POWERSOFT.COM THE MESSAGE IS CLEAR Powersoft install solutions for Houses of Worship Compelling power Discreet implementation SCAN FOR MORE At your Ultimateservicecontrol AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST September–October 2022 ONWITHBOARDLED MAKING THE CHOICE –DIGITAL OR ANALOGUE? A FIRST FOR EVERYTHING AT STERCHI RISINGHILLSTO THE CHALLENGE Times Square Church builds a new community Singapore: MICA (P) 031/05/2022 PPS 1644/05/2013(022954)
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September–October 2022 WORSHIP AVL 3 COVER: Times Square Church Printer: Times Printers Singapore LICENCES: Singapore: MICA (P) 031/05/2022 PPS 1644/05/2013(022954) CIRCULATION: circulation@worshipavl.com All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners. Follow us on social @WorshipAVLMagazinemedia
It’s really pleasing to see that the world of AVL upgrades in houses of worship is continuing to move apace, despite continuing supply chain problems. The return to face-toface tradeshows has provided a welcome launch platform for those products that had been put on hold over the last two years and we’re hearing about plenty of exciting HOW installation projects in the pipeline. As usual, the features in this issue take us around the world, from the US to the UK, from Zimbabwe to Korea. On p.30, Media Mentoring’s Graeme Spencer asks, what do you need from your audio team? Casey Hawkins considers how to direct a video crew for special events on p.32 and our resident lighting expert, John Black, gets creative on p.34, exploring what he likes to call “painting with light”. While the choice is still available, Gordon Moore considers the pros and cons of analogue and digital on p.36, we look at how Chip-on-Board (COB) will create a number of distinct advantages for LEDs on p.38 and ETC highlights the questions you should be asking in your search for long-lasting LEDs on p.40. I hope you enjoy the issue.
COMMENT
THIS IS A QUESTION THAT IS difficult to respond to because it involves technical issues that are quite complex for clients to understand. A good sound system in a mosque should be able to produce a clear sound that can be understood during the sermon and melodious when the holy verses of the Al-Quran are recited slowly and rhythmically by the Imam during prayers. To achieve this, the microphone is one of the most vital components in a mosque’s sound system for determining the quality of the sound before it is converted, amplified and transmitted. In this third article, I will touch on the types of microphones that should be used in a mosque. Requirements In general, a mosque conducts various worship activities as mentioned in my first article and each of these activities requires the need for a different type and amount of microphones. Ideally, a total of seven microphone input panels should be placed in strategic locations, such as the Mihrab wall, Kibla wall, Mimbar, Bilal or Adhan room, during the system design process. These seven microphones are made up of three for calling prayer, one for prayer, one for Tazkirah or lecturing and two for the sermon. However, this is the minimum amount required as each mosque has different microphone requirements and this depends on the mosque’s size and types of activities. In a nutshell, there are four types of microphones that are usually used, namely dynamic handheld for calling prayer, condenser tie-clip or headworn for prayer and condenser gooseneck for the sermon. These microphones can be used either wired or wireless, according to the user’s wishes. Common issues the Imam or Bilal bring the microphone distance closer to obtain the “proximity effect”. The good things about the proximity effect are that it makes a sound “bigger”, more intimate or more impressive but it degrades speech clarity which ultimately affects the sound quality. Poor voice level also often occurs with Imams who are older, but this problem can be fixed by an operator manually increasing the “gain input” of the microphone channel in an analogue system or automatically adjusting the system by using the automatic gain control function in a digital system.
4 WORSHIP AVL September–October 2022
How can I make my mosque sound better?
Founder and technical director at Acousticon Sdn Bhd Mecca Microphone Shure’s SM35 is a popular mic for Imams in Malaysia
In addition, constant feedback is another critical problem that often occurs during prayers. It happens because of an excessive amount of reason,audiooperatornotthatpotential(GBF)beforemicrophonesbeingusedwithoutpropercontrol,resultinginpoorgainfeedbackwithmultiplefeedbackloops.Bearinmindmostmosquesdohaveadedicatedtocontrolthesystem.Forthisanautomaticmixer with a Number of Open Mics feature is the best solution where it can limit and provide gain attenuation for an improved signalto-noise ratio and GBF. A new way The world is advancing with the latest technological inventions and this encourages the design of mosque audio systems to evolve, such as from analogue to digital, and microphones are no exception. Various methods and types as well as microphone technologies have been adopted to meet and fulfil user needs. Mecca Microphone is one of the inventions where a “non-contact” approach is used for the Imam so that there isn’t a microphone directly attached to the body. It consists of a dynamic handheld microphone or condenser gooseneck microphone and a condenser tabletop mic placed on a microphone stand, positioned at different heights so they’re suitable Alongside this, the steerable microphone is a new technology that can be explored in the future for the Mimbar or rostrum to replace the conventional gooseneck microphone. It is more practical for Khatib or people who deliver sermons who tend to move their heads, which can result in coverage problems. TOA’s AM-1 is a good example of a steerable microphone which follows the sound source so that coverage problems can be Until we meet again in part 4, where I’ll touch on speaker selections for mosques. Take care In his latest column, Azizi Ala addresses a question he is often asked by his clients – but it’s not that simple to answer Azizi Ala
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WITH THE EASING OF COVID restrictions, churches have welcomed back their congregations and weekend in-person services have once again come alive in worship and celebration, a stark contrast to the conditions of the past two years. And with the return of church programmes comes the need to upgrade AVL systems to meet the evolving needs, especially those brought about by the pandemic. I can attest to this as I have received an influx of such requests from churches over the past few months. Today, we will touch on a lesser discussed topic – lighting systems. Lesser because for the majority of church AVL projects, unless there is an active vibrant creative arts ministry, the least priority and budget (or even none) is usually allocated to lighting systems. Lighting for the sanctuary and even the stage will simply be functional, where basic overhead lights are typically considered appropriate and adequate for worship services. But is it really? For those who are still exploring the final frontier in church AVL systems, welcome to my fourth edition of the What, Why and How do AVL systems matter to church worship services. Most people would have attended or watched a concert on TV and have experienced what stage lighting can do. There are those who appreciate its visual effect and would often try to emulate it in their worship services but, on the contrary, there are also others who will avoid the use of stage lighting for completely opposite reasons. But what’s behind this polarisation over stage lighting systems? There are a number of possible reasons but let’s just focus on two main ones for now –1) differing church culture and worship styles, and 2) misconceptions about the primary role of stage lighting. For churches with charismatic styles of worship, a stage brightly illuminated by coloured lights and moving heads is common as they complement and add to the vibrant worship atmosphere. Whereas for churches with more traditional and conservative styles of worship, stage lighting can often be associated with performance and entertainment and are usually deemed inappropriate for their use. As such, the stage is illuminated with just standard overhead house lighting, which can often look dreary, especially on camera. So, does this mean that stage lighting has no place in churches with more traditional settings? Several years ago, a Baptist church that never had any stage lighting wanted to explore if they should make that transition in their next AV upgrading project. They sought my advice on what benefits it may bring so they could justify it to their church board, and this is what I shared with them.Stage lighting is not all about flashy coloured lights, rather its primary combination of properly positioned static lights such as Fresnels and profiles, producing “warm white” or “tungsten” tones of around 3,200K, will serve this purpose well (angles are very important, do seek expert help on this). Warm white gives a nice skin tone and is also friendly for camera work, which is why it is often the preferred colour temperature used in most venues. Stage lighting also has a special ability to draw the congregation
COMMENT
6 WORSHIP AVL September–October 2022
Robert Soo asks whether basic overhead lights are appropriate and adequate for worship services
What’s lighting got to do with church worship?
Stage illuminated with warm white lighting Profile Fresnel Colour wash Moving head
September–October 2022 WORSHIP AVL 7 COMMENT Transmitters......for every purpose USA 1-800-821-1121 In Canada, call 877-753-2876 In Europe, call +33
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to see what is supposed to be seen or what they should be looking at. It directs people’s eyes by selectively highlighting (no pun intended) what’s important. For example, if the main focus is the preacher at the pulpit, instead of illuminating the entire stage with general washes, lights should be focused and made brighter at the pulpit area while downplaying levels to the rest of the platform. For churches open to taking a step further, it’s good to know that subtle and tasteful use of colours can help create conducive settings or mood for different segments of the worship service. For example, using colours like blue on the background or as backlight would work nicely for more contemplative and reflective moments, such as the slow worship song segment, while brighter colours for more celebrative moods may be applied effectively for many years around the world, across different church cultures and denominations and it’s been a blessing for the congregations. But if I may borrow the phrase “Everything is permissible, but think deserves a lot more thought and consideration as it too has a great impact on the congregation and to the overall feel of the worship service. For many years, the vast majority of churches generally use fluorescent or discharge lamps that produce daylight or white-coloured light for illuminating the sanctuary. Technically, this does the job, but white light in the range of 5,300–6,500K can appear harsh, unrelaxed and even sterile, which may not set the best ambience for a worship service. Though it is still considered good lighting for people to read their bibles, it would not feel very comfortable, particularly during the There are two good reasons why warm white lighting in the range of 2,700–3,300K would be a better choice. Comparing it to white lights, warm lighting is softer and provides a more comfortable and relaxing ambience, which many have found helps the congregation be more open and uninhibited in their expression of worship. In fact, some churches have even gone further by dimming the lights down during the worship segment. The second reason affects video camera systems. Once a camera’s white balance has been set to the colour temperature of stage lights, which we have established to be warm white, the image colours will look off or lifeless whenever the camera pans over to the congregation if the house lights are in daylight white. So, for consistency in video capture, it is always good to have both lighting systems operating within the same colour temperature range. Just like its audio and video counterparts, lighting actually plays a critical role in today’s church worship services. With better understanding and management of lighting systems, worshippers will continue to enjoy and be blessed with every church service. In my next article, I will be touching on acoustics for churches. Till then, take care and God bless. (0)
Jake Levesque, Faith Church, USA: We were doing a large lighting and video upgrade project during the thick of Covid back in April 2020. Seemed like a crazy time to be doing such a large project but we were planning on doing this regardless of what was happening in the world, and it gave us time with no one in the building to complete the project. Tim Boyer at AVE week.andbecauseSouprecommended(audiovideoelectronics.com)tousthatwegetthePeaasapartofourlightingupgradeofitsprofessionalreputationconsistent,evendispersionweektoWehavetriedotherwater-based haze machines in the past and they have been spotty and inconsistent, which deterred our pastors from using haze. When we showed them the room with the Pea Soup, they asked if there was even haze in the room – it was that smooth and evenly dispersed. I have never seen such smooth, continuous haze in a room before. It has really enhanced our lighting, added a layer of depth to our video and opened our eyes to what’s possible with lighting in our room.
systems – what options are
Chris Lyles, Central Ministries, USA: We’ve used the Hazebase Base Hazer Pro for years. While it has the basic functionality you’d expect – blower control and haze level control via DMX – its smaller form factor is fantastic for hiding it onstage while still getting the room filled. One of the things I appreciate most about its form is the compartment built into it that holds the haze fluid bottles, so you don’t see it. Hazebase also manufactures a specific haze formula for this model, which ensures performance and compatibility.
Enhancing
Dylan Delgatto, Northside Christian Church, USA: A few months ago, we sat down and were looking at haze prices. We realised that we pay a hefty cost for a bottle of haze. We currently have an ADJ Entourage Hazer, and we love it. However, we didn’t love the price of the haze fluid. We began to make our own out of distilled water and vegetable glycerin. This is an easy thing to do, and it helps you save money. The portions are based on how thick you want your haze and how much you are making.
Griffin McCravy, Church of the Highlands, USA: I believe haze can make a big visual impact on a worship environment when done well. The greatest smoking gun question in church production is, “is the smoke, lights and audio really needed?” My problem with this question is that the question itself is relative, is the smoke, lights and audio needed for YOUR CHURCH’S vision. For our church, we are a medium- to largesized venue in the heart of the Bible belt in Birmingham, Alabama. Our vision is that we want to reach all types of people, both those from traditional southern Baptist as well as people who love rockand-roll concerts. For us, we view haze as a way to paint a beautiful portrait during worship services. We have plenty of venues that we do not own, that do not allow for haze, which means we also do our best to teach our volunteers how to not rely on haze to paint an image, but to utilise it as a tool when it is available. In a world of distractions, we try to create worship environments that “are as distraction-free as possible”. So, one thing vital to us is a great, quality hazer and haze fluid itself that can fill a space well but also hang well as to not add to possible distractions in a worship space.
8 WORSHIP AVL September–October 2022 TECH FORUM A
Nick Campfield, Narrow Road Pro (installer), USA: As every lighting designer knows, to get the most from moving head beam fixtures, a hazy atmosphere is important. To achieve this at Daystar Family Church in Western Alabama, I opted for ADJ’s Entourage Haze Pro, positioned at the back of the stage behind the set pieces. This professionalgrade, oil-based machine requires no warm-up time and, with an air pressure of 101psi, is able to generate an impressive output of 3,000 cubic feet per minute. This was actually my first time using the Entourage Haze Pro and I have to say that I was really impressed. We had to actually tone it back a little bit, as it soon filled the room! The volunteers picked up the operation very easily as well. The maintenance on them, cleaning them, learning how to put the rigging on, hanging them, all that stuff was very easy for them to get the hang of. haze machine can help HOWs elevate the effects of their lighting there on the market? lighting with haze
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Rohde explains that the church needed to advance its capabilities on several fronts. The church had hit the limits of its existing technology. The production quality in the sanctuary needed improving and full AV content needed to be shared more extensively throughout the church facility. Leadership also wanted a better way to bring the same quality of the church’s live productions to its streaming media services.“Asweresearched potential network solutions, we learned about Dante AV and the Dante AVenabled encoders from Patton. This looked like the direction we needed to go,” continues Ryan Schaub, a technical volunteer at City Church. “The flexible scalability that an AV-over-IP network system offers is light-years beyond analogue cabling. The more we learned about the Dante ecosystem, the more we realised that this is what we needed.”CityChurch technical director Macky Mikunda and his team converted the entire workflow over to an IP-based Dante AV network. Instead of unplugging and plugging cables into patch bays, all signals are now routed using Dante Controller software. What previously took a lot of time to set up, is now done quickly with direct digital network connectivity, rather than chaining systems together and losing signal quality at each step.
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Sarah Karlen, arts and communications pastor for City Church, added that Dante technology and its improvements to productions help make the church more relevant to younger generations. Having a logical and easy-to-use system has been helpful for its many volunteers and students too. “Our musicians, technicians and the congregation have all noted that everything looks and sounds better. Bringing together all the equipment and systems into a unified platform allows us to focus on the art of the production, not on the issues and limitations of the cable runs or equipment,” explains Karlen. “We’re now able to efficiently share our message with more people in a higher quality and the Dante platform has made it possible.” scalabilityflexiblethat an AV-over-IP network system
www.audinate.com 10 WORSHIP AVL September–October 2022 Step in the right direction PROJECTS The
City Church of Madison takes its modernity one step further with Audinate
Dante-AV Patton encoders are used with all of the church’s SDI cameras and sanctuary projection screens. Mikunda is now adding decoders for multiple screens throughout the facility so he can deliver live sound, video and graphics simultaneously to multiple areas throughout the church. “This was a big change for us. We pulled out almost all of our old analogue cabling, upgraded our network switches and ran a more extensive set of Cat6 cabling to tie all areas together. We then dialled in our network specifics, set the clock-sync settings and the results have been great,” Mikunda adds. “We’re now fairly futureproof and will be able to modify or scale our system over the coming years. Ultimately, that saves us a lot of time, money and frustration while improving the quality of our work.”
Regarding the audio, the church’s former production point-to-point analogue system had several limitations. There was a large analogue cable snake running from the stage back to patchbays and into the front-of-house mixer. Various analogue splitters were used to distribute signals to a limited number of other areas, but everything was essentially isolated to the sanctuary and all other areas had their own sound systems. Previously, it was a tug of war between the needs of live productions and those of streaming; there was no independent gain or mix control between those two functions, so productions were hard to manage and deliver. All stagebox and snake cabling has been eliminated and replaced with a single Cat6 network cable. The church was able to keep its existing front-of-house board by adding a Dante card to the console, and it kept its existing amplifiers and speakers by using a set of Dante AVIO adapters to distribute audio signals over the network.
ESTABLISHED IN 1932, CITY Church of Madison, Wisconsin, has a striking modernist exterior and a spacious 800-seat modern sanctuary with complete stage and AV production capabilities. For years, City Church has relied on live stage productions supported by multiple large video projection screens, professional lighting and a full pro audio sound system to engage the congregation. But faced with the expanding scope and vision of its AV productions, the church underwent an upgrade by installing a new production workflow built upon both Audinate’s Dante audio and AV networked video platforms. “We have always believed in using technology to eliminate distractions and deliver our message in a clear, compelling and engaging way,” says Nathan Rohde, worship pastor, City Church. “We basically just did a complete overhaul of the entire sanctuary so we can now integrate audio and video seamlessly throughout our church, our education facilities and online.”
