is for two frequencies, it gets extremely messy with multiple channels in a given location. A relatively modest 20-channel system can have millions of potential intermodulation frequencies. For
those of us who wish to avoid spending long nights carefully working spreadsheets, fortunately there are software packages that do these calculations for us. And, surprise –some of these packages are offered by the wireless microphone manufacturers themselves. As with any software, the key to success is to spend time learning the ins and outs. It is certainly recommended to take a training course if offered, and/or watch tutorial videos. Experience matters as well, so I encourage you to work with the software as often as possible and try experiments with the system during down times or
rehearsals. It is also important to keep your software updated with the latest versions, as features and fixes are added by the programmers over time.
“Real world” testing 1, 2, 3
An extremely important part of the process of developing the band plan and frequency lists is to then test them with the actual hardware onsite. Since different locations have different things in the local RF spectrum, and even the antennas you use with your system can affect the RF
response, this is one of the last steps in the process.
I generally do a “walk test” with each and every unit in the system, starting with the comms headsets and beltpacks. It helps to have an assistant who can either walk the units or to listen at the console or base station. While there really isn’t a reason to walk out of the building and go 100m out into the car park, it can be fun and also revealing as to how good you’ve really set up the gear. No one will generally go that far during a service, but it is nice to know what the “RF headroom” really is before dropouts start happening. The walk test should follow the same route for all devices, and ideally give you a good sense of whether or not there are any problems. If your pastor or musicians go “backstage” or start from a different room adjacent to the sanctuary, then you should test the mics and IEM packs in those locations. Once that’s done, a last test that I like to do is to turn each transmitter channel on, one by one, and watch for any reaction on the other receiver channels. Ideally, you won’t see anything on any channel except the one you are on. The reverse is also good to check: with all transmitters on, turn them off one by one and what you want to see is that the RF signal drops to a low level without the transmitter’s signal present. Going through all these steps diligently will go a long way towards ensuring you have the best possible frequencies for your devices. And, with a few backup channels, you’ll be ready to deal with any unexpected problems. Here’s wishing for the utmost success for your next service. www.lectrosonics.com
Actual RF spectrum scan of a local area done with wireless microphone receivers and associated software
• Class-leading, extremely wide 60 MHz UHF tuning bandwidth for maximum versatility
• Unique multifunction button on the handheld and body-pack transmitters can be used to switch to a backup frequency should interference be encountered
• Automatically adjusts squelch setting to maximize range while minimizing interference
• Optional network transmitter charging docks
•
• Frequency scan and IR sync for ease of setup Handheld transmitter offers industry-standard thread mount for use with six interchangeable A-T microphone capsules, as well as other compatible capsules
Media in church: strategies for maximising content
Media Mentoring’s Graeme Spencer suggests that it’s more important to focus on quality than quantity
SINCE 2020, FINDING A CHURCH not involved in media production and distribution has become increasingly rare. Many churches now livestream their services, create social media content, produce podcasts and even make short films. However, it’s easy for a church to become consumed by producing more and more content without evaluating whether it’s the best approach for them and if it’s sustainable. It may be beneficial for churches to take a step back and focus on maximising the impact of their existing content rather than continually increasing their content production.
So, I want you to do just that and take a step back and spend some time considering how to maximise all you are doing rather than looking at what more you can do, other types of content you could create, etc.
with them. To achieve this, you need to intentionally define your target audience, which is something many churches have overlooked.
The second component of maximising your media is ensuring you also have a marketing/ promotional strategy for the media content you create. We all want our content seen by as many people as possible, which is a commendable goal. However, how many churches have a marketing strategy in place to ensure that the intended audience discovers their content?
Two key components can help any church or organisation maximise the media it creates. The first of those is to concentrate on quality, not quantity. Today, an overwhelming amount of content is being produced, but much of it is of inferior quality. Producing high-quality content is essential because it allows you to stand out from the crowd.
This is particularly crucial for long-term sustainability. Prioritising quantity over quality can lead to getting stuck on a content creation treadmill. It also makes it challenging to enhance the quality of your content because you’ll constantly be playing catch-up.
That’s why you should always aim for the highest quality from the outset. It’s easier to build quantity after quality than the other way
around, as you have already got into the habit of creating high-quality content, and we all know how hard it is to stop doing anything that has become habitual.
Keep in mind the following: when it comes to quality, you should aim for a level of quality based on the expectations of your audience. Understanding your audience’s expectations and striving to exceed them will help your content resonate
It is crucial to recognise that in today’s competitive market, you must take proactive steps to promote your content. To illustrate why simply “publishing” your content is insufficient, here are some statistics related to one of the most widely used platforms by churches, YouTube: there are 114 million active YouTube channels; there are 694,000 hours of content consumed every minute; 2,500 new videos are uploaded every minute (approximately 183 hours of content), equating to around 3.7 million new videos daily; and there are over 800 million videos on YouTube.1
Content needs to meet a high-quality standard
Quality is more important than quantity Image courtesy of Noah Oehler at Eastview Christian Church
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Lighting for special events and drama
John Black suggests ways in which you can customise your lighting rig for special events, without it becoming too complicated or expensive
AS WE COME TOWARDS THE
end of the year, many houses of worship host a variety of special events in addition to the normal worship service schedule. Whether the event be a Christmas pageant, a night of praise, a drama presentation or the hosting of a local or touring band, chances are there will be times when the lighting director/volunteer will be asked to provide special lighting beyond the regular lighting used for services.
The good news is that customising the lighting for these types of events does not always mean that the lighting becomes more complicated or expensive. Whether you work in a well-resourced facility or a small venue with a simple lighting system, there are some easy lighting tricks you can do to create special lighting specifically for what is being presented that will look different from your regular setup. When considering special lighting requests for these events, it is important to keep in mind that the goal should be to support the message of what is being presented.
Functions of stage lighting
Before looking at some specific things you can do to achieve special lighting looks, a quick review of the basic functions of stage lighting will help guide you as you plan lighting
for these special events. There are several criteria you should consider which will help you to determine what specific lighting is necessary and will be most effective for the event.
Visibility. Though perhaps the most obvious, visibility is an important function of lighting as it encompasses more than simply illuminating an area or object. You need to consider exactly what you want the audience to see – as well as
what you don’t want them to see. This can also be referred to as “selective focus” – directing your audience’s eye to exactly where you want them to look, whether that be a presenter, set piece or action onstage. For example, it may be that during a reading you want the audience to focus on an object the reading refers to rather than the reader themselves. In this instance, you may choose to light the object and not the speaker to draw the audience’s attention to the object.
Form. Also referred to as “modelling”, form has to do with how shadows and highlights are used to reveal a subject in its surroundings. Form affects the audience’s visual understanding of the subject being lit. For instance, an audience’s understanding of a person lit from overhead as opposed to from underneath will change as the person’s natural highlights and shadows from facial features will be reversed. If the special event involves live video projection or IMAG, form is important to consider in order to pull the subject or performer out from the backdrop
and create a sense of depth for the camera.
Mood. Mood is an important function of lighting and is also relatively easy to affect. Mood is most often associated with colour choices and an audience’s understanding of feelings associated with certain colours. Mood can either be literal or metaphoric. For instance, washing your stage in blues may literally indicate to the audience that the scene is set at night, while washing the stage in red may communicate to the audience a sense of fear or danger.
Composition. Composition combines the above criteria into understanding the overall lighting look you are trying to achieve. Often in houses of worship, the ability to construct large, realistic sets is not possible. Lighting can instead be used to “set the scene”, with each lighting look creating a visual picture for the audience. For instance, different colour washes can reveal the time of day, or whether the location is interior or exterior. The use of gobos can suggest whether the
A stage can be washed in multiple colours from a small quantity of fixtures
Colour can be used to set the mood for your event
trees, in a city or underwater.
When approaching lighting for any special event or drama, be sure not to forget that the overarching function and purpose of stage lighting is to support and reinforce the story being told. Again, creating lighting for special events doesn’t have to be expensive. Even if you’re a small facility with a small number of lighting fixtures, there are some tools that you can use to help achieve some of your desired lighting looks.
Using colour
Coloured lighting can be achieved in a couple of different ways. If your facility is equipped with LED-wash fixtures or automated fixtures with colour wheels or CMY-colour mixing, then you already have some tools to easily add colour to your event. If you only have conventional lighting fixtures installed, colour can be achieved by purchasing colour filters, called gel. Gels are inexpensive and can be purchased in almost any colour you can imagine. Colour can be used very effectively to assist and influence the audience’s understanding of and reaction to what is being presented. It can be used to indicate literal times of day or whether a scene is inside or outside. It can also be used metaphorically to reinforce or suggest moods that the actors are feeling, or to evoke particular feelings from the audience members. When using colour, you need to be mindful of the colour(s) used on the set or wardrobes of actors as well. For instance, shining red light on a red jacket will reinforce the red pigment of the jacket, while shining red light on a blue jacket will cause the jacket to appear darker or “blacker”. If you have the opportunity, I would suggest reading up on basic colour
it out before the event happens.
