Worship AVL September-October 2018 by Blank Canvas Publishing Ltd

A/V A/V LIGHTING LIGHTING SOUND SOUND REINFORCEMENT REINFORCEMENT RECORDING RECORDING STAGE STAGE SOUND SOUND BROADCAST BROADCAST

September–October September–October July–August July–August 2018 2018 2018 2018

AVOICE CLEARER OF GOD MIX

Ensuring intelligibility at the Sathya Sai Baba auditorium Streamlining operations at Riverview Church

LIGHTING TERMINOLOGY 101

A beginner’s guide to lighting language

LIGHTING DIRECTION Developing the skills VIDEO COMPRESSION you need

Why it’s needed and how it works

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CONTENTS

Issue 54

September–October 2018

NEWS PROJECTING NORTHERN LIGHTS York Minster raises funds using A/V

CLEANING UP SOUND AT GENESARET Mexican church upgrades to Adamson

A NEW MIX FOR SOLOMON’S PORCH Church band takes control of monitoring 6 NEW UMC CENTRE HITS THE RIGHT PITCH PreSonus solution installed at UMC

MODERN SIMPLICITY GOES MEDIEVAL St Giles adds visual reinforcement

NEW SOUND IN 10 DAYS Equipping Phrarajasatta Pavilion with a time limit

MEALTIME READING Amplifying scripture in a monastery’s refectory

STAR LIGHTS Lighting Star Church for the screen

FROM OVER THE HILL TO KING OF THE CASTLE A&H provides control

A VISUAL IMPACT IN MOON Visionary Solutions encodes and decodes video 14 THE NEW SOUND OF THE VINEYARD d&b setup updated during expansion

HOPE FELLOWSHIP HEADS TO THE STAGE Klang collaborates with DiGiCo

MCLEAN CLEANS BROADCAST SOUND Lawo manages broadcast audio

SPECIAL REPORT Shift Worship: media provider takes to the cloud

PROJECTS COVER: VOICE OF GOD L-Acoustics handles ashram acoustics

ST THOMAS MORE’S REVAMP Church renovation leads to A/V refresh

SOMETHING HAPPENED ON THE WAY TO HEAVEN Wooridle’s new sanctuary

OVERCOMING THE ARCHITECTURE Medieval cathedral meets modern needs

LEADER It’s my privilege to be able to welcome you all to this issue of Worship AVL as the new editor. I have written for this magazine for more than two years and, in that time, have enjoyed the various projects and technological subjects that I have covered. Moving forward, I hope to bring you more of the quality content you have come to expect from this publication, while also exploring new areas of A/V applicable to houses of worship. To help the team and I achieve this, I’d like to call on you, the reader, to offer your suggestions on what you like about the magazine and what you’d like to see included. My contact details can be found below and I look forward to hearing from you! On the subject of beginning a new role, this issue has taken up the theme by providing those new to HOW technical teams with a beginner’s guide to lighting terminology from John Black (p34) and, on the audio side, a look at what a decibel actually is and how it can be measured (p46). For those of you who are a little more advanced in your technical expertise, this issue also explores how video compression works (p48), lighting control software (p44) and how to eliminate hum (p42). Add in Gordon Moore’s instructions for praise team diplomacy (p38) and there’s something for everyone.

BRINGING KIRK IN THE HILLS TO LIFE Gothic-style church boosts reverberation 30 BEYOND WORDS IN THE SUBURBS Achieving even dispersion over four floors 32

KNOWHOW LIGHTING TERMINOLOGY 101 John Black provides a glossary for newcomers 34 PRAISE TEAM DIPLOMACY Gordon Moore reveals how to keep the peace

James Cooke Editor

MAKING THE RIGHT CONNECTIONS A look at visual connection options

Telephone: +44 (0)1892 676280

MAINTENANCE Chasing hum problems: Frank Wells helps eliminate hum

TECHNOLOGY A SOFTER TOUCH FOR LIGHTING Software alternatives for lighting control

WHAT IS A DECIBEL AND HOW IS IT MEASURED? Exploring sound science

HOW VIDEO COMPRESSION WORKS Why does video need to be compressed? 48 BUYING GUIDE Choosing the right media server

PRODUCTS Equipment launches and updates

THE TECH VIEW Michael Garrison details the HOW AVL market

IN THIS ISSUE 24

Email: jcooke@worshipavl.com MEET THE TEAM

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COVER Sathya Sai Baba auditorium CIRCULATION circulation@worshipavl.com PUBLISHED BY

CONTRIBUTING EDITOR

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LICENCES Singapore: MICA (P) 020/07/2018 PPS 1644/05/2013(022954) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

@WorshipAVLMagazine September–October 2018 WORSHIP AVL 3

NEWS

Projecting Northern Lights inside York Minster UK: In addition to ensuring that congregants can see and hear clearly during services, A/V technology can serve houses of worship in many other ways. One way in which York Minster, the Cathedral and Metropolitical Church of Saint Peter in York, utilised the power of audiovisual technology recently was to host an ‘installation performance’ to raise money for the protection and restoration of the sanctuary’s priceless historic glass. The installation, commissioned by the York Minster Fund, comprised video projection and sound. It was developed by artists Ross Ashton and Karen Monid and titled Northern Lights, forming part of York Minster’s Northern Lights Dinner fundraising event, which in turn was part of a 4-year fundraising campaign. The display lasted 10 minutes and was witnessed by an audience of 700 during the dinner, while a further 3,300 people had the opportunity to see the Northern Lights during a subsequent two days of performances. The seating was removed from the nave to make way for the dinner and left clear for standing audiences over the following two days. The visuals, created by Mr Ashton, were inspired by medieval stained glass

and the soundtrack was composed by Ms Monid featuring haunting voices reading in Old English, Old Norse and Latin with three pieces of music from the Minster’s recorded catalogue. ‘The aim was to encapsulate the medieval mind and imagination and communicate it in a meaningful, accessible way that people could engage with,’ explains Ms Monid. The visuals covered the whole 65m x 20m nave vault (ceiling) and the 800m2 west wall of the sanctuary. Eight Panasonic PT-DW 17K projectors supplied by The

4 WORSHIP AVL September–October 2018

Projection Studio beamed the blended imagery onto the ceiling and another three were used for the wall. A cradle was custom-built for the nave projectors ensuring they were directed 15° off vertical, up to the roof. The trio of wall projectors were rigged on a structure beneath the organ on the opposite end of the nave. The mapped projection was controlled by Dataton Watchout software, programmed by Richard Kenyon. Rock-tech Projects, led by Phil Adlam, provided the rest of the technical infrastructure, including audio, lighting, rigging, power distribution and cabling. The rental company’s biggest challenge was taming the cathedral’s long reverberant characteristics to provide intelligible surround sound for Northern Lights. Hill Pro Audio speakers were positioned around the venue among other cabinets to provide spatial sound effects to complement the projections. ‘We were very pleased with the show and were quietly confident that it would be received well by the public,’ says Mr Ashton. ‘But we were all completely overwhelmed by the enthusiasm and extent of the response, and with just how much people appreciated seeing such a

well-loved landmark in a completely different light through the piece. We are extremely proud to have been able to work inside the Minster and it’s a testament to the great team of people around us that it’s been such a success.’ As Neil Sanderson, director of the York Minster Fund, noted, Northern Lights exceeded expectations

by raising £1.4 million. ‘The combination of projected imagery, spoken word and music perfectly complemented the cavernous space of the Minster. Using imagery of the medieval windows, the installation brought a whole new audience to the eternal truths they contain,’ he says. ‘The reaction of the sell-out crowds was testament to the quality of Ross and Karen’s work.’ www.rock-tech.co.uk www.theprojectionstudio.com www.yorkminster.org

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KnowHOW TECHNOLOGY TECHNOLOGY NEWS

PROJECTS

Cleaning mapping up sound at Genesaret Lighting colour temperature Pixel and whylighting it matters stage

‘These to technology be available inhas all been countries,’ adds demonstrations are choices currently being in Singapore amazing,’ typically 2-channel stereo,differ with the inducing moment on stage there Mr Ingebrigtsen. primarily of wireless evaluated bythe Mrmethod Chua and the he furthers. ‘I have become great option forinmono or surround sound. in the moment, it can be rectified transmission used and the of Riverlife Church committee. ‘Many friends with the team there and I Applications include thehow playback later on for the recording. While the listener receives the are signal, but all of the JBL speakers no longer know that, should individual instrument or performer singer could perform the entire song Infrared (IR) the worst happen, can accomplish the result,’ MEXICO: Centro Familiar Cristiano service received fromhis Paxsa functioning as drivers have blown Lawrence [Tan] and teammanager will Mexico, and together they utilised recordings within andesired ensemble and again once the congregants have An IR emitter is connected toalways theat adds Ingebrigtsen. Genesaret (The Genesaret Josapath Sanchez and Gamas or areMr degraded,’ furthers Mr Chua. immediately assist us.Mr They the manufacturer’s Blueprint AV provide the ability to re-record a track filed out and gone home, there is the sound system.stock The emitter Christian Family Centre) in over Ciudad Adamson. Monitoring has fluctuated the carry back-up should ‘floods’ there if necessary. Say, for instance, that possibility that they could just sing the software to design a system tailored the with invisible IR Nezahualcóyotl ishits renowned for Aviom one line they made a mistake on. This to Genesaret’s music ministry and thethat consultation, years between JBL wedges be‘Throughout aseating failure area and isangreat peace the piano playerloop a bum and note; Induction light signal thatMediaCorp carries thebought audio its dynamic Sunday services. Its delivery, installation, tuning and in-ear monitors. Riverlife of mind. When speeches that form the weekly their part can beCurrently, recorded again is via a process known as punch in/ The PLS-X3 is Univox’ option for medium-sized rooms For manythe years, the only into way of and listeners a small was receiver worship space isinserted modern and the clean onsite support, everything done favours Digital Audio Labs LiveMix the first PM10use in Singapore last services. individually and final punch out. While this was possible to providing an effective wireless to hear theMrservice. in appearance yet, until recently, the with earphone precision and care,’ Ponce platform. ‘The 12 we have here year for their new facilities, it was IR The tailored solution comprises main and mix with the rest ofunits theand band’s original do back in the days of tape, it’s easier ALS wasstill viachannels anMTR induction loop. 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Not all white light is created equal. John Black explains how this range, measured as colour temperature, impacts how lighting design, andlighting how both the eye and the camera lens see this spectrum John Black explains pixel-mapped effects are created and controlled

A new mix for Solomon’s Porch

1/4 horizontal

46 WORSHIPAVL AVLSeptember–October May–June 2018 6 WORSHIP 2018 42 September–October 2017 44 March–April 2018 2018 50 January–February

July–August 2018 WORSHIP AVL 23

NEWS

New UMC centre Modern simplicity hits the right pitch goes medieval UK: The architecture of St Giles’ Church in West Bridgford, Nottinghamshire remains largely unchanged since the start of the 20th century and some of its original, medieval construction can still be found. Today, the Anglican parish church provides worshippers with the options of traditional and modern services, which include the recent addition of live music from a rock band.

‘This church had a technically adept A/V staff, thanks to its music group,’ says Wigwam’s installations manager, Tim Mortimer. ‘That gave us a lot of options when it came to selecting a high-quality video distribution system. However, we had to keep the church’s budget in mind as well as the age of the building. There was no containment under the floors, it’s solid. That narrowed down our options.’ Just Add Power’s 3G Ultra Over IP system was deemed to meet all three of the church’s requirements. Mr Mortimer had also used it before and knew that it was capable of delivering high-quality, low-latency video signals. As there was no way to run cabling under

To make these lively contemporary services even more engaging, the church decided to upgrade its old PA system. Following this, a pair of 65-inch LED screens were installed at the front of the sanctuary by Wigwam Acoustics, joined by two 42-inch displays mounted halfway down the aisle and a 32-inch screen located in the music area, to provide visual reinforcement. Having been provided a clear project specification for how the new visual elements should look, the Wigwam team was challenged with finding a video distribution solution that was in line with the church’s budget, wouldn’t require dense cable runs throughout the old building and could scale as the church continues to add to its A/V setup.

the floor, it had to be installed along the walls and camouflaged with paint. While bundles of cabling could detract from the traditional aesthetics of St Giles’, the 3G Ultra over IP system only required a single cable to send the signals. Each display receives the video signal from a small BS-HDIP-508 PoE receiver installed behind the panel and hidden from view. A pair of VBS-HDIP-707 transmitters connect to two PC inputs – one at the back of the church, the other in the music area. The installation was completed within three weeks and its scalability will allow the church to add more screens and sources when required.

Steven Pappas with a PreSonus WorxAudio X115S high SPL subwoofer USA: When Reverend Jason Robinson was appointed spiritual leader of Maryland’s Brooks United Methodist Church (UMC) in 2009, he looked to technology in his mission to grow his congregation and spread the word of God. The church recently opened a new worship centre in St Leonard and turned to SSP Custom Sound to implement a sound reinforcement system. Tasked with designing and installing the new acoustic system was Steven Pappas, owner, systems designer and audio engineer at the systems integrator. ‘Brooks UMC’s new sanctuary measures 22m deep x 24m wide,’ comments Mr Pappas. ‘The distance from the stage lip to the back wall is 16m, while the ceiling height is 9m at the peak, sloping down to 4.5m on the sides. Seating capacity for the space is for 425 people. The stage faces into the width of the room, so one of the most pressing concerns was the ability to ensure even sound coverage throughout the entire area.’ First to be installed were PreSonus StudioLive RM32AI and RM16AI 32- and 16-channel rackmount digital mixers housed in an audio rack located in the sanctuary’s electrical room, cascaded through an AVB network along with a CS18Ai Ethernet/ AVB control surface positioned at FOH. For loudspeakers, the SSP Custom Sound team deployed two

WorxAudio X3 compact line arrays augmented by a pair of X115S subwoofers. Two X3 line arrays were suspended from the sloped ceiling via poles, positioned directly above the corners of the stage at a height of 4.7m. A pair of X115S sub bass enclosures reside on each corner of the stage and are aligned vertically with each suspended X3 enclosure overhead. ‘The X3s were the right tool for the job on this project due to their unusually broad horizontal dispersion,’ explains Mr Pappas. ‘The X3’s 160° horizontal coverage proved to be exactly what we needed for a room that was 24m wide. With carpeted floors and the acoustic panels that we installed in the room, the loudspeakers provide excellent clarity without any reflections or room anomalies. ‘Services typically employ 32 channels,’ he continues. ‘We also have the church configured to use iPads for both mains and monitor flexibility. Our experience with PreSonus’ tech support team was excellent. All the various system components have been excellent, and church personnel have been particularly complimentary regarding the ease of use of the CS18Ai console. It’s been a very positive experience for all involved.’ www.brooksumc.org www.presonus.com www.sspcs.com

8 WORSHIP AVL September–October 2018

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NEWS

New sound in 10 days at Phrarajasatta Pavilion THAILAND: Wat Pathum Wanaram is a Buddhist temple in Bangkok founded in 1857 by King Rama IV. When King Rama IX visited the temple 133 years later in 1990, a temporary pavilion was built for dharma practice. Then, in 1993, King Rama IX would return to preside as the chairperson overseeing the opening ceremony of the Phrarajasatta Pavilion as a permanent fixture at Wat Pathum Wanaram. With 25 years having passed since the opening of the Phrarajasatta Pavilion, Wat Pathum Wanaram recently approached Mahajak to design, supply and install a new sound system for the 1,000m2 space. ‘The pavilion was constructed for the purpose of arranging Buddhist activities,’

SM58 handheld wireless microphone systems were installed at the start of the signal chain. ‘It was an urgent project because it needed to be finished within 10 days,’ recalls Parin Ampunant, project engineer at Mahajak.

‘However, we were ready to meet all requirements for the customer as soon as they agreed. Our challenge was to install the equipment on time and we overcame this.’ www.mahajak.com

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explains Maruedon Bunphetcharat, sales project manager at Mahajak. ‘It is also used for meditation and listening to sermons. The monks required white speakers of an appropriate size to blend in aesthetically. Moreover, they required clear and natural sound with enough power to cover all areas and required us to complete the project in just 10 days.’ With a detailed project specification in hand, the Mahajak team installed 26 JBL Control25-1 ceiling speakers across the pavilion. These are powered by a Crown CDi 1000 and controlled via a Soundcraft Signature 22 mixing console along with a dbx DriveRack Venu360 loudspeaker management system. A pair of Shure SLX24/

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September–October 2018 WORSHIP AVL 9

NEWS

Mealtime reading at Saint Panteleimon Monastery GREECE: On the southwest side of the peninsula of Mount Athos in Greece’s Macedonia region is an 11th-century Russian Orthodox monastery, home to approximately 70 monks and recipient of hundreds of pilgrims each year. Visible from the neighbouring Aegean Sea, it is called Saint Panteleimon Monastery and much of its present site was constructed between 1812 and 1821. During mealtimes, monks and pilgrims gather in the refectory to eat while scripture from the Bible is read aloud to them. However, the refectory is a large room containing high, arched ceilings, square columns and a host of other flat surfaces that make it a challenge to ensure everybody can hear the readings. In addition, noise levels can reach 70dB during busy mealtimes and the monastery had previously tried to tackle this by installing a consumer audio system comprising three sound bars and four budget hi-fi speakers. This didn’t work and so systems integrator CMYK Service LLC was approached to deliver a professional solution. ‘It was a challenging space to deliver seamless, high-quality sound, but we also had to ensure that the scripture reader’s voice sounded

natural,’ explains Roman Belyaev, CEO of CMYK Service. ‘The monks also wanted the sound reinforcement to be as unobtrusive as possible, both acoustically and visually.’ The acoustic and aesthetic challenges were met by a discreet Yamaha VXS series loudspeaker system. ‘Yamaha specialises in high-tech, innovative technologies that allow us to implement unique solutions for spaces with difficult acoustics,’ says Mr Belyaev, who worked on the installation alongside CMYK Service’s head of installation, Igor Guschin, and Dmitry Levkovsky from Yamaha Russia. A total of 32 VXS1ML speakers with a white finish were installed throughout the space on existing horizontal beams that run below the ceiling. These are complemented by eight VXS3S subwoofers that provide

low-end reinforcement. The entire setup is powered by an XMV8140 power amplifier and managed by an MTX3 matrix processor. Scripture

is read into a Shure microphone hidden in the lectern that receives phantom power from the MTX3 and is controlled by a DCP4V4S surfacemount unit and Yamaha’s Wireless DCP app. The MTX3’s processing reportedly ensures there is no microphone feedback, while additional input sources can be added for background music and any other needs. ‘The refectory remained in use during the installation, meaning it had to take place during the break between the morning and evening meals,’ recalls Mr Levkovsky. ‘The benches are very heavy, each needing eight people to move, so there was a lot of hard work involved. But the customer is very happy with the system and the readings are clearly audible throughout the refectory.’ ‘The installation is unique because it is such a holy place,’ adds Mr Belyaev. ‘The VXS1ML has become an ornament, or pearl necklace, located under the arches of the refectory, filling it with benevolent sound. The brothers of the monastery and visiting pilgrims have thanked us for delivering the high-quality sound they have waited for.’ www.yamahaproaudio.com

Star lights INDONESIA: Star Church in Yogyakarta has embraced video streaming, broadcasting its services to followers who are unable to attend in person. With its video equipment up and running, the church soon discovered a need for a new lighting rig as although its existing fixtures looked good inside the sanctuary, they weren’t designed to light for the screen. The move to a new campus, located within a shopping mall, provided just the opportunity for an upgrade. The church turned to ASIIS, an A/V and lighting vendor with which Star Church has a long-standing relationship. As the sole Indonesian distributor for Chauvet Professional and ChamSys, ASIIS designed a solution comprising 65 Chauvet

Professional fixtures controlled by a MagicQ MQ80 console. The lighting design is based around 16 Ovation F-165WW Fresnel fixtures that are flown on trussing beyond the stage apron. ‘The colour temperature and consistency of the light from these fixtures results in very natural skin tones on camera,’ reveals Andy Mulya Sutikno of ASIIS. ‘They also make it easy for the church to go from covering the whole stage to focusing on specific

10 WORSHIP AVL September–October 2018

individuals. Moreover, with the even light field, there are no distracting shadows.’ The system also features 12 Colordash PAR-Hex 12 units, as well as 12 Rogue R2 Beam, eight Rogue R2 Spot and six Rogue R3 Wash fixtures, eight Ovation C-805FC cyc lights and a pair of LED Followspot 120ST fixtures. Working in conjunction with the cyc lights to create backlighting are 12 of Chauvet DJ’s Colorband T3 USB

fixtures. A pair of Vesuvio RGB and two Amhaze Whisper foggers add atmospheric effects. The ASIIS team chose the ChamSys MagicQ MQ80 due to its ease of use for church volunteers. Meanwhile, the lighting rig has brought the additional benefit of allowing Star Church to create new looks for the live congregation as well as the video audience. ‘We can get more looks out of fewer fixtures, which is always a plus, since space is always an issue,’ concludes Mr Sutikno. ‘Since this church is located in a shopping mall, we have to be concerned about power draw. So, the efficiency of our system is important.’ www.asiis-indonesia.com www.chauvetprofessional.com

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NEWS

From over the hill to king of the castle USA: Castle Hills Church in San Antonio has undergone a transformation, from a traditional worship space to contemporary sanctuary. In embracing its new, modern self, the church adopted a new A/V and lighting setup with the help of Oklahoma City-based systems integrator, Skylark AV. ‘We had been using a smaller digital mixer,’ recalls Tim Vencil, technical director at Castle Hills. ‘But, for the new worship space, we needed more than just a bigger board. I wanted an infrastructure that would support our in-ear system, our streaming broadcast and everything else in the room.’ After conducting plenty of research, Mr Vencil chose Allen & Heath’s dLive S7000 Surface and DM64 MixRack to be the church’s new FOH mixing console, with a DX168 Expander for the church’s wireless mic system. ‘I use the left and right banks for inputs with the centre bank as my outputs,’ Mr Vencil declares. ‘And I use the layers as groups.

awesome and I was blown away by how crisp and clean they sound,’ he says. ‘And, when you move to 40 channels and the ability to do groups, that was a game-changer for us.’ www.allen-heath.com www.castlehills.church www.skylarkav.com

We only have one service style at the moment but I use scenes for different songs.’ When it came to finding a monitoring solution for Castle Hills’ musicians, Mr Vencil again looked towards Allen & Heath, employing an ME-1 personal mixing system comprising 16 ME-1 personal mixers with an ME-U PoE hub. ‘The headroom in the ME system is

Tim Vencil mixes FOH on Castle Hills’ dLive S7000 Surface

A Solid State Victory USA: Tulsa’s Victory Christian Center’s popularity stems in part from the emphasis it places on music and production value. In addition, the church is renowned for its ambitious Easter and Christmas productions that require months of preparation. ‘We normally have around 24 DPA head mics active during one of these productions,’ explains Chris Trowbridge, technical

director and FOH engineer at Victory. To help keep track of such large audio requirements during productions, as well as on a weekly basis, Victory recently invested in a pair of Solid State Logic L200 consoles for its FOH and mixing positions from one of the manufacturer’s US partners, CCI Solutions. ‘The layout of the console

Chris Trowbridge

12 WORSHIP AVL September–October 2018

really helps,’ Mr Trowbridge notes. ‘I like having the 36 faders up front as I have a lot of balancing to do and a lot of mics to deal with. I also use the FX Rack Automix tool pretty heavily for our big theatrical productions. Not having to eat up faders to make it work is a big win for us, which enabled us to fit into the L200 rather than going up to an L300 or L500.’ For regular services, approximately 68 inputs are routed to the two L200s, including drums, electric guitars, vocals and guest instruments, in addition to the pastor and presentation mics and up to 16 stereo stems for music tracks. ‘Our pastor is an off-the-cuff kind of preacher,’ adds Mr Trowbridge.

‘He will call for certain things in the middle of a show. The flexibility of the SSL consoles suits that. Being able to navigate independently through the tiles, for example, means I can maintain a custom tile with all my “knee-jerk reactions”, while flipping through the band channels on the far tile and keeping my VCAs in the middle.’ Finally, as well as handling the expected and unexpected for live sound reinforcement, the SSL desk at FOH is also used for Victory’s broadcast mix as services are broadcast on TBN, the Hillsong Channel, and various local TV stations. ‘I’ve created a stem group that has my board mix, plus audience mics, which becomes the broadcast mix,’ explains Mr Trowbridge. ‘We don’t have a separate broadcast position, which is a little crazy given how much we do, but it works and it sounds even better now, coming through the SSL.’ www.ccisolutions.com www.solidstatelogic.com www.victory.com

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NEWS

A visual impact in Moon USA: Having grown to a following of 750 worshippers, Impact Christian Church in Pennsylvania’s Moon Township sought a larger premises a couple of years ago, finding a new home in a 1995-built vintage ice arena. Today, the 7,600m2 site serves as a facility for the entire Impact congregation, complete with a daycare centre, nursery, cafeteria, gymnasium and multiple meeting rooms, as well as the church sanctuary. Long gone are the days when it hosted ice hockey and figure skating.

Part of the building’s conversion involved the design and installation of a new A/V setup. This task fell to N Stuff Music from Pittsburgh, which created a video solution comprising E4100 and D4100 UHD over IP video encoders and decoders from Visionary Solutions, as well as a Symetrix Prism 16x16 DSP to manage the network and integrate with the Visionary Solutions system and Attero Tech unD6IO wall plate audio interfaces. Symetrix Arc-3 wall panels offer control of audio

volume and source selection, while the network feeds ceiling-mounted speakers installed throughout the building. The main PA system in the sanctuary is integrated directly into the Symetrix Prism.