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WITH A GLOBAL OUTREACH overseen by founder, Reverend Dr Mensa Otabil, the International Central Gospel Church (ICGC) commissioned Eben Awuah of Amson Audio to conduct audio consultancy and installation works. Having been associated with the Dominion Centre in London’s Wood Green, Awuah is a London-based Ghanaian production engineer and integrator and has been working with professional audio systems since the age of 13. “The time came to set up my own AV operation and serve the whole of West Africa, including Nigeria and the Ivory Coast,” he comments. “I needed to go back there with a recognised system and Martin Audio was one of the premier brands I was looking at.”
The turning point came during a Martin Audio open day he attended in 2019 during a demonstration of the scalable Wavefront Precision Compact (WPC) optimised array. “It coincided with the completion of an installation in Nigeria with another leading solution,” he furthers. “Although that sounded great, what I heard from WPC gave me the headroom I needed for this project.” This was very much foremost in his mind when he was brought in as a consultant by the ICGC for its new project, described as a “Pentecostal charismatic church”. “We earmarked four major systems and I was asked to give the pros and cons of each and explain which would be the better choice for the church.” Awuah was then asked to undertake the complete installation. Knowing the system would need to reinforce a vast programme of music – from gospel voice choirs to full orchestras, rock ‘n’ roll bands and spoken word from celebrants, he recommended a WPC solution. “We are the only church in Ghana with an opera group, a classical band, a harmonised choir and rock ‘n’ roll band,” laughs Awuah. “WPC not only gave us more warmth than the other systems, but we needed a stronger lower end that we just couldn’t find elsewhere. It gave us that little bit of extra headroom with all the drivers hitting the right frequencies within the box. As for speech reproduction, the clarity from WPC is second to none.”
Making the right waves
www.martin-audio.com 12 WORSHIP AVL September–October 2022
PROJECTS
The high number of support function rooms and ancillary areas in the substantial building also have their sound delivered by more than 140 Martin Audio C6.8T ceiling speakers. System design assistance was provided by Martin Audio product support engineer, Robin Dibble. “We just loaded the system files from Display 2.3 via VU-NET and, with the minimum of tweaking, it was ready to go. This system just works, even though there is still more work to do on the room.” The installation has certainly met with the approval of ICGC founder/ overseer and pastor, Dr Otabil, who predicted that “this must be the best sound system in the whole of West Africa”.
Ensuring maximum control, consistency and coverage, the entire system is run in one-box resolution and comprises two hangs of 10 WPC elements and two hangs of eight. These are used in combination with hangs of six SXCF118 18-inch cardioid subwoofers flown behind each hang. There is further groundstacked sub reinforcement of 12 SXH218 dual 18-inch subwoofers set across the wide stage in blocks of 2-4-4-2. The line arrays are powered by 10 iKON iK81s and the subs by five iK42s. Cardioid characteristics for the subwoofers were deemed to be essential owing to the large number of microphones deployed onstage, especially with orchestral performances. Powered by four iKON iK42 amplifiers, 12 CDD8s are deployed as stage lip fills together with 12 XE300s serving as floor monitors.
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WITH THEIR FARMHOUSE home serving as a pastoral, inspirational setting, Christian music duo Jonathan and Melissa Helser chose to record their latest live worship album there. They also decided to film the sessions to enhance the album, entitled The Land I’m Livin’ In. The Helsers turned to Brad King, engineer and co-owner of worship sound production studio, Creak Music, for all the recording and mixing work necessary to achieve their artistic vision. Knowing how important it was to capture the unique environment they were recording in, King opted for DPA Microphones in order to fulfil the client’s brief of natural sound and clarity.Having previously used DPA mics on live recording projects, King felt that the brand would be the best option for miking both the vocals and instruments properly. “I’ve loved every mic I’ve ever used,” he says. “So, for this project, we started chatting with DPA about what to use, and we put together a whole list, which turned out great. Among the many benefits of using DPA is the small form factor of the mics.”
King selected the DPA d:facto 4018V for each of the Helsers’ vocals, 2011C twin diaphragm cardioids on kick and snare, 4099 CORE instrument mics on toms and hi-hats, 4011A cardioids for drum overheads and a pair of stereo 4099s on piano. To help fight the reverb and pick up the overall sound and ambience of the room, King also deployed a pair of 4006A omnidirectional mics overhead. As worship musicians, vocals are often at the forefront of the Helsers’ music. “The d:facto is amazing,” adds King. “It is one of those microphones that you just kind of start using and don’t have to do much to it. We’ve used that mic in the studio a bunch. For the right singer, it just shines on their voice. It sounds really great.”
Having the d:factos also helped King obtain isolated vocals in the wide open space, comprised of concrete floors, drywall, windows and a metal ceiling, which all reflected sound, despite attempts at enhancing the sound reinforcement and adding acoustical treatment.Theability to hide the variety of mics proved essential during the album and video recording, which had an audience of about 70 people, to add to the live feeling. “When you’re capturing a crowd, you don’t want the video to just have a bunch of mic stands and cables,” explains King. “Being able to hide the microphones contributed so much to the energy and vibe of the environment while we were recording. It didn’t feel so much like a traditional studio recording, it felt like anKingexperience.”addsthat using the 4099s on drums was helpful because they were able to obscure the mics and cables cleanly and eliminated the need for mic stands. The 4099s were equally as effective with the piano, where the mics were hidden inside and the cable was run along the side, giving the illusion of it being completely acoustic. As for the barn where the session was recorded, King installed 4006As to the outer edge of a second-floor loft space overlooking the large, rectangular main room. “Those mics helped us attain a different, more even sound in the space,” he continues.
“Being able to get the room a little more balanced was amazing. I love the capsule that comes on the 4006A; it gives a flatter response, which is really nice. Having the tight polar pattern and pickup of the DPA mics saved this project. Had we been using anything else, there would have been so much bleed. We would have had to overdub everything. Instead, we just sent the whole project to mix.”
It was while working on a radio edit of one song that King discovered the true benefits of the mics on the end project. “I was just isolating the drums and vocals, and there was almost no bleed. The amount of isolation we were able to achieve just by placing everybody correctly and using those microphones really made it all possible.” from home
PROJECTS
Christian music duo Jonathan and Melissa Helser turn to DPA Microphones for their latest album Being able to hide the studiolikefeelrecording.whiletheenergymuchcontributedmicrophonessototheandvibeofenvironmentwewereItdidn’tsomuchatraditionalrecording
www.dpamicrophones.com 14 WORSHIP AVL September–October 2022 Home
rode.comThe Choice of Today’s Creative Generation.™ Find out more at rode.com/rcp-ii THE ULTIMATE AUDIO SOLUTION FOR CONTENT CREATORS rode.comThe Choice of Today’s Creative Generation.™ Find out more at rode.com/rcp-ii THE ULTIMATE AUDIO SOLUTION FOR CONTENT CREATORS
16 WORSHIP AVL September–October 2022 A first time for everything PROJECTS Render of the breakdown of the five
Limelite Design Service has installed the first Avolites Synergy system in a house of worship
ANDRE HUFF AT LIMELITE Design Service first became involved with Second Baptist Church Clinton in 2000 and later in the planning of the church’s new sanctuary and installation of an Avolites Quartz console in 2014. When Second Baptist Clinton adopted a small struggling church in the neighbouring county to help boost attendance, the integrator was tasked with installing the lighting and video equipment at The Church at Sterchi Hills’ new building.“JoelDew who is the pastor at Sterchi Hills started out as the youth minister at Second Baptist Clinton, so that’s how I know him explains Huff. Once Dew had successfully transformed Sterchi Hills into a vibrant and growing congregation, plans were put in place to extend the church existing structure and build a new 900-seat sanctuary. “They called me about two weeks into Covid and, like everyone else, I was wondering how we were going to go about this,” adds Huff. “But Joe’s history with the construction industry meant that he was able to predict what would happen with the supply of materials and he pushed on with the plans. The room that they had been worshipping in was an old gymnasium which has now become the youth room. The new building houses the sanctuary and a children’s wing and was completed in April 2021.” Dew’s original vision was for the entire back wall of the 16.8m x 6m (WxH) stage area to be a giant video surface. “The church had a healthy budget so we looked at LED but we would’ve needed to add to the steel framework to support a videowall of that size and that just drove the price up to nearly the entire budget,” says Huff. “So, we decided on projection.”Thesolution involves five 13K Digital Projection laser projectors hung in a portrait orientation to maximise coverage and brightness. An Avolites Ai media server handles the blending and mapping of the video and houses all the video background content. The server also handles video feeds from Pro Presenter for Bible passages and song lyrics (via NDI) and from a camera switcher (via SDI) for IMAG-type looks. Three Blackmagic Design URSA cameras attached on monopods bolted to the floor and an ATEM switcher complete the video setup. “To our knowledge, this is the first Synergy installation in a house of worship,” continues Huff. “Synergy was released about six months before Covid so nobody really knew much about it as everything had shut down. But I had the advantage because I was able to do some of the beta testing before Covid.”
The biggest problem Huff had to overcome was the structure of the metal building. “The sanctuary has steel eye beams with girders in between which meant I had to design where the projectors were going to hang and the lighting positions because basically it’s an open ceiling. We rigged a pipe across the ceiling and the projectors are hung straightprojectors
Once the problems with the building structure were overcome and the video system was in place, Huff was able to get creative with the lighting systems. Four Mega Lite Spotbot 300, 38 Mega Lite MB1 and 28 Blizzard Flurry Z fixtures make up the lighting setup, controlled by an Avolites Tiger Touch II console.Unfortunately, however, the delivery of the lighting equipment nearly derailed the church’s plans to launch services in its new sanctuary at Easter. “The Mega Lite MB1 fixtures arrived in the country six days before the grand opening,” remembers Huff. “The only way to get them here in time was for me to drive from Knoxville to Nashville and load 38 MB1s into the back of my pickup truck and drive back to Knoxville the next morning. Thankfully, it all came together just in time.”
It’s not just the video engineers that get to benefit from Synergy at Sterchi Hills. While the platform is used to streamline the setup and programming of the media server, it also allows content to be uploaded to the server from the lighting console at front of house. The ability to map any video content instantly through the lighting rig means that the Sterchi lighting engineers don’t need to battle with complex data merging. Following the success at Sterchi Hills, Huff is already planning his next Synergy installation at a nearby church whose renovation was put on hold because of Covid. “Sterchi has become a showpiece for Synergy,” concludes Huff. “This is a place where we can take people and show them the system. As knowledge of Synergy grows, this is where we can have training classes because we’ve got everything set up – a nice lighting system, a console, a server – all right here with the projectors.” With the continuing trend towards updating video and streaming equipment in a post-Covid world, Huff should have plenty of opportunities to promote the Synergy name in the HOW sector.
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The Avolites Tiger Touch II at FOH
www.limelitedesignservice.comwww.avolites.com
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across. We needed five to fill the image on the screen.”
OREGON-BASED AUDIO production and installation company Alpha Sound has carried out two successful NEXO ID series installations this year. Central to the high levels of performance achieved in St Paul’s Episcopal Church and Kingwood Bible Church, both in Alpha Sound’s hometown of Salem, Oregon, is the deployment of a pair of NEXO’s new ID84 columns as the main speakers, supplemented by ultra-compact ID14s covering smaller areas of theOriginallychurches.formed by Duane Sheets as a recording studio in 1970, Alpha Sound grew quickly to become one of the largest audio production houses on the US west coast. Now, with Duane’s son Devin adding a fresh new perspective to his father’s years of invaluable experience, the company continues its mission to provide the very best live concert and permanent installation sound in the Pacific Northwest and beyond. Devin takes up the story. “When we first got our hands on the ID84, we discovered something very different from a conventional column loudspeaker. Firstly, the soft dome tweeter array lends what I would describe as an almost ‘hi-fi’ sonic characteristic, with an open, natural high end that’s perfectly suited to speech reproduction, which makes up so much of a typical church service. “Then there’s the coverage. With continued downward off-axis response intelligibility, we found that a pair of ID84s mounted 6m up delivered consistent SPL and frequency coverage right to the very back of the venue. It’s fair to think of the ID84 as a viable substitute for a small line array in applications where the budget is limited.”Thesystem at St Paul’s uses a pair of ID84s in what is a long, narrow and semi-reverberant liturgical space. With a shared sonic signature, ID14s are used to cover the transept, choir and overflow areas. A similar system is deployed at Kingwood Bible Church, where the main space is somewhat shorter at 17m, with relatively dry acoustics. A pair of ID14s cover the balcony areas and a single NEXO L18 sub extends LF response. The full system at Kingwood Bible Church is powered by a single NEXO NXAMP4X1MK2, while the St Paul’s system uses an NXAMP4X1MK2, supplemented by a NEXO DTD/DTDAMP4x0.7 which powers the ID14s. “The NXAMPMK2 is our go-to amplification solution,” continues Devin. “Having presets for every cabinet and horn configuration makes it quick and easy to configure systems that combine different speakers from the NEXO range. And it’s also very cost-effective. We can even use a couple of spare channels to power legacy speakers such as existing ceiling speakers in other rooms.” Alongside its sonic and coverage characteristics, the form factor of the ID84 column is also well suited to liturgical spaces, with their typically vertical architectural features. “People have said, ‘wow, the system sounds great, but where is it’?” says Devin. “It’s just another example of how the NEXO ID Series is so well-suited for applications in houses of worship.” www.nexo-sa.comwww.alphasound.tech
St Paul’s Episcopal Church
NEXO ID84 column speakers provide coverage and intelligibility in two US church installations
A pair of ID14s cover the balcony areas at Kingwood Bible Church
18 WORSHIP AVL September–October 2022
PROJECTS
Sound to every seat
An ID84 at Kingwood Bible Church
Thinking. Inside the box. Compact, powerful and unobtrusive, NEXO loudspeakers combine even coverage and full range sound with excellent speech intelligibility to create the perfect system for worship spaces. Find out more about spreading the word at nexo.sa.com SPREAD THE WORD
CL3 consoles
Celebration Church International, Harare, has received a comprehensive audio system upgrade from Stage Audio Works
The Yamaha
20 WORSHIP AVL September–October 2022
CELEBRATION MINISTRIES IS one of the most far-reaching Christian organisations in Zimbabwe and across southern Africa. Founded in 1982 by pastors Tom and Bonnie Deuschle with just six people in their living room, today Celebration Ministries numbers over 80 churches worldwide. With a stated mission to “transform lives and reform nations”, the organisation has strong humanitarian roots and is as dedicated to people’s physical needs for food, medical care, housing and education as it is to their spiritual welfare.Theheadquarters of Celebration Church International is an impressive building in Borrowdale, Harare, called Celebration Centre. Finally opened in 2004 after a marathon 14-year build process, Celebration Centre is now a significant Zimbabwean landmark. Stage Audio Works has recently completed a comprehensive audio systems upgrade for the main 3,800seat auditorium based on a d&b PA system and Yamaha consoles with Dante networking. The decision to upgrade the church’s audio systems was taken in 2019 just before the Covid pandemic. Pastor Bonnie, who leads the praise and worship teams and is the driving force behind Celebration’s says. Consequently, the decision was made to upgrade. However, as pastor Tom explains, the “who” was every bit as important as the “what”. “We looked at three providers,” he recalls. “Ultimately, we chose Stage Audio Works not because of price –overall they were more expensive than the others – but because of their willingness to work with us and solve problems. If I could boil it down to one thing, it would be the relationship: the relationship was more important to Stage Audio Works than the transaction, and we really appreciate that.” Nevertheless, relationships aside, the technology had to work and provide the experience that Celebration Church was looking for. Stage Audio Works’ technical director, Nathan Ihlenfeldt, takes up the story: “The brief was to provide a high-end audio system that covers all the seats in the main auditorium. One of the biggest considerations was the choir which plays an extremely important part of the worship at Celebration Church. This informed a lot of our design
right choice PROJECTS One of three
PROJECTS September–October 2022 WORSHIP AVL 21
The combination of dustproof as well as water proof mid/high unit and subwoofer is unique worldwide and delivers uncompromising audio quality even under the most difficult environmentalCertifiedconditions.ingressprotection class IP 66 (EN 60529, applies to P10 and S210 P) Certified ball impact proof (DIN 100/70P10i/j18032-3)TR:Vtransformer, 3 power taps (150 W max.), 125 dB SPL (10 % THD) lowP10i/j:impedance (16 ohms), 300 W (RMS), 128 dB SPL (10 % THD) Certified for voice alarm (EN Extensive54-24:2008)mounting accessories for walls, ceilings and for flown installations
decisions. The main challenge was to provide sufficient gain before feedback for the choir, particularly as the music at Celebration is quite loud and contemporary, but with a significant choral element which is typically associated with softer musicalIhlenfeldtgenres.”dealt with that by specifying d&b Y-Series as L-R main arrays with an A-Series centre array. All the subs were flown, with an endfire sub array of 21Ss in the centre and flown arrays of 27As behind the main L-R arrays. “We needed a centre array because, during worship services, there tends to be a lot of people gathering right in front of the stage, so the centre array acts as a flown down-fill for that specific area. It also helps us gain more accurate vocal and speech localisation,” he notes. “We opted for the A-Series because we didn’t need to cover the same distance as the main arrays, and a traditional line array solution rather than the augmented array would have required more boxes to do the same job. The A-Series offered us a visually discreet solution that sits just above the proscenium and doesn’t interfere withThesightlines.”mainsystem is supplemented with 44S front-fills embedded into the stairs at the front of the stage, Y7P point source balcony delays and 5S under-balcony delays. “We were allowed to choose the right microphones for the choir, and we landed on high-quality Neumann microphones for this. The balance of microphones for the band are Sennheiser. The cardioid subs are flown to optimise the directivity of the PA system and keep energy off the stage and away from all of those highly sensitive microphones,” observes Ihlenfeldt. “We also initiated a move away from wedges to Livemix in-ear monitoring systems where possible to help keep bleed off the stage.”Another key element of the audio system upgrade was the provision of three Yamaha CL3 consoles for FOH, monitors and broadcast. “We especially wanted to provide a solution for Celebration to have a quality livestream,” explains Ihlenfeldt. “Until now, they’d never had the infrastructure to support this, so we provided a dedicated broadcast console.” Yamaha is the go-to console brand for Stage Audio Works, but not just because they are the local distributor. “Even if we didn’t distribute them, we’d use them anyway simply because they are absolutely rock-solid; even in remote areas with dubious power supply, they just work,” remarks Ihlenfeldt. “For stability, reliability and ease of use, they tick all the boxes.”