In most cases, coloured lighting will come from over the stage as downlighting or back-lighting, depending on the layout of your facility’s lighting grid. If you have access to LED or automated fixtures, you will be able to wash your stage in multiple colours from a small quantity of fixtures. If you don’t, you will need to plan a set of fixtures (however many it takes to wash your stage) for each colour
by using patterns, or gobos. Gobos come in steel or glass, and can be simple two-dimensional images or high-resolution printed images. If your facility is equipped with automated fixtures, you will already have several gobo options installed in the fixtures. For conventional lighting fixtures, you can add a gobo to ellipsoidal fixtures, which have the ability to focus the image. If your facility is equipped with LED-powered ellipsoidal fixtures, you
you are wanting to use as you won’t be able to swap out gels during the event. Colour can also be used from the front and side lighting, though in most cases this is more subtle. For instance, a subtle cool and warm set of colours can be used in front lights to help reinforce different times of the day or locations where light can be described as being “cooler” or “warmer”.
Using patterns
Often more subtle, but just as effective as colour, is the addition of texture in the lighting plan. Texture
light beams emitted from the fixture will be visible through the air, which can be used to compose some cool looks. Going back to the forest idea, think about how the sun can create rays of light as it breaks through the trees. Or light rays breaking through a cloudy sky. That effect can be recreated using gobos and haze. Alternatively, gobos can be designed to look realistic. For example, a gobo of skyscrapers could be projected to suggest the action takes place in a city. A gobo of a jail cell could also be projected to suggest the action takes place in a jail cell without having to build a physical jail cell wall as a part of the set. If your event has a special logo, you can have a custom gobo designed and created with the event name and project it onto a wall.
Haze and atmospherics
An incredibly easy way to quickly create dramatic lighting for special events and drama is to incorporate the use of a hazer. Many large houses of worship most likely use these already in their weekend services, but most smaller houses of worship probably don’t. A haze machine adds particles in the air that catch the light beams projected from your instruments, allowing you to see the beam through the air. When using colour and texture in your lighting, this can allow you to create very dramatic lighting looks in the space. Other atmospheric effects machines can also be used for a variety of dramatic effects, such as snow machines to generate artificial snow (especially useful during winter special events) or fog machines to add tension and suspense through generating thick fog that then dissipates and reveals something behind.
In conclusion
can even create your own patterns using materials such as transparency film as these fixtures generate very little heat.
Gobos can be used to create texture on objects through abstract patterns of highlights and shadows. For example, if you want to suggest that actors are in a forest, you may use patterns of leaves from overhead to create the look of sunlight breaking through the leaves of the trees. Light and shadow would hit the actors underneath, creating that texture on their bodies. Gobos can also be used to create texture in the air. When used in combination with a hazer, the
These are just a couple of the things to consider when approaching a lighting design for a special event or drama. I encourage you to test and experiment with the equipment you have in your rig and learn about some of the looks you can create. Learn what lighting angles work well for silhouetting or creating shadows. Learn what positions you have available for side-lighting dancers if a dance event comes up. Experiment with different gobos and the looks that they create when being projected on an object from the back versus the front. The more you understand how to create particular looks, the easier it will be to recreate those when planning for a special event or drama.
Gobos on the back wall for a special concert
Snowflake gobos projected on the back wall can help set the scene
Auracast broadcast audio-based assistive listening systems
Kim Franklin, VP of global marketing at Listen Technologies, outlines what houses of worship need to know about this new hearing assistance technology
IF YOU ATTENDED CES, ISE OR InfoComm earlier this year, or are interested in the latest innovations in hearing assistance technology and trends, you may have heard or read about Auracast™ broadcast audio. This Bluetooth® Low Energy (LE) Audio technology will transform audio experiences in public spaces and increase accessibility to assistive listening.
In this explainer article, I will break down what Auracast broadcast audio is, how it supports assistive listening and what houses of worship need to know as they consider assistive listening technologies and solutions.
What is Auracast broadcast audio?
Auracast broadcast audio is a new Bluetooth capability that enables an audio transmitter to broadcast to an unlimited number of receivers.
How is Auracast broadcast audio different than Bluetooth Classic?
Bluetooth Classic is the protocol that makes it possible to wirelessly connect devices one to one. If the devices are Bluetooth-compatible, they can “find” each other, pair and share data wirelessly – for example, a smartphone to a speaker or a PC to a printer.
While Bluetooth Classic was a gamechanger when it was introduced 25 years ago and continues to perform, it has limitations for battery-powered devices that are used for extended periods of time or receive live audio. This is because Bluetooth Classic uses a lot of energy and has associated latency.
Bluetooth version 5.2 introduced Bluetooth LE Audio which delivers exceptional audio quality and requires less power than
Bluetooth Classic. With Bluetooth LE Audio, there is also significantly lower delay in transmitting audio to devices. This makes the standard ideal for streaming audio to hearing aids and other batterypowered devices.
Bluetooth LE Audio enabled the development of Auracast broadcast audio. Auracast utilises Bluetooth LE to broadcast audio to an unlimited number of participants. Unlike Bluetooth Classic that connects devices one to one, Auracast broadcasts audio from one to many.
How do people access Auracast broadcast audio streams?
Auracast is a true one-to-many broadcast offering. An analogy can be made to an FM radio broadcast where anyone within range of the signal can tune into the broadcast through a radio receiver and hear the same audio. In a comparable way, listeners within range of an Auracast broadcast audio transmitter can access the same broadcast audio stream and listen via Auracast-compatible receiving
devices such as hearing aids, earbuds or smartphones.
In spaces that offer Auracast
How will Auracast broadcast audio improve the listening experience?
Auracast broadcast audio will support improved audio quality, low power consumption, seamless connectivity and user-friendly features to transform the listening experience for people who use hearing aids, headphones and other audio products. Auracast broadcast audio will also increase hearing accessibility.
As next-generation hearing aids, hearables and consumer devices featuring this technology come to market and more public venues offer Auracast broadcast audio streams, access to high-quality broadcast audio will increase exponentially for hard-of-hearing individuals in these spaces.
End users will be able to
the receiver, turn it on and access the audio. Alternatively, they may use their own device (for example a smartphone) as an assistant to help them connect. The assistant will let them scan and select an audio channel. Once connected, the audio will stream directly to their Auracastcompatible earbuds, headphones or hearing aids.
or speakers, and share audio with friends.
Are Auracast-compatible devices widely available?
There are some Auracastcompatible devices available now and, increasingly, this technology will be built into many hearing
aids, smartphones, earbuds and headphones, enabling these devices to receive an Auracast broadcast audio stream. ABI Research estimates annual shipments of interoperable devices could reach 3 billion in 2028; however, exact availability and usability of Auracast products is uncertain and dependent on individual manufacturers. It will take time for all devices to support Auracast and for the devices to be widely available and adopted.
Listen Technologies and Ampetronic have created Auri™, the first Auracast broadcast audio-based solution for assistive listening. Auri is bridging the gap in assistive listening environments while manufacturers bring more Auracast-compatible devices to market and consumers and venues transition to products and equipment featuring this technology.
Will Auracast broadcast audio replace other assistive listening technologies?
It will take time before Auracast broadcast audio is built into all end user devices and they are widely adopted. Benefits of an Auracast broadcast audio-based assistive listening system include low latency,
high audio quality, wide range, low power consumption and an unlimited number of receivers. Applications in houses of worship include assistive listening, delivering language interpretation and audio from silent screens, and providing audio description. Systems could be used to support hearing in worship facility cry rooms, halls and other spaces adjacent to the sanctuary.
Each project, venue and end user are different. There are several assistive listening technologies available to meet unique needs. Venues may select one solution or multiple, complementary solutions (for example infrared, radio frequency, Wi-Fi, loop), depending on their needs and preferences. There are online tools available that can help venues determine which technology and solution might best meet their assistive listening needs.
How can Auracast broadcast audio-based assistive listening be used in houses of worship?
From assistive listening, to delivering audio from screens, to supporting language interpretation delivery, Auracast is a campus-side solution for audio that gives congregants a choice between using their own Auracast-compatible device or a venue-provided receiver to access audio for assistive or personal listening.
An Auracast broadcast audio-based system is easy to access and use with a personal Auracast-compatible device or borrowed Auracast receiver. Auracast-based systems, like all assistive listening systems, are not just for people with hearing loss. Everyone can benefit from assistive
listening as it helps overcome challenges to communication, including distance, noise, and visual and auditory distractions.
Auracast broadcast audio represents a significant leap forward in assistive listening technology, offering enhanced accessibility, audio quality and user flexibility. For houses of worship, this innovation provides an opportunity to ensure that every congregant can fully engage with the service and community activities. By integrating Auracast systems, houses of worship can deliver clear, highquality audio directly to individual devices or dedicated receivers, accommodating a wide range of needs and preferences. As the adoption of Auracast-compatible devices grows, this technology will increasingly become a cornerstone of inclusive audio experiences, bridging the gap between traditional and modern accessibility standards. Embracing Auracast today not only enhances current offerings but also positions venues for future advancements in assistive listening solutions, ensuring that all attendees can participate fully and comfortably.
www.listentech.com
Got Sauce?
My top five tools
Casey Hawkins lists his five favourite tools in his arsenal and why he can’t live without each one
OVER THE YEARS, I HAVE worked on many, many video problems and, as a result, I am able to easily list my top five tools of my trade. Here they are in order, with #1 being my favourite.
5: Magnetic rack screw holder
While not at all intended for video use, this handy fella makes working in the racks a lot easier. Especially when you are working by yourself, which I often do. I bought several sizes while shopping at a Harbor Freight Tool store. They are a hardware store, and this was in their automotive section. I saw them and immediately fell in love with them. They are super handy because they keep hold of your rack screws as you remove and install them. They stick to the rack doors and shelves via a magnet as you would expect, then the same magnet holds the rack screws in place inside the metal cup.