‘We installed 12 televisions throughout the building, including three in the entrance, three in the cafeteria, one in each meeting room, and so on,’ explains Chris Ruane from N Stuff Music’s pro PA installation division. ‘We also installed several Chauvet Vivid 4 modular video panels in the sanctuary. Each video panel and TV has a Visionary Solutions D4100 decoder, so you can call up any video source stream on any screen. Wherever there’s a TV, we also

installed an Attero Tech unD6IO and a Symetrix Arc-3 panel, so you can call up any audio stream.’ Images captured from a video camera cross a Vaddio AV Bridge MatrixMIX system, providing the feed for one of the E4100 encoders, which sends the audio to the Symetrix Prism DSP. A pair of cable boxes feed another two of the Visionary Solutions encoders, providing two TV streams. ‘Our regional rep sells Visionary Solutions, Attero Tech and Symetrix products, and he suggested we integrate them at Impact Christian Church,’ Mr Ruane notes. ‘When we started planning the project, I knew what Dante was but I had never worked with a Symetrix system and I had never heard of Visionary Solutions or Attero Tech. Once I understood the technology, I mostly needed to learn to use Symetrix Composer software, where I did all of the programming, including the Visionary Solutions programming.’ www.impactpittsburgh.com www.nstuffmusic.com www.vsicam.com

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NEWS

Taking Guts to The newreal sound light church of theTulsa Vineyard UK: Trent Vineyard is a contemporar y church in Nottingham, the home of Robin Hood, and par t of the family of Vineyard churches with 120 sites across the UK and Ireland, as well as 2,500 worldwide. The sanctuar y also ser ves as a local venue for corporate functions, and is used by the church for a host of talks and live music events, as well as ser vices, attracting up to 1,200 people.

more complex task was extending that even coverage to the far left and right corners of the room.’ Coverage was achieved by four arrays of four Y8 loudspeakers and Vi-GSubs with three newly installed E8 loudspeakers accompanying eight E0s and two E3s that have been re-purposed from the old system. Power is provided by four d&b 30D amplifiers. The rest of the former sound setup was also put to use. ‘Much

USA: Back in 1992, Pastor Bill Scheer envisioned a church that he hoped would provide an extraordinary experience for everyone, particularly people who don’t necessarily like churches. Fast forward 26 years and Guts Church is providing programmes and services to thousands from its three campuses and is one of Tulsa’s largest congregations.

Installing the new system was Toucan Productions with the upgrade replacing the older 575W and 700W discharge fixtures. Although the Artiste DaVinci houses a 300W LED engine, they output over 13,000 lumens, which is comparable to 700W discharge lamp fixtures. ‘Brightness was a huge factor for us,’ continues Mr Yarbrough. ‘I needed something that even in darker colours can be punchy and effective.’ The Artiste DaVinci fixtures, used in weekly services and for special events, fulfill a few different roles. A pair of fixtures hang midway back in the sanctuary, over the audience, and are used as spotlights for vocalists. This was made possible courtesy of the colour temperature and tight zoom. Other DaVinci fixtures are located upstage and are used in conjunction with other Elation lights for worship effect lighting. Others are spread out on the deck to create more eye-catching looks. ‘William Bennyhoff, Chauncy Harris and the entire Toucan team haveKids’ beenCentre incredibly helpful in their The support in this project,’ continues Mr of the old d&b system was used Yarbrough. ‘I came to William with a in equipping Vineyard blank palette the andTrent a desire for a major purpose-built, on-site Centre, production upgrade andKids’ he brought itself new, fairly big to space,’ up theaDaVinci for me demo along explains Smith.matrix ‘The panels rest weand with someMrElation were able Itoknew re-purpose seamlessly ACL Bars. that these fixtures in thewhat expanded auditorium. First, were I was looking for. I went we tested those loudspeakers, to the drawing board and created measuring their formance a design with ourper chief lighting today against what Chris it wasCollier. when We theysent programmer, were new. and We a found it overbrand to Toucan weekthat, laterfor the the difference was theymost were part, here installing the fixtures. undetectable, after 15 They have beeneven incredible withyears their of hard and use.’support.’ service

The facility recently underwent an expansion refurbishment. Guts Church’sand Daniel Yarbrough During these works, the church It has to been impressive turned A/Vansystems integrator, turnaround for the has an SFL, to design andpastor installwho a new affinity system for leather motorcycles sound thatand would meet the and, in of 2017, it wasclients, time foras a new needs corporate well lighting solution as Trentsystem Vineyard itself.at the 1,500seat main sanctuary woulda – in ‘Trent Vineyard wasthat already the words technical director and happy d&bofaudiotechnik customer,’ directorPat of Smith worshipofatSFL. Guts‘So, Church, notes when Daniel – have ‘a really it cameYarbrough to designing a new system good punch’. for the larger, differently shaped Elationwe Professional DaVinci space, had a goodArtiste starting movinginhead lights got the point terms of what thegreen outcome light. ‘We wanted an extremely should be.’ versatile profile fixture was both The sanctuary is nowthat wider than efficient and powerful, packed with it was previously, although retains features an extremely rich palette the sameand depth. Therefore, d&b of colours,’software notes Mrwas Yarbrough. ArrayCalc used to ‘When Ihow sawvarious they included an model systemgobos, designs incredible zoomprior and atowide array of would perform construction other parameters that price point, being completed. at SFL also physically it was an easy sale.setups What I to have seen configured several ensure is a best fixturesolution that does compromise the wasnot achieved. on quality andand service a better ‘Consistent evenfor sound cost. I would highly recommend coverage is critically important,these to anyone looking addtotoachieve or update and actually fairly to easy their look in anyto way for of any from the stage theand back the format.’ auditorium,’ says Mr Smith. ‘The

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NEWS

McLean Bible Church cleans up broadcast sound

Derek Milton in the church’s broadcast area

Hope Fellowship Church heads to the stage USA: After searching for a new in-ear monitoring solution for the praise team at Hope Fellowship Church’s newly opened Frisco East campus in Texas, it wasn’t long before it found itself in front of Glenn Setchfield, design engineer for Georgia-based AVL provider, Clark. Typically, this is where the conversation begins, assessing the needs of the church and proposing suitable solutions. However, Hope Fellowship Church technical production director, Derek Milton, and his team had already opted for a new DiGiCo SD21. Being aware of the integration potential between DiGiCo consoles and Klang:technologies’ 3D in-ear monitoring system, Mr Milton was intrigued. ‘They approached us really excited about the Klang product,’ recalls Mr Setchfield. ‘They had seen it at a trade show and knew they wanted it.’ ‘I had used the [monitoring] system that you most often see in churches, and I knew that was not what we wanted,’ explains Mr Milton. ‘Both the stage clutter of a bunch of personal mixers on mic stands and the expense of all that hardware was something that we wanted to avoid. Instead, a power ful system that our worship musicians could easily control via their own mobile

devices was attractive right from the star t.’ The Klang:fabrik is a 2-rackspace unit that can take up to 56 input channels via Dante, MADI and ADAT Lightpipe, and create up to 16 individual mixes. By using the manufacturer’s Klang:app, musicians on stage can then create their own mixes, and also place each sound source in a 3D sound field around their head that includes front and back plus up and down placement in addition to left-right, to create a more authentic, real-life, on-stage 3D experience. Mr Setchfield was quickly converted as soon as he saw the EQ inter face. ‘The graphical way the EQ is set up is great for musicians who are not really technical,’ he explains. ‘The system at Hope Fellowship is set up around the single FOH console with no separate monitor desk. The Klang system provides parametric control over each channel, even when there is no dedicated monitor console, and the parametric inter face is simple and graphical. Users can touch the screen, adjust the tonality and strength of an EQ curve and immediately hear the difference.’ www.clark.is www.hopefellowship.net www.klang.com

16 WORSHIP AVL September–October 2018

USA: Video feeds of the services at McLean Bible Church’s flagship Tysons Campus in the greater Washington DC area are broadcast to the church’s other campuses and to McLean’s ‘Internet Campus’. With broadcast audio quality a growing concern, and the need for an increased I/O capacity with a networked infrastructure and the ability to manage routing for multiple campuses, recording facilities and broadcasts in multiple languages, McLean Bible Church decided to upgrade its audio infrastructure. This led to the purchase of two Lawo mc² audio consoles and a Nova central routing system.

monitor mix. The Nova73 Compact router allows both consoles to access and control all sources independently over an IP network through fibre connections. A multitude of Lawo stageboxes are connected to the router, including a pair of Compact I/Os on stage, a further Compact I/O at FOH and an A__mic8 that manages live translation routing. ‘We had lots of issues with analogue patch bays creating noise during live events and also wanted to replace all of our outboard processing as par t of the upgrade, making sure that we also had an easy-to-use layout for our

‘We were looking for a system that provided excellent sound quality and reliability and had the flexibility to expand and grow with us through the years as our requirements continue to evolve,’ recalls Marvin Haines, McLean’s director of technical arts. ‘It came down to two factors: tonal quality and infrastructure. When we did live in-house demos, we were blown away by the tonal quality that the Lawo console was able to reproduce. With very little EQ, every instrument and vocal was heard clearly through our PA. The expandability and flexibility of the infrastructure was also a big factor in our decision. Having the ability to tie other consoles and equipment in through the network will help us for special events as well as recording initiatives we have planned.’ A 48-fader Lawo mc²56 console handles front of house and broadcast mixing, while a 40-fader Lawo mc²36 desk is used for the

volunteers,’ says Tony Aiello, the church’s A/V engineering director. ‘Now we can provide high-quality audio throughout our facility and store productions and snapshots to simplify operations and centrally manage the routing for our multiple campuses, recording facility and multiple language broadcast feeds.’ ‘One of the factors in my decision was being able to establish a consistent workflow for both consoles,’ adds Joey Burdette, technical director and FOH engineer at McLean. ‘No matter if you are running FOH or monitors, the workflow is the same. Having a consistent workflow has also allowed us to easily train staff and volunteers who wouldn’t be able to be par t of our team with our old analogue system.’ www.lawo.com www.mcleanbible.org

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NEWS: SPECIAL REPORT

Shift Worship flips the switch

Shift Worship has turned to the cloud to transcode its content, reports James Cooke HOUSES OF WORSHIP VERY OFTEN rely on volunteers to run their A/V and media operations. While this helps with keeping tight budgets under control, it can be daunting for amateurs tasked with transforming services into full-on productions. Recognising this, Shift Worship first opened for business in 2003 as a producer of media content aimed specifically at churches the world over. A decade and a half later, more than 40,000 houses of worship currently subscribe to the service across the globe, using the resource to browse, access and download visuals for displaying on screens inside the sanctuary or streaming to viewers online. The library of content is ever evolving, with new additions each week. This includes a range of effects, such as stained glass and natural landscapes, as well as visual markers for seasonal holidays, weekly announcements and sermon titles. Users are able to select from moving and abstract backgrounds, short video clips and even 3840x720 triple-wide videos designed to fill a trio of screens forming a panoramic image across a sanctuary, in their preferred formats and resolutions. The cloud-based library now contains more than 7,000 media assets – and that number is growing by the week. As a result, Shift Worship’s transcoding volume and workflow has grown exponentially in complexity and volume. Until recently, the company – run by brothers Mitchell and Josh Lyon – conducted

file transcoding on a desktop workstation and manually uploaded the files to cloud storage. This process was completed by Mitchell Lyon using Telestream’s Episode desktop software. ‘Since we had been so limited by our on-premise workflow, I knew the cloud was where we needed to go,’ says Mitchell Lyon. While change was necessary, the Shift Media brothers were happy with the Telestream software, exploring their options for a new solution from the manufacturer. This led them to Telestream’s subscription-based Cloud Flip transcoding service. ‘Telestream Cloud automates the transcoding of a high volume of files into the deliverables our subscribers want to use,’ Mitchell Lyon adds. Starting with a single 4K master, Mitchell Lyon generates HD, SD and proxy/preview resolution versions of content, as well as the 3840x720 triple-wide version, into Windows Media, MPEG-1 and MPEG4/H.264 formats. However, when Shift Worship first subscribed to Cloud Flip, the service didn’t support Windows Media or MPEG-1. A request was made and Telestream Cloud responded, adding those codecs to its catalogue. Shift Media has now moved its entire transcoding workload to Cloud Flip with the exception of QuickTime files, which it still processes via Apple Compressor software, although plans are in place to move that to the cloud in the near future too. The process sees 4K, 16:9 files

18 WORSHIP AVL September–October 2018

Shift Worship has started using Telestream’s Cloud Flip uploaded to Shift’s ‘4K watch bucket’ on AWS (Amazon Web Services) S3 cloud storage, while a separate triple-wide master file is uploaded to S3 into a ‘triple-wide watch bucket’. From there, 50 high-resolution files are uploaded for processing each week and 200 to 300 variations are generated from them, including every file format, resolution and bitrate required by Shift’s clients. As the content appears in the watch folders, it is ingested into Flip and distributed into the appropriate workflow or ‘factory’. Individual ‘factories’ produce HD, SD, preview, triple-wide HD and triple-wide SD media. Once Flip has finished producing each codec and bitrate required for every asset, as well as Spanish versions

when requested, the files are automatically output to cloud storage where users can download them. This process replaces a manual system that involved 40 different steps that needed to be carried out in a specific order. And it’s a far cry from when Shift Worship was first founded, delivering content to churches on CD-ROMs and DVDs. ‘Saving time was one of the biggest benefits I’d hoped to derive,’ explains Mitchell Lyon. ‘Telestream Cloud is saving me at least five to 10 hours per week of mundane, repetitive work, manually moving files from here to there and managing the settings for each file to process. Now, with Telestream Cloud, our freelancers can handle the end-toend process, from graphics design and creation to uploading their own work for transcoding and storage. We no longer need to rent a large office because everyone on the team can work remotely. It gives us all the tools we need in an automated environment.’ www.shiftworship.com www.telestream.net

Shift Worship imagery includes natural backdrops

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PROJECTS

Voice of God

An L-Acoustics system has made the world of difference to an auditorium at an ashram in South India. Caroline Moss listens

Sathya Sai Baba

The L-Acoustics delay system

AS AUDIO INSTALLATIONS GO, THIS one was challenging. The Sathya Sai Baba auditorium in Muddenahalli, just north of Bangalore, is constructed from white marble and other highly reflective surfaces, with glass doors running along the two long sides of the building, and an RT of 4.2. No acoustic treatment could be used to improve the sound in the hall; the system alone was required to provide the intelligibility and coverage for relaying the voice of the guru with clarity and precision. And the guru? He left his mortal body in 2011. Sathya Sai Baba is the second incarnation of the great Indian sage, announcing himself 22 years after the physical death of his predecessor, Sai Baba of Shirdi. Although just 14 years of age in 1940 when this happened, he amassed a large following that he spent his life building up, regardless of religion, with the simple teaching: ‘Love all, serve all; help ever, hurt never.’ Alongside his teachings, he dedicated himself to humanitarian causes including the establishment of free hospitals, schools and colleges. Throughout Sathya Sai Baba’s life on earth, he predicted that he would live to be 96. His devotees were confused and devastated, then, when he suddenly passed away, aged just 85. Lunar calendars were consulted, but made no sense as he’d always

20 WORSHIP AVL September–October 2018

The middle seat is left empty for the third incarnation of Sai Baba celebrated his birthday according to the solar calendar. Then Madhusudan Naidu, a young devotee and stellar graduate of the Sri Sathya Sai Institute of Higher Learning, who had spent a lot of time in the presence of the guru, started to see him and hear his voice. This was a good thing, because it turns out that Sathya Sai Baba is not finished yet by a long way. The next incarnation, Prema Sai Baba, is not expected until around the time of Sathya Sai Baba’s 96th birthday, in 2021. In the meantime, he is communicating from his subtle body through Mr Naidu, issuing instructions until such time that he takes human form again. Those applying a logical mindset may struggle with the supernatural aspect of this. However, the fact remains that Sathya Sai Baba, having announced himself at such a young age, lived up to expectations as a great spiritual leader and humanitarian. Because of this legacy,

there is a strong faith that this will happen again. Despite Sathya Sai Baba’s exit from the planet in a physical sense, devotees believe that he is continuing the work he achieved while in his mortal body. Indeed, he has upped the ante somewhat, in preparation for the third coming. Since 2011, educational institutes are springing up all over the state of Karnataka, with campuses providing free education to needy families in rural areas. Similarly, there has been a huge increase in hospitals, including ones that specialise in paediatric heart care. Ashrams are also appearing across the world in preparation for Prema Sai Baba’s appearance. And the auditorium itself is key in these developments, as this is where the Swami appears to Mr Naidu before an audience, enabling him to communicate his plans to the devotees. It is also the venue for the Sathya Sai International Organisation’s annual World Music festival, which attracts performers from across the globe, as well as multi-faith festivals throughout the year. So when it became apparent that the original sound system, installed when the hall was constructed in 2014, wasn’t up to scratch, it was time for some serious research. In stepped Bharath Kumar, a devotee who left a successful career

PROJECTS in Singapore to devote his life to serving his swami. He was ably assisted by Pradeep DMV, a devotee who is also a sound engineer. In spite of no prior experience in the field, Mr Kumar gives the impression of having had a career in pro audio himself as he lists the brands he’d considered, some of which came in to demo their systems in the hall, before deciding that only L-Acoustics would do the job. ‘We knew that although it wasn’t the most budget-friendly system, it would be the best solution for this hall,’ explains Mr Kumar. ‘There is a 15m-high ceiling and lots of glass. Initially, when the hall was built, there was no acoustic treatment and we were getting a lot of slapback, but that was addressed by treating the rear wall, facing the stage. Even after that, when the hall was being used for music and spiritual discourses, there were a lot of students straining to hear the words, especially in pockets of the hall. And the echo was bad in spite of the treatment; the sound was going in all directions. There was just no intelligibility, and we didn’t want even a single word of God to be missed out, so it was important to get the very best audio system in here.’ The existing setup was, by Mr Kumar’s own admission, pretty basic, and he felt certain there was better technology available to address the problems. ‘We didn’t want anyone to put the blame on the hall; we wanted someone who could fix the acoustic environment with their system. We found out about LAcoustics. Then we discovered there was only one authorised distributor – Hi Tech Audio – which is based in Delhi.’ The fact that Hi Tech was at the other end of India, however, didn’t present too much of a problem. Santana Davis, who runs Bangalorebased sound and lighting rental company, J D Davis, is a long-term L-Acoustics user, knows the systems

to be run above the ceiling in the roof space. ‘It’s a military-grade cable that would be safe from rats and other destructive elements,’ he says. ‘It’s very rigid and heavy, so dragging that into place across the ceiling was quite a task.’ Once the system was installed in October 2017, Germain Simon from L-Acoustics arrived to spend two days fine-tuning the system. Once this process was complete, Mr Kumar was in no doubt he’d made the right decision in choosing a speaker brand. ‘In spite of it being

A Soundcraft Vi3000 at FOH very well and carries plenty of spares in his warehouse. ‘Rajan Gupta from Hi Tech appointed me to oversee and install the whole project,’ says Mr Davis, who took his own Kara system into the auditorium on his second visit there. ‘I gave them a demo, using the system for one of their satsang sessions consisting of speeches and music, in the auditorium, and they were very convinced by the sound.’ CAD drawings of the hall were sent to L-Acoustics, which handled the system design. Mr Davis needed to develop rigging points to correlate not only with this design, but also with the load-bearing capacity of the ceiling, which was certified by the ashram’s structural consultant. ‘We had to find out if the roof was strong enough to support the weight of the speakers, put some extra support in place and certify everything for safety, as well as flying everything at the points that L-Acoustics had specified,’ he says. ‘The people at the ashram didn’t realise that the rigging procedure would be so complex. But everything fell into place; it was a very professional job with all the people we had on board. Bharath had a vision, so it was great that he was there as everything started to take shape.’ Once Mr Davis had flown the system and made the necessary adjustments

Two sides of the auditorium are mainly made from glass doors and windows

to the speaker angles, it was turned on for the first time. At this point, the system consisted of just two main L-R hangs of six KARAi modular WST line source cabinets, with three SB18i subwoofers in cardioid mode, per side. ‘When we set it up for the first time and they heard the system, there was no centre-fill, and the position of the speaker hangs meant the people right at the front would not get anything from them,’ continues Mr Davis. ‘It’s a very reverberant place so it was confusing for those people. So we again got the ladders out, changed the angles, and explained that we needed a centre-fill and some front-fill speakers. I returned again with my Karas and set up a centre-fill to show them the difference.’ Again, the ashram understood the need for this. Accordingly, a centre-fill of three Karais, with eight 5XT ultracompact coaxial speakers along the front of the stage for front-fill and a delay system of four KARAis and an SB18i per side, in white to blend in with the hall décor, were installed. The system is being driven by a total of 11 LA4X amplified controllers, housed in a control room next to the stage. According to Mr Davis, one of the main challenges was running cables in a venue that had already been built, and that couldn’t be structurally altered. The ashram requested that armoured cabling should be ordered,

the same reverberant space, with no additional acoustic treatment having been carried out, the intelligibility is so good, and everyone is now able to hear,’ he says. ‘The system sounds amazing for speech and for music – both Indian and Western instruments and vocals – in terms of clarity and volume. The technology is great, of course, but the way it was installed and fine-tuned was remarkable.’ One of the reasons for the October deadline for commissioning the system was so that it could be debuted at the World Music festival. Events like this, which have a growing participation of professional musicians from around the world, was one of the reasons the ashram needed the system, and it didn’t disappoint. ‘We’d been paying a bomb for rental systems in the past, and now we have our own in-house system which can take care of such events,’ says Mr Kumar. Beneath the L-Acoustics hangs, in the middle of the stage, an empty seat has been left in between statues of the two previous incarnations, for the next Sai Baba to occupy. When he does make his appearance, the auditorium will be ready to transmit his ongoing messages to the thousands of devotees who eagerly await him. www.hitechaudiosystems.com www.jdavisprosound.com www.l-acoustics.com

September–October 2018 WORSHIP AVL 21

PROJECTS

St Thomas More’s revamp A building refurbishment provides an excellent opportunity for a total A/V refresh. James Cooke takes a look at the newly renovated Catholic Parish of St Thomas More WHEN A HOUSE OF WORSHIP undergoes building renovation work, it can make sense to also install a new A/V system. Reasons for this include the fact that an A/V upgrade can cause disruption and, as such, this disturbance can take place simultaneously from the interference that refurbishment has on the day-to-day running of a HOW. In addition, with a new look and features adorning a sanctuary, the existing systems may no longer be a good fit acoustically, aesthetically, or both. Recognising this, the Catholic Parish of St Thomas More church in the Australian seaside town of Mount Eliza approached systems integrator, Reflections AV, to design a new audio system while it was undergoing a building refurbishment project. ‘This opportunity was offered to us as we had been servicing the church with general A/V maintenance over the past 18 months,’ reveals Carl Pellegrino of Reflections AV. ‘The church needed to find an audio system that was easy to control and manage as there are a number of groups within the parish that operate the sound system. The current system was unreliable and was prone to people making adjustments, which was affecting the overall performance and sound quality. It was important that the proposal simplified the system and somewhat restricted the user from making changes to the sound quality. ‘It was also requested that a new speaker system be provided and it was important that the aesthetic look fit in with the church design and

The Catholic Parish of St Thomas More’s sanctuary surroundings. The parish committee was adamant that it did not want a “large black box speaker” to hang from the walls, and nor did the architects.’ The new sound system is used to reinforce the church’s acoustic music ministry and choir, as well as the spoken word captured from Chiayo Stage 100 wireless microphones and video presentations from a laptop. The speaker setup was chosen due to a combination of its sound quality and appearance, as per the project brief. ‘The K-array Kobra series was the ideal product for its small compact design yet powerful balanced output when combined with the KU26 passive subwoofer,’ says Mr Pellegrino. ‘Another important factor for choosing K-array was the option of being able to have the speakers

A single Rumble-KU26 subwoofer provides sufficient bass

22 WORSHIP AVL September–October 2018

The K-array speakers were colourmatched to the church’s decor custom colour-matched, direct from the factory, to the customer’s selection.’ Reflections AV installed a pair of Kobra-KK52 line array elements with a single Rumble-KU26 subwoofer. This setup is powered by a Kommander-KA24 amplifier and was supplied by K-array’s Australian distributor, National Audio Systems. ‘Due to the square design of the church and the seating arrangement, we installed the speakers high on the wall behind the altar,’ adds Mr Pellegrino. ‘We angled the speakers down and used the flood feature setting, which produced greater dispersion throughout the church. The sub was located below the left-hand side speaker and gave the additional bass required. This combination produced a great overall balance of sound throughout the church.’

To meet St Thomas More’s need for simplified control, Reflections AV turned to an Ashly Audio DSP audio mixer. ‘We had to find a product that would simplify the overall control and reduce the possibilities of the different users tampering with the settings of the mixer,’ Mr Pellegrino recalls. ‘To resolve this, we opted for an Ashly DSP audio mixer with an FR-8 8-channel fader remote. By integrating the fader remote, it has allowed the user to only control and adjust a few of the individual channels without affecting the overall system.’ While the sound system was the main concern, upgrades were also carried out on the visual side. ‘The church was still using an analogue video signal to produce images to its two data projectors, so we needed to upgrade the video distribution system and also provide a new reliable control unit to operate the switching of video signals and to turn the projectors on and off,’ says Mr Pellegrino. ‘We chose an Extron MLC50 network controller to operate the projectors simultaneously and we used an AVGear HDMI scaler to output a digital signal to both projectors. These products provided an easy and simple control system and produced excellent picture quality that they had not seen before.’ The major challenge that comes from running building renovations and A/V refreshment in parallel is ensuring that everyone working on site is in sync. ‘This building project and refurbishment was run over a small timeframe, which meant the scheduling of all contractors had to make sure they could complete their works in the allocated timeslot,’ concludes Mr Pellegrino. ‘We designed the system and chose the products that we knew would reduce the installation time and give us an achievable outcome. Reflections AV and, more importantly, St Thomas More were more than satisfied that the new system in place exceeded their requirements and expectations.’ www.k-array.com www.nationalaudio.com.au www.reflectionsav.com.au www.stm-mteliza.org

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PROJECTS

Something happened on the way to Heaven Richard Lawn visits the bright interior design and experiences the acoustics of Wooridle Church’s new seventh- and eighth-floor sanctuary

Six HK Audio PR:O 10 XD speakers serve as stage monitors

The Allen & Heath dLive S5000 console also provides Dante recording

Main Pastor Kim Yang Jae is a big admirer of the space

UNLIKE HOUSES OF WORSHIP THAT are limited to a 25m-high restriction in Singapore, the sky seems to be the limit for both old and new church designs in South Korea. From humble beginnings starting out in Seoul’s Hwimoon High School in 2005, Wooridle Church seems to know no bounds. Having relocated to a newly built, 6-level dedicated property in the Pangyo district of Yongin City near Seoul in 2011 to accommodate its 5,000 worshippers, the church elders elected to extend the property in 2015 – upwards. As is the case with so many churches in this country, membership continues to grow rapidly. Three Sunday worship services welcome the congregants to a large auditorium-style sanctuary on the ground level. Seating approximately 2,500 people at any one time, the room comprises a large stage overlooked by an expansive balcony with extensive seating beneath. Any acoustic

added to each array, while T21 dual 21-inch subwoofers are suspended separately to provide low-end reinforcement. Point 8-P cabinets provide under balcony-fills, delays, upper balcony reinforcement and choir monitoring. While a Midas Pro9 digital console is employed as the main FOH and monitor console, two further Pro2 models serve as a backup and broadcast-feed mixer, respectively, for transmission to the satellite campus. The church’s microphone selection includes a large inventory of Shure UR4D and ULX channels providing wireless coverage. In addition, DPA 4011C mics are suspended over the stage, while d:vote 4099s are employed to capture the musicians’ performances. Other beyerdynamic handhelds, AKG and Sennheiser drum mics together with multiple models from Schoeps make for an impressive roll call. myMix personal monitors ensure the musicians fully focus on their instruments during the three Sunday services.