Celebration Church’s technical manager, Harris Machingura, is delighted with the system upgrade. “It makes life easy both for the technical staff and the choir,” he says. “Things flow effortlessly now. Without the worry of the issues they were facing previously, the technical staff have more creative space to explore new things. It’s made a big difference to our worship. We also know that we can rely on Stage Audio Works for excellent support, which is very important.” Pastor Tom agrees: “Stage Audio Works have outdone themselves, and we’re delighted with everything so far – their timeliness, their willingness to take responsibility and their desire to make our experience a good experience. I think that we now have the kind of sound that the building deserves, that the people deserve and that brings honour to God the way we want it to.”
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The Furio system on the balcony
After moving to a new location, Times Square Church was tasked with building TIMES SQUARE CHURCH WAS founded by pastor David Wilkerson in 1987 and moved to its current location in the Mark Hellinger Theatre in 1991. Situated in the theatre district of Manhattan, the church has an interdenominational congregation and aims to minister to those in the New York area and beyond. However, due to lockdowns, it couldn’t bring people into the building, so instead needed to bring church to the people. The challenge was determining how to get high-level, engaging church experiences to the congregation’s living rooms. Known for its stunning location and inspiring in-person experiences, the ministry was able to leverage existing technology to capture and edit services that were streamed/broadcast to its viewers at home. lockdowns could not be used to host in-person services and broadcast at the same time. The Times Square leadership knew something had to person services while broadcasting Given that the church is volunteerthat was volunteer-friendly and easy to operate. To promote the interior of the beautiful historic building in online broadcasts, the equipment would need to capture wide camera shots from unique positions, plus the upgrade would need to feature equipment that would minimally impact the architecture and design of the building. The church was determined to find a solution that would allow people at home to feel the excitement and enthusiam of a live, in-person service. During the tender process, Ross Video introduced the project’s systems integrator, Special Events Services, to a solution using a robotic camera system and hyperconverged production technology. After countless meetings, discussions and designs, Ross Video suggested a way that it could help the church with its problems.Thesolution consists of Ross Video’s Furio robotic camera system, the software-defined Ultrix Carbonite hyperconverged router and video production switcher platform and the DashBoard facility control system. The track-based Furio system provides Times Square Church with cinematographic camera moves that capture the entire room and provide imagery for production, improving the visual experience for the home viewer without impeding the in-house experience. By strategically placing the track system, Furio provides full room and angle coverage, while also staying out of viewers’ line of sight once they are allowed back into the church. One Furio system
22 WORSHIP AVL September–October 2022
Rising to the challenge
PROJECTS
The Ultrix Carbonite switcher, along with the TouchDrive (TD2S), gives a video switcher experience that allows volunteers to operate with the level of professionalism expand their production as their anywhere in the building, or from flexibility to the church’s operators who can help with the service from click of a button, have total control that it is not only able to provide experience for its worshippers in the local New York area, but now it can reach the entire world. “With these new systems, it really just experience that is better matched to what it feels like to be in the room itself,” says Luke Laprarie, production director at Times Square Church. “The system also allows us to impose lyrics and sermon notes, and that’s a big aid in giving a visual element to what’s happening onscreen. This Ross system allows us to achieve that flexible nature that we need.” Sallie Guillory, creative director at Times Square Church, is excited about the future that this solution can bring. “As much as we’ve put into upgrading the technology and getting to a place to reach people through the internet over the last two years, we believe that this has set us up to reach even more people over the next 10 years. But as we’re doing that, we’re really going to put an emphasis on how we utilise that technology to build ourThroughcommunity.”itspartnership with Ross, Times Square Church has been able to reach, maintain and build its community outside the physical walls of the church throughout the pandemic. On top of that, it is now able to expand its community to home-based congregations now that people can attend services in-person. The church’s goal moving forwards is to expand its influence and have as many people hear the message around the world as possible.
PROJECTS September–October 2022 WORSHIP AVL 23
www.rossvideo.com
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is located onstage, which can be moved if necessary, with a second track-mounted across the top of the balcony face.
PD-1535S Power Sequencer
Martin Audio’s CDD Series speakers at Masjid Sunnah
While the choice of loudspeakers varies in relation to a number of factors, his extensive experience sees Baz gravitate towards a couple is the challenge of simulating as closely as possible the natural echo of the Great Mosque of Mecca. Given that many of the rooms we install systems into have little consideration for acoustics, this is achieved through the use of reverb and delay. As a result, the need to eliminate any potential feedback comes more sharply into focus. It becomes very important that once a system is set up to everyone’s satisfaction, it is left as is. “With all that in mind, at the front end I often use the Allen & Heath Qu-Pac digital mixer. It’s reliable, cost-effective and can be pre-programmed to ensure that no parameters of a carefully balanced system need to be changed. Microphones are, of course, crucial as well. Over time, we’ve tried dozens of different lapel mics from different manufacturers at a variety of price points, but some years ago we settled on Audio-Technica’s AT831 for the Imam. Its feedback rejection and physical construction seem to suit this application better than anything else. The AudioTechnica ES915 is very effective for the lecterns, while the Shure SM58 (with switch) takes care of most other microphone applications.”
Pro Audio Systems has supported Fastline for several mosque installations around the UK
installer Fastline specialises in mosque installations and began its relationship with PAS as far back as 2004. With a background in electrical engineering and a keen interest in sound, founder Wajid Baz felt at the time that audio provision in many mosques was simply not up to scratch. Clarity and adequate coverage are absolute essentials in houses of worship and, in many cases, Baz felt that both elements were inadequate. He created Fastline to deliver bespoke systems that could overcome the difficulties presented by what are often unique spaces. More than 18 years later, with business thriving, Baz’s relationship with PAS is as strong asMostever.recently, Fastline and PAS have collaborated on installs at Bradford Central Mosque, Masjid Sunnah in Nelson, Lancashire, Masjid Bilal in Batley and Baitul Aman in London. As is generally the case, the installs presented different challenges but, as Baz explains, PAS’s extensive portfolio requirements of the projects.
Finding the right solution
FOR MORE THAN 30 YEARS, Pro Audio Systems (PAS) has been supplying professional audio, lighting and AV equipment for purchase, hire and installation. PAS’s reputation for friendly and helpful service has enabled it to forge strong relationships with a wide range of customers, both locally and nationally. PAS is based in the vibrant and diverse city of Bradford, West Yorkshire. One area which has seen consistent growth on the audio front is the house of worship sector, where PAS has assisted with the supply and design of a number of systems for mosques, both in Bradford and furtherBradford-basedafield.
PROJECTS
“Very often the mosques are not purpose-built, so designing loudspeaker layouts for the direction of prayer is probably the biggest challenge. A member of the PAS team will often accompany me to the site and, using various softwarebased applications, can accurately predict the performance of a speaker system prior to its installation, taking into account the position of the Imam and the Loudspeakerscongregation.”fromarange of brands were chosen for the recent installations. At Bradford Central Mosque, a system designed by PAS in conjunction with Fastline saw JBL loudspeakers installed, supported by Yamaha DME processing, while at Masjid Sunnah, Martin Audio’s CDD Series of install speakers was chosen for its size-to-output ratio. A combination of Tannoy ceiling- and wall-mounted units were deployed at Masjid Bilal, and the Tannoy theme continued at Baitul Aman where the unique room shape and décor meant that ceiling speakers were the only
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Another potential issue was the location of a large LED screen behind the pulpit. “Many churches in Korea are choosing to augment their worship experience with large LED screens, and Tongyeoung Juklim church is no exception,” furthers Parks. “However, these large, highly reflective surfaces can often play havoc with the audio system’s gain before feedback. Fortunately, it wasn’t a problem here as the sound from the KV2 system is so beautifully detailed that we never have a problem achieving the gain required for the services to sound fantastic.”Finally,DaonSD also supplied a pair of KV2’s ultra-compact ESD Cube loudspeakers to sit on the beautiful crystal lectern on the stage below the LED screen. Supplied in white to blend seamlessly with the environment, the 5-inch Cubes serve as monitors for the service leader. “This place, which has been quiet for the last two years due to the Covid pandemic, is slowly reviving,” observes Parks. “We hope that with their new system, beautiful sound will once again bloom in Tongyeong, the city of music.”
DaonSD points Tongyeong Juklim church in the right direction with an ES Series system from KV2
Many churches in Korea
To achieve that aim, DaonSD offered acoustical advice: “We recommended that the reverberation time was kept to near 1s and that special attention be paid to the speech band frequencies to ensure that the church leader’s speech and the choir could be discerned with clarity. The interior construction team was happy to accept the advice and was able to minimise any potential acoustic issues with careful choice of materials and skilful construction techniques.”
26 WORSHIP AVL September–October 2022 Getting to the point PROJECTS
LOCATED ON THE SOUTHERN edge of South Korea’s Goseong peninsula, Tongyeong is renowned for its marine surroundings, lively port town atmosphere and its famous seafood. Designated a UNESCO City of Music, the city is known for its International Music Festival, considered to be one of the most respected contemporary music festivals in Asia. Tongyeong is also home to a thriving church tradition that embraces both ancient and modern forms of worship, including charismatic musical services. Tasked with designing an audio system for the newly built Tongyeong Juklim church, Seoul-based pro audio specialist DaonSD specified a front-to-back KV2 system.Founded in 1990, Juklim church is a relatively young institution. As the church’s numbers grew, a new, modern campus was designed with a different audio system. However, the decision to switch to KV2 was made unanimously following a demonstration by DaonSD at the recommendation of a local agency. “As the main hall – which seats around 400 people – is less than 25m front to back, and there is no balcony to contend with, there was absolutely no need for a line array system which would have been cumbersome and expensive,” comments DaonSD’s project manager, John Parks. “We recommended a classic ES system comprising a single ES1.0 with an ES2.5 high-output subwoofer per side, driven by a pair of EPAK2500R control and amplification units. By aligning the mid/high frequencies towards the rear of the congregation, the main speaker delivers natural and warm speech reinforcement throughout the space, without the need for a separate downfill or front-fill speaker.”
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of worship. The presets on the MRMC heads allow Grace Church to transition from the more lively elements of its service to slower movements during the sermon, along with some static shots. “We chose the AFC-100 heads based primarily on their smooth on-air manual movement,” explains Krause. “Compared to other equipment we have used, the MRMC robotics are high-quality products and the MHC software has a lot of potential for us going forwards. We are very satisfied with the smooth movement and the control we have over our two AFC heads.”
The two AFC-100 heads have been installed mid-auditorium on structural columns and networked with the MHC in the control room. “The singleuser MHC and joystick controller setup used by the camera operator is incredibly user-friendly and works well with our dual remote cameras,” continues Krause. “We’ve found that having one operator controlling the two AFC-100 heads with both live motion and preset moves was the best fit for our shooting style. It has given the operator improved control over live moves and produces smooth camera movements.”
28 WORSHIP AVL September–October 2022
PROJECTS
IT’S A FAMILIAR STORY – A group of like-minded people come together to create a Bible group and, several years later, the gathering has grown into a following of thousands. One such example is Grace Church, whose origins date back to 1970 when Senior Pastor Ron Tucker started a worship group in his parents’ home. Just 10 years later, the church had expanded its numbers enough to buy a modest building and nine acres of land, preparing the way for the construction of its present building and the purchase of adjoining land. Today, the HOW occupies two campuses – one in Maryland Heights, Missouri, and the second near Granite City, Illinois. With eight different camera positions in its 3,200-seat Maryland Heights sanctuary, Grace Church wanted to have better control of the equipment so that it would be possible for a single operator to create smooth and natural-looking content for its recordings. “I’d become familiar with MRMC [Mark Roberts Motion Control] products through marketing and tradeshows and reached out to investigate options to replace our ageing system,” explains Ron Krause, technical director at Grace Church. “MRMC’s reputation, fluid motion and pricing made it a simple decision.”
“During prayer services when many of the cameras are static with only one or two operators, we’ll use the AFC-100s to spin a camera around to see what’s going on at FOH, or something going on in the auditorium or to get a better look at the stage entrance where people are entering so we don’t miss anything,” describes Krause. “The PTZs make it simple and efficient to catch these additional shots from the control room, without setting up alternate camera feeds down in the auditorium.”
The HOW selected two MRMC AFC-100 heads which have been integrated into the eight-camera setup, along with the manufacturer’s Multi-Head Controller (MHC) user interface. “Age was the primary issue with our older system,” adds Krause. “It was basic and had lasted almost 10 years, but robotics has come a long way during that time and our upgrade was influenced by MRMC’s smooth live movement combined with their controller interface.
Grace Church has turned to MRMC for a cost-effective solution to capture its services
MRMC’s AFC-100
www.mrmoco.comwww.gracestl.org
Simplicity in motion
The other six cameras consist of two units on PTZ heads which run SDI into the router and then to the Blackmagic Design ATEM Constellation 8K 4 M/E switcher; two cameras on tripods with fibre runs; and four handheld HD wireless transmitter/receiver units using SDI Facebook, YouTube, Rumble, Vimeo and the Church Online Platform.”
The church looked into the potential of adding further MRMC robotics but limited the purchase to two AFC-100s to better reflect its more fluid, handheld style
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KnowHOW
A GOOD NUMBER OF YEARS ago, I produced and directed a live prayer event from a church right by Central Park in the heart of New York. The event was on 11 September and commemorated the events of that day a few years earlier. It was a sombre but significant event with national prayer leaders flying in from all over the US for this one evening. I used the facilities of a company I know in the US. I had worked with them several times and knew how good they were. I liked them as not only were they excellent at what they did but they were also easy to work with. They are still one of my “go to” companies when I need anything stateBecauseside.of budget limitations, however, we decided to use a local vendor for the audio side of things and have them supply us with the stereo feed for the broadcast. That was a big mistake. During the broadcast, I became aware that although I could hear all the “stage” activity, the bands and speakers, etc., I couldn’t hear any audience at all. When I checked with the guy running the audio, he told me he wasn’t aware I wanted audience mics so didn’t add any. OK, so that’s my fault for not having spelled out our requirements when we discussed the production, but anyone used to mixing for TV would know that audience response mics are important – right? Well, it appears not. The rest of this article is an attempt to spell out what I would suggest all of us on the video end require from the sound teams we work with so we can all be on the same page. I have worked with some of the very best audio engineers in the Christian media space and have always found they have been on the same page as me. But, after my experience in New York, whenever I am working with a “new to me” sound team, I will always have a detailed conversation about what I am looking for. Don’t be afraid to have these conversations as we are all on the same team and having them will help build that sense of team work as well as ensuring our viewers get the best end product. I get that we are all at different stages with different resources and budgets, so I know that what I am about to outline might be a stretch for you right now. My “audio” coverage of events has progressed from getting a simple stereo feed from the FOH desk, with no dedicated person on broadcast sound, through to mixing via “group” outputs, all the way to having a dedicated sound team and separate broadcast mixes. I have worked with all extremes.
you
talks through the things you should require from
What I am laying out here is what we should all be aiming for. My hope in this article is to give video people the tools to have a conversation with their audio guys and the audio guys an understanding of what we would like from them. A separate dedicated feed of every stage input, mixed independently of the FOH system.Compression, limiting, EQ etc. that adds nuance and “colour” to the Audiencesound.response mics that allow the viewer at home to experience the range of emotion from the audience. These should mix in and out and not be on all the time – as a general rule though I like my sound “wet”. A mix that allows for dynamics. When things go quiet, I want the mix to allow for this. Also, when things go crazy loud, the mix needs to accommodate the emotion of that but without adding any distortion etc. – so I need a focused engineer who is on his game the whole time.