4: Extron wireless video system with remote controlled power adapter
We have a room on campus that has a pretty good size AV setup in it. That room gets a lot of event traffic each year, so having a system that works is important. We have an HDBaseT system in the walls as a wired connection from the AV cart to the hung projector. That HDBaseT connection
stopped working a while back and I was unable to spend a lot of time troubleshooting it because of so many events. It takes a Genie Lift to get to the projector, so we must have the room available to work on this system. As a workaround, I installed an Extron wireless HDMI extender set. This system has a transmitter and a receiver end with HDMI connections on each end. But since these systems often need a power cycle to reconnect the two devices, I added a KASA Smart EP40 wireless power adapter. With a cell phone app, I can power down and power back up the power adapter at the projector end where the Extron receiver plugs into the outlet in the ceiling. This operation, combined with a power cycle of the transmitter, makes this solution mostly robust and trustworthy. There is a small learning curve for our techs, however. You need to power down both, then restore the transmitter first before the receiver, in that order, for best results. And sometimes, the image jumps around for a few minutes until it finally locks, so patience, along with early setup, are key for this solution to be effective. But it
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.
works enough that I have yet to determine the HDBaseT issue and resolve it.
3: Blackmagic Teranex standards converter
Several years ago, we operated a cable channel out of our
of our programming was not captioned because of the age of the content and some other reasons, but our church’s weekly programme was and is captioned. So, we needed those captions to pass to the cable head end and along to the viewer at home. Once I had everything up and
church’s main video control room. I enjoyed it because I have a lengthy broadcast TV background as an operator and engineer, so this was fun for me to play with – and a very unique offering for a church to have as well. In 2019, I upgraded that channel from SD to HD. As a part of that upgrade, I installed a new playback server and an automation system to go with it. Here in the USA, broadcasters are required to provide closed captioning on all television broadcasts, with some exceptions. Most
running, I noticed that our closed captioning, even though I could see it in-house, was not passing through to the end viewer. We, of course, monitored the channel through the cable system with our own cable box, just like a regular viewer. I spent months trying to figure it out and I had it finally narrowed down to either the ASI encoder we had in the air chain or the server playback system. I honestly thought it was the encoder. But with the help of the encoder manufacturer, we discovered that the playback server was inserting a command within the HEX coding of the
Blackmagic Teranex standards converter
Casey Hawkins
Magnetic rack screw holder
video signal that was instructing my ASI encoder to “ignore” captions and remove them. The encoder engineers, who I am very thankful for because they went out of their way to help me with this, discovered that if they ran our signal through a standards converter, in this case a Blackmagic Teranex, that the HEX coding was being repaired and allowing the passing of the captions. I immediately purchased a Teranex, installed it, ran my master control switcher output through the new Teranex, then the output to the ASI encoder, which then fed the fibre transmitter box that fed the cable head end. The result was captions at home. I was so glad to finally have this problem resolved. I really wanted to go back to the server manufacturer and give them a good ripping, but I decided they didn’t want to listen to me before so why would they listen to me now? Today, it doesn’t really matter anymore because after the cable channel served us very well and was a popular way for members to watch our pre-recorded services during Covid, we signed the channel off the air and discontinued its operation in 2022. That was a
decision above my head and I still miss our little cable channel.
2: Decimator MD-HX crossconverter
There isn’t a day goes by that I don’t rely fairly heavily on the Decimator MD-HX and its cross-
converting power. After Covid, these things were hard to find and so I have stocked up on them since they became available again. They are not cheap but, then again, they are, because for what they do and how much easier it makes my life each day, they are a bargain. I use them mostly where laptops and tablets need to be integrated into our video backbone for presentations, etc. Nearly every device outputs a different resolution and our systems require 1080i/59.94 as the video frame rate in order for signals to work. These Decimators come to the rescue because they convert nearly any resolution you are giving it to whatever resolution you want. In my case, they take those oblong,
non-standard resolutions from various devices and turns them into 1080i/59.94 for me so that the signal works with my system. And the Decimator can also scale the video signal to some degree, causing 4x3 Apple devices to fill the screen. They are the only devices in their price range that does any scaling – I love these boxes.
1: Digital Forecast bridge
If there was anything that I have in my tool kit today that could be considered the equivalent that a lifesaving defibrillator is to a medic, it would be this: the Digital Forecast video test set. I can’t even begin to tell you how many hundreds of hours and countless instances of embarrassment and wasted time this handy tool has
needs. It can output that test on HDMI, VGA, SDI and composite. There is even an HDMI output to extend the device’s menu screen to a larger screen or even into a system backbone for remote monitoring. For the price, you will not find anything that even comes close to this handy device. I have benefitted from mine so much so many times that, this year, I bought a second one so that I can generate a test signal and receive and analyse it with the other. It helps identify cable length, SDI errors, audio levels, video format and frame rate. It has a waveform, vectorscope and jitter scope. It has a touchscreen for easy settings. It can run on AC or DC power, and it uses the ever-so-popular Sony NP series batteries that so many of us have lying around. I have solved video and audio problems with these
saved me. It can receive and analyse video from an HDMI, VGA, SDI and even composite cable and, likewise, it can generate about half a dozen test patterns for your troubleshooting
tools in a fraction of the time as if I was running from point-topoint with just a small monitor. I highly recommend that everyone get one of these – or two if you can swing it!
Decimator MD-HX cross-converter
Digital Forecast bridge
Getting the most out of your LEDs
In the second part of this series, ETC’s Declan Randall (outreach and training specialist II) and Wendy Luedtke (product technology specialist II) look at how different emitters contribute to overall light quality
LED TECHNOLOGY IS constantly developing, and phosphor-coated LEDs are common in all applications. It is this technology that allows for certain colours to exist – for example, white, lime, mint and cyan are created using phosphors. Neither would the amber, lime, mint, cyan or any of the other colours of LED exist either. By including broadband emitters in the LED array, we can include greater portions of the spectrum in the light source. As we take a look at the emitters used by different fixtures and manufacturers, we will also look at how these can contribute to the overall gamut and spectral power distribution (the technical bits) and also how these can help you to make beautiful lighting
(the arty bits). Understanding how the different emitters contribute to the overall light quality will help to inform your choices when selecting luminaires for your next project.
Blue
The arty bit: if we consider that most luminaires actually use an indigo emitter, then adding in a blue LED means that we are able to soften the colour mix slightly and make magentas and lavenders that do not have that almost ultraviolet zing to them, bringing the colours more in line with the subtle jewel tones that filters were traditionally able to create. If your application is for lighting cycloramas, then you might favour the indigo emitter as
you will be able to achieve more saturated “midnight blues”, but some caution should be exercised
here – overly saturated blues can be hard on an audience’s eyes and will often not respond well on camera.
Amber helps create beautiful sunsets Image courtesy of radowan8
Candlelight is enhanced by deep red Image courtesy of JamesWard
The technical bit: as we plot each new emitter point on a chromaticity diagram, we can see how the colour gamut increases with each new addition. The blue LED (460–485nm) may not immediately appear to make a huge difference, but indeed it does. This CIE colour space is “non-uniform” – meaning distances here don’t necessarily correspond to how large or small the perceived difference will actually be. Blue and indigo are very different visually – and the blue opens up all the soft sky blue hues that indigo is just too vibrant to nail. The blue emitter also enables better whites without the strong presence of the over-saturated indigo, which can sometimes cause objects to appear almost fluorescent. The blue emitter also helps to achieve cleaner whites at the higher end of the colour temperature scale.
Amber
The technical bit: the amber LED we use (600–615nm) is a broadband emitter, and in addition to adding nuance to the colour mix, it contributes greatly to the adjustment of colour temperature. The grey curved line shown on a CIE graph represents the blackbody locus – the curve that shows colour temperature. The addition of the amber emitter has greatly increased the CT gamut, making it easier to mimic the lower, warmer colour temperatures.
The arty bit: if you know that you need to recreate the effect of fire- or candlelight, choosing a fixture that has amber as part of the array is essential. While you can arguably mix the same amber tones using just the red and green emitters, this will result in a light that is not very realistic due to the green content in the mix. The amber will also contribute to you being able to create beautiful sunrises and sunsets by giving you the finer control over the colour temperature you need when trying to emulate the light nature provides for us. It also allows for the more subtle mixing of yellows, ambers and yellow greens.
Lime
The technical bit: the lime LED (550–560nm) is extremely efficient, and as its frequency aligns with our eye’s peak sensitivity, it contributes significantly to the overall output of the luminaire. The lime emitter is a wonderful broadband emitter
that fills in a large portion of the (previously) missing spectrum. While on a CIE graph, it appears to not make a significant gamut difference, the impact on the z-axis (brightness) is huge.
The arty bit: the lime can be a tricky colour to work with, so having a console that understands this emitter and its contribution to the mix is certainly going to be helpful. We find adding the lime to almost any colour that we mix, even at low intensities, adds an extra layer of depth and “rounds out” the colour, softening some of the huge spikes that additive mixing with LEDs can cause.
Cyan
The number of fixtures that make use of this emitter is limited to a few manufacturers but, for work on camera or in instances where skin tone rendering is important, having this as a part of the array is definitely beneficial.
The technical bit: use of the cyan LED (500–525nm) helps to widen the colour gamut even further, and of all the emitters in this post, the cyan is arguably the one that makes the most significant improvement to the overall colour gamut.
The arty bit: this is a really useful addition to the LED array due not only to its contribution to the rendering of skin tones but also to the depth it adds to the blues and greens. Your nighttime scenes and moonlight filtering through the leaves or through the windows will take on a more lifelike quality.