The faith monitor has been located above the chapel’s main entrance issues that may have been created during the sanctuary’s construction were cured in the design phase, ensuring the reverberation time was reduced to just 0.9s. The worship experience was further enhanced with the addition of an extensive audio system largely supplied by Sound Solutions.

24 WORSHIP AVL September–October 2018

To achieve maximum dispersion across the large, fan-shaped room, an L-R 10 per side Adamson Y10 system was selected. This is powered by a combination of Lab.gruppen FP 10000Q and FP 7000 amplifiers and controlled by six LM26 processors. Additional SpekTrix Wave down-fills were

PROJECTS Wooridle is the fourth church that Deok Soo Lim has worked at as chief sound engineer – and clearly he enjoys his time there. Having commenced construction on the new seventh and eighth levels in January 2017, the wraps came off in April 2018 to reveal a new 660-seat, multi-functional chapel. ‘Main pastor Kim Yang Jae is a big admirer of the chapel’s acoustics and bright interior design,’ comments Mr Lim with a grin. ‘I believe that she would prefer to conduct services up there.’

L-R arrays comprise eight HK Audio Cohedra Compact cabinets Designed for weddings, seminars and special events, the appealing venue certainly has won critics over since opening its doors. The quality and reputation of the Shure microphones was not the only criteria as to why the same supplier – Samasound – was allowed greater scope to place its own equipment signature in Wooridle’s loftier heights. ‘I listened to an HK Audio Cohedra Compact line array in another church several years ago and was stunned by the power and clarity of a six per side system,’ furthers Mr Lim. ‘While the Wide10 system was tailor-made for the fan-shaped sanctuary, the slimmer dimensions of the chapel demanded a loudspeaker system that would provide coverage 40m to the rear seats, while not spilling onto the walls of the 18m-wide room.’ Having stored and recalled the demonstration presets, Samasound successfully designed and supplied an eight per side Cohedra Compact system. The lower frequencies

extend down to 47Hz (±3dB) courtesy of six floor-standing HK Audio CDR 210 Sub dual 10inch subwoofers, while on stage, monitoring is provided by PR:O 10 XD speakers. In addition to powering the entire speaker system, Powersoft X4 amplifiers also come with stored DSP settings via the Armonía Suite software. Like the sanctuary, microphones are mixed according to taste and flavour. With the addition of dual UA844 wireless distributors and antennas, up to eight Shure Beta 87A handheld microphones can be transmitted to Shure QLX-D 4K wireless receivers. The percussionist is furnished with a beyerdynamic TG Pro drum set, while the lectern is equipped with dual DPA d:sign 4098 podium microphones. The wireless receivers are racked under the Allen & Heath dLive S5000 console located at the rear FOH position. The dLive control surface is linked to a separate DM32 MixRack housing all the processing power. ‘This cannot be networked to the Midas consoles in the sanctuary, but it can control the six ME-1 personal monitors,’ explains Mr Lim. ‘The audio quality is extremely good and the platform suits our needs perfectly in terms of inputs and outputs for this size of venue. I’m enjoying mixing on the 48-channel dLive as the compression, EQ and other outboard features incorporated into its design are very high quality. I’m also impressed with the Harmony user interface gesture control and the dual redundancy features. Additionally, with a Dante recording interface card, we can now record any events or services from the console.’ With the addition of a 2.3m x 10m Abletech LED screen, events are

Sony BRC-H300 HD cameras provide five video feeds

Fixed to the ceiling above the stage, two lighting bars host 14 moving head fixtures including washes, beams, spots and LEDs. Lighting control comes in the form of a grandMA2 console that can also be operated from a PC. A combination of Canare 4S14Fs and MR202 multicore cabling together with Neutrik XLR connectors form the foundation of the infrastructure. Like a penthouse, the lofty chapel that the church has created may be bijou in scale compared with the lower-level sanctuary but,

The broadcast production suite visually enhanced. Inputs include five Sony RM-IP500 dome cameras that are controlled by a PTZ BRC-H300. Together with a PC that uploads subtitles and a live camera, the inputs are fed into a Panasonic AV-HS410 switcher and an Analog Way NeXtage 16 processor for distribution to the LED screen and any other screens throughout the 8-level facility. Finally, the audio feed from the dLive S5000 and other playback sources are routed to an Allen & Heath SQ5 mixer for the audio broadcast mix. The drum kit is miked with beyerdynamic TG microphones what it lacks in grandeur, it more than makes up for in architectural style and tastefully integrated technological enhancements. ‘Samasound helped us enormously with the system design as well as specialist advice,’ comments Mr Lim. ‘So far, the speaker system has impressed all those who have attended a function. However, it is the added flexibility and features such as ease of recording, broadcasting as well as remote control capabilities that make working up here so enjoyable.’ www.samasound.co.kr

The 2,400-seat, first-level sanctuary is mixed on a Midas Pro9 console

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September–October 2018 WORSHIP AVL 25

PROJECTS

Professor Amseln Goertz tuning the sound system

Limburg Cathedral

Pan Acoustics speakers provide the main PA

Overcoming the architecture One of the most striking elements of ancient houses of worship is the architecture. However, this can also present the biggest challenge, as James Ling discovers at Limburg Cathedral OLD EUROPEAN CATHEDRALS were built for a different era of worship. For these architectural masterpieces, the design naturally projected the spoken word from preachers and enhanced the sound of choirs. However, what worked in medieval times does not always marry well with modern needs. Established in the middle of the 10th century and with the construction of the modern building beginning in 1190, Limburg Cathedral certainly fits into this category. It is a grand space, built in the Romanesque style while also taking in early Gothic elements. The building itself is 54m long with the nave measuring 35m in width. The height varies within the nave between 21m and 25m but, at the crossing tower, this increases to 33m while the transept rises to 30m. When these dimensions are combined with the hard reflective surfaces of the beautiful stained glass windows and fresco decorated walls, this creates

an acoustically challenging space with a reverberation time above 4s. As with many houses of worship, over the years the cathedral has added PA systems to try and enhance speech intelligibility. However, despite its best efforts, the results usually compounded the problem by adding more acoustic energy into an already busy space. With its latest upgrade project, the cathedral has embraced

26 WORSHIP AVL Septemberâ&#x20AC;&#x201C;October 2018

modern technology to help solve these problems. The cathedral had been struggling with an old column speaker solution that tried to overcome the challenging acoustics by positioning an 80cmhigh speaker on every other pillar running the length of the building. The issues this created were twofold. First, it was confusing for the congregation; people would be

sitting and facing the front but the sound would be coming from the side. Second, only about a third of the acoustic energy was hitting the crowd, the rest was bouncing around the vast space, creating more background noise. To counter these issues, a beam steering system was used for special occasions. And having heard the difference that modern technology could make, it decided to invest in a permanent solution. At this stage, Limburg Cathedral commissioned an audio design and put it out to tender, inviting bids from some of the largest players in the German market. In addition to this, it was decided that a wellknown local company should also have the opportunity to bid, and Schmitt Elektrotechnik und Akustik was approached. Because of its long-standing partnership with local IT firm, Pauly, implementing larger projects, the offer was logically developed as a team.

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PROJECTS ‘The design had four brands that were allowed to be in the tender. As independent specialists, we decided to calculate all four and present our recommendations as an offer to the customer,’ explains Pauly’s Norbert Kalff. ‘In the end, we had some nice ideas for other things we could do and the best service concept, so they decided to work with us.’ The pair won the tender with its design based on Pan Acoustics’ Pan Powerline solution. This uses a 2-wire cable system, typically used for 100V systems, to transmit the audio signal, the control parameters for configuring the DSPs and the power. A total of 24 PB08 units, each comprising eight DSP channels and eight amplifiers, form the system on the ground floor of the church. The largest distance of 27m in the nave and aisles is covered by a PB24. In the first-floor galleries, two further pairs of PB08s have been installed. ‘The Powerline technology was only actually needed for two of the first-floor speakers,’ furthers Mr Kalff. ‘For the rest of the building, we could find places where we have 230V sockets and use these for the power, with the audio signal and control data running over the 2-wire line.’ ‘The most important problem that was here was the reverberation time; the domes make it more difficult,’ adds Pan Acoustics’ Jan Leerschool. ‘We did simulations at the office where we realised that it would be a challenge, but we could do it. There is a lot of noise running around the space during a service and you have to be able to at least shoot through that to achieve basic intelligibility. There is a very narrow beam just

The Pan Powerline solution uses a 2-wire cable system for the audio, control and power

The nave and aisles are reinforced by a PB24

The custom GUI allows for simplified control

The cathedral’s rack

The bishop’s seat is covered by a Sennheiser ME 36 mini shotgun capsule shooting over the listening plane and we are keeping it as far away from any surfaces as possible.’ As this was a very ‘cost-aware’ project, the team from Pauly and Schmitt decided to keep some of the older solution in place to cover some of the less frequently used spaces. ‘There was no waste at all here,’ says Mr Kalff. ‘We left a couple of old 100V speakers for the really big services where every available space is filled with people.’ While the technology employed was important, the solution also needed to be sympathetic to the architecture. ‘The speakers, of course, are customcoloured,’ notes Mr Kalff. ‘We tried to find a nice compromise between exactly matching the walls and not having it look shabby. I think they did a pretty good job.’ In addition to this, the project team went further by also disguising the cabling. ‘When I came here during the project, they were putting up the speakers and I was asking where the cables were,’ he recalls. ‘They had a painter who mixed the exact colour to disguise the cable runs. It was built with lots of love and effort.’ At the other end of the signal chain, the cathedral opted to completely replace its mic system with an all-Sennheiser solution. ‘It is all the same ME 36 mini shotgun capsules and a boundary mic at the altar,’ explains Mr Kalff. ‘They are very high beaming so we have the least problems with reverb.’

28 WORSHIP AVL September–October 2018

Sitting between these in the control room set behind the choir in a Middle Atlantic 19-inch rack is a Steffens Systems sound processor and automatic mixer, which was purchased separately before the full upgrade. Alongside this is a CD player and recording device from TASCAM, Crown amplifiers to power the old 100V system and a Crestron Series 3 control processor. ‘I have been working with Crestron for more than 20 years and I do everything with it,’ says Mr Kalff. ‘The user interface is very easy. They have an on/off button and, when you switch it off, it asks if you are sure. When you switch off the system, there is just one button which is to turn it on. It always activates in the empty cathedral mode for everyday use and, if they want to do anything else, they push one of the buttons. The other presets we have are for a standard church service, a service with the first floor, a service with everything around and we have services with TV stations taking control – they take the mic signals and control the speakers. ‘In the DSP, we have programmed a cut for the TV controlled preset so all the microphones go onto the Dante network and all the speakers are played by Dante channels coming back,’ continues Mr Kalff. ‘This way, the TV sound crew have complete control over the actual church and they love it. After the first event with the guys, they came to us and said they had never had a church where

they got such good TV sound without having to turn everything down. This is because the Pan Acoustics system works so well and the microphones are great and it is really easy to operate.’ Diving further into the control system, Mr Kalff has also created custom pages on the GUI to ensure the non-technical cathedral staff can control the system as well as possible. ‘They have a microphone page where they can adjust single microphones or switch them off,’ he explains. ‘It is the same with the speaker page – they have the ability to manually switch them off and on. They asked for this because it is something that they were used to from the old system. There is also master volume control.’ Importantly, he has also added one other function that is designed to make the system as user-friendly as possible. ‘When I give people controls there is always a fourth button: reset,’ smiles Mr Kalff. ‘That takes it back to my standard setting. When you start the system, it is always back to the standard – everything that could be changed is recalled to the original way it was.’ The control system can also be taken out into the main building to manage settings from inside the cathedral itself. ‘We have wireless LAN from behind the bishop’s seat that is good enough to have remote control from the middle of the cathedral and from up by the organ,’ explains Mr Kalff. ‘There are only a couple of spots on the side where the network is shadowed and so it doesn’t work. It is perfect for the people operating the system as they have the possibility to take it out and just sit somewhere to make adjustments. This is something that they couldn’t do before.’ The end result is something Stefan Schmitt and Mr Kalff understandably draw a lot of satisfaction from. ‘I was very excited about having the possibility to work on this kind of project,’ concludes Mr Kalff. ‘This was a massive job for us. Everybody was so happy with the final result – the architect, the electrical engineer, the professor who designed the system and the people that work here.’ With the solution in place and speech intelligibility notably improved, the result goes to prove that, with the right technology, medieval acoustic spaces can cope with modern worship practices. www.akustik-schmitt.de www.pan-acoustics.de www.pauly.de

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PROJECTS

Bringing Kirk in the Hills to life Kirk in the Hills Presbyterian Church sought extra reverberation to bring music and the spoken word to life. James Cooke reports

The Gothic sanctuary’s ceiling panels contributed to a lack of reverberation REVERBERATION IS A WORD THAT regularly finds its way into the pages of Worship AVL. This is often because houses of worship, with all of their hard, reflective surfaces, are plagued with too much of it and need to keep the persistence of sound under control. However, that is not to say that the goal is to achieve no reverberation at all; without it, a space can sound rather dead. There’s a fine line between too much reverberation (a space that’s too wet) and not enough (a space that’s too dry). One church that recently found itself looking to add more life to its sound was Kirk in the Hills Presbyterian Church, a Gothic-style sanctuary in Bloomfield Hills, Michigan that hosted its first services in 1958. ‘With its Gothic design, the church has very high ceilings,’ explains Jayne Zellers, business manager at Kirk in the Hills. ‘We raised money to acquire a new acoustic system as we needed more reverberation.’ While improving the sanctuary’s acoustics, it was decided that a new sound system would be installed to replace old and outdated equipment. Kirkegaard Associates of Chicago was brought on board as the acoustics consultant and systems designer,

Kirk in the Hills Presbyterian Church while Michigan-based Advanced Lighting & Sound handled the installation itself. ‘Our company president, Joseph Myers, was the acoustic consultant, I was the A/V consultant and we worked together on the project,’ recalls Jonathan Darling, principle consultant at Kirkegaard Associates. ‘The primary acoustic problem was that the space was too dry. The church has traditional services, with a medium-sized choir and a pipe organ, so one goal was to increase the reverberation time.

30 WORSHIP AVL September–October 2018

We discovered that the ceiling panels were perforated metal, with absorption in the cavity behind them. Replacing the ceiling tiles increased the reverberation time in the mid-band from about 1.6s to about 2.1s.’ ‘The church is a very traditional Presbyterian church and has a strong choir,’ adds Bob Sullivan of Advanced Lighting & Sound. ‘The room has to accommodate traditional services and changes to the room’s acoustics have been numerous to find the balance between the live spoken word and the needs of the organ and choir. The

new PA is only intended to reinforce the spoken word from presenters and pastors. The system does not reinforce any of the choir. This works because of the room’s acoustics, but does not translate well for the live stream or any recorded services.’ ‘Kirkegaard Associates recommended a trio of manufacturers for the loudspeaker solution,’ says Ms Zellers. ‘We trialled all three and ultimately chose Renkus-Heinz. Whereas before, our old system had four column speakers, we only needed two of the Renkus-Heinz columns in the nave.’ Those columns are IC24-RD digitally steerable line arrays from the Iconyx Gen5 series. ‘With the old system, they needed mid-nave-fills on either side, which produced some areas of high intelligibility but troughs and uneven performance in other areas,’ Mr Darling notes. ‘With one pair of IC24-RDs, we didn’t need mid-navefills, which is better acoustically and cosmetically.’ A benefit of the Iconyx speakers is their beam steering technology, allowing sound to be aimed where needed. Although, the main reason they were recommended was for their look. ‘The primary reason we chose the IC24-RD is that the church

PROJECTS is very concerned with aesthetics, and the low profile and shape of the Iconyx could be integrated better than other solutions,’ says Mr Darling. ‘Advanced Sound & Lighting did a very good job mounting the speakers to keep them as hidden as possible. They also custom painted the arrays, including the mountings and cables, using a stone texture.’ In addition to the IC24-RDs, four Innovox Audio MLA-16 speakers, powered by a Lab.gruppen E 5:4 amplifier, serve as monitors for the choir and as fills in the transepts. ‘With the latest generation of Iconyx supporting Dante audio networking, a BSS London Blu-100 processor was chosen for system processing and routing, while a new Yamaha

The IC24-RDs blend in aesthetically

TF1 console was added to handle the mixing,’ says Mr Sullivan. ‘With the whole chain being digital, it significantly simplified the installation and commissioning of the system. With an added wireless access point, the staff are now able to sit in the main room and make accurate adjustments to the system, while the individuals producing the live stream can make their adjustments on the console.’ In addition, the TF1 has been equipped with a Yamaha NY64-D Dante digital interface card, while a BSS Blu-DA interface was also supplied alongside a Yamaha Tio1608-D stagebox. Although the PA system doesn’t reinforce the choir, congregants watching services from home or

Just one pair of IC24-RDs were needed elsewhere need not miss out on hearing the harmonies. Mr Sullivan adds that a solution was provided to ensure that the choir could be heard on live streams and recorded video. ‘A small alcove had been allocated that put the operator into a space with no direct view and no ability to hear what was happening in the room,’ he says. ‘When Kirk in the Hills started streaming video and recording services, it was quickly determined that the audio was not representative of the experience in the sanctuary. The solution was addressed by installing six channels of Shure UHF-R

wireless microphones to pick up the audio at various locations throughout the room. These elements are only used for the live stream. ‘The overall results have been a significant improvement to the worship experience in both the room and for those watching it online.’ Once installed, the new sound system at Kirk in the Hills still required a little fine-tuning. ‘We initially had a problem with the new system, but this was diagnosed and soon fixed,’ explains Ms Zellers. ‘Overall, the sound setup has made a huge improvement in the tonal quality of the room. And we now have the ability to make adjustments of our own as the speakers can be controlled using a computer.’ ‘We’re still making fine adjustments but the client is really happy,’ confirms Mr Darling. ‘The installation was beautiful, and the system is working very well.’ Indeed, there is a fine line between too much reverberation and not enough, but Kirk in the Hills is finding its way. www.go-als.com www.kirkegaard.com www.kirkinthehills.org www.renkus-heinz.com www.yamahaproaudio.com

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September–October 2018 WORSHIP AVL 31

PROJECTS

Beyond words in the suburbs A Coda Audio AirRay solution provides an even dispersion at Hyerym Presbyterian Church’s 4-storey sanctuary, reports Richard Lawn

Pastor Young Woo Kim with church elder Choi Jung Man

Hyerym Presbyterian Church TRANSLATED AS ‘THE AREA surrounding the capital’, Gyeonggi-do is not only the most populous province in South Korea, it’s the fastest-growing. As the suburbs of the capital city continue to expand, they start to reveal housing estates, road infrastructures, shopping malls, community centres and, of course, houses of worship. The expansion is so rapid that Google Maps and Wikipedia have difficulty keeping pace with the South Korean construction companies. Church doors are remaining wide open in anticipation of the arrival of new congregants. Located some 20km to the east of Gangnam district, Hyerym Presbyterian Church is a classic example. The origins of the church date back to 1972 in the city centre and, as such, the new addition to the movement in Hanam City could technically be termed an outreach or satellite branch. However, a tour within the newly completed 4-storey building – and its sanctuary in particular – contradicts such a title. Dating back to 19th-century Scotland, the regulative principle of the Presbyterian movement originally stipulated that only the human voice should be used. Over time, however, piano and organ accompaniments have been accepted. The Korean interpretation is somewhat different, however, and certainly does not exclude any kind of musical

The DiGiCo SD10 console providing all the FOH and monitor mixing from the sweet spot on the upper balcony instrument from being used during services. To a turnkey solutions provider such as Soundus, whose role at Hyerym Presbyterian was anything but minimalist, this was a relief. Christened the Love Hall, the 2,000seat sanctuary is the jewel of the complex. During services, all eyes and ears are fixed on the pastor and worship leaders preaching the word of God on the 16m-wide stage. The 1m-high dais provides a clean vista as the musicians play their instruments below the stage right position, with the choir seated to the right of the stage. While an integrated 5m x 8m (HxW) LED screen provides a powerful backdrop behind the stage, there is no other technology distracting the audience’s vision from the sermons.

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Above all, the audio system demanded speech intelligibility to ensure the word of God can be truly delivered to all the attending worshippers. However, both power and a full dynamic range were required to enhance the church band consisting of a guitarist, bass player, keyboard player, percussionist and organist. Given the slightly fanshaped nature of the auditorium, several suppliers were requested to demonstrate their solutions. Ultimately, a Coda Audio AiRay line array system provided by Soundus garnered the most points on account An L-R Coda AiRay speaker system, supplemented by SCV-F subs, delivers the main sound reinforcement in the Love Hall

A DiGiCo S21 in the broadcast suite provides audio for video playback from the Faith Hall and Love Hall

PROJECTS of its power, even dispersion and compact size. It marks the first sale of an AiRay system in South Korea. Having carved a respected niche in touring circles on account of the cabinet’s powerful, yet lightweight and compact credentials, the AiRay’s design is not confined to a life on the road. The dual 12-inch, 3-way system provides the compact size (674mm x 359mm x 570mm), high output, even coverage and intelligibility requested by Hyerym Church. Weighing less than 40kg per cabinet, the eight per side arrays suspended to the left and right of the stage can be easily maintained and serviced. Operating within a 50Hz to 22kHz (±6dB) frequency range, each AiRay module incorporates a Dual Diaphragm Planar wave driver and Ai Coupler technology. With AiRay, the Coda Audio engineers have carefully focused on the inconsistent horizontal coverage of typical line arrays. With this, a narrowing of coverage between 150Hz to 1kHz has led to 90° line arrays being used and the need for extra out-fills. Loaded to a coupler, the

Eight channels of beyerdynamic TG 1000 assist the worship leaders 25Hz to 35Hz range. An integrated velocity sensor within its 18-inch driver measures and sends the exact movement information of the voice coil via an XLR to the comparator. The comparator compares the original input signal to the movement measurement from the velocity sensor and adjusts the amplifier, driving voltage or current accordingly. The 16 AiRay cabinets and 10 SCV-F subwoofers are powered by a combination of six and two Linus 10 amplifier controllers, respectively. All eight dual 5,100W Class-H controllers are individually loaded with DSP, comparator and amplifier settings, such as FIR and IIR filtering. Racked behind the stage, the daisychained Linus 10s are managed and configured remotely via the LiNet Cat-5 network on the Linus Live platform.

An L-C-R Coda Audio G512 speaker system in the 500-capacity Faith Hall energy produced allows the element to perform as a single source without phase destruction to create a coherent and uniform wavefront. While the horizontal coverage for each AiRay module can be adjusted to 90°, 120° or 105° asymmetrically, the vertical curving between cabinets can be individually configured at 0° and 8° and can be made in 0.5° and 1° increments. Behind each L-R AiRay array, secondary arrays each consisting of five SCV-F 18-inch subwoofers extend the LF performance down to 25Hz. Capable of operating in either cardio or omni mode, each SCV-F incorporates closed feedback-loop control with low noise laminar flow ports to provide increased output and a controlled response. Between 35Hz and 100Hz, the audio is time-aligned, while the group delay increases slightly in the

The AiRay technology has minimised the number of required fills and delays. Up to six Coda Audio G512-66 speakers can either be deployed horizontally below the stage as musician monitors or as front-fill speakers when arranged vertically on the stairs leading to the stage. The choir is monitored by two wallmounted G308-3 speakers. Finally, under balcony-fills are catered for by six Coda Audio Hops5 speakers aligned in a concentric ring for the final 10 rows of seats. The 2-way speaker system that constitutes the monitors, fills and delays are powered and controlled by two Linus 5 Class-D 4x1,250W amplifier controllers. In addition to supplying all the audio system’s outputs within the sanctuary, Soundus was invited to supply the numerous inputs and other technologies required

Six Coda Audio Hops5 speakers provide rear-seating delays in the audio signal chain. Like the Coda Audio AiRay system, DiGiCo consoles are often associated with technical tour riders and live events. An SD10 console, however, was selected for the Presbyterian services for mixing both the FOH and monitoring systems. Selected on account of its audio quality and ‘user-friendly, intuitive interface’, the SD10 boasts a feature set including 132 processing channels, a high fader count together with high input and bus counts, plus dynamic equalisers. Featuring three banks of 12 motorised faders and one master fader, the SD10 is controlled from a central sweet spot at the front of the upper balcony. A sizeable inventory of beyerdynamic microphones was also supplied by Soundus, including eight channels of Tour Guide (TG) 1000 wireless microphones. The wireless signals are boosted with the addition of two WA-AS 6/2 6-way wideband antenna splitters. A TG drum set was also requested for the shielded percussionist, including TG153c condensers and TG D58c mics for overheads and tom-toms, respectively, together with a TG D71c kick drum model. Two DPA d:screet SC4098s have been installed into the lectern, while another four models have been converted to serve as hanging condensers for choir amplification. Rather than utilising the Coda Audio G512-96 wedges as monitors, the musicians prefer to depend on Aviom A320 personal mixers in order to minimise spillage into the front-row seats. Like the audio, the video system employed to enhance the services in the Love Hall is light years away from the origins of the reformed theological views set out by John Calvin. Sunday services can be broadcast internally via the extensive digital signage network across all levels, as well as over the internet. Monitored via Genelec 8020D speakers, the audio feed from the SD10 is then mixed on a DiGiCo S21 console located in an upper-level

broadcast suite. ‘The church is new and, as such, we’re still finding our feet,’ confirms church elder, Choi Jung Man. ‘Volunteers currently maintain the audio, lighting and video elements but we hope to employ fulltime operators in due course.’ The relatively simple lighting display is controlled from the digital display of a Net.Do Fox 1024S console. Five fixed Panasonic cameras managed from an AW-RP120 remote controller together with subtitles and images from a Mac computer are fed into a Panasonic AV-HS410 switcher and broadcast to the church’s extensive video infrastructure. In addition to an Analog Way Midra QuickVu QVU150-3G seamless switcher, the AV-HS410 receives feeds from two NovaStar MCTRL660

Assistive viewing for the rear seats master controllers for supporting the screen configuration into the main LED screen. The A/V systems are protected and sequenced with the adoption of several SAC PC-10 power conditioners in both signal chains. The lower-level Faith Hall is a 500-capacity chapel that is used for smaller services, including more intimate Bible classes. Powered by a Linus 5 amplifier controller, Soundus supplied three Coda Audio G512-96 speakers as an L-C-R solution into the 4m-high venue together with a DiGiCo S21 console. Elsewhere, the choir practice room is furnished with L-R QSC AD-S32T surfacemount speakers, Line 6 wireless microphones and a Mackie Onyx 32:4 console. Powered by QSC GX3 amplifiers, the foyer areas, café and childcare room are further equipped with QSC AD-S32T speakers. Pastor Young Woo Kim spent almost two years in the UK, including a spell of Bible study in Banff, Scotland. Here, he noted that the Presbyterian style of worship was notably different from that observed in South Korea. For those specialist audio suppliers and designers such as Soundus, the ability to provide audio solutions of such magnitude is a remarkable development over several generations. www.hyerym.org www.soundus.co.kr

September–October 2018 WORSHIP AVL 33

KnowHOW

Lighting terminology 101 John Black shares some basic terminology to help newcomers get to grips with lighting fixtures WHEN I AM WORKING WITH NEW volunteers, one of the first training topics that I cover is basic lighting terminology. It’s important for the team to share a common language through which directions can be clearly communicated and tasks can be accomplished efficiently and safely. In this article, I will define some basic lighting terminology that I cover with my new crew members. This is not a comprehensive list of terminology used in the lighting industry, but rather a set of terms that enables them to begin working with the gear as quickly as possible. Therefore, I begin with terms related to the tools, focusing methods, stage directions and lighting positions. Let’s dive in.