• I want the best mic possible on the preacher, one that is appropriate for the venue (so if feedback is an issue, not a lapel mic) and one that the speaker is comfortable with – so if they are not used to a headset then do needTheengineerneeds mix for the quiet and dynamic parts of the service a television producer and director, Media Mentoring’s Graeme Spencer your audio team
30 WORSHIP AVL September–October 2022 What
As
to
a hand-held is better. Whatever works from a holistic standpoint, not only from an audio Iperspective.wanttheengineer to position their mix station out of the main room so they are not affected by the venue sound and instead are experiencing the same audio that the people at home will get.
• I want them to watch the video feed and mix for that. This means I need to get them a monitor – ideally a multiview so they can be ahead of the game (they’ll see all my cameras and my preview).
• Finally, I want them to monitor the final broadcast output (an “off-air” feed) and adjust that rather than just listening to the output of their system.
I don’t want my sound team so focused on getting the perfect sound that they give me a mix that “eliminates” God. A good friend of mine, and the best sound engineer I have ever worked with, coined a phrase when he was reviewing a mix done by a recording engineer rather than a live engineer that has stuck with me. Paraphrased, he said: “They’ve mixed God out of it.” What he meant by that was that the mix was so perfect, so sterile, so close to a studio album that it completely lost the experience of what happened at the event. I don’t want that – I want the people at home to experience what the people at the event would haveOneexperienced.lastthought: I have seen professional mix engineers offering their “templates” to churches a lot recently. You may think this is the way to go in the hope that, by doing so, your worship team will “sound” like X, Y or Z church. Trust me, you won’t. I’m not saying don’t get these; instead, be aware an engineer’s “template” should be the icing on the cake. It will never fix poor performance, lack of practice or second-rate musicianship. Instead, work on improving these things first as they will make the most difference to the way your church sounds on any broadcast. www.mediamentoring.net
KnowHOW
Choose the best mic possible for the preacher
• I want them to be attentive and responsive to my requests. I want them to understand the best mics for every job but to also understand this is video and not audio – so sometimes there needs to be compromises made
• I want them to be par t of the team and not an “island”. I don’t want them creating the “best” sound, I want them creating the “best sound for video”. I want them to follow the action, to be aware of all the mics that are being used, know which to bring up at any time and not miss cues. If the lead guitarist starts a solo, I want them to ensure he is “pushed” in the mix. At the same time, I make sure I get a camera focused on him. This is another reason for them to watch the video output but, also, they need to be on a comms circuit with stage manager who is relaying real-time changes that happen from the event side.
Casey Hawkins considers how to direct a video crew for special events
WE OFTEN TALK AND READ about how to do this, how to do that and, almost exclusively, we are regarding a Sunday service or some other weekly or regular occurring church event. But rarely do we focus on the big events that don’t happen very often. For this issue, I decided to talk about how I plan for and execute directing a video crew for my church’s largest production of the year. Nearly 9,000 people came through our church doors this June for our annual production of I Love America It is a patriotic-themed spectacle of about 75 minutes and offered three presentations. It featured a full choir of about 350 people, a 60-piece orchestra and band, about a dozen soloists and other featured singers and several dozen dancers and other performers. We have patriotic-themed decorations, lasers, haze, additional special lighting, environmental projection around the worship centre walls and a huge, 18m American flag. It has been the largest regular event that our church has hosted for 30 years. But all that takes a lot of AVL personnel to pull off, and my job is to direct the video crew consisting of eight video cameras, a video engineer who shades those cameras, a livestream producer, a livestream audio engineer, a graphics person, five camera operators and a robotic camera operator who operates three of the eight cameras from the control room. We have a total of three audio engineers and two lighting experts on staff, and I have two other video technicians who help me manage that side. We also have a dedicated laser light operator and a dedicated environmental projection engineer. Planning for these events starts the previous December, just after our annual Christmas events, incidentally our second-largest productions of the year. After our Worship Ministry has planned the programme, we all get a complete script prior to entering rehearsals the weeks before the programme begins. These scripts are about 50 pages long and they spell out what will happen each second of the show. It is imperative that we have these scripts, or it would be mass pandemonium. An event of this magnitude can’t happen successfully without an immense amount of planning and organisation, in addition to the cooperation of numerous ministries within the church.Ibegin my preparations with the first of two full dress rehearsals the week of the event. I sit in the worship centre during the first rehearsal so that I can see what the audience in the room sees. I can’t get that perspective from the control room. I take notes on my script in pencil of what is happening, what to focus on, what my eyes are driven to, etc. That way I know where to tell my camera guys to shoot. The second dress rehearsal, I sit in my director’s seat in the control room and I block the camera shots. We have our camera volunteers work the second rehearsal so that they can see the show before the first performance so that they don’t go into it cold. During this second dress rehearsal is where I work with the camera crew to decide what angles are best for certain parts of the show. Without this rehearsal opportunity, I would go into the first live show thinking in my mind that a certain camera angle is best for a certain shot, based on a regular Sunday or even past special shows, but then when I try to use it, I discover that a laser light is shooting a beam right through that shot and ruining it. Or I find out that some dancer or stage prop is blocking that angle so I must do something else. Or I might realise that I need that camera for something more important right before or after that shot, so I need to hurry to get it from somewhere else last minute. So, it is a huge advantage to have this technical planning opportunity before the first live show. I take more notes and make more decisions in pencil on my script during this second rehearsal. The third and final rehearsal is really the first show. That is the first time I am punching the big shows
and 32 WORSHIP AVL September–October 2022 Directing
Mainly, these big shows we do are almost always featuring some specific action: a soloist, a speaking part, people marching flags up and down aisles, dancers dancing all around, specific aspects of the stage action need to be focused on at times, so there is much more coordination and direction needed for these types of shows than just a regular, familiar Sunday service. Sundays are more relaxed with mostly random shots of choir, praise team and band leading worship, with the occasional drum or guitar solo. These big shows are constant special features back-toback and the songs all run together.
KnowHOW September–October 2022 WORSHIP AVL 33
We try to give them snacks and other accommodations for their time and sometimes we can pay them a little bit, but we require all members of these special event crews to be consistent throughout the entire show run. So, whoever is running camera 1 for the first show will need to commit to running it for all shows as well as the last rehearsal. Same for all the other cameras. This way, by the final show, we have it down to a science. When you ask volunteers to give that many hours across so many days in a single week’s time, it can really task those folks. And, of course, you prefer to have your “A” crew (your best and most skilled operators) and it can be challenging to get all “As” committed for that much time. I reckon they give around 10 hours over six days, not to mention Sunday is in the middle of those shows and many still volunteer for their regular duty as well, so that can extend that week’s volunteer hours to 12 or 14. That is a lot to ask six or more people to commit to because they all have jobs and other life events, too. How does directing a show like this differ from a regular Sunday service?
calling real-time from all the notes I have taken during the two rehearsals, but I still make some modifications to how I will direct the remaining shows during this first show. What makes this programme so different from a regular service? Well, first, the magnitude. Everything is about twice that of a regular service: the choir, orchestra, tech team requirements, attendance, publicity, etc. So, there are a lot more people involved and many more eyes on the entire production. The level step aside for shows like these. Second, the financial investment. Private donations help us design such a spectacular production without breaking the church budget, but that additional money is still spent and, when tens of thousands of dollars are on the line, only flawless execution is acceptable. Additionally, since these programmes are special events that only happen once a year, you fall out of practice with them, and it takes some time to get up to speed with the flow of the event each year. And
There are not many times where you get a break in the entire 75 minutes of the show. Some fast-paced songs run together, sometimes you go from a big, huge song directly into a slow song, and you must make the mood adjustment along with it. It can be very tiring following all that action. The big shows do not have a sermon or message time like a Sunday service. It is all musical performance. The only speaking time you get to rest on is a welcome or invitation time, and those are short. All-in-all these shows can be fun to direct but they also carry a lot of responsibility and skill. It is always fun to watch these shows on video after the event and see the work that you and your team did. But they sure can make you appreciate a normal Sunday service!
34 WORSHIP AVL September–October 2022
John Black highlights four creative uses of light to paint the stage for various events
Creativity Rule #1 Keeping the four purposes and four qualities in mind, we now have all of the tools and techniques we need to paint the stage with light. But before looking at some specific examples of how I use lighting creatively, let me share with you what I call Creativity Rule #1: experiment, experiment, experiment!Thereareseveral theories and lighting techniques out there that provide direction for designers to create even, balanced, well-blended lighting. This is important, especially when lighting for video. But not every venue is the same. Lighting positions differ. Stages come in all shapes and sizes. Stage scenery may change from month-to-month. And the quantity and quality of equipment available differs greatly between houses of worship. What works in one situation may not work in another, so don’t be afraid to break the rules, try something new and experiment until you achieve the lit canvas (composition) that you are looking for. You can’t fail – you can only learn what works and what doesn’t in your context. So, get creative!
Getting creative: painting with light
KnowHOW YOU’RE NOW THREE-QUARTERS of the way through 2022 and, in most places of the wor have been opening up, events have been happening again and houses of worship are seeing congregants gather once again in-person. Together, we’ve gone “back to the basics” of lighting covering the topics of instrument choice, accessories for controlling the beam, where you should place your lights in your grid and adding colour to add mood to your stage. In this article, we are going to move beyond just mood and look at how you can creatively use lighting to construct an environment. We are going to explore what I like to call “painting with light”.
Tip 1: patterns as backdrops An effective way to change the look of your stage is to, well, change the way it looks. This doesn’t have to involve building a new stage set, repainting the walls or anything extreme. This can be achieved quickly through the use of colour and patterns on the surface
Four purposes Let’s quickly review the four main purposes of lighting – visibility, mood, composition and form. Some may also include a fifth purpose of lighting –place/setting – but that is more applicable to theatrical lighting contexts and will not be discussed here. Visibility encompasses more than simply illuminating an area or subject. As a designer/technician, you need to consider exactly what you want the congregation to see – as well as what you don’t want them to see. This can also be referred to as “selective focus” – directing your congregation’s eye to exactly where you want them to look. This is useful to minimise distractions (such as stage changes without causing a pause or break in the service flow) or to provide focus towards who is speaking if you have a largeMoodstage.can either be metaphoric or literal and enables the congregation to consciously or subconsciously experience certain feelings. It is most easily achieved through the use of colour (requiring a good understanding of colour theory) and was discussed in the July–August issue in detail. Form, also referred to as modelling, has to do with how shadows and highlights are used to reveal an object in its surrounding. Form is most easily affected through the directional choices made when hanging instruments in your rig. The congregation’s understanding of the subject being lit can be affected by lighting the subject from different directions. Form is especially important if your house of worship broadcasts services or uses live video for IMAG as camera sensors interpret highlights and shadows more acutely than the human eye. Composition combines the above functions into the overall lighting “look” that is created and the congregation’s interpretation of the “look” that is created. Think of composition as the entire canvas of a painting and how all of the elements – line, colour, texture, etc. – work together to create the whole piece. Four qualities To achieve those purposes, the lighting designer/technician manipulates the four controllable qualities of light –intensity, colour, distribution and movement. In previous articles this year, we’ve looked at the instruments (think paint brushes) used to paint the lighting canvas. We’ve also spent some time looking at the accessories used to control the light projected by those instruments. Let’s quickly define what it is we are Intensityaffecting.describes how bright (or dim) the light projected from an instrument is. The lighting operator will use the lighting console to affect the intensity of the instruments. Balancing areas of brightness and darkness onstage can create selective focus and affect visibility to the congregation.Colourdescribes the hue and saturation of the light beam. Colour can be achieved through the use of filters (or gels) to filter a beam of white light, or through the use of coloured light sources as found in LED instruments. Colour has a significant impact on establishing mood and creating feelings, as well creating form, particularly in dance events. Again, the July–August article discussed the use of colour more specifically. Distribution describes the direction of the light beam as it illuminates a subject. The lighting designer/ technician achieves this through the physical placement of instruments around the stage which determines the direction from which a light beam is projected. Think about how a human face is interpreted when lit by a flashlight from above the head versus from under the chin. Movement describes the change or progression in lighting. It may describe physical movement, such as what can be achieved through the use of automated instruments. It is important not to forget, however, that movement also describes how the progression from one “look” to another “look” is interpreted. Do your worship set lights crossfade to sermon lights over 3s or 8s? Both are examples of movement and the different fade times can have a significant impact on the congregation’s service experience.
at the back of your stage. Patterns can be abstract and used with colour to add texture and interest. They can also be more recognisable or realistic if wanting to support a particular season or message. An example would be the use of snowflake patterns during the Christmas season or floral patterns during the spring around Easter.
Tip 1: patterns as backdrops Tip 2: haze Tip 3: light from the floor
Tip 2: haze Haze is a lighting designers’ best friend in many situations. It may be that the use of haze is thought to be limited to concert and theatrical events, but it can also be quite effective in house of worship settings. It can be used judiciously – just enough to see the light beams without making the congregation feel like they are worshipping in a cloud. Haze allows the lighting designer to paint not just the subject that light falls on, but the “air canvas” above the stage as well. A great sense of depth can be created when the back of the stage is black and lighting is used to create the “backdrop” to the stage in the air. The use of patterns is also very effective aerially in that they can be used to texture the space above the stage. Think about the awesomeness of sunbeams piercing through a forest canopy or through gaps in the clouds. That same effect can be created through combining lighting and haze in a house of worship. Tip 3: light from the floor When creating colour washes or setting front lighting, the direction of the light beams is often descending, as found in nature due to the sun’s relationship with the earth. A creative use of lighting is to place instruments on the stage level (or varying heights around the stage and not up in the rig) and then using those lights – in combination with haze – to project light beams outwards and upwards. I love this effect for two reasons. First, this builds intimacy between the congregation and those onstage and breaks down the barrier between the two. It immerses the congregation in the worship experience and encourages them to be participants rather than merely observers. Second, I love the feeling of “lifting focus” that is achieved – after all, in a house of worship, the point is to worship, not take in the talents of those on the stage. Light beams from what is onstage to what is above. Tip 4: lights as set Often houses of worship may want to establish a theme onstage around a particular message series, or they may want to change the look of the stage for a particular season or holiday. As mentioned in Tip 1, it is not always necessary to construct set pieces or objects to change the look of the stage. However, in addition to using patterns and colour to change the mood and backdrop, lighting instruments –theatrical instruments as well as inexpensive home-style lights – can be used on and around the stage as set as well. Some structural elements may be needed to mount or give structure to the equipment but, when turned on, that fades away and the lighting the set. Examples would be the use of standard floor and table lamps, exposed bulbs, fairy-lights, LED tape (or strips) and more. If you are comfortable doing so, you can build a conversion cable to plug these components into your lighting system and control them with your lighting console as well (just be sure to check the operating voltages). Closing These are just four creative uses of light that I like to use to paint the stage for various events. The possibilities are endless. Remember Creativity Rule #1: experiment, experiment, experiment! If you feel lost, there are lots of resources available to you in book-form as well as on the internet that you can use for inspiration. Also, use your eyes and look around at how light – both natural and designed – moves you and makes youYoufeel.are the painter. Your stage is your canvas. Use the tools that you have and your understanding of how humans interact with and respond to lighting to create compositions and environments that ultimately support the service message and encourage the congregation towards worship.
KnowHOW September–October 2022 WORSHIP AVL 35
While the choice is still available, Gordon Moore considers the pros and cons of each system
TECHNOLOGY 36 WORSHIP AVL September–October 2022 Digital or analogue?