Deep red
In early 2020, ETC introduced the deep red LED. This emitter fills in a missing portion of the spectrum,
allowing for richer ambers, oranges and reds, resulting in a wider colour gamut.
The technical bit: the deep red emitter (660nm) widens the gamut even further. It is worth noting that although the apparent change to the gamut may seem small, the actual contribution to the overall spectrum and rendering capabilities of the luminaire is huge. The deep red contributes significantly to the rendering of skin tones – across all ranges of skin tone, a universal skin-tone tool if you will. The deep red makes the standard red look quite orange by comparison.
The arty bit: this is the colour you probably did not know you were missing. Recreating the light of the “golden hour” is easier and made more realistic with the addition of a deep red emitter. Firelight, candlelight and low-level sunlight are all enhanced by this emitter. On its own, it is not terribly bright, but this does mean that you can layer it into most of your colours to get the reds to “pop” without altering the colour point you have selected. If you are trying to emulate the characteristics of a tungsten source, then the deep
red goes a long way to filling in the portions of the spectrum you have been missing to make this possible. A tungsten lamp warms up as it dims down, resulting in portions of the visible spectrum that we have not been able to recreate accurately using LED until now. Tungsten sources have long been the preferred light when lighting actors as the natural bias towards the red portions of the spectrum are flattering for all skin tones. The inclusion of the deep red emitter brings back the vitality and depth to skin tones that have been missing in LED arrays.
Knowing how each of the different emitters can contribute to the light quality will help you to make an informed choice of fixture when planning your next project. Depending on your requirements, you may choose to favour one array over another. Ensuring that your selected fixture has at least some of the broadband LEDs in its array will offer peace of mind that you will be able to achieve acceptable colour rendering. Some say “less is more” but, in the case of an LED array, if less is more, just imagine how much more “more” gives you.
www.etcconnect.com
The inclusion of a deep red emitter brings back vitality and depth to skin tones
Deep red fills in a missing portion of the spectrum
NEWPRODUCTS
Asking for it
ADDING WHAT it says are the “most commonly requested features from our fantastic digital community forums”, Allen & Heath’s CQ Firmware V1.2 update introduces a host of features. At the top of the list is the addition of four DCAs, each capable of controlling the level of any combination of inputs, outputs and FX for single-fader control of multiple channels. The addition of four Mute Groups enables operators to mute and unmute multiple channels at once via a single button, while a configurable Custom Layer allows users to set up the four channel tabs with any combination of channel strips for a personalised mixing experience and accelerated workflow. Additional features include a two-band EQ on FX, remote MIDI control and custom colours for outputs in the GUI.
The manufacturer has also announced integrated creative FX and workflow enhancements to its mixing platform with the release of dLive firmware V2.0 and the new RackUltraFX card. At the heart of the workflow improvements is an overhauled Cue List System, aimed at simplifying cue list creation with manual and auto renumbering
options, as well as custom MIDI recall, designed for fast-moving performances and heavily automated productions.
Powered by the RackUltra FX card, the RackUltra FX collection brings together 10 algorithms, with benefits including low-latency integration and no licensing. Fitted as standard to all new MixRacks and available as an upgrade for existing MixRacks, the card adds eight RackUltra FX engines – including dedicated stereo send and return channels plus PEQ and dynamic processing – to any dLive system without consuming inputs, busses or FX slots. Additionally, the update includes features such as studio-quality pitch correction, shifting and gridding which can all be achieved on the console, without the need for external hardware or third-party software. Vocal Tuner is designed for natural sound pitch correction, Vocal Gridder produces faster, less natural-sounding pitch correction and Vocal Shifter alters vocals with formant and pitch shifting for doubling, widening and unreal robotic and ageing effects. Three harmonisers have been added for live vocal processing.
Quad Voice Harmoniser generates up to four voices of natural-sounding vocal harmony. Dual Voice Auto Key Harmoniser adds up to two voices of harmony with Auto-Key mode which can determine the key of the performance in real time. MIDI Harmoniser creates harmonies based on an external MIDI input. Two new reverbs include Spaces Reverb Designer, an algorithmic reverb dedicated to recreating physical spaces with realism, as well as Plate Reverb Designer which is dedicated to replicating
the characterful build-up and tail of a plate reverb, with the choice of several plate materials. Completing the collection are two distortion effects. Saturator delivers five analogue saturation models, covering everything from smooth and subtle tape drive to germanium and valve crunch. Amp+Cab Distortion models the harmonically complex characteristics of guitar and bass amplifiers and emulates various
cabinets.
Controlling spaces in more places
AIMING TO provide better audio coverage in more specialised environments, US audio manufacturer
Biamp has unveiled two speakers that are designed to meet the needs of larger spaces. The CCA-80 is a constant coverage loudspeaker that Biamp says delivers an industry-first asymmetric, rectangular coverage
footprint with a longer throw distance. Claiming to reduce the required loudspeaker count in large-scale deployments, the CCA-80 is designed to solve acoustical challenges by minimising reverberation. It features
full-range 100Hz–12kHz performance, and is available with either a low impedance or 70V/100V transformer input. The company says its asymmetric coverage pattern delivers extended throw, better down-fill and a more uniform horizontal coverage. Additionally, a CCA-80D variant is available to accommodate various configurations and mounting heights, with back-to-back mirrored dual speakers that come pre-mounted on a bracket.
The company has also introduced the Community R.15-3696 loudspeaker, augmenting its Community R SERIES with a speaker designed for shorter throw distances than larger R SERIES speakers. Use cases include short-throw applications and other highly reverberant spaces.
The Community R.15-3696 is a fullrange, three-way, triaxial loudspeaker that prioritises high sensitivity and output in the critical voice intelligibility range, while still providing fuller
Electro-Voice brings in the next generation
COMBINING SEVEN standard
EVID-C-G2 ceiling speakers with five additional entry-level EVID-EC models, Electro-Voice Complete has refreshed the EVID C series. Configurations range from 3-inch full-range to 8-inch two-way and subwoofer models, including dedicated models for specific applications, such as low-profile, high-ceiling/high-performance, CSA/ULC-S541:2016 and EN54-24 EVAC-certified models. The 3-inch IP45-rated EVID-EC3.1 is suitable for high humidity spaces. All C-G2 and EC models are UL 1480A and UL 2043 certified.
The latest SwiftLock System (C-G2 models only) supports quick, precise and secure attachment to the ceiling with a push-and-lock mechanism. An easy-access front-baffle wattage tap and side-access terminal blocks promote simple adjustments and connections of the 70V/100V models.
The C-G2 and EC models feature the same three cut-out sizes and outside diameter sizes as the previousgeneration C series models in 7-, 11and 13-inch formats. With the same cut-out holes, the standardised sizing simplifies multi-model and retrofit installations. All models include bezelless magnetic grilles in a paintable white finish. Adding further flexibility, black-finish grilles are available as an accessory and square grilles are available in white for the 11-inch size. All models benefit from ElectroVoice’s SST (Signal Synchronized Transducers) technology. The patented approach to time-aligning the LF and HF transducers allows a larger waveguide to fit inside a more compact enclosure, resulting in enhanced acoustic performance and pattern control for full-range intelligibility.
www.electrovoice.com
bandwidth than basic paging horns. Its compact size makes it ideal for large installations, while its symmetric waveguide and adjustable U-bracket mount offer more flexible positioning and pattern control to cover large spaces more effectively.
In addition, Biamp has added to its Voltera family of networked amplified loudspeaker controllers. The Voltera D M series features an integrated TesiraFORTÉ DSP to combine amplification and processing into a
sized venues. Available in five models, the Voltera D M’s DSP capabilities ensure ample headroom for hosting full Tesirabased systems which Biamp says was previously unavailable in this segment. The Voltera D M requires fewer devices to connect and configure, and requires less cabling. Meanwhile, Tesira 4.9.0 is now available for download and provides added support for Voltera D Series amplified loudspeaker controllers and software blocks.
Same sound, more coverage
EXPANDING ITS ARA Series of monitors, DAS Audio has launched the ARA-P12.115 and ARA-P28.115 point source systems. Both models offer 100° x 50° coverage and complement the ARA-P12.74, ARA-P28.74, and the
equipped with a 12-inch speaker and the same 3-inch compression driver. The ARA-P28.115 offers a frequency range of 63Hz–17kHz and a coverage of 100º x 50º compared to the ARA-P12.74’s coverage of 70º x 40º. It
the same 3-inch M78N compression driver to provide tonal consistency across the range.
The ARA-P28 is a self-powered point source system with a dual 8-inch configuration and a 3-inch compression driver. The ARA-P28.115 offers a frequency range from 70Hz–17kHz and 100º x 50º coverage, compared to the ARA-P28.74’s 70º x 40º coverage. The system reaches a maximum SPL of 140dB. The ARA-P12 is a self-powered point source system
stage monitor with a dual 10-inch driver symmetric configuration and a 3-inch compression driver. The waveguide design provides a horizontal dispersion of 50º and an asymmetric vertical dispersion of 40º downwards and 30º upwards. It operates at 55Hz–20kHz and features a Class-D amplifier capable of delivering 1,200W continuously and 2,400W peak, ensuring a maximum SPL of 143dB.
www.dasaudio.com
CCA-80
Voltera D M
JBL Professional adds HDMI and Bluetooth to Pro SoundBar line-up
BY ADDING HDMI and Bluetooth digital source inputs, JBL Professional has expanded its Pro SoundBar line-up with the release of the PSB-2. Engineered to deliver focused audio while minimising
HDMI and Bluetooth digital inputs together with a single source control button on top of the speaker simplify switching between sources. The PSB-2 supports volume control through CEC from the TV or directly from the
enhanced fidelity out of television speakers. The manufacturer claims improved clarity at low volume levels, while a two-position volume limiting switch provides further control.
multiple PSB-2s. Integrated into the PSB-2’s durable exterior, a lockout plate concealing the available service port prevents tampering.
www.jblpro.com
Hopping to the point
CODA AUDIO has expanded its HOPS-Pro (high output point source) range with the addition of the HOPS7-Pro. The smallest of the series – measuring just 518mm x 190mm x 273mm – the HOPS7-Pro is a high-output, twoway, full-range unit featuring a mid/high ringdiaphragm neodymium driver and dual 6.5-inch neodymium ultralow distortion cone drivers, with a high power handling of 1,000W (AES).