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

John Black, theatre manager for Seoul Foreign School

Lighting fixtures Each house of worship will have a unique lighting package installed and available for use. However, all lighting fixtures can be grouped together based on common characteristics. I split lighting fixtures into two main categories: conventional (non-moving) and automated (moving). I used to define a conventional fixture as one that had a single controllable parameter, namely intensity (brightness). However, as LED technology has improved and become a popular light source, ‘conventional’ fixtures now use LED lamps in addition to the traditional tungsten. This has allowed the ability to mix colours without the need for colour filters, as well as the ability to adjust the colour temperature depending on the features of the fixture. Meanwhile, the rest of the fixture features remain unchanged – their focus is fixed. Therefore, I redefined ‘conventional fixtures’ to be any fixture without pan/tilt features regardless of lamp technology. Some of the most common conventional fixture types are: Ellipsoidal Reflector Spotlight (ERS or Leko): these fixtures feature an elliptical reflector in the back of the fixture housing, which helps redirect the light from

fixture to narrow or widen the light beam as needed, but it is impossible to produce a ‘hard, focused’ edge. Accessory holders are available on the front of the fixture for holding barndoors or colour filter frames, among others. These fixtures are used primarily as top or back lighting to provide smooth washes of colour. Strip light: these fixtures feature a number of lamps lined up in smaller ‘compartments’ and are similar to cyc lights in that they are designed to produce a broad spread of light. They are used primarily for creating a wash of light typically in a footlight position, but are sometimes used overhead as top or back lighting. Cyc light: these fixtures also feature a number of lamps and are typically open-faced, meaning they do not use a lens. They are designed specifically to produce a wide vertical spread of

ETC’s ColorSource Linear 2 the lamp through the lens in a way that produces a hard-edged beam of light. These fixtures have swappable lens tubes which allow the user to narrow or widen the light beam as needed. They feature built-in shutter blades, which allow you to shape the light beam, and also feature accessory slots to insert gobos

PR Lighting’s XR 300 Beam in use

A Fresnel

34 WORSHIP AVL September–October 2018

(patterns), irises and colour filter frames, among others. These fixtures are used primarily for front lighting, side lighting, projecting patterns and specials. Fresnel: these fixtures feature a stepped lens, which disperses the light and produces a soft-edged, wide beam of light. Instead of changing lens tubes, the lamp can be shifted forwards and backwards inside the

light to be able to light a cyclorama or backdrop evenly from top to bottom. An automated fixture is any fixture that is capable of being focused in a new position through programming on the lighting console. These fixtures employ both LED and traditional lamp sources, and often include many programmable features for the lighting designer to use. Automated

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KnowHOW fixtures can be generally grouped into three main categories: Wash: an automated wash fixture is similar in concept to a Fresnel in that it produces a soft-edged beam of light. These are primarily used to light large areas in colour or to provide wide, even lighting of set pieces. Profile/spot: an automated profile (or spot) fixture is similar in concept to an ERS in that it produces a hard-edged beam of light. This allows the fixtures to effectively project gobos (patterns) for aerial effects or creating texture. They can be used as specials, washing a stage or for effect, among others. Beam: an automated beam fixture produces a very narrow, hard-edged beam of light. These fixtures are typically used for aerial effects and are used in large quantities. They are extremely common in concert lighting situations but not so much in theatrical settings.

Right Wing

Upstage Upstage Right Right Center Stage Right

Stage Right Center

Downstage Downstage Right Right Center

Upstage Center Stage Center Downstage Center

Upstage Upstage Left Left Center Stage Left Center

Left Wing

Stage Left

Downstage Downstage Left Left Center

Fixture accessories Whether added to an accessory slot of a conventional fixture or built into an automated feature, there are a number of accessories that are important for any lighting crew member to be able to use: Iris: an iris features a large quantity of shutter blades that are arranged to form a circle. Closing an iris brings the shutters closer together and forms a smaller circle, cutting into the light beam and shrinking the size of the beam of light. Gobo/pattern: a gobo (or pattern) is a steel cut-out template or glass disc containing an image that is placed into the light beam. The pattern is then projected from the light fixture onto a surface. A pattern holder is used to hold a gobo. Shutter: a shutter is a blade that cuts into and blocks a portion of the light beam, allowing the user to shape the beam or block it from illuminating unwanted surfaces. Gel/colour media: a gel is a coloured plastic film placed in the light beam to change the colour of the beam of light. A colour frame is used to hold a piece of gel.

Focus terms When the lighting crew is involved in a focus session, the following terms will commonly be used to give instruction to the crew member adjusting a fixture: Pan: to pan a fixture is to rotate it in the horizontal plane (left or right). Tilt: to tilt a fixture is to rotate it in the vertical place (up or down).

Basic stage directions Hard focus: to adjust an ERS lens tube to bring the light beam into focus. Soft focus: to adjust an ERS lens tube to bring the light beam out of focus. Spot focus: to adjust a Fresnel to bring the light beam into a tighter (smaller) focus. Wash focus: to adjust a Fresnel to bring the light beam into a wider (larger) focus. Shutter to here: to adjust the shutters of a fixture to a demonstrated position. Add colour/iris/pattern: to add the stated accessory to the fixture. Open iris: to adjust an iris to a larger diameter allowing a larger beam of light. Close iris: to adjust an iris to a smaller diameter allowing a smaller beam of light. Lock fixture: to tighten all bolts and handles on the fixture to set its position and prevent further movement.

Stage directions In addition to focus terms for making adjustments to the fixture itself, it is important for the lighting crew to also know standard stage directions. Often, stage directions will be given as starting points for focusing. It is

36 WORSHIP AVL September–October 2018

important to remember that stage directions are given in reference to an actor facing an audience as opposed to the audience’s point of view. For instance, ‘stage right’ will be to the audience’s left.

from the side helps to model or sculpt a subject. Backlight/toplight: this is a position where lighting is approaching the subject from directly above or behind a subject and produces highlights on the top of the head and shoulders. These positions will possibly interchange depending on the position placement in your facility. Lighting from the back and/or top helps to draw the subject away from the background and provide depth. Footlight: this is a position where lighting approaches the subject from the ground and is used to subtly remove any shadows cast by the front lights. If the vertical angle of front lights is too shallow, footlights will not be used. If the vertical angle is too steep, footlights can help remove cast shadows. Frontlight: this is a position where lighting approaches the subject from the front and is used to illuminate a subject to an audience. Usually the light approaches from a natural angle (close to a 45° vertical and horizontal angle) to prevent shadowing under the brow and chin and create a natural look. Specials: these are lighting fixtures that have a very specific ‘special’ purpose related to either an actor,

Lighting positions The last set of terms that I cover right away are lighting positions. This allows the crew to be able to know where to locate a particular fixture or what its intended purpose is. Each house of worship will have lighting positions installed according to the design of the auditorium. They may label or refer to positions differently as well. However, the following terms are commonly used based on the general purpose for fixtures in that location: Cyclorama: a cyclorama is a vertical surface at the back of a stage traditionally made of cloth and lit by cyc lights. It provides a background to what is happening on the stage. These days, it is common to see LED videowalls or physical backdrops at the back of a stage, so cyc lighting may or may not be used. Sidelight: this is a position where light is approaching the subject from the side and can be described as low-sides and high-sides, indicating their vertical positioning. Lighting

The BMFL FollowSpot an effect or the scenery, for example a custom gobo, a very tight actor spotlight or a wall sconce. These are the very basics of lighting terminology that I cover with my crews at the beginning. Once they have a firm understanding of these terms, they can comfortably begin working with the fixtures. This then provides the foundation for other terms and principles as they grow in their skills and knowledge of control systems, cabling, programming and lighting design.

KnowHOW

Praise team diplomacy Gordon Moore explores how diplomacy between the worship team and worship leader can resolve any conflicts between musicians, technicians, the congregation or the church leadership A PRAISE TEAM’S PURPOSE IS to enhance the worship experience without detracting in any manner. There is a fair amount of pressure for good performances that put the listeners into the proper frame of mind. In the worship environment, that can lead to conflict as everyone tries, or is expected to try, for technical excellence while still enjoying a worship experience of their own. Conflict can occur in three areas. The team can have conflict among themselves. The team can have conflict with the church leadership. And the team can have conflict with the congregation. Each requires a differing approach in effectively mediating and resolving the source of distraction so they can concentrate on their primary purpose – worship.

The team The worship team consists of the worship leader, the musicians, the vocalists and the technicians (sound, lighting, projections and video). There is musical conflict and technical conflict. Musical issues can be simple (such as the guitarist always playing during the rehearsal, even when the worship leader is trying to talk to the team) or complicated such as individuals feeling they are not getting enough ‘performance’ time. The first key for a successful team effort is to acknowledge the team leader, usually the worship leader. If there is no clear leader, there can be no clear direction or vision of what the team is attempting to accomplish. If your team hasn’t got a designated leader, call a meeting and have a long discussion about what the worship team wants to do. Who has the best vision for the team, a vision that all agree upon? Is that person respected? Does that person have the musical ability to direct the team well? If so, then that must be your leader. Grant them the authority to lead and then be humble followers. In many churches, the worship leader is a paid staff position. The team members must respect that position, listen and cooperate fully. Cooperation means no side

during the first beat’. Instead of ‘you are singing too loud’, try ‘can you try reducing your level in that section to blend better with the other vocalists’. Try to set aside a time to discuss problems that occurred during the previous service but keep those problems generic – don’t point fingers. Don’t say ‘the singers were all late and missed their entrance’. Instead, try a more diplomatic ‘we need to work on our entrances – what can we do to make the start easier?’ The use of the word ‘we’ implies a team effort instead of individuals being at fault (even if they are). Working as a team conversations, playing riffs on the guitar, playing the piano or tapping the drums when the leader is offering direction. One of the biggest culprits of a failed worship team is lack of concentration during rehearsals. Everyone on the team must focus at that time and follow directions. This does not mean that the team members don’t have a say in what they are doing. A good team leader will listen to ideas, musical or otherwise, from the team members and make the final performance the result of a musical collaboration. Ultimately, however, the worship leader must have the final say and the team members must respect that decision. For the technicians, especially the sound tech, the interaction with the team must be civil and cooperative. Remember, the sound tech is the last musician. The mix can make or break a song so the tech must remember to pay close attention during the rehearsal. When is the guitar coming in with a lead and when should it be faded back to blend as background? The sound tech must give feedback to the worship leader – and only the worship leader. If the drums are playing too loudly, the tech should inform the worship leader, not the drummer directly. One key to easier practices and performances is to remember that all requests for changes must go through the worship leader. Establish a practice of always referring demands for change to the worship

38 WORSHIP AVL September–October 2018

leader. If you do this one thing, the conflict count will drop dramatically. For example, in my church there are always people who will come back to the tech booth and ask for changes. Someone in the choir will demand the lighting be turned down or a congregation member will insist on a change in volume. A band member will insist they are not loud enough or too loud. A vocalist might demand the guitar be lower or sound different. These requests are not coming from the worship leader. The complaint or idea might have merit or it might not. But you can eliminate a lot of stress for everyone with a single simple phrase: ‘Please tell the worship leader your thoughts. Any changes are their call.’ In other words, it is not the duty of the techs or the performers to react to every performer. Example – if the keyboard player yells out to me that they want to be louder (keep in mind that they are not even sitting in the sanctuary sound field and cannot hear what I hear), I smile and say ‘OK!’ – and make no changes (unless it sounds like a good idea to me as the mixer – perhaps I wasn’t paying close enough attention). Create a culture of positive feedback within the team. The good worship leader will coach his team to make positive suggestions instead of criticisms. Instead of ‘you played that last section wrong’, try saying ‘in that last section, would you mind trying to make that chord change sooner,

The church leadership For a technician, one of the biggest challenges is dealing with technical demands from the non-technical leadership of the church. If the pastor is demanding more volume that either is impossible to deliver or even dangerous to the ears, the technician has an obligation to inform the pastor of the issues. Doing so should be done in a calm, informative manner. Digging in your heels and saying ‘I can’t/won’t do that’ doesn’t inform them of the reason for your refusal. Instead, it merely says you don’t want to meet their needs. Take a few minutes and explain your issues. ‘I can’t raise the volume any higher because the acoustics of the room will make the system go into feedback. Additionally, higher volume levels will be damaging to the hearing of the children.’ It is important to strive to accommodate leadership requests. In the same example, you could also add ‘I will, however, try some techniques such as compression so the softer sections will be closer in level to the loudest sections – I’ll also try some EQ changes’. There have been many times when I have simply told the pastor that I would try some different methods to see if it helps. In many instances, those changes made no difference. In others, they were effective. And in some, no change was made but the pastor could ‘hear’ a difference anyway (remember, sound is a subjective experience).

PROJECTS KnowHOW distributor, Mercoms Systems Sdn great challenge as the SPLs lessen Bhd, lent me a set of ICX7 speakers considerably after a distance of 25m. for an outdoor demonstration and it However, the Renkus-Heinz Iconyx convinced them of the benefits of using models can achieve even SPLs for a bespoke system. the full 46m distance by utilising the ‘There are usually budget constraints ‘moveable acoustic centre’ features. and, as such, passive is the norm,’ Until recently, all mosque audio he continues. ‘This compensates operations in Malaysia have operated for poor acoustics, but an active in the analogue domain, but Mr system yields better results. The poor Ala is attempting to upgrade all the acoustics of the highly reverberant mosques he serves with digital spaces surrounding the National solutions. ‘I love the analogue sound Mosque can be compensated for by but, unfortunately, so many users are integrating the recommendations inquisitive and want to play around highlighted in the report. with the settings and, over time, this ‘Many smaller mosques proceed leads to a degradation of sound, as with a more cost-effective passive the system is not reset. Listening and communicating to avoid any tensions solution following my analysis. ‘A high-power DSP solution with The congregation as soon as I find the right moment.’ However, the National Mosque came a user-friendly interface is the way Signagehe – In our church, we have with many constraints requiring forward,’ continues. ‘I generally Perhaps the most to prior a problem people who for think multiple demos anddifficult approvals propose thewith Q-Sys platform larger deal with is the members of the the soundwith technicians aretouchpanel there for to what would become a highly mosques a simplistic congregation who will view conversation fellowship during customised installation. For the example, concept usingand Q-Sys iPad Control. technical team as their personal rehearsals. solution is to put up special speaker brackets had to be The GUI can One be fully customised entertainment staff. will tell you a simple sign that says made to allow the 24 They Renkus-Heinz without hesitation that the system ICX7 outdoor passive columns to tiltis too loud, orangle too bassy that the mix down at an of 5° or vertically and Please, do not disturb the is all wrong. theyaesthetically.’ will gather in the minimise anyOr gaps technical crew (sound, lighting back distract The and interior phasethe willteam followfrom withthe or projections) during pre-service pre-service There are a an extensivepreparations. system of Iconyx32 preparations, services or praise few useful diplomatic techniques models. Here the aesthetics are offor band rehearsals dealing these interruptions. primary with consideration and so no Agreement – ‘Why, yes,displayed I think you audio equipment can be may be correct – let me see We also have the constant problem obtrusively. The on 5mthat ceiling height A what can do tohall correct I’ll do of customised dealing withGUI unwanted hands in theI 46m-long also it. poses a it

messing with the mixing console. Since locking it up is not an option, we put up a sign that says This mixing console is a 50,000Ω device. Please do not touch unless authorised by the technical ministries

The untrained individual probably doesn’t remember that Ω are a measure of resistance but 50,000Ω sounds like a mighty DS2 Dodecahedron speaker set dangerous number! Those who do know find it amusing andzoning yet they to a mosque’s needs with still respectbuilt thein. equipment and capabilities With this digital don’t meddle muchfeatures with it. solution and thetoo preset Referral into – Tell to bring integrated it, them the system canitbe up with the worship leaders returned to traditional settings.’after the ser vice. ‘Thank you for the Feeding the delayed speaker suggestion. however, is systems, QSCThat, CXD-Q amplifiers not my the decision to make. I receive audio signal fromMay a Q-Sys suggest you tell the over worship leader 110F Core processor a Cat-6 after the‘It’s ser not viceDante is over.’ network. as this is cost The information overload gambit prohibitive – we simply promote the –AES67 Tell them drop byFor after the open to protocol. the National ser vice and giveLumpur, them all the Mosque here then in Kuala detailed technical aspects of I proposedand a fully digital AES67 your current setup and why their protocol solution using a network suggestion may or not work. switch to connect all may the equipment, Use as many technical terms including microphone panel, rackas possible, besteerable accuratespeakers but be ver y devices and over detailed. We use the term ‘telling a Cat-6 network.

them how the sand is made’. ‘In future, mosques may need to Most of the time, the information be monitored for highlighting fault overload detectionswill or ifquickly a userdisinterest forgets to plug them and they will youstatus and in a microphone. Thethank current walk away. In some cases, you of a system can be controlled, whilst will find that will become alerts can be they triggered and SMSver y interested and begin more texts and e-mails sent asking to remote questions. This acan evolve engineers when faultquickly is detected. into oppor tunity. Never This a is recruiting a great monitoring system pass an oppor tunitydepartment to add but, toup enable a service another personyou to the in the mosque, needtechnical an internet team. If they to make connection andcare thatenough is not always demands, available.’ they just might care enough to become par tproviding of the Acousticon is now also solution. Invite them to sit in with video consultancy for Malaysian you at the‘They next need ser vice. Let them mosques. to distribute tr y making simple adjustments. HDBaseT video signalling networks One less critic, one more volunteer! throughout the larger buildings and, in Praise team diplomacy? Establish the future, mosque-to-mosque video a leadership of common.’ command. streaming will chain become Discuss problem, notAla the Looking the to the future, Mr people. ViewAcousticon each issue realises that is as only‘our problem’, ‘yourproject. problem’ as good asnot its last ‘We – how do wemerited solve this together?inKeep have our reputation the voices low and marketplace and,answers as such,complete. most Finally, all conflict situations, referralsincome from word of mouth. remember pray. anything Even if itforis a But I am nottotaking shor t prayer before you answer granted and continue learning and an impossible demand, prayer attending workshops and seminars. can youproject find a has more peaceful Oncehelp a good been frame of mind, making easier completed, however, the it community to beand more diplomatic and find talks social media plays a role in resolution faster. enhancing our image.’ Until next time – mix well and be blessed! www.acousticon.com.my

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Next Generation

September–October 2018 WORSHIP AVL 39 July–Augustwww.codaaudio.com 27

KnowHOW

Making the right connections Do you know your BNC from your HDMI? Worship AVL takes a look at the various connection options on visual equipment LOOKING AT THE REAR OF A VIDEO switcher can be quite intimidating for new worship volunteers. The number and variety of connection ports can seem staggering, particularly with higher-capacity devices that appear to have just about every available space filled with a socket of some kind. And it’s not just with video switchers, you will find a variety of connection types on just about every piece of equipment in your video signal chain. Fortunately, once you know what you are looking at, the whole experience becomes a lot easier. The positive factor is that many of these connectors will be familiar to most volunteers. If asked to identify a USB port or an HDMI socket, most people will be able to do so without much hesitation. The overwhelming part comes from the number of these connectors and the fear of plugging something into the wrong port. If you have followed Worship AVL’s advice from an earlier article and labelled all of your cables and ports, then the second part may not be too much of Amphenol AX Series XLRs

an issue, but the first area can only be overcome with some knowledge and experience. That is where this guide to connection types comes in. Possibly the most important connection point to recognise in video systems is the one that volunteers are least likely to have previous experience with: the BNC (Bayonet Neill–Concelman) port. This is a very common connection type for a whole host of signal types. Essentially, it is a miniature quick connect/disconnect connector used for coaxial cables. It features two bayonet lugs on the female connector and mating is fully achieved with a quarter turn of the coupling nut. While originally designed for military use, it has gained wide acceptance in video and RF applications up to 2GHz. The BNC uses a slotted outer conductor and some plastic dielectric on each gender connector; this dielectric causes increasing losses at higher frequencies, hence its

Sommer Cable’s HDBaseT extender set

40 WORSHIP AVL September–October 2018

BNC connectors on Klotz ais’ OLH HD-SDI converter use up to 2GHz. Typically, the male connector is fitted to a cable and it is the female that you will see on equipment. BNC connectors are most commonly made in 50Ω and 75Ω versions, matched for use with cables of the same characteristic impedance. It is the 75Ω variant that is most common with video equipment, particularly for HD video signals. A second common connector type is the XLR. This is circular in design and has between three and seven pins depending on the use – although some versions have been made with up to 10 pins. They are most commonly associated with balanced audio interconnection, including AES3 digital audio, but are also used for lighting control, low-voltage power supplies and other applications in professional audio, video and stage lighting equipment. The most common type of XLR connector is the 3-pin, which is the standard for balanced audio signals. Other types that you may come across include 4-pin, which can be for either intercom headsets or used to power professional video cameras; 5-pin, which is the standard for DMX512 lighting control; 6-pin for dual channel intercoms

or lighting control; and 7-pin, which can be found in some mics and fog machines. Perhaps an easier connection to recognise is the aforementioned HDMI (High-Definition Multimedia Interface). This will be familiar to many as it is now the standard for consumer televisions. HDMI is a proprietary audio/video interface for transmitting uncompressed video data and compressed or uncompressed digital audio data, and was created as a replacement for analogue video standards. While the appearance may be familiar, it may surprise many people to learn that there are actually five different types of HDMI connector. The standard is Type A whose male connector has outside dimensions of 13.9mm x 4.45mm, and the receptacle female connector features inside dimensions of 14mm x 4.55mm. There are 19 pins, with bandwidth to carry all SDTV, EDTV, HDTV, UHD and 4K modes. Type B is larger at 21.2mm x 4.45mm and has 29 pins, carrying six differential pairs instead of three, for use with very high-resolution displays such as WQUXGA. Going down in size are the Mini and Micro connectors of Types C and D, respectively. These are

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Theand word codec is a forplus were driven remained theasame aThe CD player a VCD/DVD player comprises central male connector, combination of thestereo word encoder HDFK JLJ 7KLV VDZ WKUHH /XPLQH[ an M-864D adigital mixer and DPwhich is 3.175mm in adiameter, and because codec has to Gigacore 16XT managed switches SP3 decoder digital speaker processor. surrounded an outer which beSeminar able toroom dobyboth. Video and audio FRQQHFWHG ZLWK D UHGXQGDQW Ă&#x20AC;EUH three canshell, is 8.25mm. The corresponding from the source are encoded ULQJ WKUHH /DNH /0 ORXGVSHDNHU accommodate 200 people, andinto herea female socket found on data stream and wrapped inside processors and three Atterotech can be found a further pairthe of TOA a equipment of a central container forconsists transmission. At thehole XQ'$(6 2 'DQWH WR $(6 FRQYHUWRUV HX-7Ws and six Q-TF-C211 ceiling with a ring ofdata metal around it. The decoder, the from the Live container for delay signal andby control. speakers powered a DA-550F and jack has a small area between is decoded and output as audio Capture tuning software was used for a DA-250DH amplifier, two DM-1300 Two EAW MK8196 cabinets arethe outer andmics inner rings which is filled used as front fills and video. Common codecs include the alignment voicing of the PA dynamic and two WM-5225

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Septemberâ&#x20AC;&#x201C;October 2018 WORSHIP AVL 29 41 January-February Julyâ&#x20AC;&#x201C;August 51 Septemberâ&#x20AC;&#x201C;October 21 July-August 2017

MAINTENANCE

Chasing hum problems An audio system with audible background hum is like having an insect buzzing around your head – annoying and distracting. Frank Wells offers a guide to tracking down and eliminating hum HUM IS ALMOST EXCLUSIVELY AN analogue issue but, even in digital live sound systems, the chain begins and ends in analogue.