Typical scan of mid-sized city showing the crowded RF environment
THE RF (RADIO FREQUENCY) landscape (or should that be spectrumscape?) for wireless microphones has altered considerably in the last two decades. Internationally, the allocation of spectrum for wireless microphones has been altered significantly to make room for cellular and emergency services. The world has pivoted to a wireless centric model for nearly everything. In a modern home or facility, devices that once relied on cabling have become truly cable-free, including home security, television and entertainment systems, internet access and home/facility automation. It has created new industries and new problems.Oneofthese problems is the loss of clear spectrum for wireless microphones. Before the wireless revolution, wireless microphones shared spectrum in many countries with local TV channels, with plenty of available space for easy frequency coordination. Today, the spectrum is very tight, with a much higher RF noise floor. Designs that once worked well in the pre-cellular world are no longerFrequencyviable.modulation (FM) systems, dealing with a local interference source, exhibit three detrimental behaviours. First, in the presence of an interfering signal, they will have reduced range. FM systems are very dependant on the signal-to-noise (S/N) ratio. As long as the signal is higher than the noise, you will have FM “capture” and the audio will pass. Second, if the interference induces changes to the frequency modulation, the signal will become noisy – even at close range. Often described as a frying egg sound, this interference will get louder as the S/N ratio decreases. And third, at the edge of range, FM systems will progressively degrade with increasing noise and signal unreliability. For some, this may be acceptable because at the edge of the range, you may still have a somewhat useable signal. FM’s frequency response and dynamic range is limited by the amount of modulation. In most countries, that limit is now 50kHz deviation. You can get more channels with narrower deviation but your dynamic range (soft to loud) and your frequency response areTherecompromised.aretwopossible answers to this problem. The first is to enhance the performance and design parameters of your traditional FM-based wireless microphones. FM systems, properly designed, can actually tolerate a busy RF environment fairly well. Interference can be avoided with strong filtering on the receivers. Intermodulation – which is a function of the multiple transmitters getting into each other’s output stages and re-combining to create interfering frequencies – can be avoided by designing the transmitters with strong linear output stages. A linear output stage avoids the need for multiple mixing stages in the transmitter to create a UHF signal (changing the audio from 20Hz–20kHz up to a signal in the 400–700MHz range). The fewer stages of internal mixing, the more resistant the transmitter becomes to intermodulation products. Other RF components, such as circulating isolators, can also make it easier to get high channel counts. All these performance enhancements have one drawback. They add to the cost of the system. Low-cost FM systems in today’s environment will be very limited to how many simultaneous channels a church can have onstage. If you only need a few channels, then a lower-cost FM system may be an affordable option. Just be aware that it will be more vulnerable to interference in an active RF world. That brings us to the digital realm. Digital wireless microphones rely on a digital modulation technique that uses both an FM factor and an AM (amplitude modulation) factor. Both frequency and amplitude are in play. Digital systems behave differently. Digital systems are also dependent on a good S/N ratio. However, if that S/N requirement is met by the desired signal, the audio quality is basically uncompromised. A digital system, uncompromised, will sound as good at the edge of operability (in terms of range) as it does close to the receiver with full signal strength. Generally speaking, digital systems are basically either ON and sounding great or they are OFF completely – no sound. There is little-to-no warning. You have great sound or no sound – nothing in between. Many sound operators who have experience with analogue systems find this disconcerting. With an FM system, it begins to “noise up” – the FOH operator knows the signal is about to go. With a digital system, it simply cuts out – completely, without warning. Digital systems also have highly linear transmitter output stages, so frequency coordination and channel density can be very high. Many of the better-featured systems have an HD (high-density) mode which reduces the channel bandwidth and power of the transmitters, allowing more channels per MHz than other modes. The tradeoff is typically a reduction in audio bandwidth. Instead of delivering a 20Hz–22kHz frequency response, the system might deliver 80Hz–12kHz While this may make some purists shudder in horror, the fact remains that the majority of worshippers in a house of worship simply cannot hear above 12kHz and would never notice the difference. Many sound mixers I know have stated that they resisted until they actually heard the HD mode in a live environment and realised they liked the “warmer” sound of limited bandwidth. The tradeoff – range and frequency response – was considered worth having since it allowed a much higher channel count (at a much lower RF level) than available via an FM system. High-end systems can deliver excellent range, even in HD mode, and provide amazing clean, low-noise audio. Digital systems tend to have very low noise floors and very wide dynamic range. Some systems now feature 32-bit depth which gives a gigantic dynamic range and, in some cases, the HD signals, 23 channels in 6MHz span
There are limits on how many systems can be used together and they share space with cell phones with Wi-Fi. In most cases, Wi-Fi-based will be OK but, if there are a lot of cell phones present with Wi-Fi turned on, they can become unreliable. A perfect example is major worship events where literally hundreds of cell phones in the congregation are all actively pinging the airwaves looking for an available wireless network. Rehearsals go great (empty room). Then the big service begins and suddenly, all your Wi-Fi-based audio begins to crash. Why doesn’t this affect lighting control or other Wi-Fi gear? Non-audio streaming products use an error checking TCPIP protocol which, if interfered with, will “ask” for re-transmission. Your Wi-Fi wireless microphones cannot do this without significant latency – delays in the audio stream. So, the error checking/ correction is not as robust as that of a lighting system. Lighting changes can be 250ms late – audio cannot. What other factors should you consider in digital systems? Antenna distribution (multicouplers) which are useful for large system channel counts (more than eight channels typically) will need to be digital-ready. Ask the manufacturer if the antenna distributor is designed with a digital signal in mind. Remember, digital systems have an AM (amplitude) vector. A lower-cost antenna distributor designed strictly for FM may have difficulty in its AM rejection circuitry dealing with a digital signal. This will degrade the digital signal and cause more problems than it solves. Indeed, often a passive splitter is a smarter choice for a smaller system. If your wireless count is high – more than eight channels – then plan to use a digital-ready multicoupler. It won’t be cheap but it will help you avoid a lot of headaches.Today,you still have a choice between analogue and digital wireless microphones. The probability is that within the next several years, analogue products will vanish entirely as the pressure for more efficient use of spectrum continues to increase. As you plan for your next wireless microphone acquisition, consider the future of wireless. And remember, a wired signal will always be more reliable. We have 14 channels of wireless in my church. But my guitar and my vocals (rarely used for good reason) are hardwired as is the bass, the keyboard and the drums. We have eliminated most stage cabling but have kept the wireless count down as much as possible.
TECHNOLOGY September–October 2022 WORSHIP AVL 37
transmitter has NO level adjustment. Even very low signals are clean with no noise floor. In my church, we have both highend digital and digital hybrid systems (which combine digital processing with analogue FM transmission). We have a total of 14 channels, all in the UHF spectrum from 470–598MHz. Both deliver great range. Both deliver great audio. The biggest difference is in the received audio S/N ratio. In the digital systems, the S/N is constant (and very low), regardless of the transmitter gain. The worship leader is a trained operatic baritone who can generate incredible volume when he sings. Yet, when he speaks, he speaks very quietly. Because of his very high singing volume, we use a digital system and keep the microphone gain level at the transmitter very low. In postproduction (we do not stream but post edited services later in the day), we can increase his spoken word level by 20dB without an audible jump in noise. If he was on one of our analogue systems, the noise floor would jump unacceptably and require correction in post. Digital systems are also available in a wider range of frequencies. In addition to the UHF band, they are available in some unique bands, including Wi-Fi frequencies (2.4GHz and 5.1GHz), 1.8GHz and higher. Wi-Fi-based systems tend to be lower cost and are designed for short range use, such as guitar systems (the range is limited from the guitar to the pedal board, typically no more than a few metres).
Digital signal analyser, note the constellation display
If your church’s videowall is due for a refresh, considering whether the existing equipment can last until COB becomes more prolific would be a wise choice – speak to your local systems integrator for guidance. For those engaged in designing and speccing new videowalls and digital signage solutions, now is the right time to dig deeper into the benefits that COB brings.
On withboardLED
38 WORSHIP AVL September–October 2022
VIDEOWALLS HAVE BECOME A staple of contemporary houses of worship, particularly since the pandemic and ensuing lockdowns amplified the desire for high-quality visual content as a core part of worship programming.Whilethecongregation of audience members probably put very little thought into the construction and make-up of their videowalls, there are two key factors that no one can ignore: price and quality. While nearly all the current LED-based technology is based on the use of Surface Mount Diodes (SMD), recently a lesserknown technology named Chip-onBoard (COB) has created a number of distinct advantages for LEDs over their SMD counterparts, and professional adoption is therefore on the rise. If your church is considering a replacement of its videowall at any point in the near- to mid-term future, understanding where the videowall market is heading will pay dividends down the line. SMDs are created by being packaged together then soldered onto a silicon surface or PCB using wires. While complex, this process has been majorly refined over time. In contrast, COB sees bare, uncoated semiconductor elements (dice, die, chip) mounted directly onto the substrate. Since the individual LEDs in a COB are chips and are not traditionally packaged in the same way as SMDs, the chips can be mounted to take up less space, allowing more potential to be obtained from them. “With COB, the promise is that we won’t need to package the LED anymore, and therefore can achieve substantial cost savings,” explains Jim Wickenhiser, SiliconCore SVP of strategic initiatives. “With COB, the diodes are actually rid of a lot of the diode package, which allows you to make them smaller and stack them closer together. Because it’s inside the board, you also get much better heat dissipation and have far fewer contact points, so there are less points of failure. The end result is that the boards are much lighter and thinner.”Compared to SMD, COB offers several distinct advantages. The first is higher reliability. The death rate of LED display screens with COB packaging technology is far less than the industry-standard SMDs. The second is that it is easier to realise mini LED display screens in small point spacing using COB technology, which is also no longer limited by bracket size when designing lamp bead diameter. As a result, the technology can be used to cover the market
below 1mm pixel pitch that SMD technology cannot reach, yet users are increasingly striving for. Furthermore, the modules encapsulated with COB at will, unlike SMD modules, which are generally flexible to around 125°. You might be wondering why the market isn’t already brimming with new COB-based LED displays; there are some drawbacks in the manufacturing of COB chips that have prevented their widespread development until recently. “There are substantial cost savings that can be achieved with COBs,” notes Wickenhiser, “but the problem is there are still several innovations that have to happen on the manufacturing side to fully realise those savings.” “Firstly, it’s very hard to solder onto the aluminium substrates that are used with COB,” continues Bint. “And because there are not so many people making COB LEDs, it’s also harder to bin batch them. You have to buy LEDs in bin batches otherwise they won’t all match and you’ll suffer uniformity issues. This can be standardised through a calibration process but is very time-intensive and has to be done in the Oncefactory.”thesemanufacturing glitches are overcome, and as the industry seeks ever smaller pixels in a bid to improve visual fidelity, COB is likely to win the battle over SMD. “The industry is already starting to get there and the more people that make it, the more the hurdles will be further reduced,” says Larry Zoll, director of global operations for The LED Studio. “Do our customers today care about the difference? That’s up for debate. But in two years, when the price of COB is the same as SMD, a lot of people are going to care. It’s important to know where the industry is heading and take note now.” With an ability to pack more LED sources into a smaller space for increased output, as well as to transfer heat more effectively to a heatsink, lower failure rates due to simplified design, lighter and thinner construction, lower light loss, greater efficiency and increased viewing angle, it’s not hard to see why. The recent introduction of commercial COB displays demonstrates how the technology has matured and is now on the cusp of revolutionising the LED display market.
The technology driving large LED displays is moving directly onto the board, bringing several benefits for integrators and customers
MICROBOOM ™ SYSTEM THE ULTIMATE CHOIR MIKING SOLUTION • Capture the full sound of any choir, orchestra or stage production • Reach over eleven feet to cover up to 20 singers with one MicroBoom™ • Elegant, low-profile design for maximum flexibility and performance • Carbon Fiber Boom is quick and easy to position and reposition • Compatible with any award-winning Audix Micros™ series microphone • Available in 3 sizes: 24”, 50”, 84” • 25’ shielded cable and windscreen included
TECHNOLOGY 40 WORSHIP AVL September–October 2022
ETC’s ColorSource Spot has an efficacy of 42 lumens/watt
MOVING TO LED FIXTURES IS A big decision – and one that should be viewed as a long-term investment. In addition to looking at what LED fixtures can do, specifiers should also consider how long they will last. But finding long-lasting LED fixtures is easier said than done. When you’re evaluating LED products, we encourage you to investigate these three questions to ensure you’ll get beautiful light for years to come.
3. Is there evidence it is built to last? In the world of LED luminaires, the primary testing protocols we pay attention to for determining lumen maintenance are LM-80 and LM-84. LM-80 applies to individual LED emitters and arrays, while LM-84 applies to complete luminaires. In theory, it would make sense if every LED product underwent this testing – but, in practice, this is no easyConductingtask. an LM-84 test on a complete fixture takes close to a year of real-time testing. That’s why many lighting manufacturers rely on the LM-80 data from the emitter manufacturer to determine a fixture’s L70 rating (how long it takes the fixture to drop to 70% brightness). However, the testing protocols for emitters do not inherently translate to how they will perform in a complete fixture. A fixture manufacturer may under-cool and over-power the emitters to cut costs and appear brighter out of the box. In that case, their stated L70 rating will not be accurate. Full LM-84 testing will provide the user with the evidence of how the LED will hold up after years of use in the field. As you seek out long-lasting LED fixtures for your space, it’s worth investigating what evidence a manufacturer has to support their L70 claims.
Three questions to guide your search for longlasting LED fixtures
1. How efficient is it? If your LED fixture can meet your artistic needs and consume less electricity, it has been designed to mitigate a major accelerant of the ageing process: heat. Any heat that is produced by luminaires is wasted energy that causes LEDs to droop and still only getting 13 miles/ gallon. We should expect more out Higher efficacy means you can use more colours and get brighter results. This is a big win for your church but also a huge indicator that you’ve found a long-lasting LED fixture. Higher efficacy reduces heat, which protects your LEDs from deteriorating over time. Lower heat output also generally inconsistent. No two LEDs are exactly the same. To further complicatewillIndividualtemperature.ondependentintensitythings,isitsambientLEDsdroopas they heat up and of LEDs droop at different rates. brighter amber than the others, the detectssoftwarethis and makes internal adjustments so its output remains consistent with the others. This ensures consistent chromaticity automatically.Whileotherfixtures might offer a calibrated mode, lighting technicians should be aware of the potential trade-offs. In some products, the calibrated mode actually shrinks the gamut of available colour that the fixture had prior to being calibrated. This means you have access to fewer colours when in calibrated mode. When an LED fixture is on for a period of time, it warms up and warm LEDs naturally produce a different colour than cool LEDs. Thermal droop technology places multiple sensors around the LED array to measure the temperature multiple times per second. Then the fixture automatically adjusts the intensity of the LED emitters to maintain a consistent output. The result is a stable output and stable colour for the entire time the fixture is in use. The same colours you see at the beginning of your service are the same colours you’ll see at theFinally,end. overdriving LEDs with maximum power is one of the primary reasons LEDs fail early. Actively stabilising colour and intensity underdrives the LEDs, helping increase the product life.
ETC senior US sales manager, David Hilton, looks at why longevity is so challenging to accomplish in an LED fixture
www.etcconnect.com
Robe’s PAINTE – the manufacturer uses the highest LED binning selection standards for its LEDs
11 Ubi Rd 1, #06-01, Singapore 408723 Tel: +65 6749 5686 | Fax: +65 6749 5689 | sales@audio-technica.com sg | sea.audio-technica.com 3000 Ser ies Net work Syste ms Scan, Plan, Deploy and Monitor • 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 • 300 0 Se ri es N etw or k systems are compatible with A-T Wireless Mana ger Audio -Techn i ca (S. E .A) Pte Ltd
PRODUCT SPOTLIGHT SPONSORED BY www.atomos.com
NINJA CAST can also be used to stream to social media sites including Facebook Live, Twitch, YouTube and more. The device can also output a broadcast-quality video signal to a local display, digital signage or videowall, and record with high-quality, edit-ready video codecs. The device includes industry-standard features, graphic overlays and picture-in-picture (PIP) effects. Logos, masthead graphics and lower third titles can be easily incorporated using the touchscreen to set position and control transparency settings. One of the core benefits of NINJA CAST is the ability to use PIP to display two inputs at the same time. Any of the four sources can be selected for PIP effects and the device includes options to adjust both the size and location of the overlayed image. This can be great if you want to show both the community participation and reaction alongside an address or teaching. It’s also an effective tool if you want to add simultaneous sign language translation.WithNINJA CAST, broadcastquality, multi-cam productions, live switching and livestreaming are more accessible than ever. It is a compact, all-in-one solution that easily fits in a camera bag and has you covered for multicam, streaming, recording and so much more. It’s the perfect system for any house of worship and production team who want to add value to events and increase community engagement.
communityforproductionMulti-cameraevery
Whether you’re just now exploring options for how to produce video of community events or part of an established broadcast team, the NINJA CAST is an ideal device for every house of worship
During live production the NINJA CAST comes into its own. The device can be controlled by either the highly responsive touchscreen or the tactile physical buttons, whichever suits the operator’s preference. The buttons are backlit and the colour-coded LEDs provide clear feedback on Program and Preview status, even in dimly lit environments. The HDMI inputs support a variety of sources from mirrorless and DSLR cameras to computers, consoles and playback devices. The NINJA CAST handles synchronisation, which means you can mix and match sources with different frame rates (up to 60p). This offers productions an unprecedented amount of flexibility and opportunities to design unconventional systems. The bright, responsive 5-inch touchscreen can function as an active multi-cam display and removes the need for a separate monitor. The NINJA V/V+ includes tools for exposure, focus, framing guides and image analysis. View a single input source and the NINJA V/V+ allows you to perfectly adjust every shot for every angle. The device greatly simplifies each task and can easily be used as a single operator. For larger teams, the signal can be shared to other devices so that the director or other team members can preview the multi-cam display and have confidence in the outgoing program. For online services, music performances, community events, conferences, study groups and presentations, NINJA CAST can act as a sophisticated, high-quality webcam source. It connects to your computer via USB-C, providing plug-and-play support for popular applications, including Microsoft Teams, Skype, Slack, Zoom and more. With no need to install drivers or specialist software and minimal configuration, NINJA CAST brings every feature to the task, including up to four cameras or HDMI sources, and will lift the quality of your presentation, meeting or livestream to a whole new level.