In line with its siblings, the HOPS7-Pro features CODA’s latest DAC (Dynamic Airflow Cooling) technology, said to dramatically improve heat dissipation, reducing power compression and increasing maximum achievable SPL to 139dB. In contrast to the standard HOPS range which has fixed directivity, all Pro models, including the HOPS7-Pro,
come with instafit rotatable waveguides behind a quick release grille, the removal of which requires no tools. This allows the flexibility of adjusting directivity with 80° x 50° and 120° x 60° options in portrait or landscape orientation. The HOPS7-Pro shares the technologies and qualities of the N-Series, ensuring that combined systems of array and point source are easily partnered.
Weighing 9.2kg, the HOPS7-Pro comes with a range of hardware. Easy to mount on an M10 threaded speaker pole, the compact speaker is suitable for smaller venues and applications without compromising on power. The cabinet design adds further flexibility by enabling the unit to be used as a compact high-output stage monitor.
www.codaaudio.com
FULCRUM ACOUSTIC has not only extended its RX Series of installation loudspeakers with the addition of 4- and 8-inch models, but it has also updated its existing models. Designed for applications where high SPLs are required but limited space is available, the company says the ultracompact RX4 (100° x 100°) can be easily integrated into walls, stair risers, stage lip and under-balcony applications, while the RX8 (90° x 70°) expands the RX Series’ capabilities by delivering more output and an extended low-
frequency response. The updated RX5 (90° x 70°) and RX6 (90° x 70°) models both have improved mounting options and an improved crossover and horn design for better off-axis response.
In brief, Fulcrum One 1.1 brings the ability to import and export industrystandard DXF files, simplifying workflow for individuals using CAD tools other than SketchUp. In addition, the update has brought several new internal enhancements and bug fixes to improve productivity and stability.
www.fulcrum-acoustic.com
Up to the challenge
ALCONS AUDIO has launched its passive-filtered WR20 stage monitor sound system. Through the implementation of the Alcons RBN702 pro-ribbon transducer, the WR20 offers a non-compressed, identical tonal balance at any SPL, which, according to the company, offers up to 90% less distortion and
The pro-ribbon’s peak power handling of 1,500W results in a 1:15 RMS-to-peak dynamic range which, according to Alcons, gives virtually unlimited headroom.
The multiple-patented 45° x 60° (HxV) dispersion of the RBN702 offers a controlled and consistent projection up to the highest frequencies. Mounted in a symmetrical tightpack configuration with the two woofers, the projection control is extended down to the lower frequencies, while maintaining a relatively small footprint.
The system’s impulse response, compression-less principle and flat frequency response reportedly offer a 3–6dB improved gain-beforefeedback over traditional systems (even with the most sensitive microphones) without steep tonal corrections, which leaves the original signal unchanged. At the same time, it also caters to the high intelligibility required in acoustically challenging applications.
The two Alcons purpose-designed 10-inch woofers feature Active Coil technology for low-distortion LF reproduction. The woofers are loaded by VelocityVent ports for optimised breathing while extending the usable LF response down to 44Hz.
An integral part of the Alcons ecosystem, the WR20 is driven by the ALC amplified loudspeaker controller. Through the integrated VHIR processing, 192kHz AES3 digital inputs and audiophile amplifier stages, the ALC makes the WR20 deliver a natural sound quality with maximum output and operation reliability.
www.alconsaudio.com
RX4
PRODUCTS
Range IS expanding
ITALIAN SPEAKER specialist
dbTechnologies has broadened the variety of installation possibilities of its IS Series of passive loudspeakers with the introduction of three IP55-rated models: the IS210L line array module, point source IS120T and IS115S subwoofer companion.
Designed for larger venues, the IS210L is the first high-output line
array in the IS series designed specifically for permanent installations. Its symmetrical design includes two 10-inch woofers with 2.5-inch voice coils with a 1.4-inch (exit), and a 2.4-inch voice coil compression driver mounted on a waveguide. The IS210T point source loudspeaker is equipped with the same transducers and has a 90° x 40°
Meyer Sound unveils ultimate Ultra with the X80 flagship
WITH THE release of the Ultra-X80, Meyer Sound has revealed the most powerful member of the Ultra loudspeaker series. According to the manufacturer, the point source enclosure can provide the power, clarity and performance of multiple line array loudspeakers in a single box. The Ultra-X80 draws on both the acoustic lineage of the existing Ultra-X40 and Ultra-X20 models, and technological features inherent within the Panther large-format linear line array loudspeaker deploy package. For maximum flexibility in coverage, an Ultra-X82 variant offers a more tightly focused 50° x 40° dispersion pattern and delivers a total linear peak output of 142dB SPL. Designed for its versatility of use, an electroacoustic focus on a smooth response across the frequency range, directional control, phase coherence and fidelity enable it to pair with products at any scale in the Meyer Sound ecosystem. The X80 model features the Ultra Series’ concentric-driver design, coupling two 12-inch neodymium-magnet
rotatable horn. Using the same accessories available with the VIO X310, the versatile IS210T can be flown or pole-mounted. Meanwhile, dbTechnologies says the IS115S flyable subwoofer provides the best low-frequency extension for the IS series. All three are available in white or black.
www.dbtechnologies.com
Neutrik brings Dante to the end of the network
cone drivers to a rotatable 95° x 40° waveguide married to a 4-inch highfrequency compression driver.
Taking advantage of the Nebra integrated software platform, the Ultra-X80 and Ultra-X82 incorporate both analogue and Milan connectivity as standard. The Class-D amplifier technology contributes to deliver a total linear peak output of 141dB SPL in a 59kg cabinet.
www.meyersound.com
NEUTRIK HAS introduced the NA-2 DLINE series of line I/O to Dante and Dante to line I/O interface boxes. The end-of-network devices provide breakout solutions for analogue and Dante signal paths and have been designed and specified for all manner of media production applications, including live sound and outside broadcasting. The series comprises three models. The NA-2O-DLINE and NA-2I-DLINE are respectively Dante to two-channel line output, and two-channel line input to Dante interfaces. The NA-2I20-DLINE
enabling this tiny box to feed analogue audio signals into a Dante network while at the same time receiving a mix from another Dante source.
With a miniature form factor and rubber encased metal housing, the NA-2 DLINE series devices are said to be robust and able to withstand the more extreme demands of a range of live performance, media production and acquisition environments. Rugged construction and adherence to standards allow these interface modules to be used in harsh climatic as well as electronic environmental conditions. Lockable chassis connectors are featured for both the line audio and network I/O connections.
Dante audio streams are provided at 44.1kHz, 48kHz, 88.2kHz and 96kHz sample rates, at 16-, 24- and 32-bit resolution, over 100 BASE-TX Ethernet. Network connection is via an etherCON chassis with a SYS/SYNC status LED indicator ring. NA-2 DLINE devices are also AES67-compliant, supporting their use with other networks like Ravenna, Q-LAN and Livewire. All three models operate in conjunction with a Power over Ethernet (PoE) switch or injector.
www.neutrikgroup.com
MARTIN AUDIO has expanded its iKON range with the iK41 fourchannel power amplifier. Designed as a dedicated controller amplifier for Martin Audio WPM optimised line arrays and TORUS 8 constant curvature loudspeakers, it also provides multichannel amplification for select Martin Audio loudspeakers. Delivering 1,500W per channel into 4Ω, the iK41’s high efficiency reduces the energy drawn from the mains supply and ensures the power
network inputs are also provided for digital audio distribution and control. Its integrated DSP enables the iK41 to provide an even wider feature set, with up to 1,000 FIR filter taps at 48kHz on each output channel, and a loudspeaker limiter suite which incorporates peak, RMS and excursion limiting, as well as multiband limiting for passive twoway systems.
www.martin-audio.com
Craving Maven
BUILDING ON its flexible Prodigy series, Maven is a powerful DSP engine from audio connectivity specialist DirectOut that delivers the same power as the company’s
developed in collaboration with RME. Based on the USB 3.0 core by RME, this USB-C module offers 128 channels I/O at standard sample rates (1FS) and
Objectify this
FOLLOWING ITS launch in 2022, Adamson Systems Engineering’s FletcherMachine Spatial Audio Rendering Engine has received a V2 upgrade and a raft of new features. Available in three versions, FletcherMachine Virtual is a free, standalone application for Windows and macOS that allows users to design immersive environments onthe-go. FletcherMachine Stage is a 3U hardware unit with a 5-inch colour touchscreen, offering up to 128x128 I/O at 96kHz sample rate and 1.3ms latency. FletcherMachine Traveler brings the functionality of the Stage engine to a more portable format,
and supports a variety of audio network formats including Dante, AVB/Milan, Ravenna/AES67 and SoundGrid.