For unbalanced audio connections, the only practical guideline is to keep wiring as short and as direct as possible.

balanced but use a ‘pseudobalanced’ design that does not afford all the benefits of true balanced circuitry. Gear designers

Where does the noise come from? Professional gear will typically have a grounded chassis for electrical safety. That ground, or earth, connection is provided by the AC power/mains interface, in the form of a 3-prong plug, whether the system is balanced 200VAC to 240VAC or 100VAC to 120VAC. When audio connections between pieces of gear are made that also connect the grounds of the gear, a parallel path for electrical ground currents is established. In short form, hum happens when current flows down signal wires between gear whose electrical grounds have voltage differences to one another. The power line frequency of 50Hz or 60Hz is irrelevant to the cause of hum issues but does affect the audible tone. Hum can also include harmonics of the mains frequency and noise induced by lighting dimmers and fluorescent light bulbs.

How to prevent hum Start with good wiring practices. Use balanced connections whenever possible. Microphone cables must have all three conductors connected on both ends of the cable. For balanced line level signals between powered devices, connect the two signal wires at both source and destination but connect the third wire, the cable shield, only on the source end of the interconnect. If RF-induced noise is a system issue, a small capacitor is often placed between the shield and ground at the destination device. This allows RF in the shield to pass to ground, but not audio frequencies, where the hum lives.

Safety ground-lifting ‘cheater plugs’ should not be used to combat hum Whirlwind’s ISOXL inline isolation transformer

Electrical wiring must use all three AC mains connections. If possible, connect all audio gear to the same electrical circuit (the same ‘breaker’ in the power distribution box). While gear that shares a breaker can still have ground voltage differences between various daisy-chained outlets depending on how far the outlets are from the breaker box, such differences will be less than those of outlets on different breakers. Before chasing hum issues, first make sure that signal and power connections utilise best practices.

My properly wired system hums – why? Not all gear is created equal. Manufacturers can call an output

42 WORSHIP AVL September–October 2018

can also make internal wiring choices that increase the potential for ground-related noise issues, such as connecting XLR pin 1 connections directly to a metal chassis. With unbalanced gear, the potential for ground-related noise issues is inherent in the inter face format. Never attempt to fix ground issues by ‘cheating’ the safety ground connection on a power plug – a practice that is dangerous and illegal. Mains ground-lifting should not even be used as a troubleshooting technique. Some gear includes a ground-lift switch that can be flipped, or a wiring jumper that can be removed, to internally disconnect the signal ground from the electrical ground. Signal groundlifting can be tried safely when chasing hum. One of the best tools to both troubleshoot and fix hum issues is the audio transformer. As transformers convert electrical signals to magnetic signals in one set of windings, then induce that signal into a second set of windings around a common core, the signal is electrically isolated. Transformers are available that

are built into XLR ‘barrels’ – a hollow cylinder with a male XLR connector on one end and a female XLR on the other. The balanced signal lines are connected to the signal leads and ground is either left disconnected or a ground-lift switch is available. Chassis mount or direct box-style transformer enclosures are also available, which allow larger transformers to be used. Where placing a transformer in between devices eliminates a hum problem, the device wiring – signal and electrical – should be verified as proper. If there are no wiring issues, a transformer may be the only permanent solution. With unbalanced audio wiring, if varying the placement and routing of cabling doesn’t help with a hum issue, then transformers made specifically for unbalanced interconnections can resolve hum issues permanently. Even the best-conceived system can be undermined by one missed anomaly. For instance, from my own experience, a professionally executed studio installation had a hum issue simply because the unbalanced audio from a cable TV box (with a separate path to ground from the incoming cable connection) was connected to the audio console. Transformers solved the problem. Hum is an intolerable symptom of a problem that should not be ignored. Happy hum-busting!

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Does lighting require a softer touch? Is software the best way forward when it comes to total control of HOW lighting or are some things better left unchanged? John Leonidou gets enlightened IN TODAY’S WORLD, SOFTWARE IS embedded in almost every aspect of our lives and a lot of people are not even aware it’s there. It is used in hospitals, offices, malls, stadia and airports, and is even entrusted in matters of national security. So why is there an air of hesitancy when it comes to using software for something as simple as deploying lights in a house of worship? The emergence of lighting solutions like the Vista M1 in mid-2000 coincided with a rise in the number of worship venues around the world making the transition from analogue to more digital, software-based lighting systems. Most software packages could operate with just a DMX output adapter and, being a more cost-effective solution for worship venues on slimmer budgets, the trend was established. But it is not just about affordable pricing. Lighting software packages allow production or lighting teams at worship venues to take advantage of newer lighting setups as well as to incorporate lighting automation. There are other benefits too, particularly for portable or mobile churches that are constantly on the move. A laptop, PC or a tablet together with a USB interface is much easier to get from A to B than a fully fledged console, and so a software solution provides an ideal way to cut down on bulk. But can a software package take over completely, effectively leaving

Nathan Durnan

Matthias ThÖmel

behind more conventional gear like consoles stranded in a church or mosque closet? As in most cases, that argument is subject to debate depending on the HOW in question and its specific needs or requirements. Some say that software can potentially take full control, even though larger houses of worship tend to still enjoy the best of both worlds, essentially merging the software with external hardware equipment. One such place is The West Valley Church of the Nazarene in Yakima, Washington where it runs a merged DMX system that allows control from any of its three different light sources, namely the lighting controller software, the older NSI console or a wall control panel. ‘Having the presence of a physical fader would be nice but I don’t think it’s needed,’ explains Nathan Durnan, who is the volunteer technical

coordinator at West Valley Church of the Nazarene. ‘Most lighting software can interface with various MIDI controllers so it’s still possible to add physical faders if desired. For the most part, though, I find that preprogrammed scenes and transitions

44 WORSHIP AVL September–October 2018

(especially for more complicated events) lead to a more repeatable lighting result. Levels always come up to the exact place you saved them, while transition fade times are always exactly what you programmed them to be. And there are still options for manually overriding things and getting “custom” looks easily.’ But some things are just too hard to let go, according to Mr Durnan. Even though the software is the main port-of-call for the church’s lighting operations during major events, the NSI controller remains close by and still has an important part to play. ‘The software and console are merged HTP [highest-takesprecedence], so either can control the lights at any time. We primarily use the NSI controller as a backup in case of computer failure or an

QLC+ is the preferred software for Nathan Durnan

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unexpected software but person. That expectation of three quality run – 24V tape becrash, manufactured signal flow. As a can result, instead of there evolution models, including The video operatorProjecting presidesapparent, at the like images. standard As video has hopefully become personal monitor mixer are times where event easier ‘it free online for five DMX universes and is just as online. Ifnew you for longer runs if an needed’. be is interfaced with a venue’s existing the console bringing exciting e914s onimportant the Kawai piano is and e845 controls of the Datavideo SE2200 definition video for IMAGuppurposes A worshipper mayrepositioning seek out technical the process of scaling the backline that involve the of lights church’s presence. If you’re not just run from thehead physical console really fast on mid-sized PCs’. produce slick-looking services, your Liketotheir moving counterparts, DMX-based lighting system.’ capabilities to andchannels sparking models for theproduction singers. Two 6-channel video switcher in the control will be noticeable to even casual teamthe members note a readily infrastructure required tothe record and and creationtoof lighting cues pose streaming via consumer platforms, Yet others have different rather the software. much as viewers are likely aAs livestream the usethan ofthe LEDs inexpect light tape While the use LED tape is not creativity, production room became of Sennheiser e100 receivers and room, which receives three of its as viewer, based on their apparent improvement in sound once or broadcast services is subconscious not always obstacles but lighting software you will want to of design a dedicated USA: Three years ago, the weekly ‘We runfor 100% on andin preferences. ‘We arevolunteers using and, Ithat lovecaptures the software solution, I think I’d the service from a of provides distinct inadequate terms that common in HOWs, ministries largely unused as benefits staff were frustrated transmitters were deemed for simple inputs as from HD H-60 and perception ofPanasonic acceptable quality, image.offers But a a more common just adding an additional again helping hand.situation webpage your viewers toQLC+ tune attendance atwith Crosswalk was every there’s new member with theweek exception ofasome ofbe the miss having that physical console as variety of angles and positions, maintenance, typical lifetimes looking for inspiration would wise by the learning curve. 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A Datavideo HDR-70 beenaadded as an output allowing via the be a rectifier between the mains changing strips can be controlled then you are likely to already have Be good steward ‘In myform opinion, lighting software that the applications of technology mid-January later thanonthe purchases technology based RMC-190 remote camera controller. ‘There’s a lot of people around the services,’ concludes Mr Manalo. ‘But programmes it according to avideo worship explained Mike Paschal, live years of best use with five years often HD/SD 320GB to be recordedStandalone for members of some a superior solution the supply and the video endtoofrecorder thenoise LEDhas strip. aservices multitude of options. ofslightly online community via www.ledilluminations.co.uk Church members contributing a and either needs to enough improve the worship experience for Christmas deadline that had been what’s cheapest may be realising a countryof who are inWorld touch with our there’s going tobe bepowerful some bigpeople outdoor venue’s specifications. For example, director Victory Church at athe problems achievable.’ the congregation unable to make one can come from The mostthat common PCBabout designs colour controllers are available social media. These are the portion of their incomeAntoEpson their HOW to meet all myfind needs when I buy congregation, without attention hoped the combination of Mr Soo’s poor ROIfor, and replacing pastor butcampus aren’t able tosome attend,’ church events happening and it’dthat somebody could preset faders broadcast in calling Norcross. ‘This When the inevitable does happen, of the three services. 585W lighting systems. Nearly every light use multiple parallel circuits you really want to itself please and cater expect that the projector funds willhas be used it, bethey actively supported a toexplains itself. Technology foris worship should electro-acoustic consultancy gear sooner thanwant would havebytogether been Chad Manalo, worship beor great tojust live stream We or buttons on the andin label video gets sent to surface 60 different TVs however, ‘LED ribbon wired Ultra short throw been system, notofjust in worship venues consisting passive dropper to. Do to those. watch your Lighting rigs can even be controlled development team (professional or if accommodate the goals of aoperate with dedication and flexibility necessary a wiser director ofthree Crosswalk Church. also PAVE’s want toto offer itinteract aspurchase a service so them soof that anybody can around the broadcast campus along groups LEDs and, ifHOW, a ‘We faulta added as an assistive visual aid in the but also inintheatres, has design one or is more resistors series. 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Iftowe were going toline’. do it, on sounds. doesn’t affect the rest of the A simple lighting solution hasand been ‘The cheaper the‘constantlighting alternative design is Church the that’s loaded, changing back 4K picture quality ortime, is 480p The Teradek Cube 655 in Crosswalk Multiple camera feeds shown by stipulations arewithout met.’ more orvacation, improving The ‘The sanctuary sounds likeall anits of-the-line gear needing travelling for workquestions and those equipment, with our setup. on software is tooitcommon unreliable. There we wanted tocommunication. do right.’ One of the most added to twowith lighting bars in the ceiling the louder noise. A to a dedicated Content Delivery current’ design where each parallel congregation the right kind forth between setups is simple. The enough? Church’s production the studio the Blackmagic switcher Worship venues seeking usecould newest technologies may a ‘cool’ auditorium than ahas church,’ observes capability may waste funds that who live far away.’ ‘Live streaming reallyto become are far too many Butjust this presented adependencies challenge. asked by users looking tohave install strip fixtures controlled from a light mixing desk can help bytailored reducing Network which can be circuit of(CDN) several SMDs includes a ofwhose camera setupare inisn’t place. Is your software solution limited by the Feedback from your congregation Dante, MADI, ADAT, analog, lighting solutions factor for the technical staff but, iftoitsbe Mr Chan. ‘We want tohave lose the be used to meet other needs. 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LED on controller to adjust on of this issue provides some on there the venue as well thePresbyterian operator is no simpler way of extending AVL_HoW Campaign-DeliverMusic.indd 2 3/27/15 P37 KHL.indd 1 4/13/15 59 khl.indd 1example, 29/1/16 www.cogentacoustics.com www.thoemel-consulting.de www.crosswalkvillage.com Church, the Bukit Panjang faithful via your For inastheir personal lives, budget are apresence crucial part a technical from all Thömel seven cameras are directed But Mr does concede What started a simple Removing the need for aequipment separate TheLED Cube 655 is an H.264 liveLED systems during sermons and the church’s website and promoted You’ve now gotspecial the in place brightness, colour ortools individual advice on this topic. or lighting technician’s personal church to aofgreater This ellipsoidal from Elation Lighting may provide a better ROI AVL_HoW Campaign-DeliverMusic.indd 2 3/27/15 P37 KHL.indd 1 4/13/15 59 khl.indd 1 29/1/16 Two Epson EB-Z9900W projectors output directly the rear wall than a conventional fixture www.pave.com.sg www.westvalleychurch.com www.teradek.com feel to be home. Although Anchor Faith Church creates athe triangularnumber backdrop with LED tape worshippers are likely to be used ministry. to asoftware Blackmagic Design Atem 4Kto life-are services that controllers can offer upgrade quickly had knock-on effects. power supply, mains-powered LED streaming device that transmits the over theto holiday season are social media. to send aThis livestream out to your activity. can be achieved with Thegood final step before ‘goingthe live’ preference. For Mr Thömel, of people.

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TECHNOLOGY

What is a decibel and how is it measured? Sound is measured in decibels, but what really is a decibel? Simon Luckhurst investigates I’M SURE THAT NO ONE READING this article is unfamiliar with the term decibel. We all know it’s a measurement of the loudness of sound. But what really is a decibel and how is it measured? As a member of the tech team in your house of worship, you might well get thrown way out of your comfort zone. Perhaps you normally work the lighting board but have been asked this week to jump in front of the audio console. It’s important to

in telephone circuits. One decibel is ¹/10 (deci-) of one bel, named in honour of Alexander Graham Bell; however, the bel is seldom used. Today, the decibel is used for a wide variety of measurements in science and engineering, most prominently in acoustics and electronics. In electronics, the gains of amplifiers, attenuation of signals and signal-to-noise ratios are often expressed in decibels. In slightly more technical terms, the decibel is defined by the statement that two amounts of power differ by 1 decibel when they are in the ratio of 100:1 and any two amounts of power differ by n decibels when they are in the ratio of 10n(0.1). If that sounds complicated, when thinking about sound in real terms, the decibel scale tells us that one sound 10dB louder than another is actually 10 times more powerful, while a

20dB increase is 100 times more powerful. So what are we comparing it to? Well, the sensitivity of our own ears. 0dB is considered the threshold of human hearing. Anything quieter is inaudible, while anything above 85dB for a prolonged period of time can cause hearing loss. Humans can distinguish between a 1dB difference in level. You’ll also know from real-life experience that the intensity of sound varies with distance. Therefore, these measurements are all taken while close to the sound. You might wonder why sound can’t be measured in specific quantities – it can – but there are several good reasons why it’s not. Firstly, the range of comparison is often huge. With sound, we have to deal with a range of power with ratios of billions to one. Using decibels allows us to deal with these big numbers in a handy way. The other main reason is that using decibels makes certain

Moderate Quiet

140dB – Rifle fire 130dB – Live rock band 120dB – Jet taking off 110dB – Full symphony orchestra 100dB – Subway train 90dB – Bass drum 85dB – Car horn 80dB – Dog bark 75dB – Vacuum cleaner 65dB – Snoring 50dB – Conversation 35dB – Quiet apartment 25dB – Whisper 20dB – Rustling leaves

Faint

understand the fundamentals of audio if you want to help out with all aspects of your ministry’s technical productions. What better place to start than the beginning. The decibel, usually abbreviated to dB, is a measure of the intensity of sound; however, the scale that is used to measure it, the decibel scale, is a little bit strange. The first thing to realise is it’s not a conventional unit like the metre, kilogram or second. These are specific measurements. If you know how many metres something is then you know how long it is. However, the decibel is a way of comparing two different amounts. A bit like a percentage, it doesn’t tell you exactly what you’re measuring unless you know what you’re comparing it with. It’s a logarithmic way of describing a ratio that was proposed by Bell Laboratories, Alexander Graham Bell’s company, back in 1924 as a means to measure signal loss

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NTi Audio’s XL2 sound level meter

46 WORSHIP AVL September–October 2018

0dB – Hearing threshold

calculations, which would otherwise be quite tricky, extremely easy. And with sound, using decibels is the norm, because it relates well to the way we hear things. Human perception of the intensity of sound and light approximates the logarithm of intensity rather than a linear relationship anyway. The dB scale is therefore a useful measure. While the manual approach really just needs a microphone and a calculator, to measure decibels conveniently requires some equipment, but there is a wide variety on the market to accomplish the job. Many types of measuring systems can be used for the measurement of sound depending on the purpose, the characteristics of sound and the extent of information that is desired about the sound. Sound level meters, such as the XL2 from NTi Audio and Brüel & Kjær’s range of Class 1 sound level meters, look quite simple. They have a pointy stick at the top, which is the microphone that samples and measures the sound. The stick keeps the microphone away from the body of the instrument, cutting out reflections and giving a more accurate measurement. Inside the square box at the bottom of the meter, electronic circuits measure the sound detected by the microphone and amplify and filter it in various ways before showing a readout on a digital LCD display. The most basic sound meters will probably only display instantaneous readings, which is not all that useful if you want to measure the average sound levels over a period of time or across a given area. For that, you will need a more sophisticated integrating sound level meter. Sound level meters also vary widely in quality. For this reason, the better-quality manufacturers typically market their products according to their ability to meet certain international standards, such as IEC 60651, IEC 60804 and ANSI S1.4, and are then graded by type. Meters that meet the highest standards are called type 0. Type 1 are slightly less

NEWS PRODUCTS TECHNOLOGY

The sound ofrevival Gemini lights the way Relationship Salvation

modes: Correlated Colour Temperature (CCT) Mode, for bicolour (daylight-to-tungsten) with green adjustment; Colour Mode, offering hue saturation and intensity (HSI) control for full colour and saturation control; and Gel Mode, for adding a variety of gels. All three modes offer dimming from 100% to 0%, reportedly without any colour SOUTH AFRICA: Founded by PastorSoundvision are by 24 Longman shift.supplemented The interface inside L-Acoustics’ 3 At Boshoff and his wife, Pastor Nyretta F4UP RGBW black stagecontrol washes and Gemini offers remote Boshoff, Christian Revivalfor Church an MVS Hazer, asaudio wellXLR as 12 Philips accurate, but still suitable highto illustrate coverage in through DMXthe (5-pin or RJ-45), Geminithe (CRC) has grown Selecon SPX Axial fixtures 18 precision work. to encompass more any given area. These areand typically Wireless DMX (both using standard than 90LITEPANELS campuses across South Longman FacePar900 LED PAR Gemini is a 2x1, IfTHE you already have a microphone used when designing installed 512 protocol) or Bluetooth. Thelights, Africa and internationally. The church which as remotely generic lighting and RGB-WW soft panelofthat combines and laptop capable running sound systems in order to see panelsserve can be controlled was established insoftware, 1994 withwhy the truss warmers. Control is via an MA daylight, tungsten and red-green-blue data processing how and consistently usingeffectively the Litepanels SmartLite or inauguration of itstwo Bloemfontein onPC command wing, while LEDs. 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Robin Spiiders were a great Jewish synagogues large cavity in the ceiling, about 1m design. ‘After reviewing multiple Nexo light by Reform mixing green andbut, blue, tolargest calibrate yourred, microphone of‘The loudspeaker manufacturers According to the manufacturer, choice, doubling up asused aGemini good stage in the Los Angeles area.your Located in wide 2.5m tall; it’s primarily NS-1 software configurations, we which canyou create spikes. after that, cancolour use laptop therefore offer their own software tests by have shown that wash andTLCI/CRI also providing effects over northern suburb of San Fernando as a skylight, but itS12 alsowould created its believed the Geo bein perfect However, Gemini is said to eliminate inthe exactly the same way as any pre-designed to work with the delivers levels of 97 the audience,’ explains Robert Izzett Valley, it haslevel served the local Jewish own acoustical issues.’ for the space,’ says Mr Harrigan. ‘We this problem by providing a daylightother sound meter. There products they99 sell, such as d&b’s daylight and in tungsten. Gemini of DWR, who ledthere the project. ‘The community for 65 years due Simon Productions decided upon initially would be abut need to-tungsten light foundation and are also several free andand paid-for NoizCalc or L-Acoustics’ Soundvision has an thought on-board power supply were used onout-fill stage andthe to continuous underwent aminiPointes Renkus-Heinz Iconyx steerable to add some front-fill and colour adjustment a 360° mobile apps ongrowth, thewith Apple App a software. There are also thirdcan also run from battery powerfor fired into audience for “wow” complete campusPlay rebuild thatthat was array solution. An Iconyx IC24-RN raked side seating, but the S12 system colour wheel. Store and Google Store party solutions available, Rational (3-pinout XLR 28the VDC). Power can beam effects.’ finished inproduces 2011. was on either of the all coverage was made forside this space; Gemini true, full- but in a provide similar functionality Acoustics’ Smaart and AFMG’s also installed be daisy-chained from other DWR was only given a the small The new white sanctuary named proscenium. we needed wasan the eight flown boxes. spectrum light was and offers simple-to-use package, such asaSPL EASE platforms being industry devices using industry-standard Pastors Atcontrol and Nyretta Boshoff timeframe in which to complete the after Temple Judea’s former rabbi, ‘We chose the Iconyx primarily for ‘Another reason the S12 system choice of options reportedly Meter, Audacity, Virtual Sound Level standards, as well asGeo software such powerCON connection. cutting ribbon at theandroid CRC’s installation, as planned open Donald Goor, andprofessional designed to lighting allow horizontal coverage,’ recalls was selected isCRC that the space hosts designed for any Meter orthe the PAcalculate app its as 150° Ulysses from IBsoft thattois ideal Bloemfontein North Extension www.litepanels.com the North Extension plenty of natural light fill the wide, Mr Stewart. ‘Withacts just these two IC24 religious who would be application. 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Dante system more,built theyauditorium can certainly give you disperses overand a given areaamazing. as it USA: The Salvation Army Temple GLP HAS designed its new Although the churchindication has spread is redundant withabsorbed the pair ofbySWP a reasonably good of reflected and the in Atlanta serves as atoregional JDC1 lighting fixture offer throughout South Africa and into L2 switches that network everything the relative loudness of different surfaces it hits. headquarters for theEast Protestant ‘complete as and even as Europe, theversatility’ Middle together. sounds. www.afmg.eu The DME24N offers a full mix Christian denomination and the also it combines atotraditional far as Australia, its congregation In addition measuring www.bksv.com ‘console’ mode and an ‘unattended international charitable single tube continued grow locally. So much intensity oftoelement sound inthat a organisation. single www.ifbsoft.de operation’ mode for simple events that Services atwhich thebright temple delivers clear, so that the 5,500-seat auditorium position, soundblend meters can www.nti-audio.com require only a few inputs. 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The systems integrator to create a wide range of effects. The installation comprised Robe and a satellite linkless from the main and overflow seating areas, which the hard surfaces at the back of fill the the space,’ confirms ‘Weleft selected a Nexo solution basedspace. around The tube and full-face sections moving lights, with the auditorium. struggled to cover thedeployment entire room, awaycombines from the Mr glass at the The JDC1 a Dake. traditional single tube element withatLEDs are so grateful toroom. the folks Wirebox a Geo S12 line array able system, flown in a are both reportedly run for four Robin Spiiders andtothe same ‘DWR have been privileged to work To fix this, Temple Judea turned and right of the Media, for their meticulous rare single hang of all-white continuously to deliver highcabinets. output number ofStewart, Robin MiniPointes. These on main aauditoriums to Terry president of ‘Itthree wasparticularly really pleasure tofor bethe able system’. With white engine attention tosystem detail. The equipment The array comprises seven blinder and wash light effects church over thea past 10LED years,’ Mr Simon Productions. ‘It’s aGeo verywithout to see the perform so quickly, as its foundation, impression S350 recommendations were offered with S1210s and awith Geo S1230. Yamaha reducing output or suffering thermal Izzett ‘We worked on the wide room, two large Aoverflow and beconcludes. able to address every one of is described as ‘producing A/B tests tosoensure our QL5 digital audio console five Tio cut-outs. manufacturer states Bloemfontein main campus, then areas onThe either side,’ Mrwith Stewart our needs easily,’ he satisfaction, says.bright ‘Theat clarity inwiring the now projected beam’ and and thesystem thatatwas done is soinas Dante I/Ocombined boxes have beenspotty installed that the solution can and alsoat Pretoria, and this newseat venue explains. ‘Coverage was Iconyx covered every facilitating smooth dimming and clean you think it was of done FOH withas IF2108 monitors, a DME24N operate a ‘powerful strobe light’. which is a would miniature version its even inconsistent pretty much everywhere the house.’ field distribution, its output robotically.’ digital mix engine and L2 network Also from GLP the difficult impression predecessors withwhile its wedge shapeis in thenew sanctuary. It’sisSWP very www.renkus-heinz.com claimed be ‘brighter than typical switches. S350. Targeting the mid-range and rakedtoseating.’ to achieve the kind of coverage www.simonpro.com www.nexo.fr 700W discharge lamp sources’. Tim Harrigan of Wirebox Media market, the fixture has been needed with traditional point-source www.crc.org.za www.templejudea.com www.salvationarmyatlanta.org worked withfor Salvation Army technical developed near silent operation speakers, particularly into those Robe Robin moving lights were employed www.glp.de AFMG’s EASE Focus 3 allows for the mapping of sound levels across a given area www.dwrdistribution.co.za www.yamahaproaudio.com lead with Bernie Dake on the system and a ‘highly efficient optical

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TECHNOLOGY

How video compression works Why is it sometimes necessary to compress video and how is this achieved? James Cooke finds out VIDEO FILES ARE LARGE IN SIZE. You may have noticed this as part of your day-to-day life; perhaps your smartphone has warned you that it is running out of memory with much of its space occupied by home movies. When you upload those videos to the internet, to social media or cloud storage, for example, it will likely take several minutes to process and this is due to the file size. And those files increase in size further when you use professional equipment, capturing footage with high-definition cameras and recording audio in surround sound. Therefore, when it comes to transmitting video content for streaming at a satellite campus and to viewers at home, compressing that data allows it to be distributed more easily across a network or the web. ‘Streaming video relies heavily on compression to make it possible to see live video on a wireless

internet connection,’ says Ryan Brown, product manager at Green Hippo. ‘Video compression is driven by a codec – a piece of software that reads the source video and compresses it. The codec is also responsible for decompressing the video to a format that a computer graphics card can use.’