42 WORSHIP AVL September–October 2022
THE DEVICE ITSELF IS FORMED by adding the AtomX CAST module to the popular NINJA V or NINJA V+, to create a versatile, easy-to-use and uniquely affordable production studio that you can comfortably carry in one hand. For teams that are starting out, the NINJA CAST eliminates the traditional barriers to entry. No more large budgets, complicated equipment installations or prolonged training. If you’re a member of a seasoned crew and are already well-versed in live production, with access to a dedicated control room, the NINJA CAST can still offer new opportunities including popup studios for special events or offsite community gatherings and multi-cam shoots on-location, for music videos, dramatic work, interviews or unscripted projects. The NINJA CAST is a compact powerhouse, brimming with industrystandard features to support a wide range of productions and shoots with multiple cameras. NINJA CAST performs the role of a standalone switcher, multi-cam monitor and broadcast-quality recorder. All of these functions happen within the device, which means there’s no need for additional computers or peripheral systems for the NINJA CAST to work.
The NINJA CAST also includes the multi-award-winning NINJA V/V+, which can record the program stream at full 1920x1080 resolution at up to 60fps using either Apple ProRes or Avid DNxHD industry-standard formats. With a high-quality 5-inch HDR touchscreen display, four HDMI inputs and physical buttons, the NINJA CAST is the ultimate portable, live switching and streaming solution.
Unite Your Audience The Martin Audio Experience Optimised consistency, coverage and control thanks to two angled cabinets, a Dynamic Horn Flare™ and DISPLAY 3. A phase plug mounted in front of the 12” driver increases mid-band sensitivity, vocal clarity and projection, and with three 1.4” HF drivers the sonic performance is not compromised even when driven at higher SPL. THE DEFINITIVE CONSTANT CURVATURE ARRAY martin-audio.com
ADJA–ZCONTENTSHydro Profile 56 Advatek PixLite Mk3 E Series 56 AJA HELO Plus 53 Alcons Audio LR18i 46 IP44 certification for G7 47 Alta 4K 52 CP 1504 48 HydraPanel 57 dio-Technica ATDM-1012 49 Zonda 9 Wash 55 kmagic Design HyperDeck Extreme 4K HDR 52 Eclipse HX version 13 48 LARA 46 A Microphones 4055 Kick Drum 50 KL Fresnel 6 FC 55 ArenaLED3 57 Freitag PIA M 44 MAIL A 47 DSR / DSR5P / DSR4 50 VC -R30 52 grandMA3 version 1.7 56 Therma Tour 600 and 800 53 powerCON True1 Top-L 50 vey Electronics LN1063 48 ArmoníaPlus v2.3 48 Eris E5 BT 47 EclE xpo Flood300VW 54 MIDI control added to cameras 52 NXL MK2 Series 46 Sully 4C 54 Furio update 53 XS Wireless IEM 50 rand / Zero 88 ZerOS 7.12 57 NEWPRODUCTS AV • LIGHTING • LIVE SOUND • INSTALLATION • BROADCAST • RECORDING Kling & Freitag unveils PIA M line source speaker Innovative line source system hosts interesting new features 44 WORSHIP AVL September–October 2022 For mounting accessories, M10 threaded inserts are available on the top, bottom and rear for TV spigots, stand flanges, clamp adapters or ring eyelets. In addition, the concealed PIA M wall bracket is described as a visually appealing solution for permanent installation. Designed for installation projects in architecturally demanding environments and for mobile applications in acoustically challenging rooms, the PIA M can be connected via the recessed connection panel using a speakON plug or via an integrated Phoenix screw connector. www.kling-freitag.com
The PIA M has variable dispersion characteristics in the high- and low-frequency range. It is equipped with four 4-inch woofers that can be operated either as a bass-reflex or cardioid system, two 4-inch midrange drivers in a cardioid chamber and four 0.7-inch compression drivers on an adaptive tweeter array. The horizontal dispersion angle is 100° and, by setting the woofer chamber as a cardioid system, it can achieve a rearward attenuation of more than 10dB down to the lowest reproduction frequency. When set as a bass-reflex system, the bandwidth is extended to 85Hz, allowing the system to be used for speech and high-quality music reproduction. The adaptive tweeter array allows adjustment of the vertical sound level distribution to different sound reinforcement situations. The system can be set up for high throw distances of up to 25m as well as for very uniform coverage of large audience areas. For this purpose, the tweeter array is adapted to the respective situation by means of its adaptive J-shape and can be adjusted in three steps (straight, narrow and wide). The respective vertical opening angles are 5°, 15° orThe25°.cabinet is made of multiplex and coated with a particularly fine textured lacquer, which is said to give the speaker a refined look. Lid, base and rear panel are made of shaping metal elements, which support the slim and elegant design. The front of the loudspeaker is protected by a metal grille, which is backed with opaque acoustic foam.
GERMAN BRAND Kling & Freitag has debuted a passive three-way line source solution that can be operated using its PLM, D and IPX series amplifiers. PIA M is a column loudspeaker whose vertical opening angle of the tweeter array can be adjusted mechanically, with the angles becoming larger as you move further down. This results in the classic J-shape of a line array system, meaning that the level distribution on the listening area can be made more homogeneous.
Convert up to 16 Channels of SDI to NDI and NDI to SDI
www.aja.com/bridge-ndi-3g
The new AJA BRIDGE NDI 3G is a 1RU gateway device offering high density conversion to and from 3G-SDI to NDI and NDI to 3G-SDI for both HD and UltraHD. Designed to drop into any existing NDI or SDI workflow as a plug and play appliance, it’s easy to deploy and administer. BRIDGE NDI 3G supports up to 16-channels of HD conversion or up to 4-channels of UltraHD.
High Density HD and 4K/UltraHD NDI Conversion Gateway
BRIDGE NDI 3G brings immense conversion power and flexibility that’s fully controllable remotely for live events, broadcast, eSports, education, and entertainment venues needing high-quality, efficient NDI encode and decode. Set and forget, or use more dynamically as project needs dictate with an easy to use user interface that’s available locally or over the LAN via your favorite web browser.
Alcons unveils installation-
46 WORSHIP AVL September–October 2022
The three-way, compact format line array features a cylindrical wavefront of the patented Alcons RBN702rs 7-inch pro-ribbon transducer. The pro-ribbon’s power handling of 1,500W is said to provide enough headroom for even the most dynamic source material. The RBN702 is coupled to a high-efficiency, hornloaded 6.5-inch midrange transducer, coaxially mounted behind the HF driver. The LF section consists of two reflex-loaded 8-inch woofers with an oversized 3-inch voice coil Sentinel amplified loudspeaker controller with system-specific drive processing, including VHIR processing which offers phase matching with any Alcons system, and Signal Integrity Sensing which dynamically compensates cable length and right tools, the LR18i is available with a 90° (LR18/90i) or 120° (LR18/120i) horizontal dispersion. It can be combined with the LR18B fly/ stack 18-inch subwoofer. www.alconsaudio.com
ALCONS AUDIO has launched its first installation-specific line array in the form of the LR18i. The Dutch manufacturer claims that by implementing its proribbon technology for mid and high frequencies, a very fast impulse response with up to 90% less distortion is achieved, which enables the LR18i to offer a linear response, with optimal intelligibility and non-compressed identical tonal balance at any SPL.
DAS AUDIO has launched a events.systemcardioidself-powered,linearrayforlarge-scaleWithasymmetric Sound Control (OSC). Bypassing the requirement for an external switch, it also integrates an Ethernet switch for daisy-chain connections and features analogue, AES67 and Dante connectivity.Focusingon streamlining processes and providing intuitive access to tools, the ALMA software provides control and monitoring of the systems via an advanced GUI. Intelligent programming helps manage and optimise the systems quickly and easily, making setup times considerably shorter for major applications. Features include online and offline project creation, Link Manager and Master Control, integration of the DASaim optimisation tool, EQ Control, “Config Mode” and “Show Mode”, notification specific line array
The next generation of sound
DAS Audio introduces
LARA NXL 24-A MK2 LARA
PRODUCTS RCF HAS redesigned its NXL Series with MK2 versions. The NXL 24-A MK2 and NXL 44-A MK2 are line array column speakers designed for bands and rental companies. The combination of RCF transducers 1,250W digital amplifier module. The input board includes volume control, deep/punch switch, high pass switch, phase switch, cardioid and time delay.
largerintrusionsignifiesIP44applications.varietyusetocertificationreceivedhasIP44extenditsinawideofoutdoorThecertificationthatbyobjectsthan1mmin
Amate Audio’s G7 adds further colour and IP44 credentials
FOLLOWING THE launch of the G7 loudspeakercommercial in 2021, Amate Audio
Game on for PreSonus’ latest Eris Monitor MAILA COL module
EQUIPPED WITH 50W of Class-D power together with Bluetooth and wired connectivity, PreSonus Audio Electronics has extended the Eris family of Active Media Reference Monitors with the Eris E5 BT model. Incorporating a 5.25-inch woven-glass composite woofer and a 1-inch silk-dome tweeter, the Eris E5 BT monitor features a combination of ¼-inch TRS balanced inputs, unbalanced RCA inputs and a standard Bluetooth 5.0 input for connection to an audio or Bluetooth-compatible media player. A headphone jack has been front mounted into the cabinet and a ⅛-inch stereo Aux In accepts signals from non-Bluetooth audio devices. The E5 BT is the first in the Eris family to offer a ¼-inch TRS Sub Out should a subwoofer be added, such as the PreSonus Eris Sub8. The addition of High and Low Acoustic Tuning controls enables adjustments to the E5 BT within the listening environment.
size cannot penetrate the moulded ABS plastic cabinet or aluminium speaker grille and that the spraying or splashing of water will have no harmful effect on the loudspeaker functioning.Thecurrent line-up of white, black and titanium finishes has been extended with anthracite. The burnished grey colour is intended to complement minimalist chic environments in contrast to the urban aesthetic of the titanium model.Housing a 6.5-inch carbon-fibre woofer and 1-inch neodymium form enclosure is EN54-24 certified. Continuous program power handling and output capabilities are respectively rated at 120W and 112dB SPL. Integrated mounts for the U-Bracket wall mount and a recessed connector plate with protective cover facilitate ease of installation. Swappable rear connector plates enable optional use of the G7 in 100V line operation, with the T-G7 plate providing switchable 5W, 10W, 20W and 40W operation. www.amateaudio.com
www.ld-systems.com
September–October 2022 WORSHIP AVL 47 PRODUCTS WITH THE introduction of the Modular All-Round Intelligent Line Array –MAILA – LD Systems is heralding a new chapter in the German pro audio manufacturer’s history. By combining the MAILA SAT satellite module, the MAILA COL column module, the MAILA SPA amplifier module and the MAILA SUB subwoofer, MAILA enables scalable, flexible system configurations from speech reinforcement without subwoofers to larger installations and flown line array systems. Five years in the making, MAILA incorporates new technologies. SmartLink+ enables wireless power and signal connection in addition to automatic detection of the individual modules via aluminium rails, while the hidden LogoLink antennas offer wireless connection with ranges of up to 30m. A MAILA app promotes quick and easy configuration including the calculation of SAT angles and wireless system updates. With the EasySplay mechanism, the tilt of each satellite can be adjusted between 0° and 8° with just one hand via a rotary handle on the rear side of the housing for adapting the sound coverage to any Housed in a unibody aluminium 8.5kg enclosure, the MAILA SAT satellite speaker is a line array element. Arranged in a coaxial design based on Advanced WaveAhead technology, the MAILA SAT incorporates five 1-inch tweeters in front of a 6.5-inch midrange driver. Via the two combined SonicGuide waveguides, the speakers in the MAILA SAT are brought together with virtually no interference. The MAILA COL full-range column module includes a four-channel DSP 2,500W amplifier to drive the four internal 6.5-inch active woofers in addition to the MAILA SAT satellites. The column module can be used as a ground-stack variant or as a flown array consisting of the MAILA COL and up to eight MAILA SAT units. On the ground, the interposed column module allows ground-stack sound reinforcement to be implemented up to 3.2m higher than conventional systems for generating a more uniform coverage across the listening plain. Distinguished by its sleek unibody aluminium design, the MAILA SPA amplifier module features an internal 1,250W power amplifier with SysCore DSP for driving up to eight MAILA SAT satellites that can be wirelessly connected with audio and power. In addition, SmartLink+ technology allows independent determination of the installed satellites for optional automatic or manual DSP processing. Incorporating dual 15-inch woofers in a bandpass design, 2,500W amplification and SysCore DSP, the MAILA SUB forms the basis of every MAILA system. Conceived on a planar wave bandpass design with a quarter wave horn and symmetrical driver design, the opposing dual 15-inch woofer arrangement allows for impulse compensation and precise lowfrequency output.
MAILA marks next milestone for LD Systems
The
PROVIDING IMPROVED granular control of its Dynamic Music Distribution solution, Powersoft has released version 2.3 of ArmoníaPlus. With dynamic routing capabilities embedded on its amplifier platforms, Dynamic Music Distribution routes music and other signal sources. In addition, the solution controls signal paths between zones and across multiple amplifiers independently of source location and without the need for a centralised DSP. Groups of loudspeakers can be selected to create sub-zones with their own audio level controls. While the audio source is common for all, the audio level of each sub-zone can be individually adjusted via Powersoft control interfaces. An update for the WM Touch includes an option that allows the zonal configuration of mute and level controls, without users having access to mute it. A revamp of the Sys Control App adds new features that fine-tune the running system and create an improved user interface. Other innovations in the v2.3 upgrade include the creation of sub-zones for DMD systems that define the permissible audio levels for a given zone or sub-zone.
VERSION 13 of the Clear-Com Eclipse HX Digital Matrix Intercom EHX firewire includes N+1 IP card redundancy and network redundancy, as well as the addition of Layer 3 support for AES67 endpoints. The manufacturer has also stated the upcoming v13/1 release will bring with it role management advancements for a streamlined configuration process and an improved user experience. Proper redundancy is critical to ensuring that the Eclipse-based system will remain functional, even if there is a potential network failure. The N+1 card redundancy feature allows a single, or set of, E-IPA cards to function as a backup if a primary card fails. In the event of a card failure, the card’s full configuration is transferred to the backup card with a “virtually seamless” transition. Users can vary the N+1 ratio – one card can back up one card or one card can back up three – ensuring a costeffective deployment. The new LAN connection network redundancy feature allows E-IPA cards to have two network ports configured to separate networks and means that if the card senses a network failure, it will immediately switch communication to the second network. This solution can support a fully or partially redundant network, providing the user with the flexibility to place key devices on a partially redundant network.
www.apex-audio.be
www.powersoft.com
Clear-Com’s Eclipse HX adds further redundancy
Powersoft ArmoníaPlus update delivers full control added two new CloudPower four-channel amplifiers, together with a firmware upgrade for the series. The 4x1,500W CP1504 and 4x3,000W CP3004 extend the potential applications for CloudPower to encompass more settings. Both amplifiers can be monitored and controlled remotely from any device via Apex Cloud, allowing integrators to make adjustments without the need for a site visit and creating opportunities for value-added remote monitoring services. The V1.2 firmware release for CloudPower includes additions to the IntelliCloud remote WebUI. Among the standout new features are a mixer facility offering 10 inputs for each amplifier channel, plus a built-in signal generator to assist with system setup andWithtroubleshooting.thereleaseof V1.2, CloudPower amplifiers can now be controlled over a network using the UDP protocol, allowing for greater integration with third-party control systems such as AMX and Crestron. The new firmware also further extends the depth of control accessible from the amplifier’s “one knob” front panel UI, including hands-on access to parametric EQ, crossover, limiter, signal generator and mixer functions.