Compatible with both the Prodigy and the Maven platforms, DirectOut has also unveiled the USB.IO, the first DirectOut product
benefits from the inclusion of RME’s TotalMix FX software, which offers a range of mixing and routing options, and also extends DirectOut’s EARS technology into any DAW used on a connected computer.
www.directout.eu
Super-sized network management
DESIGNED FOR professional AVoIP installations with high node counts and complex channel management, the Symetrix Server D100 is a digital signal processor for use in large-scale systems. It ships
benefit from new housings for both Traveler and Stage engines as well as hardware redundancy available for Stage engines. A new delay matrix allows for easy routing of any input to any output with user-assignable gain and delay. Time code, stereo pairing function and variable I/O have also been added.
Available as a free download from its website, ArrayIntelligence V1.2 is a software platform from Adamson that allows users to design and deploy systems from a single interface. V1.2 introduces a range of features such as Sub Array Optimisation, VGt and Delta
Meanwhile, an xIO USB audio AVoIP endpoint for the processing of USB audio sources has also been introduced to simplify integration. The xIO USB endpoint features front and rear USB-C connectors, two channels
with 256x256 Dante channels, 64 AEC channels, 32 media playback channels, eight media record channels and flexible open architecture processing to tie it all together. On-demand software upgrades can expand the AVoIP channel count to 384x384, AEC channel count to 96 and media playback to 128 channels.
The Server D100 platform includes a proprietary operating system, a performance audio engine and new AEC algorithms.
of transmit/receive over USB and two channels of transmit and receive for AVoIP. It can use PoE or DC power connections that enable charging of user devices like laptops and phones. Crucially, the device also includes HID synchronisation to maximise integration with Symetrix control devices. It fits in a ¼-rack space and can be surface-mounted in either a vertical or horizontal orientation. www.symetrix.co
application for Windows and macOS. At the core of FletcherMachine is an object-based rendering engine that uses both amplitude and time localisation algorithms to position sound sources more accurately in a three-dimensional space. This approach is said to enhance the listener’s ability to perceive both the direction and distance of sound sources, resulting in an improved and more realistic immersive experience.
FletcherMachine V2 includes improved speaker management which allows for both 2D and 3D setups in the same session; connectivity tools including dedicated DiGiCo and Avid plugins and onboard ADMOSC for interoperability with other mixing desks and audio workstations; a binaural renderer which can be assigned to any output channel and a dedicated headphone output for AVB and MADI versions; up to three reverb engines; improved snapshot section for more accurate show control; more efficient external protocol handling (MIDI, OSC, PSN, rttrpm) for improved integration of tracking systems and other third-party applications; and expanded object grouping and linking for mix automation. Users can also
to include it in simulations and evaluate the optimisation feature. Pilot partners will be able to fully control their systems and utilise either cardioid or omnidirectional patterns. Meanwhile, Sub Array Optimisation simplifies the design and optimisation of subwoofer arrays and allows users to automatically generate optimal delay settings for a given horizontal subwoofer array
V1.2 also introduces a Delta Time Simulation feature for precise timing adjustments and simulations, enhancing the accuracy and coherence of sound systems, a mute lock function and new buttons for better touchscreen control. www.adamson.ai
FletcherMachine V2
Clear-Com ships Gen-IC Virtual Intercom
CLEAR-COM HAS begun shipping its Gen-IC Virtual Intercom, a system it describes as a significant breakthrough in cloud-based communication technology and one that can seamlessly integrate with existing hardware ecosystems or function as a standalone software solution. Its scalability allows users to add virtual clients as needed, with the flexibility to integrate with Clear-Com’s hardware infrastructure over LAN, WAN and the internet.
Addressing latency challenges inherent in virtual intercom systems, Gen-IC can be deployed on selectable regional targets, ensuring minimal latency and seamless communication for mission-critical productions. According to the manufacturer, field trials have demonstrated exceptional reliability and audio quality, even in demanding scenarios.
Gen-IC Virtual Intercom is userfriendly when paired with virtual clients such as the Agent-IC mobile app and Station-IC virtual desktop client. Integration with hardware ecosystems can also be achieved through Clear-Com’s LQ Series of IP interfaces.
While being scalable and flexible are important, security is also critical. In this regard, Gen-IC and the Station-IC and Agent-IC companion apps support AES128 encryption to ensure reliable and secure communications between various endpoints.
Elsewhere, the manufacturer has also announced enhancements to its Arcadia intercom platform that it says makes it an indispensable tool across multiple sectors, including broadcasting and live events. Offering
new connectivity and expanded device support, features include I.V. Direct Interfacing, allowing effortless interfacing with LQ, Eclipse E-IPA and other Arcadia systems over LAN, WAN or the internet.
HelixNet HXII-DPL Powerline Device Support expands intercom capabilities with enhanced support for HelixNet devices. Additionally, the increased capacity for FreeSpeak II digital wireless system beltpacks and IP
transceivers means that Arcadia now supports a significantly higher number of these devices, accommodating larger teams and more complex communication requirements with ease. Furthermore, Arcadia doubles the number of supported HelixNet user stations, making it an ideal solution for larger and more demanding communication setups.
www.clearcom.com
Media encryption added to Dante
AUDINATE HAS announced the addition of Dante Media Encryption to the evolving security features and benefits of the Dante platform. Dante Media Encryption protects the content of media flows using strong AES256 encryption, safeguarding media from interception or unauthorised access. Designed with security at its core, Dante offers device, network and media-level protections for pro AV manufacturers to integrate into their products and system solutions. The accelerating convergence of AV equipment and IT network technologies has increased the need for integrators and manufacturers to provide network protection for system users with security-conscious
designs and adherence to emerging IoT (Internet-of-Things) network regulations.
Dante systems and endpoints implement a multilayer security architecture that provides threat and vulnerability protection to the network and connected devices. The multilayer security architecture provides a solid foundation for manufacturers and systems integrators to follow best practices when configuring Dante and their products to meet new regulations. The addition of Dante Media Encryption enables pro AV equipment manufacturers to upgrade qualified Dante firmware and software in new or existing designs. Dante Media Encryption capabilities are fully
compatible between updated devices in managed Dante networks.
Aiming to extend the reach of Dante AV across a wider range of products, and without incurring additional licensing costs, Audinate’s Dante Ready licensing allows original equipment manufacturer (OEM) products to ship products with Dante installed but not activated. In addition, Dante Ready also brings Dante audio and video channels to cameras, encoders and decoders already shipping and installed in the field with a firmware update. Dante Ready allows customers to incrementally invest in their system as it grows with more Dante channels and features, expanding the connectivity and interoperability of Dante AV-over-IP for both OEM partners and end customers, even after the initial purchase.
Dante Ready channels are activated using the Dante Activator feature in the Dante Controller application for Dante audio and video subscription management. In addition to Dante AV-A and Dante AV-H, Dante Ready licensing is available for Dante Embedded Platform, Dante Application Library and Dante IP core audio solutions.
www.audinate.com
Robust trunking
PROVIDING CONNECTIVITY
between line array speakers and the latest generation of 16-channel amplifiers where each speaker is individually addressed, the 32-core SC-ELEPHANT SPM3215 loudspeaker cable from Sommer Cable features torsion-free stranding and has an installationfriendly diameter of 20.3mm.
flexible even at low temperatures, it is also suitable for outdoor use.
The company says that while wellmatched for (semi)professional PA/sound systems and large sound reinforcement systems such as the L Series from L-Acoustics, an individual combination of the cores also makes it possible to run smaller sound systems. The SC-ELEPHANT SPM3215 can also be used as a control cable for machine and robot control.
www.sommercable.com
Dante Media Encryption
Gen-IC
Digi-Loop 104
Wave ACM production intercom and SoundPlus T3 infrared transmitter.
Designed for smaller venues wishing to become compliant with hearing legislation, the Digi-Loop 104 is a compact, budget-friendly perimeter loop amplifier. Incorporating a userfriendly interface with clear status indicators, the Digi-Loop 104’s Class-D amplifier promotes lower power consumption and natural cooling. Automatic gain control is included for added intelligibility. Unlike many wireless intercoms with a fixed base station, the Digi-Wave ACM (Advanced Comms Module) designates a centralised unit as a flexible access point. The full-duplex
communication with subgroups and a Private Call function for direct messaging by a team member to a leader.
Williams AV’s infrared product line now includes the SoundPlus T3.
Offering the ability to control and monitor the device using Telnet commands via Ethernet, the infrared transmitter integrates with third-party room systems. Utilising the latest generation LEDs, the T3 reportedly provides 50% greater coverage than the existing T2. The compact footprint enhances its use for assistive listening and language interpretation.
www.williamsav.com
AT-UMX3 streams live
AUDIO-TECHNICA HAS launched its first USB audio mixer designed for livestreaming. The AT-UMX3 is a compact desktop mixer with an all-in-one interface equipped with
monitor mute function to mute the mic audio only in the mix sent to connected headphones, and the mixer is also equipped with 48V phantom power. Its A/D converter provides
it possible to play background music while streaming or to stream game sounds and voices at the same time. Features include a microphone mute function as well as a microphone
OS. Audio-Technica has also verified compatibility with major livestreaming apps and online chat apps.
www.audio-technica.com
Dynacord beefs up MXE5-64 with added Dante
REPLACING THE MXE5 predecessor, Dynacord has released the MXE5-64 Matrix Mix Engine featuring 64x64 Dante audio channels. In addition to the standard 12 analogue mic/line inputs and eight outputs, the MXE5-64 now boasts a total channel count of 76 inputs and 72 outputs.