Definition ‘Video compression is the technique of reducing the size of a video file

or the bit rate of a video stream,’ begins Jim Jachetta, EVP of engineering and CTO at VidOvation. ‘Redundancies that are eliminated within a single video frame are called intra-frame compression. Redundancies that are eliminated between successive frames are known as inter-frame compression. Both intra-frame and inter-frame types of compression are used to maximise efficiency. The primary goal of video compression is to reduce the size of a recorded video

Green Hippo’s Hippotizer Taiga media server

48 WORSHIP AVL September–October 2018

file or to reduce the required bit rate of a live video stream. Compression algorithms look for repeated information in the video that can be removed with minimal impact to the video quality.’ ‘Video compression is essentially finding a way to use less data to convey the same image or video, while balancing against the inherent quality loss, and easing the workload required for the viewing device to play that content back,’ adds Telestream product manager, Bryce Stejskal. ‘Video is, most simply, a series of still pictures (frames), being played in what is essentially a very fast slideshow, playing many frames per second (fps). Finding ways to represent the essential content in these frames using less data allows you to “compress” the video file to one that is smaller in size. Typically, this involves grouping neighbouring pixels of the same colour as a single block of colour.

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TECHNOLOGY This concept should seem familiar if you have ever seen an overly compressed video – very blocky!’ Mr Brown elaborates on all three methods – intra-frame (also known as ‘per frame’), inter-frame and colour compression. ‘Colour compression works by understanding how the human eye works; in general, we perceive brightness far more than colour,’ he explains. ‘Compression can take advantage of this with a method called chromatic sub-sampling – where the brightness (luminance) information is preferentially stored over the colour data. The degree of subsampling is denoted with numbers such as 4:2:0 and indicates what proportion of luminance and colour information is retained per 2x2 block of pixels. For example, 4:2:0 means that all luminance and onequarter of the colour information are stored. Chromatic sub-sampling is an extremely common and effective compression method. ‘Per frame compression reduces the size of each of the images that make up a video,’ Mr Brown continues. ‘Compressing a single image breaks it into small chunks (quanta or macro-blocks) and then seeks to represent each block with an equation instead of storing the colour value of each pixel,

The Aviwest HE4000 encoder from VidOvation dark patch. A lot of research is devoted to improving inter-frame compression with the newest codecs incorporating motion prediction and compensation.’

Effect on quality ‘Lossy compression is more efficient at saving space or reducing required bit rate but will reduce video quality,’ Mr Jachetta confirms. ‘However, lossless compression can provide some efficiency in size and bit rate with no loss in video quality. Lossy compression will reduce the size of a video stream or file but there will be some degradation in quality. Meanwhile, lossless compression reduces the size and bit rate of a video file or stream by statistically removing redundant or combining patterns in

visual artefacts and reduces the quality of the video. The tradeoff between quality and size constantly questions what is visually acceptable for the application.’ ‘A lossy encoder is more efficient at compression while it sacrifices some quality. Lossless compression maintains 100% of the video quality but is less efficient at compression,’ summarises Mr Jachetta.

Necessity ‘Video is a huge amount of data,’ exclaims Mr Brown. ‘Each pixel of a frame of video is three colours (red, green and blue), each represented usually with 8 bits of data. The result is that a single 1920x1080, 30fps clip would be nearly 1,500 megabits per second of information; or,

Telestream’s Lightspeed G6 video server saving data. Often, methods are described as lossy or lossless. Lossy compression loses data; the video played back will not have as much detail as the original. Lossless compression, however, does not lose information. The best example of this is common file compression used in any files on your computer; zipping a file and then un-zipping it again does not lose data. The same holds true for lossless codecs; though they reduce the amount of data, no information is lost in the process. ‘Finally, adjacent frames of video can be analysed, and repetitive information can be stored more efficiently. A good example of this inter-frame compression is a nighttime scene – often a lot of the clip will be black for many frames. Instead of storing half a black frame in each image, the codec will store the 10 frames that have the same

the video data. The original video quality is preserved in a lossless compression encoder.’ ‘A fair amount of compression can occur without a noticeable loss in quality,’ furthers Mr Stejskal. ‘However, exceeding this threshold quickly degrades content quality. Newer compression algorithms such as HEVC/h.265 allow you to compress the video further than previous standards. There is a tradeoff, however: HEVC/h.265 is more computationally expensive, both to compress during encoding and to playback on the viewing device during decoding.’ Mr Brown adds that ‘compression is a constant trade-off between quality, size and overheads. The more you compress the colour of a video through sub-sampling, for example, the more noticeable colour banding will become. Every lossy compression method introduces

50 WORSHIP AVL September–October 2018

as it is more commonly referred to, 186 megabytes per second. Uncompressed, a single featurelength HD film would require over a thousand gigabytes of storage (one terabyte). That’s over 100 singlesided DVDs for one movie or nearly one per second! Compression is critical to reduce video data rates to a manageable amount.’ ‘Full bandwidth video files and streams can be extremely large,’ Mr Jachetta agrees. ‘Internet, networking and wireless connectivity all have limited bandwidth. A UHD 4K video signal requires 12GBps in SDI format. In its native bitrate of 12GBps, UHD 4K would be difficult to stream via the internet.’ In essence, yes, video compression is a necessity. Mr Stejskal sums up its importance: ‘The larger the file, the more difficult it is to deliver or move.

Smaller, compressed files take less time to transfer from drive to drive. They require less sustained bandwidth when streaming to a viewer. In a very real way, compression translates to money savings and the ability to deliver content quicker to more people.’

Tools So, if you’re recording and streaming video, what do you need for compression? ‘A video encoder is required to compress live video into an IP stream,’ answers Mr Jachetta. ‘And a decoder is required to convert an IP stream back to video. When producing video content with a non-linear editor, there are many file output formats and compression formats. Choose a compression and file format compatible with your final use, such as a DVD, YouTube or another website. A high-quality HEVC encoder such as the HE4000 can reduce the bit rate to 15MBps, while maintaining excellent video quality.’ Mr Brown notes that as video compression is defined by a codec, it must run on a computer and the primary tool will therefore come in the form of software. ‘Video follows a journey from editing to distribution and finally playback,’ he says. ‘Every step of the way the video will be encoded and decoded, converted from one codec to the next. This is called the ‘content workflow’, which is really a collection of tools used in order. A good content workflow manages compression throughout the chain, ensuring that what is delivered for playback is encoded and ready for use.’ ‘There are as many reasons for compressing video as there are tools for compression,’ states Mr Stejskal. ‘As such, the best tool for the job can vary wildly and will depend on your workflow.’ www.green-hippo.com www.telestream.net www.vidovation.com

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BUYING GUIDE

Choosing the right media sever With so many options, Simon Luckhurst explores what you should consider before buying a media server WITH THE RELIANCE ON MOVING imagery in productions that younger generations in particular now demand, media severs have become one of the most important tools in a ministry’s arsenal. If used correctly, they can create striking imagery that wows your congregation and elevates services to a new level. You may think of media servers as pieces of rackmount gear but, in simple terms, they’re really just a software program that allow you to send multiple images to single or multiple destinations.

Depending on requirements, they come in many shapes and sizes. Some define themselves by their focus on the number of outputs, others by the kinds of live input options they support, the rugged chassis design and/or the size and speed of the built-in hard drives. This all makes for a confusing choice when it’s time to buy.

Analog Way’s Picturall family of media servers ‘Video is a great way of conveying messages, adding a new dimension to spaces and delivering different resources to the congregation,’ says Avolites sales manager, Stephen Baird-Smith. ‘However, fitting the

AV Stumpfl’s Pixera One

video to the space or screen, and controlling it easily in a live situation, requires specialist software. That’s where the media server comes in.’ ‘Media servers can benefit a church that makes significant use of video in a number of ways,’ thinks James Kumorek, a former church technical director and owner of Spreading Flames Media. ‘If a church uses multiple video screens, it can utilise them as one larger, irregularly shaped display, enabling a piece of media to span all the displays.’ Mr Kumorek highlights as an example one motion graphics

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52 WORSHIP AVL September–October 2018

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BUYING GUIDE background that can span all the displays so that the design flows between the screens instead of just being replicated on each screen. ‘The days when your average media server was only a passive playout machine are long gone,’ adds Hans Stucken from AV Stumpfl. ‘Depending on the kind of server you use, you can live edit content, create beautiful projection mapping shows using your church as the projection surface or perform auto calibration setups. The media server can be the one tool that combines and controls your complete A/V equipment periphery.’ Jay Gonzalez, president of Analog Way Americas, has also noticed the

increasing use of media servers in HOWs accompanying the spread of LED technology. ‘Typically, LED technology in houses of worship is

with direct LED technology, and the high pixel count found in these ever-increasing LED screen sizes inherently requires processing and

The Avolites Ai Q3 media server being used primarily on centre-stage, large-factor videowalls, intended to create audience immersion. In addition, projection-based IMAG screens are quickly being replaced

playback of high-resolution media, as well as providing a means to match screen aspect ratio.’ ‘It can also be used to present different media on each screen

without having a video switcher with multiple mix-effect engines,’ adds Mr Kumorek. ‘If you wanted to control the content of three screens with full effect and keying capabilities through just your switcher, you’d need a three M/E switcher, which can be expensive. A media server might be able to provide the same capabilities at a lower cost. Furthermore, media servers let you layer video and graphics together on the fly, letting you do compositing live instead of having to edit together clips beforehand. This also lets you respond instantly to change requests from the director, as changing the composition merely means changing

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BUYING GUIDE the media server “instructions” in your lighting cues.’ But not all media servers are created equally. What are the options and, crucially, which is the right one for you and your church’s needs? ‘Due to a plurality of potential applications in various markets, the term media server is a bit vague – it encompasses too wide a gamut of hardware and software options,’ says Mr Gonzalez. ‘On one end of the spectrum, you find media servers designed strictly for content playback to a single display. These are usually very simple and cost-effective devices comprising few features and offering basic control. On the opposite side of the spectrum, there are very powerful media servers designed to handle highresolution media content, allow for simultaneous playout to numerous display devices, generate multiple layers, import 3D objects, real-time mapping and capability to handle various other complex manipulations.

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The ArKaos Pro Stage Server media server At Analog Way, we offer a broad range of media servers to match the most basic to highly complex applications, from our Picturall Twin with two 4K-capable outputs to our Picturall Pro version which encompasses up to 16 4K outputs and has the capability to handle 8K content resolutions and higher.’ ‘There are software-based solutions or full rackmounted touring options. Some offer fixed specific functionality and some will offer a range of feature sets and everything in between,’ continues Mr Baird-Smith. ‘The whole aim of the media server is to get a video on screen. This can then be facilitated with projector blending, live manipulation or even generative effects. We develop one media server software solution, called Ai. This is available as a range of licences, offering different amounts of output resolution, and in a range of bespoke media servers offering different numbers of inputs and outputs. Our Q3 server provides one 4K output in addition to two further Full HD production outputs. We have the larger R-series range offering more

firepower, and the RX range which includes hardware-managed EDID on all outputs for greater reliability.’ ‘Some media servers are perfect for live-show events, while others are more geared towards fixed install setups where one does not have to interact with the content a lot,’ furthers Mr Stucken. ‘We have different media servers aimed at different parts of the A/V market. One of the most well-known from AV Stumpfl is without a doubt the RAW server, which is the most powerful media server of its kind for uncompressed content playback. It can process a colour depth of up to 12-bit, which is particularly interesting if you’re thinking of investing in state-of-the-art LED displays. We also recently introduced two new media server models [Pixera One and Pixera Two] that should be of particular interest to the house of worship market. Both are compact, all-round solutions that use the latest processor technology and offer many à la carte options for specifying hardware components, input cards and/or software upgrades.’

54 WORSHIP AVL September–October 2018

Bearing in mind how you are planning to deploy the server will dictate which features will be attractive. ‘Can the software trigger video live, or does everything need to be rehearsed in advance?’ asks Mr Baird-Smith. ‘Will it allow for freedom during services, or feel restrictive? Does it facilitate the type of video they are working with? If it’s LED, can regions be mapped? If it’s projection, does it offer edge-blending? Is it easy to control with the lighting console? Most churches considering a video server will already have a lighting system – controlling all visual elements from one place can really streamline front of house.’ This sentiment is echoed by Mr Gonzalez. ‘Live applications, for the most part, demand different feature sets and functions than static applications. Therefore, when selecting a media server, one should always seek to match the available features and functions to the desired outcome and workflow. Ignoring this simple advice may result in unnecessary complexity and product overshoot, which normally leads to paying more than necessary.’ One of the key questions any media server buyer has to ask themselves, says Mr Stucken, is ‘who in my company is going to operate the media server? That person’s individual preferences when it comes

to software usability and system design should be an important factor before investing time and money. The equipment you have to integrate into your new media server workflow is another important aspect. If you use projectors in a building where manually adjusting projector positions is an issue, camera-based auto calibration systems might be great to have. Depending on what your actual venue or project situation is like, you will want to look at specific media server models that best reflect your unique A/V environment.’ Does that mean your church should already be exploring options such as full 8K output and other features barely seen in the high-end professional market yet? ‘The ideal media server for today’s trendy applications in houses of worship must be able to handle very high resolutions, allow for very low latency on the input side, include a large number of outputs up to 4K, allow for ease of configuration, and operate and perform flawlessly time and time again,’ posits Mr Gonzalez. ‘Considering that most houses of worship utilise volunteer talent, the media server of choice must also provide a reasonably intuitive user interface and control.’ ‘We assume the reason a church is looking into media servers, is because they have, or are considering buying, LED screen or projectors,’ says Mr BairdSmith. ‘Both of these are large investments, and the media server ensures that value is realised from this investment by delivering content that looks great and can be controlled intuitively.’ ‘If you can afford an ultra-highend broadcast setup that features multiple live cameras and LED walls, you should be able to afford a top range media server as well,’ concludes Mr Stucken. ‘If all you ever do is edge-blend two projectors, you might be absolutely fine with a 2-output media server with a simple user interface.’ As you can see, there are models for every budget and project size. It’s always good to explore them all as well as look at future upgrade options before making the final purchasing decision. www.analogway.com www.avolites.com www.avstumpfl.com www.spreadingflamesmedia.com

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GSL takes pattern control full spectrum Making Making use use of of some some clever clever tactics tactics to to greatly reduce the audio level greatly reduce the audio level at at the the rear rear of the system, d&b has unveiled its new of the system, d&b has unveiled its new flagship flagship line line array, array, the the SL-Series SL-Series GSL GSL System System SITTING SITTING AT AT the the top top of of the the pack pack above above d&b audiotechnik’s J-, Yand d&b audiotechnik’s J-, Y- and V-Series V-Series systems, the the GSL GSL system system provides provides systems, cardioid cardioid dispersion dispersion control control across across the the entire entire audio audio bandwidth. bandwidth. The The result of of four four years’ years’ development, development, it it result is is intended intended for for larger larger reinforcement reinforcement applications. applications. ‘We listened listened carefully carefully to to what what ‘We people people using using systems systems said, said, as as well well as noting what they did with as noting what they did with them,’ them,’ recalled d&b’s d&b’s Werner Werner ‘Vier’ ‘Vier’ Bayer. Bayer. recalled ’To ’To hit hit those those exacting exacting targets, targets, we we first first thought the entire d&b architecture thought the entire d&b architecture would be be turned turned on on its its head, head, but but would our our R&D R&D team team methodically methodically worked worked through through the the technical technical challenges. challenges. They found found clever clever solutions solutions to to deliver deliver They the the performance performance targets, targets, still still aligned aligned with with the the established established d&b d&b approach.’ approach.’ The GSL8 GSL8 and and GSL12 GSL12 loudspeakers loudspeakers The offer offer 80° 80° and and 120° 120° horizontal horizontal dispersion, respectively, dispersion, respectively, and and are are reportedly capable capable of of providing providing reportedly consistent consistent pattern pattern control control all all the the way way down to 45Hz. This is achieved down to 45Hz. This is achieved by by using a a new new cabinet cabinet geometry geometry that that using includes includes two two front-facing front-facing 14-inch 14-inch drivers drivers and and two two side-firing side-firing 10-inch 10-inch drivers in in a a cardioid cardioid configuration. configuration. drivers

According According to to the the German manufacturer, German manufacturer, the result result is is so so the successful successful it it negates negates the the need need for for subwoofers to to be be flown flown subwoofers behind behind or or alongside alongside the the main hangs main hangs in in many many applications while while also also applications creating creating ‘significantly ‘significantly extended extended low-frequency low-frequency headroom towards towards the the headroom audience’ audience’ and and well well as as substantially substantially less less spill spill from from the speakers speakers back back onto onto the the the stage. stage. Midrange Midrange frequencies frequencies are are delivered by by a a high-sensitivity high-sensitivity delivered horn horn loaded loaded with with a a 10-inch 10-inch driver, while three driver, while three customcustomdesigned 3.4-inch 3.4-inch diaphragm diaphragm designed HF HF drivers drivers mounted mounted on on a a wavewaveshaping device provide shaping device provide the the HF HF output. output. Each Each loudspeaker loudspeaker is is driven driven in in 2-way active mode by the 2-way active mode by the d&b d&b D80 D80 amplifier, where where one one channel channel powers powers amplifier, the the 14-inch 14-inch drivers drivers with with all all other other components passively crossed components passively crossed over over and and powered powered by by a a second second

A-ZCONTENTS A-ZCONTENTS AJA AJA Allen & Heath Allen & Heath ArKaos ArKaos Avolites Avolites Blackmagic Design Blackmagic Design Chauvet Chauvet Christie Christie Claypaky Claypaky Clear-Com Clear-Com Coda Audio Coda Audio d&b audiotechnik d&b audiotechnik DPA DPA Elation Elation ETC ETC FBT FBT Ikegami Ikegami K-array K-array L-Acoustics L-Acoustics Litepanels Litepanels LSC Lighting LSC Lighting Magewell Magewell Mipro Mipro NewTek NewTek Nexo Nexo Panasonic Panasonic Picturall Picturall PR Lighting PR Lighting Riedel Riedel Robe Robe Roe Visual Europe Roe Visual Europe Roland Roland Ross Video Ross Video RTS RTS SoundTube SoundTube SSL SSL TASCAM TASCAM TSL Products TSL Products TVU Networks TVU Networks Work Pro Work Pro XTA XTA

HDR Image Analyzer/IPR-10G-HDMI HDR Image Analyzer/IPR-10G-HDMI Prime Input and Output modules Prime Input and Output modules An-Ki An-Ki Titan V11/Synergy Titan V11/Synergy Pocket Cinema Camera 4K Pocket Cinema Camera 4K Strike P38/BTAir Strike P38/BTAir DHD635-GS/DWU635-GS/FHD493-XE DHD635-GS/DWU635-GS/FHD493-XE Zac-Eye Zac-Eye HelixNet update/IVC-32-HX HelixNet update/IVC-32-HX U Series (U12, U12i, U15) U Series (U12, U12i, U15) GSL8/GSL12/SL-Sub/SL-Gsub GSL8/GSL12/SL-Sub/SL-Gsub d:vote 4099 d:vote 4099 Seven Batten Series/Seven PAR IP Series Seven Batten Series/Seven PAR IP Series ColorSource Pearl/Irideon WLZ/Element 2 ColorSource Pearl/Irideon WLZ/Element 2 Horizon VHA Horizon VHA HDK-73/UHK-430 HDK-73/UHK-430 Event-KREV102/KREV101/KREV80 Event-KREV102/KREV101/KREV80 P1 AVB processor P1 AVB processor Gemini upgrade Gemini upgrade Unity/DIN-Rail Unity/DIN-Rail Ultra Stream HDMI Ultra Stream HDMI TA-80 TA-80 LiveGraphics/Viz Mosart LiveGraphics/Viz Mosart Excellent Line Excellent Line AW-HE38 AW-HE38 Software V2.4.0 Software V2.4.0 Aqua 480 BWS/Aqua 350 BWS Aqua 480 BWS/Aqua 350 BWS Bolero Standalone Application Bolero Standalone Application Tarrantula Tarrantula Diamond 2.6 (DM2.6)/Vanish 18 Diamond 2.6 (DM2.6)/Vanish 18 V-60HD version 1.1 V-60HD version 1.1 Streamline.cloud/Ultrix IP Streamline.cloud/Ultrix IP Odin Odin IPD-RS62-EZ/IPD-RS82-EZ/IPD-HP82-EZ IPD-RS62-EZ/IPD-RS82-EZ/IPD-HP82-EZ L100 live console L100 live console DA-6400 v2.0 DA-6400 v2.0 PAM1-IP/PAM2-IP updates PAM1-IP/PAM2-IP updates TVU Producer Pro TVU Producer Pro LS-Wing/LS-Nodes/WNS-8P LS-Wing/LS-Nodes/WNS-8P 120 Amps 120 Amps

channel. The The SL-Sub SL-Sub and and SL-Gsub SL-Gsub channel. support the system with additional support the system with additional low end end from from two two forward-facing forward-facing 2121low inch drivers drivers and and a a single, single, rear-facing rear-facing inch 21-inch driver driver delivering delivering the the cardioid cardioid 21-inch dispersion. The The SL-Sub SL-Sub can can be be flown, flown, dispersion. while the the SL-Gsub SL-Gsub is is designed designed for for while ground-stacked applications. applications. ground-stacked The SL-Series also brings a a The SL-Series also brings combination of of tension tension and and combination compression modes modes to to d&b’s d&b’s 3-point 3-point compression rigging. The compression mode rigging. The compression mode enables a a straight straight array array to to be be flown flown enables from its carts, with a hoist or hand from its carts, with a hoist or hand winch that that then then curves curves the the array array to to winch the defined defined splay splay angles angles the The system’s system’s rack rack assembly assembly can can The house six D80 amplifiers and also house six D80 amplifiers and also contains a a DS10 DS10 audio audio network network contains bridge, the the MC24 MC24 multicore multicore system system bridge, and provides PoE for the d&b and provides PoE for the d&b ArraySight inclinometer. inclinometer. This This also also ArraySight sends temperature temperature and and humidity humidity sends information to to the the R1 R1 Remote Remote control control information software using using the the OCA/AES70 OCA/AES70 software protocol. protocol. www.dbaudio.com www.dbaudio.com

56 56 WORSHIP WORSHIP AVL AVL September–October September–October 2018 2018

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

PRODUCTS

A new Horizon for FBT DESIGNED TO deliver ‘optimal audience coverage with added flexibility’, FBT has created the Horizon VHA vertical horizontal array. The solution includes the VHA406A full-range module and the VHA112SA and VHA118SA subwoofers. Constructed in birch plywood with a synthetic rubber surround, each VHA406A comprises four 6.5-inch woofers together with a 1.4-inch large-format neodymium compression driver on a 2.5-inch voice coil. Optimised with BEM finite element simulations, a newly designed central waveguide creates a 90° (H) x 20° (V) dispersion together with focused vertical control across the enclosure’s operating range. The symmetrical dispersion provides full HF coherence beyond 18kHz, within the system’s 65Hz to 20kHz frequency range. The integrated Class-D, switch mode amplifier module delivers 600W and 300W for the respective

A vertical Horizon VHA array LF and HF sections, while the internal DSP offers eight user presets for customised system performance. A maximum of six VHA406A cabinets can be rigged courtesy of the integral hardware’s variable angles from 5° to 20° (in 5° steps) and are further simplified by including only one setting point per side. Eliminating both the risk of loss and damage in transport,

the setting pins are fixed and integrated into the hardware. The Horizon VHA system includes quick-release anchor points allowing horizontal arrays to be set up using a dedicated fly-bar, supporting up to three VHA406A cabinets. Multiple fly-bars can be joined for creating arrays with up to 360° coverage. Sharing the same footprint as the VHA406A in both size and shape, the flyable VHA112SA bassextension module provides low-end extension in small-to-medium-sized applications. Incorporating a 12inch B&C long-excursion woofer, the bass-reflex design promotes a laminar airflow for minimising turbulence and compression, while the 1,200W Class-D amplifier module includes onboard DSP with filtering, EQ and limiting. For larger applications, the groundstacked VHA118SA comprises an 18-inch B&C woofer in its birch plywood enclosure. Like the 12-inch model, the bass-reflex subwoofer deploys a laminar airflow, but the 2,500W Class-D amplifier module also provides a selection of six preset algorithms. The design of the VHA118SA is reportedly able

to generate high levels of SPL for prolonged periods. The VHA118SA is capable of extending overall system frequency response down to 30Hz and can fully support groundstacked configurations with its integrated mounting hardware. www.fbt.it

The VHA406A and VHA118SA

Coda expands U Series subwoofer line

Specialised event solutions from K-array

CODA AUDIO’S latest U Series subwoofers have been described by the manufacturer as offering compact, efficient and costeffective solutions for almost any application. The U12, U12i (a slimline wall-mounted version) and the U15 universal subwoofer have been designed with new, Ω long excursion, low-distortion 4Ω woofers, incorporating carbon fibre cones. This reportedly achieves maximum power and cost efficiency, used in combination with systems using Linus5C DSP amplifiers. The U12 and U12i are single 12-inch subs with a power handling of 800W. The U15 is a 15-inch subwoofer with a power handling of 1,000W and an SPL of 133dB. All three models feature low port compression, low-distortion woofers and have an optimised enclosure design, giving a tight bass response. The range is said to be suited to small-scale or mobile applications that require compact

K-ARRAY HAS assembled several of its solutions into the K-array Event line that have been specifically chosen for their ability to service event productions. The Event line is comprised of all-white modular components arranged to form three separate audio solutions for different occasions. According to the manufacturer, careful consideration has been paid to all aspects of the design to ensure that the products work in harmony and do not detract from the look and layout of the occasion. The Event-KREV102 is composed of a Kobra-KK102 loudspeaker featuring Pure Array Technology to provide uniform long-throw coverage and a Thunder-KMT12 subwoofer. The pole that connects the two elements has been designed to create a continuous discreet line and to hide cables at the same

The U12 sub solutions, without compromising power. The subwoofers complement the existing U4-Sub, a high output box with a double 18-inch, lowdistortion woofer that offers power handling of 2,500W. The U4 is designed to work exclusively with Coda Audio Linus amplifiers, as an integrated solution for DSP control, network remote control and diagnostic. It is suited as a sub extension for the Hops Series and TiRAY, extending system performance to 30Hz. www.codaaudio.com

time. The kit also comes with four Anakonda-KAN200+ loudspeakers for an alternative solution to the Kobra for integration in spatiallychallenging applications. The Event-KREV101 is described as the base element of the Event line and is intended for clients with ‘ever-changing demands’. The mono Kobra-KK102 and ThunderKMT12 combination can be used as the building blocks for a larger sound reinforcement at bigger venues or the modular component can stand on its own to provide background music or speech applications on a smaller scale. Lastly, the Event-KREV80 is a solution comprised of four Anakonda KAN200+ loudspeakers and is designed to wrap around your venue providing background music. To drive the passive speakers, the set includes a Thunder-KMT12 powered subwoofer to aid setup and integration. www.k-array.com