48 WORSHIP AVL September–October 2022 PRODUCTS
WITH THE introduction of the LN1063 column array, Peavey Electronics has designed a compact, portable loudspeaker system for one-man setups. Weighing 9.3kg, the low-profile system integrates a 500W amplifier that powers six 2.75-inch MF/HF drivers in the column array and an 8-inch subwoofer. Operating within a frequency range of 55Hz–18kHz (–10dB), the LN1063 can deliver a maximum SPL of 120dB. A four-channel mixer built into the subwoofer module features EQ and channel gain controls. Channels 1 and 2 inputs are XLR/1⁄4 -inch combos, which can be switched between mic/guitar/line and include a reverb send, whereas channels 3 and 4 offer ¼-inch line inputs. In addition to providing a 3.5mm aux input for use with a portable playback source, channels 5 and 6 include a volume control that can be switched between aux and Bluetooth. An XLR output is available to pass the mix output to an additional speaker. The discrete, self-contained LN1063 has no visible cables in mono operation, with the satellite speakers featuring a quick attachment design.
www.peavey.com
APEX releases new CloudPower models Peavey stacks up latest column array
CP1504CP3004and
www.clearcom.com
The 3000 Series Wireless IEM offers wide-band UHF coverage in the increasingly congested RF environment with 138MHz of tuning range spanning 470–608MHz in frequency band DF2. Its diversity antennas reportedly ensure stable reception even in the most crowded RF environments. Additional features include pan/personal mix controls, a cue mode that allows an audio engineer to monitor several IEM channels from a single receiver, a 3000 Link mode that enables compatibility with 3000 Series wireless microphone components and network monitoring and control via the Audio-Technica Wireless Manager software. The receiver operates continuously for up to seven hours when powered by NiMH batteries and charged in the optional ATW-CHG3 or ATWCHG3N charging stations. Block C, Unit 1, Kimbult Industrial Park, 9 Zeiss Road, Laserpark, Honeydew, South Africa. Tel: +27 11 794 5023 | sales@dwrdistribution.co.za |www/dwrdistribution.co.za Distribution is your one-stop technical supplier in Africa. theatre architecturallightingtraining&support
DWR
lighting&audio trussing housesworshipof
www.audio-technica.com Audio-Technica unveils ATDM-1012 Digital SmartMixer peopletheaboutallIt'sDWR,
screensstudiosled
September–October 2022 WORSHIP AVL 49 PRODUCTS DESCRIBED AS a flexible and easyto-use solution for a wide variety of installed audio applications, the 1U, 19-inch rack-mountable ATDM-1012 is a 14-input/12-bus matrix mixer featuring 10 mic/line inputs with high-quality preamps and two pairs of stereo inputs, USB audio I/O, eight balanced outputs and two unbalanced stereo outputs. Ten additional digital inputs can be added either via AT-LINK digital connection or over Dante (with the Dante-enabled ATDM1012DAN version). The ATDM-1012 is suitable for situations where mix-minus operation or audio pickup from specific zones within a space is required. Each input channel is equipped with phase inversion, low cut filter and a four-band parametric EQ – these can be assigned to any of the 12 busses with individual volume setting through the routing matrix. Smart mixing capabilities offer four mixing groups and can either be gain sharing or gating mixers. Additionally, 10 AEC, 10 compressors/de-essers and eight feedback suppressors can be freely assigned to any of the input or output channels to provide “exemplary sonic performance”.Inlargerspaces, two AudioTechnica ES954 hanging microphone arrays can be connected to the ATDM-1012, allowing the mixer to control the horizontal and vertical orientation of the microphone’s four capsules for full coverage. Audio input/output settings can be made from the front panel, with more refined control available via the Web Remote manager software application. In addition, the mixer can be controlled through IP Remote protocol for additional external flexibility.Inother news, the 3000 Series Wireless In-Ear Monitor System has been designed to bring professional sound quality and features to all levels of performers and performance venues. The ATW-3255 is a durable in-ear monitor system that reportedly delivers dependable RF across more than three times the tuning bandwidth of competitive models in its price range.With design elements modelled after A-T’s 3000 Series UHF Wireless Microphone Systems, the 3000 Series IEM system features a rack-mount transmitter with front-panel controls and large OLED monitor headphones. The bodypack receiver’s headphone amp and ATH-E40 headphone’s proprietary dual-phase push–pull drivers are said to combine to provide clear, natural sound quality on any stage.
ATDM-1012
DPA kicks off the beat
www.sennheiser.com
50 WORSHIP AVL September–October 2022
HTLACAthesedesigned250VAC).VDE16Aofcapabilitybreakingincludediameter, featuresinaCBC@250VAC(20ASpecificallyforusewithconnectors,theandHTLACB
LECTROSONICS HAS introduced next-generation dual- and quadchannel digital slot receivers. The DSR and DSR5P receivers provide two independent receiver channels and the DSR4 provides four independent receiver channels in Unislot and Superslot form factors. Compatible with current mono and stereo digital transmitters, the receivers are also backwards compatible with any of the Digital Hybrid Wireless transmitters made in the past 20 years. Both receivers are offered in several tuning ranges. Ideal for use in portable bag systems, mounted in or on cameras and on sound carts, settings can be adjusted from the front panels featuring high-resolution displays. An RF spectrum analyser and SmartTune are integrated to alleviate interference problems in an increasingly congested RF spectrum. The Superslot interface includes a USB jack and data connection for compatibility with Lectrosonics Wireless Designer frequency coordination and system management software. The two-way IR sync promotes quick setup when matching transmitters. The RF gain stages in the front end of the DSR and DSR4 provide low noise RF amplification, sensitivity and low susceptibility to intermodulation and de-sensitisation. Incorporating four audio outputs, the DSR4 cannot adopt the same legacy accessories as the other SR Series models due to its slightly longer length.
The DSR, DSR5P and DSR4
Wireless
www.lectrosonics.com
assembly and disassembly tools facilitate faster disassembly for periodic safety testing.
PRODUCTS DESIGNED TO transition artists from adopting floor wedges as monitors, Sennheiser has introduced the XS Wireless IEM in-ear monitoring transmissionsystem. frequencies can also be selected manually. Backlit displays on both the receiver bodypack and the rackmount transmitter help to clearly see settings, even in poor lighting conditions. In addition, the system offers a limiter to protect the user’s hearing and a high-frequency boost increases detail and intelligibility. For their monitor sound, users can opt for a mono mix (one mix and the pan control adjusts the volume for the left and right ear) or a stereo mix. The latter provides two options – with Focus mode switched off, the pan control will change the left/right volume; with Focus mode switched on, it will determine which of the two input signals will be heard louder, creating a personal mono mix tailored to the musician’s needs. An infrared sensor is used to sync multiple bodypack receivers to one transmitter. The XS Wireless IEM package includes a stereo bodypack receiver complete with in-ears and batteries and a stereo transmitter with antenna, rack-mount kit and a power supply with various country adapters. It is available in five UHF frequency ranges (which are aligned with the XSW family of wireless microphones and instrument transmitters).
COMPATIBLE WITH the largest diameter power cables required for outdoor event applications, Neutrik has added the powerCON True1 Top-L to its family of sealed power connectors. Capable of accepting cable from 10–16mm
INTENDED TO provide something different in contrast to traditional kick drum mics, DPA has released the 4055 Kick Drum Microphone, a durable solution that unlike other models, hasn’t been pre-tailored to offer any specific colour, meaning that engineers are free to better tweak its response in order to shape the sound according to their liking. This is a result of the unit’s linear frequency response, both on- and off-axis, which is said to result in a very tight, natural, The asymmetric design makes the microphone easier to position when slid into any size drum, without risking a tear in the drum skin. It can be placed both inside or outside the kick drum. The 4055 has a large housing and ample wind damping foam, positioned in front of the capsule behind the grille, to deal with turbulence in front of the drum holes. Thanks to the flat response curve, the sound of the 4055 can be tailored and tweaked as necessary, depending on what genre is being played. Unlike other drum mics, users can hear the differences in sound when the DPA 4055 mic is placed at various angles to the kick drum. Being a condenser mic, it instruments, such as electric guitar cabinets, bass and horns – its flat frequency response works well on many instrument types.
www.dpamicrophones.com
Sennheiser launches XS next-genLectrosonicsIEMintroducesreceivers
Neutrik extends its true connectors
THECREATIVIPALETTEOF
Currently comprising two products, the Zenith 100 and Zenith 200 fulfil demanding requirements within worship productions and large-scale 24/7 LED videowall installations. Incorporating a dedicated multiviewer output to control all connected sources in addition to programme and preview screens, the Alta switchers offer up to 16 inputs with 4K connectivity (HDMI 2.0, DP 1.2, 12G-SDI) and up to six independent 4K60 outputs. The video outputs can be configured as single screens, edge-blended
www.ptzoptics.com
PTZOptics brings MIDI control to PTZ cameras Alta 4K
Analog Way climbs to new heights with Alta 4K
Based on the French manufacturer’s fifth-generation scaling engine and an FPGA-based hardware platform, the Alta 4K series features HDCP 2.2 compatibility, advanced colour correction with custom external 3D LUTs and real-time SDR/HDR conversion and mixing, in addition to high frame rate processing at up to 144Hz.Enhancing presentations, advanced real-time video processing capabilities include seamless switching on all layers, advanced borders, alpha channel support, Luma and Chroma keying, custom output formats and areas of interest (AOI). In addition, audio can also be de-embedded from the video sources and re-embedded on the physical video outputs for transmission to a display or recording device. An option is also available to add support for 32 channels of Dante audio networking. The inclusion of RTMP-based livestreaming promotes the streaming of any input or output to an online web service. An HTML5-based user interface promotes ease of setup and control of multiscreen presentations. For fixed installations, the series offers TCP/ IP control, AMX and Crestron drivers and the VideoCompositor solution for easy incorporation of Alta 4K video composition into a Crestron touchscreen application. In brief, Analog Way has also made available a version 3.4 software release for its Picturall series of media servers. With the download, features include support for NDI live video streaming (input and output), advanced audio features, synchronised layer timecode over the network and enhanced show and server synchronisation for backup.
FEATURING SIMULTANEOUS USB 3.0, HDMI, 3G-SDI and Ethernet video outputs for high workflow autofocus system enables the VC-R30 to deliver sharp pictures even when the camera is in motion or when the zoom angleCoveringchanges.awide 72.5° horizontal FoV and with plug-and-play USB, production and beincludingstreamingZoom,YouTubeandOBS.inblackorwhite,itcanpositionedupright or inverted to suit individual needs www.mylumens.com
www.blackmagicdesign.com
IN A joint project, PTZOptics and the MIDI Association are bringing fully configurable MIDI control to PTZOptics’ line of robotic cameras. Affecting the PT12X-SDI/NDI,manufacturer’sPT20X-SDI/NDI and PT30X-SDI/NDI cameras, PTZOptics has rolled out direct MIDI control to its current camera line via a free firmware update. Users can map camera commands to available keys on any MIDI device. Once configured, the MIDI controller can steer and control the PTZ camera from anywhere in the world via the web MIDI API.
52 WORSHIP AVL September–October 2022 PRODUCTS
widescreens or scaled auxiliary outputs, with each screen composed of a live background with native resolution and up to eight live layers.
Blackmagic brings H.265 to HyperDeck Extreme 4K HDR
DESIGNED FOR medium- and large-scale live events and permanent LED videowall installations, Analog Way has developed the Alta 4K series of multiscreen and multilayer 4K60 presentation switchers and videowall processors. Positioned between the Midra 4K series and the LivePremier 4K/8K systems, the Alta 4K presentation switchers combine 4K60 10-bit 4:4:4 image processing, HDR support, ultra-low latency, 4K connectivity, livestreaming capabilities and ease-of-use functionality.
BLACKMAGIC DESIGN has announced HyperDeck Extreme 4K HDR, a new broadcast deck with advanced H.265 4K recording that features a touchscreen user interface with built-in scopes and an HDR screen. The device combines the reliability of HyperDeck with new features such as space-saving H.265 files, optional internal cache, 3D LUTs and HDR support. With the ability to record up to 4K in H.265, costs and improved image quality. The large touchscreen reportedly ensures a view of the recording as Users can then add HyperDeck Extreme Control to transform it into a traditional broadcast deck. HyperDeck Extreme also includes two media slots, 12G-SDI, analogue connections for archiving, USB-C external disk recording, plus a front panel speaker and headphone jack. There’s also an optional cache that eliminates dropped frames if media becomes full or is too slow. Both AC and DC power connections are also included for studio or on-location use.
www.analogway.com
Lumens introduces the VCR30 Full HD IP PTZ camera
contribution,usability.enabling separate UltraHD or HD channels to be transmitted and received in sync; and Diskover Media Edition v2.0 includes plugins for the Telestream GLIM remote media player, helping creative professionals quickly preview media files in high resolution with colour accuracy via any web browser, and for the Telestream Vantage media processing platform to simplify media transcoding and generating proxy files and deliverable packages. The update also adds security enhancements to safeguard assets and streamline file searches. www.aja.com streamlines
ELATION BRAND Magmatic has released its Therma Tour, an oil-based haze effect generator that produces a fine, long-lasting atmospheric haze. Available in 350W and 800W versions – Therma Tour 600 and Therma Tour 800 –both machines create a safe, clean
Maximum output of the Therma Tour 600 is 1,200 CFM (cubic feet/minute), while the Therma Tour 800 delivers 5,600 CFM.
Magmatic’s oil-based Atmosity ARH fluid has been designed specifically for the Therma Tour series and because the units sip atmosphere can enhance lighting effects for hours on end. Advanced HPA (High Pressure Air) pump technology reduces the risk of heater clogging, while automatic self-cleaning and energy-saving mode make operation more economical. Therma Tour machines are described as hard to break but easy to use with multiple control options that include a wireless RF remote, Elation E-Fly wireless DMX, wired remote, Magmatic App and manual touchscreen control.
BY INTEGRATING the Chrosziel MagNum lens control system (LCS), Ross Furio users can now manage a range of lenses. By presenting a compatible serial lens control interface, it enables full control of zoom, focus and iris from any Furio robotic camera system. The Chrosziel compact and lightweight motors and controllers provide lens control to help users achieve fluid and smooth camera moves.
www.rossvideo.com
lens options on Furio systems
Designed to create small-particle haze for highlighting light beams, the units hold 2.5l of fluid for over 35 hours of run time with no warmup time required. Hang time is over 3 hours in an enclosed space after the unit has been turned off. Both units feature rugged, compact and mobile road case designs to withstand repeated travel and the day-in/ day-out rigours of on-the-road use. Soundproof insulation means the Therma Tour series can also be used in more noise-sensitive indoor environments.
AJA
www.elationlighting.com
Magmatic creates an Rossatmospherewidens
HELO OG-FiDO-2T-12GPlus and OG-FiDO-T-12G-ST Therma Tour 600 and 800
workflow
September–October 2022 WORSHIP AVL 53 PRODUCTS AJA HAS extended its line of H.264 streaming and recording devices with the HELO Plus, designed to help video professionals achieve a higher production value with greater cost allow users to create assets with different parameter settings per output (bit rate, GOP length, frame rate, picture geometry, b-frame cadence, etc.) and feed each into one of two destinations, in order to create assets with different parameter settings from a single input or layered imagery from both inputs with built-in graphics abilities. HELO Plus users can also select either of the encoders to drive USB, SD card or NAS recording, and can improved scheduling options and device operation, and group control for triggered start/stop operations with Ki Pro Ultra 12G. The OG-FiDO-2T-12G and OG-FiDOT-12G-ST are openGear-compatible 12G-SDI to fibre conversion solutions. The OG-FiDO-2T-12G is a dual-channel 12G-SDI to fibre transmitter that supports conversion of two independent channels of baseband 12G-SDI to LC fibre for simple transport of signals up to 10km. The OG-FiDO-T-12G-ST supports single-channel 12G-SDI to fibre conversion, enabling the transport of a single 12G-SDI baseband signal over ST fibre for remote or long-distance workflows. Both new models support HDR video, feature industry-wide compatibility with certified openGear products and support Ross DashBoard software multichannel HD frame synchroniser and up/down/cross converter has received a v3.0 firmware update. Improvements include the ability to configure the HDR components of the SDI output VPID on a channel-bychannel basis – vital for improved VPID management – and new HDR test patterns. FS4 v3.0 also increases the frame buffering depth from six to 20 frames, offers enhanced ancillary data management and features improved overall
Prolights fills the void with LED expo light Sully 4C Jet Wash 7 and 19 EclExpo
54 WORSHIP AVL September–October 2022 PRODUCTS LIGHTING MANUFACTURER Robert Juliat has launched Sully 4C, a colourful classic LED zoom profile and Fresnel spot with four-colour mixing, based on the success of the Sully white LED family launched in 2020. The Sully 4C Series is described as an affordable, versatile product range with no compromise on build quality and overall performance. It places a new, factory-calibrated, four-colour LED source (red, green, blue and lime) at the centre of a full package of lighting tools for an adaptable solution that is said to deliver even coverage in every model type. The range includes a removeable lamp compartment (T650SX 4C) as a quick and easy solution to upgrade 600SX tungsten profiles to coloured LED sources; a Profile series (650SX 4C) that offers the same zoom range as the 600SX Series and Sully White LED range; and a single lens Fresnel or Pebble luminaire (315L) to complete the Integrated into all Sully 4C models is a new software platform, C 3, the Colour Creative Control, which has been designed to offer multiple functions and control in a user-friendly way. Operators can choose from a variety of presets and options to select their required modes of colour control, colour temperature adjustment, colour mixing, colour filter simulation and calibrated white sources. High-quality dimming and adjustable response times are also possible alongside a DimShift function which allows colours to follow the Planck curve onThedimming.Arthur 1014 LT is a longthrow 800W LED followspot, a long-throw adaptation of the original Arthur followspot. Arthur LT has a narrower beam angle with a zoom range of 4–10° (compared to the original Arthur’s 5.5–15°), an output from its 800W LED source that matches an HMI 2,500W Aramis at similar angles and a high CRI (>94). With the choice of several ventilation modes, Arthur’s sound level is much quieter than any of its discharge rivals. Arthur LT is also available with top controls for the iris and dimmer functions. www.robertjuliat.com
PROLIGHTS has also expanded its EclFresnel range with four variable white variants, including the MINI, with a 60W LED engine and a 100mm lens; JUNIOR, with a 150W engine and a 150mm front lens; the 1K Fresnel with a 250W source and a 200mm front lens; and the 2K Fresnel, with a 500W LED source and a 250mm lens. The series includes a CCT range between 2,700K and 5,600K, rendering skin tones naturally while delivering a clean light beam and smooth fades between warm white to cool white. www.prolights.it
PROLIGHTS HAS released a 300W variable white LED floodlight. Serving as an eco-friendly replacement of traditional tungsten, CDM or HMI asymmetric luminaires, the EclExpo Flood300VW has a variable white range from 2,700–6,500K and a flat output with high CRI and TLCI values. Integrating an internal algorithm that drives the LED sources at a constant power, the light output is kept balanced across the correlated colour temperature (CCT) points. The unit’s proprietary reflector provides an asymmetric beam angle of 100° x 60° (HxV). In addition to providing traditional control data including DMX, RDM and optional wireless DMX control, the EclExpo rotary knobs for quick access to dimming and CCT control. Advanced user settings through the GUI enable quick operation without daisy-chained control. Prolights has also updated its Jet family with two wash moving lights, the Jet Wash 7 and the Jet Wash 19. Described as compact and fast LED fixtures with 20W OSRAM RGBW sources, the smaller Jet Wash 7 has seven emitters, while the Jet Wash 19 has 19 LED emitters. Their wide zoom range goes from a narrow 4° beam to a wide 56° wash, while their advanced colour mixing system reportedly provides precise and advanced control with outstanding white temperatures and saturated tones. The white CCT and the internal colour system provides ±green correction, tungsten emulation and a virtual colour wheel with macros. The fixtures have an intelligent cooling system and three fan settings for noise-sensitive environments.TheAstraHybrid420 is an all-inone hybrid moving head that can be used as a bright beam fixture, a flat field spotlight or a wide wash projection. It comes with a 420W long-life discharge lamp, aided by an optical system that boasts a zoom range from 2.4–40°. The internal homogeniser removes any hotspots in spot mode, turning the beam into an even, flat field projection. Features include a linear CMY colourmixing system and three colour wheels with 15 dichroic filters. The Astra Hybrid420 produces sharp and high-contrast in-air effects, using a set of 18 static gobos plus nine interchangeable rotating gobos.