Building on the previous open DSP architecture for customisable configuration, the v1.4 version of the Sonicue Sound System software introduces advanced DSP blocks and includes efficient scene handling. The new DSP blocks consist of an Auto Mixer with gain sharing, Ambient Noise Compensation (ANC) that dynamically adjusts sound system output in response to ambient noise levels and Automatic Gain Control (AGC) for balancing loudness
variations across different input signals.
Additionally, Sonicue v1.4 enhances the TaskEngine by incorporating scene handling by adopting a drag-and-drop functionality from the software’s control flyouts for scene creation. The integration and control of third-party devices are improved by a web viewer option, which is available for creating control panels in Sonicue. This feature allows for the integration of external websites of third-party devices or software applications via the Sonicue Control panel designer to be run as standalone apps or the TPC-1
d&b audiotechnik and L-Acoustics launch Milan Manager
DESIGNED TO simplify the configuration, management and monitoring of Milan-AVB networks, d&b audiotechnik and L-Acoustics have launched the brand-agnostic software platform Milan Manager. Immediately
functions while delivering clear, realtime network status reporting. Milan Manager automatically discovers units and allows users to name them, set sample rates and manage media clocks. Channels can be mapped
K-array launches K-CLOUD
K-ARRAY HAS added to its growing suite of software products with K-CLOUD. Expanding on the brand’s K-CONTROL platform, K-CLOUD allows for remote control, monitoring and management of K-array’s Kommander amplifiers from anywhere in the world, giving integrators control of the volumes, presets and matrices. Alongside the control capabilities, K-CLOUD customers can also use the platform to monitor their systems and will receive alerts in case of system errors, while viewing signal presence meters can also be carried out remotely. K-CLOUD is also compatible with other leading control systems from manufacturers such as Kramer, Crestron and Crestron Home, AMX, Control 4 and Q-SYS.
More outputs
WITH THE addition of 16 free outputs to L-ISA Studio, French sound specialist L-Acoustics has unveiled its v3.2 update to its L-ISA immersive production platform. The additional outputs aim to enable more immersive monitoring setups at a lower cost.
Already available on the Google Play store, the manufacturer has also announced the expansion of K-CONTROL to iOS, meaning integrators can now offer their clients the system control tool on Apple devices.
In other news, the Kayman-KY102 has now been implemented with Electronic Beam Steering (EBS). Thanks to EBS, each of the eight woofers in the Kayman-KY102-EBS can be independently processed through FIR filters. This allows for dynamic control and manipulation of the sound beam, directing it precisely to the desired listening area.
www.k-array.com
Translate, which provides access to live, simultaneous content in dozens of languages, while Mixhalo Live gives the ability to stream up to 16 channels of personalised immersive content directly to attendees’ smartphones. Mixhalo Moments
L-ISA v3.2 also delivers integration of Mixhalo’s AI-powered services with the L-ISA Processor II. Activated via a subscription model and with usagebased pricing, Mixhalo is an ondevice, real-time streaming platform for live events. It allows event organisers to create personalised experiences that visitors or audiences can access on their own device from anywhere within the venue. Features include Mixhalo
with professional quality audio from Mixhalo for their social stream, and all features are configurable via the web-based Mixhalo Control platform. Other updates to L-ISA v3.2 include improvements to the Room Engine, additional features and refinements to the Snapshot Engine, as well as improvements to the L-ISA audio bridge for Windows.
www.l-acoustics.com
Immune to RF
SHURE HAS upgraded its WL Series with the low-profile WL18Xm professional lavalier condenser microphones – including the cardioid WL185m, supercardioid WL184m and omnidirectional WL183m –for use with wireless bodypack transmitters. Designed for speech
and presentation applications in a variety of environments, including houses of worship, the product line has been designed with lower selfnoise, improved RF immunity, higher dynamic range and improved max SPL. The WL18Xm range is 8mm shorter than its predecessor, making
Blackmagic keeps users connected
with transcribed audio to find speakers and edit timeline clips, while colourists can produce film-like tones with the
tie clip can be rotated in 90° intervals for accurate positioning. The manufacturer’s wireless systems – including BLX, GLX-D+ and SLX-D – will eventually be available bundled with the WL18Xm.
www.shure.com
drones. In addition to the multiple ¼- and 3⁄8 -inch thread mounts on the top and bottom of the body, the PYXIS 6K has a range of side plates that further extend their ability to mount accessories such as handles, microphones or even SSDs. The full frame sensor with a native resolution of 6048x4032 can adapt to shooting in bright sunlight or in almost no light at all. Thirteen stops of dynamic range
Super speed
MRMC HAS announced the release of the Super Milo, reportedly promising “unparalleled, repeatable camera movements”. Building on the manufacturer’s Milo system, the Super Milo has been designed to enhance speed, acceleration, reach and quick assembly. Speeds of up to 3m/s on track and 5m/s with combined camera movement can be achieved for high-speed filming. The Super Milo is equipped with brushless motors and reportedly achieves speeds up to 100% faster and accelerations up to 400% quicker than the original
extends the PYXIS 6K’s compatibility with a large selection of cinema and photographic lenses. The L-Mount model works with the latest full frame lenses from Leica, Panasonic and Sigma but can also accommodate lens adapters. The EF model can be paired with photographic lenses including DSLRs.
Available for download, the DaVinci Resolve 19 update adds Neural
support. VFX artists in Fusion have access to an expanded set of USD tools.
Available as mini and rack-mount models, a range of Blackmagic 2110 IP Converters to support Ultra HD using 10G Ethernet are available.
in-viewer metering and head tracking
www.blackmagicdesign.com
Milo. The rig can take a camera payload of 35kg.
The geometry of the Super Milo is said to allow for smooth, stable
movements below ground level to a maximum height of 6.1m. With easy-to-fit extensions, it offers flexible shooting configurations. Electronic lifting actuators expedite track setup, making the Super Milo a high-precision, high-speed rig suitable for macro, tabletop, CGI work and, now, high-speed liveaction shooting. The setup takes under an hour and is fitted with an electric jacking system that is said to make rail assembly faster than ever.
www.mrmoco.com
PYXIS 6K
2110 IP Converter
PRODUCTS
Ki Pro GOes again
AJA HAS launched the latest evolution of its Ki Pro GO multichannel HD/SD recorder, the Ki Pro GO2. It offers users four channels of H.265 (HEVC) or four channels of H.264 (AVC) recording to USB 3.0 drives or network storage, with redundant recording and single channel playback. In addition, it includes four 3G-SDI and four HDMI inputs for compatibility with a wide range of video sources.
The Ki Pro GO2 features a web UI that is compatible with standard web browsers, front panel device buttons and an integrated HD screen. Other
Going solo
DESIGNED TO
full potential of LiveU’s Solo Pro, the manufacturer has released the Solo Pro Connect. It has been created to simplify operations with tried-and-tested modems together with unlimited data plans, LRT cloud subscription and LiveU managed SIM Cards.
Users can choose the kit that suits their needs: duo with two connections/ modems or Quatro with four connections/modems. Each kit includes LiveU Net highperformance USB modems with high-gain integrated antennas. Designed for robust performance, LiveU Net modems are said to offer the highest reliability compared to other carrier-branded USB modems. Equipped with LiveU’s managed SIM cards, the modems support multiple cellular carriers and have been successfully tested with all LiveU units. The Quatro kit comes with the Solo Belt Pack and Y-Cables for greater ease of use.
features include five USB recording media ports, compatible with offthe-shelf USB 3.2 Gen 1 media, four 3G-SDI inputs, four HDMI inputs, four 3G-SDI outputs, a 3G-SDI monitoring output, an HDMI monitoring output, balanced XLR analogue audio inputs, mic/line/48V switchable and an Ethernet LAN port.
The HD/SD recorder also incorporates real-time recording to network storage, onboard exFAT drive formatting, built-in frame syncs, support for HDMI and SDI multichannel matrix monitoring and
for monitoring timecode, media status and audio levels.
Additional features include selectable VBR recording settings with five options, timecode SDI RP-188 Input Support: Time of Day or Timecode
Once the kit has been chosen, users can log into the Solo Portal to choose the relevant region and activate unlimited data plans with LiveU Reliable Transport (LRT) cloud subscription included. Annual and monthly subscription options are both available. Users can enjoy high-speed internet with the LiveU managed SIM cards and Solo Pro bonded unit, combining multiple networks (cellular, Wi-Fi and Ethernet) into one strong connection.
www.liveu.tv
Seamless response
ETC’S TWO- and four-port (non-DIN) models of Response Mk2 DMX Gateways now support NFC configuration. A tap from a mobile device running the Set Light app (v1.9 or later) allows users to retrieve a Gateway’s configuration, edit it in the app, then update the gateway with another tap, even while the gateway is powered off.