September–October 2018 WORSHIP AVL 57

PRODUCTS

SoundTube’s Dante approach SOUNDTUBE’S IPD-RS62-EZ, IPD-RS82-EZ and IPD-HP82-EZ are described by the manufacturer as being the industry’s only Danteenabled pendant speakers. All three models use SoundTube’s BroadBeam Ring dispersion technology for messaging and music over a wide area including off-axis from the speakers. The IPD-HP82-EZ pendant uses a BroadBeam HP compression driver with waveguide for use in rooms with extra high ceilings. Applications for IPD pendants include any facility with high or open ceilings, such as houses of worship. With digital signals plus power sent directly to the speakers via a standard category cable, they do not require amplifiers or D/A converters, and are interoperable with a host of other products operating on

The IPD-RS62-EZ

Bolero stands alone A YEAR on from the release of Bolero, Riedel Communications has unveiled the Bolero Standalone Application, a licence-enabled upgrade that delivers standalone functionality and a raft of per formance enhancements to the wireless intercom solution. ‘The standalone version of Bolero is a per fect wireless intercom solution for clients

configuration is achieved via a web GUI internal to the antennas. Also new from Riedel is the RSP-1232HL, a Smar tPanel designed to suppor t a variety of workflows with several fullcolour, multitouch displays and 32 hybrid-lever keys that each possess an integrated rotar y encoder providing control over parameters in the key’s location. Each key is marked

with smaller requirements where intercom needs can be met solely through the flexibility of Bolero and clients who are already invested in other intercom solutions,’ explained Wolfgang Fritz, senior product manager at Riedel. With the Bolero Standalone Application, antennas are daisy-chained via a low-latency, synchronised TDM network to each other in a line or a redundant loop. The solution is designed to be plug-and-play and an external power supply can drive up to five antennas. A 1U, half-width external inter face box with six analogue 4-wires and three GPIOs can be directly connected to any antenna and then linked with an existing intercom system. System

by an 8-character main label, a 16-character sub-label and user-defined icon labels, and an icon-based signalling mechanism informs the user of the state of each key. The RSP-1232HL is equipped with AES3 digital and SMPTE 2110-30 (AES67) connectivity options. The AES67 connections come in the form of a pair of fibre SFPs and two RJ-45 connections that provide a variety of daisychaining and redundancy options. Other features include stereo, phase-accurate speakers, frontpanel mic mute and sidetone adjustments, Bluetooth and NFC connectivity, GPIO and 4-wire por ts, and a light sensor for autocalibration of screen brightness.

the Dante platform worldwide. The speakers may be used with SoundTube’s ST-Net Switch – which provides up to 40W PoE for each speaker – or with standard PoE or PoE+ switches. All three speakers are available in a black or white (paintable) finish, while hanging hardware is included. soundtube.mseaudio.com

Odin enters the matrix EXPANDING ON its IP-focused product line, the latest addition from RTS is the Odin Omneo digital intercom matrix which has been developed for users wanting to expand intercom functionality with an IP-capable system at large house of worship venues.

as well as analogue RTS legacy keypanels. Dante-enabled Omneo is standard on RJ-45 connectors or is available using optional optical fibre connectors. Users can define ports for any of the available connector types. Odin offers from 16 to 128 ports,

Offering both IP and analogue technology, the new feature set and form factor aim to make the matrix more accessible and easier to use. Odin comes in a single rack unit package and is also described as being smaller and less costly to own and operate. It can integrate into most large-scale intercom operations, while also providing a path for system expansion for smaller users wishing to upgrade existing RTS systems to the latest technologies. With connectors for Omneo IP technology, analogue 2-wire and 4-wire, Odin also supports the Roameo DECT-based wireless system and KP-Series keypanels

while up to eight Odin units can be connected via an optical interframe link to create a single matrix with up to 1,024 ports. Additional features include redundant power supplies and five cooling fans (two of which are also redundant). The unit has also been designed to use less than 50W in a bid to minimise operating costs. The front panel has a colour GUI based on icons to support the most common tasks. The AZedit and IPedit software applications have been updated to support Odin for more complex configuration tasks. www.rtsintercoms.com

58 WORSHIP AVL September–October 2018

The RSP-1232HL

www.riedel.net

TECHNOLOGY

PRODUCTS

LD takes Maui on the go LED screens versus ASSISTIVE LISTENING projectors: the 2018 view DESIGNED FOR small-scale applications, the Maui 5 Go is the world’s first mobile, battery-powered column-PA system according to its German manufacturer, LD Systems. The lithium-ion replacement batteries can provide up to six hours

of battery life from a single charge and can be instantly replaced using Quick-Swap technology. Completely The 400W RMS-rated system is equipped with both a microphone and a four-channel mixer with individual input, main and

a multiband limiter, equaliser, subwoofer level controls and a compressor and crossover functions. variable HF boost together. Flexibility is enhanced owing to Further features of the 13kg Portable Wireless | Perfectly | Easy to Use its immunity to system feedback, four-piece speaker system promoting its use as a stage monitor. include multi-pin connectors for quick assembly, Bluetooth www.ld-systems.com connectivity and DSP offering

When looking into new IMAG solutions, is it best to go with projection or LED screens? James Cooke chairs the debate

dBTechnologies premieres the B·H series

WHEN IT COMES TO IMAGE size, therefore, will be the increments cabinets partdisplay of the Sub 600 DBTECHNOLOGIES HAS created magnification (IMAG) applications in in whichas your increases. series. models featurehas a 600W the B·H to as deliver houses of series worship, well accurate as video ‘EachBoth house of worship its RMS withLED SMPS. audio reproduction whilst producing playback, projectors have traditionally own Class-D unique amplifier needs, and andThe Sub 615 is equipped 15-inch efficient sonic performances in been the standard. After all, a 19projection can both with be aastrong transducer while thissenior is increased multi-functional applications. The inch television set wasn’t going to fit,’ says Jim Hall, product tomanager 18 inches the Sub‘The 618.ideal This models in newly cutfour it fortwo-way a congregation ofthis several at for Christie. results in a high statedby SPL developed series each combine hundred, particularly as the worship technology canmaximum be determined for the Sub 618 ofcharacteristics, 133dB. a Class D amplifier capable of in leader would have appeared larger examining room Connect the Anchor Audio Assistive Listening to your in-house system Users areshape, reportedly able tolight form PA providing SPLBut, up to Each person anyway. as126.5dB. our TVs have including ambient levels or connect it to an Anchor Audio AIR transmitter unit for outdoor events. systems with a single sub and fullof the 8-, 10-, and 15-inch grown larger, the 12technology within and sightlines, audience sizetwo and range speakers without the needworship for models are equipped with haswoofer evolved from cathode ray tube A/V budget. Projection offers any external or crossover. 1-inch compressiondiode drivers coupled ADA Compliant • Unlimited Users • 90 meters (300 ft.) Wireless (CRT) to light-emitting (LED). sites aRange low processing cost of ownership and Controls on the panel allow users to an asymmetrical to ensure Composed from a rafthorn of LEDs, installation, a amp choice of resolutions toand operate with mono stereo feeds, a wide andare uniform throw pattern. LED displays able to showcase Weighing between 6.4kg and cup for use as a portable PA system a flexible imageor size.’ invert polaritythat andLED select the output Internal DSPoncomes the form of video content a ‘flat’insurface; 17.3kg, the cabinets incorporate when mounted onto a subwoofer. ‘Benefits displays have Learn | +1 is760.827.7100 anchoraudio.com link mode. A Sub include Mode switch boosts a Flatthe or television Boost EQ switch, hence, adorningallowing your full grille design. More Whilst portability to United the| new B-H series, over projection brightness, Chauvet ‘disappearing’ LED panels blendIninaddition at Acton Methodist the low frequency sourced either faithfully living room BGM will betoabe ‘flat screen’ in enhanced with the addition of three the Italian manufacturer has also longer lamp life, EQ. easier serviceability, reproduced or boosted can besubwoofers scaled up by adding 2018. Images are createdaccording by the to blue, white). While projectorsiscan handles, multi-functionality assured displays introduced two designed no unobstructed projection distance www.dbtechnologies.com the of environment. LED panels together to to monitor beam their visuals blend LEDs illuminating in different bebyadjusted dual stage angles and pole multiple to complement its full-range Opera required and it is a similar cost to onto screens of varying sizes, LED create a videowall. The only limit in colours, typically RGBW (red, green, project depending on comparable

INSIDE INSIDETHE THE WORLD’S WORLD’SMOST MOST ADVANCED ADVANCED 1/2PAGE COMPACT COMPACTLINE LINEARRAY ARRAYBOX BOX

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131dB 131dB andand LF LF down down to to 59Hz 59Hz from from a single a single 10"10" driver-equipped driver-equipped lineline array array box? box? YouYou better better believe believe it. it.

NOW NOW SHIPPING SHIPPING www.nexo-sa.com www.nexo-sa.com 48 WORSHIP AVL May–June 2018

Thinking. Thinking.Inside Insidethe thebox. box.July-August 2017 WORSHIP AVL

PRODUCTS

Clear-Com increases the I/O CLEAR-COM HAS significantly increased the number of I/O ports on its HelixNet digital networked partyline intercom system. As part of a wider upgrade process, the system has been updated with a 6-fold increase in I/O ports, binaural listening in the HelixNet HXII-BP-X5 beltpack and direct connections to the Agent-IC mobile app and VoIP phones. Starting with the I/O, by connecting Clear-Com LQ Series devices to the HelixNet Mainstation via an Ethernet module, users can gain up to 24 audio I/O ports assigned to any of the 12 or 24 intercom channels in HelixNet. These additional ports supplement the HelixNet ports for interfacing with 2-wire and/or 4-wire intercom or audio devices. The binaural listening upgrade enables split ear functionality to hear the

programme feed from one channel to one ear, while the feed from the intercom channel is heard in the other ear. The final upgrade means that through the LQ interface, any user on the HelixNet system is now able to communicate with users on Clear-Com’s Agent-IC mobile apps running on iOS or Android devices over Wi-Fi, as well as users on VoIP phones via a SIP connection. In other news, the manufacturer has expanded its Eclipse HX-Delta Matrix frame with a number of new additions. The IVC-32-HX IP interface card enables IP connectivity across the intercom platform, while the E-Dante64-HX card allows Eclipse HX to interoperate with other Danteenabled devices on the network. The E-QUE-HX card facilitates integration with

The E-Dante64-HX card Clear-Com’s FreeSpeak II digital wireless solution. The Gemini matrix intercom is a real-time intercom system that features integrated IP capabilities together with interfaces to 4-wire

circuits, telephony, AES/MADI, IP panels and SIP for analogue- or IPbased solutions. The matrix intercom supports a range of panels including desktop and rack-mount lever key panels, touchscreen button panels and virtual panels for smartphones and tablets. Finally, the manufacturer’s Trilogy brand has created the scalable Mercury solution to provide real-time, full-duplex voice communication. It offers PL4-certified voice communications for a true red/ black system, meaning multiple security levels can be traversed without compromising IP security. It also offers interoperability between disparate communication systems over Ethernet/IP, fibre, MADI, POTS, Dante, AES67 and radio interfaces. www.clearcom.com

d:vote gets DPA’s vote EXPANDING ON its Core series, DPA’s d:vote 4099 instrument microphones have been developed for woodwind and acoustical instruments and are described as being ‘a great fit’ for live performance applications.

The latest addition features a more distinguished foam cover that helps decrease vulnerability to wind or movement during a per formance. Available in two versions to match the SPL of an instrument, d:vote

4099 lowers the general distor tion heard at all levels and increases the dynamic range up to 14dB (at 1% THD). To make it easier for users to tell the difference between the two versions, the new

d:vote mics are colour-coded at the bottom of the mic with a red mark representing ‘Loud SPL’ and a yellow mark representing ‘Extreme SPL’. www.dpamicrophones.com

Ready, P1

The P1 L-ACOUSTICS IS shipping its P1 AVB processor and measurement platform, a 3-in-1 system that combines front-end processing, audio bridging and signal distribution with system measurement and tuning. The P1 fully integrates with the manufacturer’s LA Network Manager software and aims to streamline the tasks of system deployment and optimisation to a single piece of hardware. At its core, the P1 is a signal processor with equalisation, delay and dynamics. It possesses four analogue line inputs with A/D conversion and integrates 20 inputs and 16 outputs within a 1U space. The P1 can matrix, bridge

and distribute AVB, AES/EBU and analogue audio, while time-aligned redundant signal distribution reportedly offers artefact-free sound with the click of a button. Additionally, L-Acoustics has stated that the upcoming release of LA Network Manager 3.0 will make use of P1’s four microphone preamps to create an analyser for all system parameters, enabling system tuning without additional noise. LA Network Manager has also been equipped with an Autoclimate tool that integrates temperature and humidity information from sensors on the P1 once in live mode, so that users can adapt the system accordingly without going back through the entire workflow.

60 WORSHIP AVL September–October 2018

Speaking of LA Network Manager, the real-time systems control and monitoring software has recently seen the addition of Autoalign to automatically calculate proposed relative delay and polarity for complementary systems such as subwoofers and fills. Soundvision has also seen some updates. Autosplay allows sound

designers using the 3D, real-time acoustical simulation software to define a target SPL along an audience area by calculating the optimum speaker angles, while the Autofilter function applies DSP settings to ensure the system is further optimised for clear, even coverage throughout a venue. www.l-acoustics.com

LA Network Manager’s Autoclimate tool

PRODUCTS

Prime time at Allen & Heath

The Prime I/O modules ‘HOW DO we take a class-leading digital mixer to the next level?’ was the question on the lips of Allen & Heath’s Rob Clark, and his team when developing the new Prime I/O modules. The answer comes in two models: an Input Mic Pre and a Line Output module. Both Prime modules are designed to fit in a dLive DX32 expander rack and can be used in conjunction with existing I/Os. Users are able to tailor or scale the system to their own needs. The modules also utilise dLive’s 96kHz XCVI FPGA core. ‘As our XCVI core is a defacto 96kHz platform, we realised we were able to exploit I/O converter technologies that are optimised for these higher sampling rates, providing audiophile levels of transparency without compromising latency or bandwidth,’ said Mr Clark. ‘These higher resolution converters led us to also investigate different types of interface electronics in the

analogue circuitry, including Nichicon FG Fine Gold capacitors, and enhancements to power supplies, grounding and shielding. This in turn resulted in further performance improvements, slashing THD and noise and vastly improving on typical slew rates.’ Allen & Heath has also introduced new expansion and advanced AMM (automatic mic mixing) capabilities for its SQ digital mixer series as part of the V1.2 firmware update. The update supports DX Hub, a hardware expansion hub that allows multiple DX168 stagebox expanders to be connected to an SQ mixer, so that users can source 48 channels from the stage at 96kHz or deploy up to eight portable expanders. In addition, V1.2 adds two independent AMMs based on

the D-Classic algorithm from the manufacturer’s DEEP processing system. Other enhancements include the Noo Phaser and Chorus RackFX units for the SQ FX library and factory processing libraries. Finally, the dLive V1.7 firmware bears the fruits of a collaboration between Allen & Heath and Shure, which sees native monitoring and control of Shure’s ULX-D and QLX-D wireless systems from a dLive mixer. ‘Working with Shure, we have integrated convenient, at-a-glance monitoring of key wireless functions within the dLive interface and from the Director laptop app,’ commented Allen & Heath’s dLive product manager, Ben Morgan. www.allen-heath.com

TSL PRODUCTS’ PAM1-IP and PAM2-IP audio monitors now support SMPTE 2110 and Ember+ standards in an effort to address certain issues users face making the transition to IP. Describing itself as the only manufacturer of audio monitoring units capable of monitoring uncompressed SMPTE 2110 video and audio streams for deployment in essence-based workflows, TSL says that existing PAM-IP customers

already working with SMPTE 2022-6 can easily upgrade their units to SMPTE 2110. Both PAM1-IP and PAM2-IP also support the Ember+ protocol. Also available for an upgrade are TSL’s MPA1-Mix-Dante and MPA1Solo-Dante monitors as they can now support AES67 audio as part of the ST-2110 standard, making them suitable for monitoring Dante and AES67 audio. Meanwhile, a free software upgrade for MPA-1s to

MIPRO’S TA-80 is a true digital wideband wireless plug-on transmitter designed to turn any microphone, from measurement microphones, condenser and dynamic wired microphones, recording mics and musical instrument mics into a wireless solution. It features a balanced XLR input jack and is compatible with all of the manufacturer’s ACT-8 Series receivers.

dLive V1.7 firmware offers Shure ULX-D and QLX-D control

TSL plays a supporting role

PAM-IP

From analogue mic to digital with the TA-80

support SNMP will also give users more features including integrated solutions when remotely controlling the monitors using TSL’s TallyMan control system or any third-party control system (supporting SNMP). Elsewhere, TSL’s latest PAM2-IP 3G has been developed to address the requirements of customers needing to monitor uncompressed SMPTE 2022-6 and SMPTE 2110 sources. The PAM2-IP 3G is equipped with two 10 GigE interfaces for direct connection into COTS IP fabrics. The audio monitoring solution retains the same front panel user interface and feature set from its predecessors, PAM1 MK2 and PAM2 MK2, and also continues to include full monitoring (including metadata) of Dolby-encoded sources, loudness monitoring – complete with histogram display – and video conference monitoring.

The Taiwanese manufacturer has designed the TA-80 to have a flat and wide frequency response, a low THD and noise floor, fast transient response and strong anti-interference. The unit has eight gain levels and is switchable between 12V and 48V (up to 10mA current load) to provide phantom power if required for condenser microphones. A built-in, high-capacity lithium battery promises five to eight hours of continuous use per charge, while the transmitter can be recharged by dropping it into an intelligent MP-80 charger or by removing the single battery cell from the TA-80 and placing it into the charger. The transmitter is also housed within a rugged, lightweight and splash-proof aluminium enclosure. The green backlit LCD displays all operation parameters.

www.tslproducts.com

www.mipro.com.tw

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PRODUCTS

Nexo shows its Excellence

120 Amps

120 Amps aim to pack a punch THE 120 Amps from XTA and MC2 Audio are being described by the manufacturers as the ‘most powerful network audio 2-channel amplifiers available’ and have been developed to drive more than just subwoofer arrays. ‘Rather than consider this a launch of just another bigger amplifier for the Delta Series (and the recently introduced XTA DNA Series), what’s more important to realise is the significance of this stereo, Dante-enabled, flagship design,’ commented Waring Hayes, technical

brand manager for XTA and MC2 Audio. ‘With breakthroughs in the use of the very latest output devices and innovative drive circuitry, we have finally eliminated the need to compare against Class-AB designs.’ 120 Amps are available as Delta 120 and DNA120 models; both have 96kHz Dante inputs as an option and will deliver over 7,000W per channel into 2Ω and 5,000W per channel into 4Ω.

NEXO HAS showcased a series of stands and mounts developed specially for the French manufacturer by Show-em of Germany. Described as achieving the perfect balance between design and functional technology, the Excellent Line offers a complete range of mounting solutions for Nexo products spanning small-to-large applications. The range can carry all Nexo full-range and subwoofer cabinets. With dedicated adapter heads, the stand can carry different line arrays up to a maximum load of

240kg, while speakers can be presented to an overall height of 4m. Three different baseplates accommodate the complete range of subwoofers. All cabling is contained within the stand’s construction. www.nexo.fr

SSL squeezes in tight spaces configured with up to 64 input channels, 36 aux sends, 12 stem groups, 12 VCAs and four masters. An additional 4x32-

www.audiocore.co.uk www.mc2-audio.co.uk

Better stage presence for DA-6400 THE 2.0 firmware update to TASCAM’s DA-6400 multitrack digital recorder includes new features such as Theater Play mode and Playlist support.

ranges within individual multitrack takes, thus creating scenarios whereby these regions are played in various orders and/or multiple times each. This, says

The DA-6400 The Theater Play function enables DA-6400 users to set start and end marker points for individual takes. These markers allow operators to trigger multichannel events manually, or via external control, after which the system automatically proceeds to the next scheduled cue and waits in Standby mode. This feature is said by the manufacturer to enable venue designers to better combine audio, lighting and scenery cues. Using Playlist mode, users can define regions and set playback

TASCAM, makes creating complex performances from chains of events quick and intuitive. Other new functions include playback of WAV files in 32-bit PCM and 32-bit floating formats, sorting functions that allow the take list to be arranged in Take timecode or Take name order, and mDNS support so that network connection with the DA-6400 can be achieved from macOS and Telnet, or VNC and FTP apps that support mDNS. www.tascam.com

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The L100 THE L100 is the newest member of the SSL Live console range. Designed for restricted spaces, or sub-mix positions, the L100 provides a compact 12+2 fader configuration frame as well as the same high headroom, low latency SSL Tempest Audio Engine as the other SSL Live consoles. Users who require more faders can expand the L100 with the addition of SSL’s Remote Tile. Other features include a 17inch multi-gesture touchscreen that provides access to all of the console’s functions and an integrated tablet device that combines with SSL’s TaCo tablet control application functionality to offer an additional control interface for channel or effects rack processing. The Master Tile also provides mute group, solo/talkback, assignable keys and automation controls. The L100 includes 96 fully processed paths and can be

input/12-output matrix is also available. Staying with Remote Tile, V4.7 software includes an upgrade to SSL’s Super Quer y workflow, enhanced TaCo features, a new Transfer Function Analyser Tool and Auto Pan effect, and suppor t for external touchscreen control. Users can now have direct touchscreen control of their over view and automation screens without having to switch focus on the console’s internal touchscreen. Lastly, SSL has released Native v6 which will replace the company’s Duende Native plug-in collection. Improvements include higher-resolution inter faces, improved preset management, expanded purchase options and framework changes. The complete SSL Native v6 bundle includes Channelstrip, Vocalstrip, Drumstrip, Bus Compressor, X-Phase, X-EQ, X-Comp, X-ValveComp and X-Saturator, and is available in AAX, VST3/VST 2 and AU formats. www.solidstatelogic.com

PRODUCTS

Diamonds are forever ROE VISUAL’S Diamond 2.6 (DM2.6) series LED panel is designed as a lightweight, small pixel pitch visual solution. Built for indoor use, the DM2.6’s weight is kept to a minimum at 4.6kg per panel due to its frame of carbon and magnesium. It is constructed with black LEDs to provide a highcontrast image and it is designed with a magnet assembly to offer flexibility when setting up, as concave and convex curving are made possible.

Roland updates V-60HD

The manufacturer has also released Vanish 18. As its name suggests, it is a ‘transparent’ LED display panel and can be used for both indoor and outdoor applications. It joins the Vanish 25 as part of the Vanish series and is designed to offer a ‘smaller pixel pitch’. www.roevisual.com

VERSION 1.1 firmware and software updates have been released for Roland Professional A/V’s V-60HD HD video switcher. This provides support for the manufacturer’s RCS remote control software and adds Auto Scan automated video switching functionality as well as Panel Information commands to the RS-232 control for use with connected touch panels and any other programmable interfaces. The RCS software for Mac and PC, which is available as a free download, facilitates remote control of the V-60HD via a LAN network.

Roland’s Smart Tally function also delivers a wireless tally capability to smart devices on the LAN via a set up screen accessed with an IP browser, removing the need for wired tally cables. proav.roland.com

Picturall the way up to uncompressed 8K PICTURALL HAS released a software update for its Duo, Quadro, Octo and Broadcast media servers. Software release version 2.4.0 sees the addition of support for dual DisplayPort 1.2 and uncompressed 8K playback options. ‘The input cards were first unveiled last year, but the software was still in beta format,’ explained Picturall CEO, Samuli Valo. ‘The new release

Picturall’s Octo media server

provides full support for the latest input cards to offer full end-to-

end 4K compatibility as well as uncompressed 8K playback.’

The update provides support for upcoming Analog Way server models. There are also a number of improvements in display configuration and custom display mode handling, as well as improved diagnostic tools. The software installer can be downloaded from the support section of the Picturall website. www.picturall.com

The Crossroads Where Production Meets Performance

1/2PAGE HORIZONTAL g Brands on / Leadin ti ca ifi rt Ce ional on / Instruct pert Educati Ex / s ie it n u o Opport wcase / Dem System Sho Before the start of last year’s exhibition, NAMM

Growing audiences of live and installed sound professionals unite. The NAMM Show attracts a unique, powerful and international audience of professional visitors. From rental companies and touring professionals to theme park operators and house of worship representatives, The NAMM Show has more opportunities for pro audio manufacturers than ever before.

made some bold statements about their investment and dedication to the new pro audio area of the show. By the second day it was clear they were serious about delivering.

James Gordon, Audiotonix

Learn more about the benefits of exhibiting at namm.org/livesound

September–October 2018 WORSHIP AVL 63

PRODUCTS

Streamline subscription to cloud-based storage

David Ross unveils the Ultrix IP platform STREAMLINE WAS originally launched by Ross Video in 2014 as an asset and workflow management solution offering a complete system for indexing and cataloguing libraries of images, videos and other media assets. Now, the manufacturer has unveiled Streamline.cloud, a

subscription service that provides the functionality of Streamline combined with the flexibility presented by a cloud-hosted solution. Streamline.cloud mimics Inception.cloud, Ross’ newsroom computer system and social media

Ultra Stream HDMI in simplicity drive WITH THE aim of making live streaming production user-friendly for non-professional users, Magewell’s latest Ultra Stream HDMI enables customers to record or stream highquality video from a variety of sources with one click using on-device buttons or its accompanying smartphone app. The encoder, the first of multiple planned models in the Ultra Stream family, is described by the manufacturer as being ideal for church volunteers wanting to stream but who have ‘very little technical knowledge’. Avoiding the laptop and browserbased interface typically needed for setting up streaming encoders, initial configuration is performed over network or Bluetooth connectivity with the free iOS or Android app. Once security, encoding and destination parameters have been set, recording and live streaming can be started and stopped directly with physical buttons on the Ultra Stream unit or via virtual buttons on the app. Users can stream to services such as YouTube and Facebook Live or to a custom-specified RTMP server. Streams can be output to multiple target services simultaneously, while real-time video preview on the smartphone app allows monitoring.