Flood300VW
Robert Juliat celebrates in four colour
AYRTON HAS unveiled two models in a new family of luminaires for stage lighting. Equipped with a 40W LED source with RGB+W additive colour synthesis, the Zonda 9 Wash and Zonda 9 FX fit into Ayrton’s Multi Sources 9 Series
Zonda
ELATION PROFESSIONAL has expanded its KL “Key Light” Series of LED Fresnel luminaires with the full-colour KL Fresnel 6 FC. It projects shades across the full colour spectrum and meets the strict standards of performance venues that are light critical and noise sensitive. Designed for any application and adjustable colour temperature, the KL Fresnel 6 FC highlights performers or scenery onstage in a uniform wash of soft field light. Offering a wide array of colour from rich saturates to subtle pastels and dynamic white light, it is an ideal key and fill light source for situations requiring colour quality and can be matched with Elation’s KL Fresnel 8 FC. The KL Fresnel 6 FC comes with dynamic colour temperature adjustment and full colour control. It houses a 220W RGBMA LED engine calibrated at 6,5000K and produces up to 8,000 field lumens with a motorised zoom range of 10–32° for easy adjustment of beam size. For illumination that is more precise with less light spill, adjustable and removable eight-leaf barn doors allow for customised shaping of the beam. High CRI (92), TM30 (88) and TLCI (95) values mean that colour re-creation is accurate both to the eye and to the camera. As a flexible complement to any professional lighting system with customisable effects to accommodate a variety of aesthetic design requirements, the KL Fresnel 6 FC has also been designed for whisper-quiet onstage requirements. The KL Fresnel 6 FC can adjust for light that shifts away magenta shift adjustment and a virtual gel library. Capable of matching the white balance for camera, users can easily shift the colour temperature without the use of ±green gels and filters. Additionally, the LED refresh rate can adjust up to 25kHz so there is no flickering when used with high-speed support,cameras.the luminaire offers manual control for standalone operation when desired for instant control of zoom, intensity, colour temperature, green shift and other important settings. Display and dedicated dimming and control encoders are conveniently positioned on the bottom of the unit for easy, unobstructed access. The KL Fresnel 6 FC is also available in a pole-operated model for pan, tilt and zoom manoeuvrability while avoiding having to access the fixture by climbing on a ladder. www.elationlighting.com
September–October 2022 WORSHIP AVL 55 PRODUCTS
Elation adds to KL Series
ismixinglighting.requiredenvironmenttheaccommodatefixtureforespeciallydevelopedhasmodeventilationAsense.itslightingforintendedWashcategory.The Zonda 9isstageintruestsilentbeenthistoquieteroftenbystageThecolourofthesourcesviaconcentriccircles
that can 3D volumetric effects. This includes a high-definition liquid effect produced from between its main lenses to create complex graphic effects, known as LiquidEffect, which can be used alone or in combination with the main LED matrix. Both models share the same proprietary optical system comprising a 384mm-diameter dial of 37 lenses in PMMA, combined with 37 glass light guides with an output surface made of an optical micro-structure. The optical system can produce a light output of
tilt,4–56°.an innovative colour section and graphics that include 92 gobos, four prisms and XT-Focus, which permits the beam shape to be adjusted according to the operating distance. www.ayrton.eu lights the stage 9 CobraWash
Ayrton
wideratiobeamproducetheroundthatalumens25,000withCRIofgreaterthan86.Endowedwitha50mmtruncatedtransmittinglenswithanopticalsurfaceequivalenttoofa70mmlens,fixturescananintensivewithazoomof14:1andazoomrangeof
grandMA3
www.malighting.com
v1.7
ADJ extends its Hydro
Key features include up to 96 universes of Art-Net or sACN, up to 16 non-powered pixel outputs, over 50 pixel protocols supported, microSD auxiliary port for DMX512 in/out and electrical fault protection on all ports. The units are compatible with all industry-standard lighting software and systems, lightweight and compact and protected by a five-year warranty and global safety certifications. Gamma correction, faster refresh rates, and dithering and auto-synchronisation combine to make pixel lighting appear smoother, more vibrant and more realistic.
www.adj.com power moves to
56 WORSHIP AVL September–October 2022 PRODUCTS MA LIGHTING has released software version 1.7 for the grandMA3, which includes improvements to workflows with presets, recipes and phasers. These include MAtricks in presets, a reworked preset editor, easier creation of recipes, faster programming of phasers and more intuitive timing and speed. In addition, there are several other features that have been implemented, such as XYZ programming, preview functionality and a DMX tester. Important menus like Backup and Patch have also been reworked for a faster and easier workflow.
DESIGNED FOR temporary outdoor use, the Hydro Profile features sealed metal casings to ensure that the light source, electronics and internal mechanisms are protected from dust, dirt and airborne particles. Capable of producing 25,000 lumens, the flagship Hydro Profile combines a 660W LED engine. Its beam can be manipulated using a four-blade rotatable framing system, alongside motorised zoom (6–45°), focus and iris, together with two frost filters. A CMY colour mixing system, combined with a variable CTO flag and six-slot replaceable colour wheel, provides designers with an extensive colour selection. Two gobo wheels, two rotating prisms (six-facet circular and five-facet linear) and an animation wheel provide a variety of aerial effects and surface pattern projections. Offering a compact and more budget-conscious IP65-rated spot solution, the Hydro Spot 1 features a 200W cool white LED engine. Capable of producing 25,000 lumens, beam shaping tools include a motorised zoom (for a beam angle of 11–22°), motorised focus, two frost filters (light and heavy), two rotating prisms (six-facet circular and five-facet linear), six rotating and replaceable Capable of providing a 15,000-lumen output, the larger Hydro Spot 2 model is powered by a 320W cool white LED engine. Features include an animation wheel, motorised zoom (for a beam angle of 8–41°) and focus, two frost filters, CMY colour mixing, along with a variable CTO flag and independent colour wheel, two gobo wheels and two rotating prisms.
Pixel control on a budget Hydro Profile
www.advateklights.com
ADJ’s Ultra LB18 is a linear LED mixing long-life LEDs (red, green, blue, amber and lime), it offers a large range of colour possibilities, including white light with a colour temperature variable between 2,300K and 9,900K. The inclusion of a lime LED chip not only increases the palette of colours available from the fixture but also boosts the CRI of its white light output to in excess ofWith90. a beam angle of 17° x 40°, the fixture is suitable for illuminating stages, décor and sections of wall. It is designed for permanent installations, as well as temporary event productions at indoor locations. The fixture is supplied with brackets that can be used to set it directly on the ground or attach to a clamp for truss mounting. Its ends are also magnetic, which allows adjacent fixtures to be quickly and easily aligned to create longer continuous bars of LEDs to uniformly wash larger areas. A compact and lightweight fixture, it is supplied with a glare shield that blocks the LEDs from view and also protects them during transport.
Last but not least, the software release takes the next step in futureproofing the lighting control system, reacting to the rising complexity of shows and increasing requirements in different market segments through a parameter upgrade for most of the grandMA3 devices. grandMA3 full-size and light (including CRV versions) will get 8,192 more parameters, the parameters on the grandMA3 compact XT, compact and replay units will be doubled, and all grandMA3 onPC devices will get 4,096 parameters.
ADVATEK’S ENGINEERS have designed the economical E Series to deliver on performance while costing approximately 20–30% less per commercial grade pixel controller, the A4-S Mk3. The PixLite Mk3 E Series consists of two products – the E4-S, which supports up to 24 universes of LED pixel control across four outputs, and the E16-S, which supports up to 96 universes of LED pixel control across 16 outputs. Despite their compact size, the E Series controllers are powered by Advatek’s PixLite Mk3 processor which uses third-generation firmware to provide the commands, logic and complex calculations to drive any lighting display.
www.astera-led.com GLP brings efficiency to large deployments with ArenaLED3 Strand and Zero 88 update ZerOS consoles Wireless lighting from Astera ArenaLED3
www.glp.de LIGHTING BRANDS Strand and to connect to other lighting systems ZerOS to natively connect with other Signify lighting systems in the facility, ensuring multiple systems from a single manufacturer can ZerOS 7.12 includes the ability to accept input from a Strand Vision.Net control system via Ethernet. Users can press a button on Strand Vision.Net user interfaces such as touchscreens, control stations or the web-based Gateway-on-the-Go Interface to recall or adjust a cue on a ZerOS-based console without needing to interact with the console itself. Thanks to integration with Philips Hue, designers can also use Philips Hue Smart Plugs and Smart Light Bulbs using the lighting desk. ZerOS 7.12 also includes support for Color Kinetics KiNet, ensuring users can control their architectural lighting systems with KiNet, but then connect the system to the console for control during certain applications. Designers can control Color Kinetics luminaires from the console when they need to, while retaining the remote maintenance capabilities and Interact Landmark integration that KiNet provides. www.zero88.comwww.strandlighting.com
September–October 2022 WORSHIP AVL 57 FOR LARGE-SCALE events venues, GLP has unveiled the dynamic ArenaLED3, boasting 145lm/W efficiency and luminous flux of up to 73,500 lumens. The units can be clustered together, while the three lamp heads inside can be swivelled through 30°. The ArenaLED3 can be individually adapted and aligned according to requirements to ensure a permanently homogeneous light distribution. Several units can be interconnected in 2.5° steps and installed at an angle of 15°. The fixture is equipped with 5,700K white light LEDs and a colour version with RGB colour control is also available. Both come in two mechanical variants. Along with the ArenaLED3, the German manufacturer cooperated with Zumtobel on the development of the Agilio series, which offers a high-quality white light LED source and high colour rendering. The multifunctional wash light is intended for flexible lighting tasks involving sensitive objects. susceptible to interference when each requires a transmitter and receiver, and may otherwise be dependent on the inconsistencies of locally available radio networks.
THE HYDRAPANEL wireless LED from Astera featuring the manufacturer’s Titan LED engine has an inbuilt battery and wireless DMX module for flexibility in a variety of settings. The six-panel, 600g unit is IP65-rated and can also be used in wired installations, with each HydraPanel emitting 1,300 lumens of high-quality light, giving 515 lux at 1m (without filter) and high CRI and TLCI values. Accessories include a ConnectorPlate which connects two HydraPanels together, and up to four panels can be joined using three ConnectorPlates to create a mediumsized panel that the manufacturer describes as “compact, lightweight andLikemanoeuvrable”.Astera’sPixelBrick, power and data are delivered via PowerBox 2x 86W devices and, for larger setups, eight HydraPanels can be connected to the PowerBox via Power/Data combination cables, making the LED suitable for more dramatic effects for stages, festivals and events. Once arrayed, IR communication between HydraPanels enables multiple units to be controlled from a single console or controller for continuity of parameters such as colour and brightness. For quick and easy rigging, the back side of the fixture is magnetic and can be deployed without needing any other mounting accessories.
Six beam modifiers are also available to adjust the HydraPanel’s native 110° x 100° beam. These include DiffusorSheet 100 which gives a soft light and 100° beam angle without increasing its height. A SoftFrame 100 filter can be added to distance the filter from the HydraPanel unit, while the Intensifier 80 creates a narrower 80° beam for longer throw applications. The Intensifier 80 has four magnets allowing two Egg Crates to be attached –EggCrate 60 which eliminates light spill around the beam and avoids glare, resulting in a 60° beam, or EggCrate 40 which does the same, producing a 40° beam. GelHolder secures a filter gel in place, and all these beam modifiers can be attached quickly as needed via the four small magnets on the top of the HydraPanel.
www.ctsavl.com
Steadfast approach
One of the fundamental components of business at CTS is the relationshipbuilding process with its clients. “The majority of our clients have worked with us over many years and many projects,” adds Watson. “Our clients have told us that this is partly due to the process and collaboration during the project as well as the trust and relationships built during that time. We also know that the attentiveness and support we provide after the project is a huge component that leads to long-term business relationships with churches.” HOW projects range from short and fast system upgrades or renovations to multi-year new construction projects, although the majority of CTS’s projects are large-scale system renovations or new constructions. The average timeline for a typical project is between 18 and 36 months from initial conversation to completion. “We first work through a complete design process to ensure that we understand fully who the client is, along with their goals and objectives for their ministry and the project, and any pain points that need to be remedied through the new systems,” explains Watson. “From there, we work to develop solutions and systems that fit those needs and alleviate the pain points.” Next, CTS will install, fully test and commission all systems, then train the client on the new systems through the week or weeks leading up to the first service, including sound checks, rehearsals, etc.
Which leads Watson onto the second trend: the increased focus on and growth in creativity for churches’ online communities. Some churches now have a dedicated pastor to speak directly to the online viewer. Combined with pre-produced content and live worship, the online viewer feels that the service has been custom-built for them. “We have seen the importance of these trends grow tremendously even in the last six months, in large part due to the lingering effects of the pandemic and a desire to stay connected with ever-expanding online communities,” adds Watson.
58 WORSHIP AVL September–October 2022 THE TECH VIEW
Neal Watson CTS AVL has kept its eye firmly on the road ahead as the HOW installation market deals with the aftermath of the pandemic and supply chain issues Church of the City in Nashville, TN Second Baptist Church in Cypress, TX
number of churches that weren’t doing this before the pandemic was “staggering”. “The pandemic reminded some people and taught others about the importance of AVL technology, as well as the importance of consistently striving to connect with your congregation, beyond the worship centre or sanctuary.”Watsonhighlights two trends that have gathered momentum over the last three years: the use of largeformat cameras and the expansion of creativity and resources for online viewership/congregations. “When churches began exploring the use of large-format cameras, they found that they offered shallower depth of field and a more natural response to light, which aided the visual appeal of their content. This led churches to increase their creativity. An example of this would be a church that shoots and pre-produces content during the week, and then blends this content with live footage of the service to build their streaming content.”
FOUNDED IN 1985 IN Philadelphia as an audio production company, CTS AVL relocated to Franklin outside of Nashville, Tennessee, in 1995 to better engage with its growing clientele. Shortly after the move, the integrator began working with churches on system design and installation. The company is divided into two primary departments: the Production Department provides AVL for live events, including concerts, concert tours, festivals and large conferences and corporate events, while the Integration Department provides AVL and acoustic design and installation services for churches, theatres, performance venues and large athletic facilities.“Thepandemic has not fundamentally changed our company’s focus or approach,” explains Neal Watson, VP, integration sales and design at CTS. “The biggest impact that we have experienced from the pandemic is a swell in projects. The number of churches that slowed projects led to a rush of activity immediately after. This, coupled with the global supply chain issues, remains the biggest impact on our business. While our approach has not changed, the work required to complete projects has increased dramatically. Due to material shortages, clients must now decide if they are willing to wait for equipment to be available for their project, or if they want to change the design to use equipment that can be sourced more quickly. This results in design changes mid-project and, due to the severity of the supply issues, often occurs multiple times per project.”
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