This latest update to Response Mk2 DMX Gateways also adds Port Labels
using a single channel of Analog Audio In, two channels of embedded audio per video input, a compact ½-rack width and 2U height
www.aja.com
Lock and load with Jet
EYEING UP the LED installation market for semi-permanent indoor applications, ROE Visual’s Jet LED panel system features a brightness of 1,300 nits, a lightweight design of 10.3kg per panel and the capability to add curves from 5° convex to 5° concave. The company says its refresh rate of 7,680Hz makes it more adaptable to market challenges, especially houses of worship, which demand high refresh rates and outstanding ICVFX performance. Each 500mm x 1mm Jet panel
which makes it up to 50% lighter than conventional LED panels, but without losing strength. It features a lock equipped with a magnet-assisted function which locks panels together with a push of the handle. Coupled with the user-friendly horizontal locks, the system delivers freedom for fixed installation areas and the design can be easily changed to suit special occasions. Meanwhile, its highcontrast mask enhances the contrast ratio to deliver a more immersive viewing experience.
on the Gateways’ LCD screen. Users no longer need to think about what’s plugged into a port and can also view and edit port information in
the latest version of ETC’s Concert network configuration software (v4.5.1) and in the Set Light app. In addition to these updates, all new
Gateways. Users can activate features in the field with a simple upgrade to software version 2.1.0 or 3.1.0 via UpdaterAtor. For the security-conscious, NFC configuration can also be disabled using Concert on a per device basis, ensuring devices in publicly accessible areas cannot be reconfigured by unauthorised users.
www.etcconnect.com
No rival
AYRTON HAS launched its IP65-rated Rivale Wash, the first wash luminaire in the brand’s new Ultimate range. Forming part of the IP65 3 Series, the Rivale Wash has been developed especially for mixed indoor and outdoor use, including in salt-laden environments.
The unit has been designed to emphasise volume and create depth. The 170mm Fresnel lens providing a 4° beam has been specially created for use with framing shutters, while also facilitating the use of geometric gobos or ovalisation lenses. The new Fresnel lens is said to significantly improve colour mixing and deliver 10% more light compared with a conventional
Fresnel lens. The Rivale Wash’s proprietary 12-lens optical system offers a zoom ratio of 14:1 and a range from 4–57°.
The Rivale Wash is equipped with a new 430W high-efficiency, sealed, monoblock LED module calibrated at 6,500K, offering a luminous flux of 28,000 lumens with optimum positioning on the black body to achieve “perfect light neutrality”. A system of four individually positionable barn doors reportedly allows precise shaping capability over the full 100% surface area, regardless of lantern position.
The luminaire adopts a new, high-definition, progressive CMY colour mixing system that delivers colour reproduction as soon as the filter is inserted, regardless of the colour combination selected.
An extended progressive CTO
enables precise adjustment of colour temperature from 2,700K to 6,500K, and a seven-position colour wheel with special filters completes the palette of tools dedicated to colour creation. For greater flexibility of use, the Rivale Wash offers subtle adjustment of the colour rendering index from 70 to 88.
An indexable, rotating gobo wheel with seven adjustable-speed rotating gobos (in both directions), a CMY and RGB graphic effects wheel, a 15 blade iris, a 0–100% variable linear frost and a dimmer/ strobe complete the effects package.
www.ayrton.eu
A FOLLOW-UP to its smaller brother, the Opus X Profile, the Opus X4 Profile has been released by Cameo and features a 1,400W LED white-light engine which generates a light output of 50,000 lumens and provides powerful spot and gobo projections.
The combination of the 1,400W LED engine, 193mm front lens and particularly large 5–55° zoom range enables equally flexible use as a spot and a profile moving
head. At the same time, the Opus X4 Profile is only slightly larger and heavier than the previous Opus X Profile, despite its large leap in performance, and is still just as flexible to handle.
Thanks to its two rotating gobo wheels, a rotating animation wheel, iris and the four-way aperture-slider system, each with ±60° rotatable framing blades, the Opus X4 Profile features nearly all effects options. With saturated colours – especially
its intense red hues – the spot profile moving head offers infinitely variable CMY colour mixing and two additional colour wheels. A linear CTO filter and two frost filters with 1–5° are also available. Furthermore, the fixture is compatible with all market-relevant control and transmission protocols, such as DMX/RDM, Art-Net, sACN, W-DMX and CRMX.
www.cameolight.com
AIMING TO deliver a more visually dynamic effect with higher impact, Elation’s IP65-rated Pulse Panel and Pulse Panel FX units combine a strobe, bright blinder, highoutput wash light and creative eye candy effect in one. Both fixtures incorporate zone-controllable RGB and cool-white LEDs with 1,152 1.5W RGB LEDs establishing the foundation, 288 5W cool-white LEDs at its centre and 96 1.5W RGB LEDs at its core. A further 144 5W coolwhite LEDs line the perimeter. When combined, output is over 100,000 total lumens.
The company says it added the cool-white LEDs on the outer edges to offer more output and visual impact, and then capped those with a custom linear prismatic lens originally developed for Elation’s
of customisable RGB and CW strobe effects along with variable dimming modes and curves for quick programming.
The Pulse Panel FX can pan or spin its LED panel in an endless 360° rotation and features a 180° tilt. The fixtures can be controlled via DMX, RDM, Art-Net, sACN and KlingNet protocols, and both fixtures also feature proprietary Aria x2 wireless device management for simplified system setup and maintenance.
The Pulse Panel FX allows for two separate universes to control the fixture – one for fixture movement and another for LED control –allowing users to control the LEDs from a media server or separate content control device.
www.elationlighting.com
Proteus Rayzor Blade fixtures. A single line of RGB LEDs at the centre adds extra colour or can be set to mirror the centre CW strobe LEDs. Customisable zone control of both the RGB and cool-white LEDs provides more design flexibility, and both fixtures include a library
Pulse Panel FX
Starting with sound
Devin Sheets, lead engineer at systems integrator Alpha Sound, shares how the company tailors its approach to each church
ALPHA SOUND WAS FOUNDED IN the 1970s by Duane Sheets in his mother’s garage. Over 50 years later, the company has become one of the largest production houses on the west coast of the United States. Devin followed in his father’s AV footsteps and is now the new face of the company –Duane brings his many decades of experience and wisdom to the table, while Devin drives the company forward with a fresh perspective. The duo focus mainly on live sound production at churches or worship events where they either supply the entire audio setup and operate the equipment, or source and install equipment for permanent installations.
A large bulk of Alpha Sound’s projects take place in its home state of Oregon; however, the company has recently started installing systems in churches all over the US. Alpha Sound offers in-person support for its local clients and has developed unique, long-distance support technologies for remote clients so that the sound in the client’s venue can be heard almost as closely as being there in-person. Devin explains: “Along with many standard remote-access protocols, we can make decisions both sonically as well as technically about how to keep remote clients’ systems running smoothly and assist with special events and needs.”
the coding of a customised artificial intelligence software that prevents audio feedback from occurring.”
Devin cites the St Catherine of Siena Catholic Church in Wake Forest, North Carolina, as a great example of the company’s work in liturgical settings: “The basic problem we had to solve was vocal intelligibility, but the system we provided also contained many novel and cutting-edge technological aspects, such as our remote support
and very few audio engineers have the skills to handle this type of challenge.”
Ensuring Alpha Sound stays ahead of the curve, Devin predicts future AV trends for the worship market.
of modern electronic instruments. For liturgical churches, which is the company’s current focus, Duane and Devin provide turnkey systems that are visually minimalist, often with only a few microphones. “We have developed our own unique technologies and methods that primarily contribute to the success of these projects, complemented by the very high-end brands we choose to work with, such as Yamaha, Nexo, Shure and DPA,” explains Devin. “Our most recent proprietary development involves
system and a customised infrasubwoofer to augment their digital pipe organ’s lowest notes.”
Whether working on small, village churches or large cathedrals, Devin says that the desired outcome is always the same: clear and natural sound. “Larger churches have more moving parts and often have the funds for fancier equipment, but the basic goal is the same in all cases – that’s what our demos are focused around,” he explains. “Whether we are doing a preliminary demo for a church of 500 or 5,000 members, we’ll set up speakers and microphones in their venue and do a comparison of the current system and what the new system would sound like.”
Having worked in a multitude of churches over the years, Devin says the most frequent issue clients have with their old systems is the lack of clarity, especially for the spoken word
“We think that the technology to truly achieve clear sound in highly reverberant spaces has only recently become available, so we anticipate the frequency of these sorts of installations to increase as clients become aware of this possibility for their venues,” he explains.
Devin shares what lies ahead for Alpha Sound: “For this next year, we have a few new liturgical clients that we’ll be spending a great deal of time pouring energy and creativity into, making their sound as clear as it can get. We’re constantly experimenting with new methods and improvements to existing techniques. We hope to finish our AI de-feedback product and release it to the public. We also keep reasonably busy providing live sound support for local events, so it’s a nice balance.”
Devin Sheets
Duane Sheets
Alpha Sound provided an audio upgrade at Mount Angel Abbey and Seminary in Oregon
Left and right hangs of 12 Nexo GEO M6 fire down the nave at St Catherine of Siena
ADAMSON CONTINUES TO DRIVE THE EVOLUTION OF SOUND REINFORCEMENT WITH UNRIVALED POWER AND CLARITY.
Adamson Systems Engineering proudly celebrates its 40th anniversary, marking four decades of innovations in sound reinforcement.
Founded by Brock Adamson, the company has consistently redefined audio technology with numerous patents and iconic products. From the legendary MH225 to the latest VGt Line Array, Adamson's loudspeakers have become the trusted choice for top touring engineers and prestigious venues worldwide.
The company’s dedication to in-house manufacturing ensures that every component meets the highest standards of quality and durability. As part of its ongoing evolution, Adamson has invested in advanced manufacturing technologies, including a $4 million electronics facility, to enhance production capacity and meet growing demand.
With a legacy built on passion and innovation, Adamson Systems Engineering is excited to shape the future of audio technology and reinforce its commitment to excellence as it embarks on the next chapter of its journey.