A tablet-optimised version of the app is also available for use with larger mobile devices. The Ultra Stream HDMI captures, encodes and streams video up to 1080p60 via an HDMI input interface. The encoder also supports 4K HDMI inputs at 60fps with 4:2:0 colour subsampling, down-converting them automatically to HD for recording and streaming. Embedded HDMI audio is complemented by an analogue microphone input and a headphone output for monitoring. HDMI loopthrough connectivity enables source signals to be simultaneously sent to a monitor or projector without the need for an HDMI splitter. Ultra Stream HDMI can also record video as MP4 files to a directly connected USB drive or the associated smartphone. Footage can also be recorded in a loop on embedded storage within the unit for subsequent previewing and downloading. The device supports H.264 video compression and AAC audio, with HEVC encoding and recording planned for a future update. Two distinct combinations of resolution, frame rate and bitrate can be specified. www.magewell.com

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management tool, by allowing users to access the service on a monthly or annual basis with regular payments as an alternative to purchasing the system outright. It enables files to be stored either in the cloud or locally, and to be moved between locations using the manufacturer’s Cloud Gateway with end-to-end encryption. Streamline.cloud can also be paired with the XPression motion graphics platform for graphics media asset management (MAM), and with playout servers, such as Tria News, for a full video production MAM. The service is configured and managed using Amazon Web Services, and training and maintenance are provided by Ross as part of the subscription cost.

Ross has also introduced the Ultrix IP platform, a routing and A/V processing solution based on its Ultrix-FR5 chassis. The 5U system is built to replace up to five full racks of equipment and is capable of SD, HD and 3G routing, with the option to license 12G 4K UHD software, the routing of 3072x3072 audio (2048x2048 embedded audio I/O with a 1024x1024 MADI option), embedded audio processing, clean/ quiet switching and internal gearboxing to allow the integration of Quadlink/4K signals into a native 12G workflow. In addition, up to 24 independent multiviewer heads each support up to 100 PiP (picture-in-picture) images. www.rossvideo.com www.streamline.cloud

Ikegami takes image capture to the docks IKEGAMI ELECTRONICS has created a ‘dockable’, multirole camera in the form of the HDK-73 3-CMOS for full-HD HDR production. It can be acquired as a complete system with CCU, connecting fibre, viewfinder and remote control. The ‘dockable’ structure of the HDK-73 allows for studio configuration with fibre base stations and self-contained operation with a camera adapter for wireless or onsite recording applications. The HDK-73’s ⅔-inch, 2.6 megapixel CMOS sensors capture images with a wide dynamic range of more than 600% at full HD 1920x1080 resolution. The images feature a high sensitivity – F13 at 50Hz – and a high signal-tonoise ratio. The sensors support 1080i/59.94 and 1080i/50 natively, in addition to 720p/59.94 and 720p/50 scan formats. Other features of the system

HDK-73 include full digital signal processing capabilities, advanced digital detail correction, with independent horizontal and vertical correction of RGB signals and optional anti-moiré filtering functionality. For those seeking ultra-high resolutions, Ikegami has launched the UHK-430, a UHD camera employing three 3840x2160 native ⅔-inch CMOS sensors that provide full resolution plus the depth of field needed for outdoor production. While facilitating UHD production, the UHK-430 is also designed to interface with current HD systems. www.ikegami.com

UHK-430

PRODUCTS

AJA analyses HDR AJA VIDEO Systems describes its HDR Image Analyzer as a ‘waveform, histogram, vectorscope and nit level HDR monitoring solution’. It is built to simplify the process of monitoring and analysing 4K/UHD, 2K, HD, HDR and WCG content in production, post, quality control and mastering. Additionally, the HDR Image Analyzer signifies the second technology collaboration between AJA and Color front, as the latter’s Color front HDR Image Analyzer is licensed for use with the former’s new solution. The HDR Image Analyzer combines the Color front tools with AJA’s video and audio I/O inside a 1U chassis. HDR formats

supported include PQ (Perceptual Quantizer), Hybrid Log Gamma (HLG) and Rec.2020 for 4K/ UltraHD workflows. The device also includes a UHD UI for nativeresolution picture display and a feature list including out of gamut and out of brightness detection, SDR support and support for colour spaces from ARRI, Canon, Panasonic, RED and Sony. AJA has also launched the IPR10G-HDMI Mini-Converter, which converts SMPTE ST 2110 IP video/

The IPR-10G-HDMI Mini-Converter audio to HDMI. This allows SMPTE ST 2110 video/audio content to be displayed on an HDMI monitor.

The manufacturer is supporting the standard by introducing SMPTE ST 2110 support for its Kona IP PCIe capture and playback cards via a free desktop software update to v14.2. Other updates from AJA include v2.1 firmware for the Helo recording and streaming device, which brings closed captioning streaming from an SDI input, HLS streaming for direct interoperability with an iPad and support for Chinese, Japanese and Korean in the system’s web UI. Ki Pro Ultra and Ki Pro Ultra Plus have a v3.0 firmware update with Avid DNxHR support. www.aja.com

A pocketful of Blackmagic BLACKMAGIC DESIGN’S Pocket Cinema Camera 4K is a handheld digital camera that features a full 4/3 HDR sensor, dual native ISO with up to 25600 ISO and 13 stops of dynamic range. It removes the need for external recorders with a USB-C expansion port, allowing users to record to built-in SD/UHS-II and CFast recorders or to external disks. The 4/3 HDR sensor offers a native 4096x2160 resolution. Its size is said to match MFT lenses, meaning the crop factor is significantly reduced, providing a wider field of view. An MFT lens mount is included on the Pocket Cinema Camera 4K, as is a 5-inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs,

four built-in microphones, a mini XLR audio input with phantom power, Bluetooth wireless camera control and HDMI on-set monitoring output.

The Blackmagic Pocket Cinema Camera 4K The camera is made from carbon fibre polycarbonate composite to keep it strong, yet light. Users hold on to a multifunctional grip that features buttons and dials that provide access to functions such

Panasonic connects with NDI THE LATEST addition to Panasonic’s PTZ camera line-up, the AW-HE38, is built to provide a low-cost option for those seeking a full HD remote camera. It is also compatible with NewTek’s NDI|HX driver. With integrated pantilt functionality, the AWHE38 features the same

AW-HE38

as recording start/stop, still photo capture, ISO, shutter, aperture, white balance and power. The camera can record 4K images at up to 60fps and windowed HD at up to 120fps. It also includes Blackmagic’s fourth-generation colour science technology that lets users shoot HDR images in a variety of modes. The manufacturer has also released DaVinci Resolve 15, an update designed to completely integrate visual effects and motion graphics. This, Blackmagic states, makes it ‘the world’s first solution to combine professional offline and online editing, colour correction, audio postproduction, multi-user collaboration and visual effects together in one software tool’.

specifications as the AWHE40H and adds a 22x zoom. It incorporates a new 1/2.3type MOS sensor and digital processors, and is available as an HDMI output-only version. Panasonic has also released a firmware update to enable its existing PTZ cameras (the AWHE40, AW-HE130 and AW-UE70) to suppor t NDI|HX. Integration with the NDI (Network Device Inter face) allows users to connect Panasonic cameras directly to an NDI network.

DaVinci Resolve 15 In addition, DaVinci Resolve 15 adds a new Fusion page with more than 250 tools for compositing, paint, particles and animated titles among other functions. It also includes an update to Fairlight audio, as well as more than 100 other feature additions and improvements that users have requested. www.blackmagicdesign.com

‘With automatic detection by the NewTek TriCaster and NewTek’s IP Series of professional video switchers, Panasonic’s remote camera line-up can now seamlessly integrate with the hundreds of other NDI-capable products, enabling NDI-based video production workflows without any additional configuration,’ said Nela Pertl, broadcast and pro A/V marketing manager EMEA at Panasonic. www.newtek.com www.panasonic.com

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PRODUCTS

Christie expands the GS Series

Christie’s DWU635-GS THE 1DLP DHD635-GS and DWU635-GS laser phosphor projectors are the newest additions to Christie’s GS Series. They are designed to be lightweight and

compact, facilitating ease of transport between venues, such as houses of worship with more than one campus. Both models feature embedded warping and blending technology, dynamic contrast and a 360° orientation as well as portrait and landscape modes. The DHD635-GS and DWU635-GS also include laser diodes offering up to 6,750 ISO lumens of light output for a reported 20,000 hours of operation. They are equipped with Christie’s RealBlack technology, which is designed to

deliver a 4,000,000:1 full on/off contrast ratio in a ‘whisper-quiet (36dBA) solution’. In addition, the new projectors are compatible with all GS Series lenses and are said to be capable of 24/7 operation. Christie has also expanded its Extreme Series with the launch of the FHD493-XE 49-inch LCD ‘extremely narrow’ bezel display. It features a 1.8mm combined bezel width and advanced panel matching functionality, and is compatible with Christie’s Phoenix EP network distributed processor. The manufacturer states that it is ‘ideal’ for videowall applications and has been developed for 24/7 operation.

A Pearl of light THE COLORSOURCE Pearl has joined ETC’s ColorSource family of lighting fixtures, providing flicker-free white light with a smooth dimming curve. It is a variable white light LED array for use with the ColorSource Spot, Linear and PAR fixtures, utilising a combination of two different white LEDs, which allow the colour temperature to be set anywhere between 2,700K and 6,500K.

www.christiedigital.com

A revolution in live graphics FOR THOSE looking to add hymn lyrics, lower thirds and other visuals to their live video feeds, NewTek states that it has delivered a ‘new approach to the creation of realtime motion graphics that does not require a proprietary hardware graphics engine’ with the release of LiveGraphics. The solution makes content produced in Adobe Photoshop CC and Adobe After Effects CC available for live output from NewTek’s TriCaster TC1 and IP Series systems with adjustable text and images that can, if desired, be driven by live data and web content. The LiveGraphics Creator plug-in is used within Adobe After Effects and allows users to create real-time graphics with complex layer presets and text effects that can be applied across multiple layers simultaneously with offsets. A layered Photoshop file can be imported into LiveGraphics

Creator and a composition is then created automatically. After animating and previewing the content in After Effects, it can be exported to a TriCaster TC1 or IP Series media buffer with 10 real-time graphics channels and preset states for layer compositions and data elements. From the chosen NewTek production system, text and image

fields can be updated manually or connected to data sources, such as databases, watch folders, web pages, scoreboard controllers, macros and LivePanel web-based scoring, via the native Datalink functionality. In addition, LiveGraphics comes with more than 100 customisable templates that are ready-to-use right away. In other NewTek news, Vizrt’s studio automation solution, Viz Mosart, has now been integrated with the TriCaster TC1 and NewTek IP Series systems. This partnership aims to streamline workflows and facilitate ease-of-use, consistency and quality to productions.

the ability to simultaneously output content directly to Facebook Live, YouTube Live, Periscope Producer, CDN platforms and SDI via a TVU transceiver. It supports multi-user operation, allowing for

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Alongside the Pearl, ETC has added the WLZ (Wash Light Zoom) fixture to its Irideon line of architectural fixtures, designed to blend into any space. The WLZ

The WLZ fixture

collaborative workflows, and its WYSIWYG interface is designed for users of all abilities to manipulate graphics and text overlays during production. iOS, Android or macOS devices can be added as live video sources when equipped with the TVU Anywhere app. The solution is compatible with all TVU transmitters, IP video sources and standard IP video streams.

is available in a variety of colour temperatures, from 3,000K to 5,000K, and three mounting variations: track mount, portable and canopy. It also has a built-in rotating zoom adjustment at the rear of its housing that enables beam angle adjustment within a range of 9° to 78°. The manufacturer’s entry-level Eos family is also celebrating a new addition in the form of Element 2. This new Element is more in line with the other Eos consoles than its predecessor, Element, featuring the same hardkey layout as its Eos siblings.

www.tvunetworks.com

www.etcconnect.com

www.newtek.com www.vizrt.com

TVU Producer goes pro TVU PRODUCER Pro is the latest addition to TVU Networks’ family of remote production solutions designed to facilitate professional, multi-camera live video production. It is a cloud-based video production suite that enables multi-camera production to be conducted from a web browserbased interface. Featuring a multichannel IP video switcher and titling and graphics capabilities, TVU Producer Pro has

ColorSource Pearl

PRODUCTS

Aqua comes into full effect EXPANDING ON its Aqua Series, PR Lighting’s Aqua 480 BWS includes various effects that can be used for outdoor productions as well as permanent or temporary applications. The luminaire has a 480W lamp with an optical system and is an IP65-rated beam, wash and spot hybrid moving head. It has a gobo wheel with 10 ﬁxed gobos as well as a rotating gobo wheel with seven interchangeable gobos. This, in turn, offers users a selection of

gobos from which to choose and something the manufacturer says also gives users the option to create in-air and surface designs. Aqua 480 BWS also has a 3-piece bidirectional prism, colour wheel, CMY linear colour mixing system with macros and independent CTO channel. Meanwhile, Aqua 350 BWS is an IP65-rated beam, wash and spot ﬁxture with a 350W lamp. Reportedly offering 1,500 hours of operation, the light incorporates three prisms (a

PR Lighting’s Aqua 480 BWS standard, a 2x6-facet circular prism and a linear prism), bidirectional rotation with variable speeds and a motorised linear focus and zoom.

The light angle in beam mode is 0° to 2.5°; in spot mode it’s 2.5° to 42°; and in wash mode it’s 5° to 50°. It has a DMX512 wireless receiver and an optional DMX512 wireless transmitter. Arc LED 1360 Strobe is an IP67-rated graphic strobe, blinder and ﬂood that is available in white (6,500K) and warm white (3,000K). Weighing 9kg, 360 Osram 1W LEDs reportedly provide 50,000 hours of operating time and a power consumption of 350W at 220V. www.pr-lighting.com

Remote show sync with An-Ki INTENDED FOR scheduling and monitoring the manufacturer’s MediaMaster software, Arkaos has released the An-Ki remote control and digital management solution. Working over the internet, An-Ki allows digital content appearing as projections or on any LED mappable surfaces or devices to be updated, synched or tweaked in ‘just a couple of clicks’. An-Ki also allows different surfaces or displays to be synchronised so they show the same material at the

same time. The An-Ki player will synchronise video sources running on two or more MediaMaster computers or media servers anywhere in the world, with frame synchronisation based on the internet’s Network Time Protocol (NTP). Meanwhile, the An-Ki enabled layer of MediaMaster now gives content managers remote access to devices and displays from anywhere in the world. www.arkaos.net

Arkaos’ MediaMaster software can now be monitored in the An-Ki solution

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PRODUCTS

Robe adds some bite ROBE HAS built on its Spiider technology to create its most powerful LED beam/wash/effects fixture yet. Named the Tarrantula, the multi-function light features 36 30W and one 60W LED chips, providing 20,000 lumens of output. Away from the power, the luminaire also offers a range of standout features such as an adjustable beam angle from a 4° spot to

a 50° wash and an integrated 18-bit LED dimming system. In terms of effects, it offers an LEDWash 800-inspired Beam Shaper accessory which creates a traditional oval beam that can be indexed for coverage of the stage or performance area. Central to the Tarrantula is the manufacturer’s ‘Flower Effect’. Driven by the 60W RGBW multichip, this creates sharp,

speed-controlled spikes of light that can be rotated in either direction. In addition to this, video-driven effects can be achieved by mapping the Tarrantula’s individual pixels via a DMX console or a media server, and using the onboard sACN with internal HTP merging via DMX or Kling-Net protocols. Tarrantula builds on Spiider technology

Zac-Eye, a light with AI

Strike with flexibility CHAUVET LIGHTING has designed the new Strike P38 to add flexibility to its Strike series of multi-formatted blinder/strobe fixtures. It can reportedly be used in more applications and configurations than the Strike 1 and Strike 4 fixtures due to its smaller form factor. An IP65-rated single pod LED fixture, the Strike P38 delivers 90W of warm white light, measures 303mm x 261mm x 184mm and weighs 3.8kg. It offers 16-bit dimming control and includes an adjustable Pulse Width Modulation to ensure it is flicker-free when on camera. In addition, the fixture delivers a strobe rate of 0Hz to 29Hz and has four dim modes. Although it is designed primarily as a blinder, the Strike P38 is also ‘cool enough’ to serve as a wash. It can be controlled via DMX or RDM protocols.

Strike P38 Speaking of control, Chauvet has also introduced BTAir, an app that utilises Bluetooth wireless technology and allows users to control lighting fixtures from a smartphone or tablet. The app is available on Android and iOS devices and is compatible with the Bluetooth-enabled fixtures from the Chauvet DJ range – the

www.robe.cz

SlimPAR T12 BT, SlimPAR Q12 BT and Colorband T3 BT. Via the app, users can create, store and recall scenes, and control colour fades and chases. The SlimPAR T12 BT features 12 RGB LEDs and is designed as a compact unit to fit inside sticks of truss. In addition to its built-in Bluetooth capabilities, an IRC-6 remote control can also be used, as can DMX, automated and sound-activated programs. The larger SlimPAR Q12 BT offers the same methods of control, while also including 12 RGB LEDs. Meanwhile, the Colorband T3 BT is a linear wash light. It also possesses 12 RGB LEDs and also includes three control methods on top of its Bluetooth functionality: access to built-in automated programs via an optional IRC-6 remote, Master/ Slave or DMX.

CLAYPAKY HAS developed a device that allows follow spot fixtures ‘to see like a human eye’ and automatically follow a subject. It is called Zac-Eye and is described as ‘the first standalone follow spot to use artificial intelligence’. Zac-Eye connects to any of the manufacturer’s moving lights via Ethernet and its optical 3D sensor will detect all objects on a stage. Its algorithm has been programmed to recognise the shape of human beings, and it can follow up to four people. Claypaky has designed it to be easy to set up and use, and states that it is ‘completely reliable and affordable’. www.claypaky.it

www.chauvetlighting.com

A pair of Sevens and a Smarty ELATION LIGHTING has built upon the success of its SixBar Series with the creation of the Seven Batten Series of LED colour-changing battens. These use 7-colour (RGBAW + Lime + UV) multi-chip LED technology to deliver a more flexible wash solution than the series’ predecessor. Available in 0.3m, 1.2m and 1.8m lengths, each Seven Batten produces almost 80% more lumens than its SixBar counterpart. They can stand alone or be flown from trussing and are recommended for production applications and installations as a wash light, uplight, wall/cyc wash, accent lighting or as a direct view pixel strip.

Also new is the line of Seven PAR IP colour-changing fixtures. The Seven

The Seven Batten family

68 WORSHIP AVL September–October 2018

PAR 7IP and Seven PAR 19IP house seven and 19 LEDs, respectively, and spread light at a 25° angle while, like the Seven Battens, producing nearly 80% more lumens than comparably sized SixBar fixtures. The Seven PAR IP units are IP65-rated for use outside as well as inside and can be used as a wash light, uplight, wall wash or truss warmer.

Finally, the Smarty Hybrid is a compact and fully featured CMY colour-mixing spot/beam/wash hybrid moving head. The manufacturer says that this fixture has ‘stage smarts’ thanks to its Flex lamp technology. This is because Elation worked with Philips to build on the latter’s Platinum lamp technology to create the new, longer-life Platinum Flex 200 lamp that forms the foundation of the Smarty Hybrid. The result is a discharge lamp/ballast package that provides a high output from a compact fixture that reportedly has a lamp life of 6,000 hours. www.elationlighting.com

PRODUCTS

Litepanels update fully affects Gemini LITEPANELS’ LATEST firmware update for its LED soft panel Gemini includes new lighting effects, including TV, emergency lights, lightning, fire, hue burst, paparazzi, fireworks, party lights, pulsing, square and strobe. All effects are customisable, giving users the ability to control rate, colour and depth. Effects can be saved to presets for easy recall which, in turn, can be saved to a USB drive for porting to other lights – described by the manufacturer as being ideal for rental customers who need a streamlined setup for their rented lights. In addition, the firmware itself can be updated from a

Avolites launches Titan v11 TITAN V11 is Avolites’ latest version of its lighting control software suitable for all its current consoles. The upgrade builds upon and extends the existing Titan feature set and includes the option to specify the number of times that effects run – this includes Shapes, Pixel Map effects and Key Frame Shapes. The update turns the Key Frame Shapes engine into a one-shot, timeline-style cue creator.

USB drive, a process that reportedly takes about 20s. www.litepanels.com

Work Pro gives LightShark wings WORK PRO Audio’s LightShark range of lighting consoles has gained additional functionality thanks to the LS-Wing console expander unit and four LS-Nodes that aim to offer an affordable hardware expansion solution for LightShark, providing extra DMX and Ethernet connectivity without the user interface and physical controls of the LS-1 and LS-Wing units. Although the LS-Wing is narrower than the LS-1, it is designed to still hold a 12.9-inch iPad Pro on its surface-mounting area. It connects to the LS-1 via Ethernet, enabling users to expand the physical controls available for LightShark systems. The LS-Wing offers 20 backlit and 10 playback buttons, as well as two extra DMX control universes and an additional three Ethernet ports. A pair of USB connectors allows users to charge their tablets or smartphones when used to control the LightShark system. The four LS-Nodes are named LS-Node1, LS-Node2, LS-Node4 and LS-Node8. Each gains the number in its title from the number of freely configurable DMX Universes it delivers to a connected DMXcapable lighting system, whether it’s LightShark or an alternative system. All LS-Nodes feature 2-port Ethernet connectivity and support the Art-Net

Two new cue list key profiles, ‘Flash and Go’ and ‘Timed Flash and Go’, have been added to allow more expressive options

for control over cue lists for live applications, especially where the list is to be triggered from a single executor button. Titan’s Attribute Editor has also received a significant upgrade, adding gel colours and HSI/ RGB/CMY mixing options to the colour picker, which combines up to seven colour channels, as well as gobo images which transfer directly to palette Quick Sketch labels. Two new cur ves have been added to Fan that allow users to create positions for a large number of fixtures and enhanced spatial selection directions. The new Cross-fade HTP option allows dimmer channels to behave like LTP channels on a per-playback basis. The manufacturer states that the new updates continue to ‘add finesse to live environment lighting control’. www.avolites.com

LSC unites racks for better control and sACN protocols. The LS-Node1 and LS-Node2 models also offer a DMX input universe, facilitating the merging of DMX sources. The three smallest LS-Node units come in the same ¼U form factor as the manufacturer’s LS-Core and are powered through a USB-C connector. They can be rack-mounted using optional LS19AR rack ears. Meanwhile, the 8-universe LS-Node8 is a 1U, 19-inch unit featuring an LCD display for configuration and has a Neutrik True1 power connector. The Equipson Group-owned brand has also released the WNS-8P, an 8-port Ethernet switch designed for the live, install and integration A/V markets. It is contained in a 19-inch rack, offers Power over Ethernet (PoE) via each of its standard Ethernet connectors, is compatible with RJ-45 and etherCON connectors and can be configured using a webbased interface. www.workproaudio.com

THE UNITY 48- and 96-channel installation racks from LSC Lighting Systems have been described by the manufacturer as being able to control any load from traditional tungsten lamps, through to LEDs, neon and fluorescent fixtures. The Unity dimming/power cabinet system allows users to set any channel to become a TruPower relay, said to be ideal for powering moving lights and A/V equipment. Available in two sizes, for four or eight modules (48 or 96 channels) the UIR (Unity installation rack) cabinet provides mains power distribution, output circuit termination panels, DMX/ Ethernet connections and cooling for the Unity system. With dedicated modules, each cabinet can be loaded with any of the following 12-channel modules enabling the venue to customise its system as required: UDM (Dimming/TruPower Relay bypass module), ULM (LED dimming/TruPower Relay bypass module) and USM (Switching Relay module).

Meanwhile, in the data distribution range for installation markets, the 4-way DIN-Rail with RDM as standard is the latest version of LSC’s MDR DMX Splitter. www.lsclighting.com

The Unity 48- and 96-channel installation racks

September–October 2018 WORSHIP AVL 69

THE TECH VIEW

Michael Garrison Associates Michael Garrison is the owner of Michael Garrison Associates, a company dedicated to providing consulting, design, integration and training services to faith-based organisations

Michael Garrison, owner of MGA

A successful project at Casa de Dios in Guatemala led to further Latin American work ‘MY CAREER BEGAN IN 1971 AS A church youth/music director, which involved doing musical concerts in worship facilities in Washington, Oregon and California,’ begins Michael Garrison, owner of Michael Garrison Associates (MGA). ‘Pastors often asked me to help improve their installed audio system, noting that my portable road gear sounded better. This widespread need led me to start a company in 1976, dedicated to providing quality audio systems specifically for churches. That scope grew to include acoustics and other technical systems needed for worship spaces. And though we have done other projects, churches have always been our primary business.’ Based in Fresno, California, MGA works on projects throughout North, Central and South America. ‘Our clients have come predominately from direct referrals,’ Mr Garrison explains. ‘The geographic connections happened in many ways, but were typically between one church leader and another, or from a leader relocating. This “spread” was limited to the US Pacific Northwest for the first 10 years, but then jumped around the country for the next two decades. Our first international project was a new 12,000-seat facility in Guatemala. That venture

was successful for all involved, leading to more Latin American projects for MGA. We are currently considering opportunities in Africa and other parts of the world.’ As with any market, working in the HOW sector comes with its own considerations. ‘There is a unique 5-way connection inherent to the experience in many contemporary houses of worship,’ says Mr Garrison. ‘One: communicator/performersto-attendees; two: attendees-tocommunicator/performers; three: attendees-to-other attendees; four: attendees-to-God; and five: communicator/performers-to-remote viewers. Special attention must be given to the design of the room, seating layout, sightlines and AVL systems to create a space that successfully supports all of these. ‘Another special aspect of working with churches is that they may not be familiar with the terminology and processes that are common to design and construction. This can lead to misunderstandings and disappointed expectations that may result in delays, unforeseen costs, damaged relationships and needless stress. It is helpful if members of the project team agree to acknowledge, “We don’t know what we don’t know” and to promote a culture of

70 WORSHIP AVL September–October 2018

communication, mutual respect and cooperation.’ As well as technical knowledge, tight budgets often pose restrictions to houses of worship. ‘Budget is a limiting factor for most “mortal men”,’ says Mr Garrison. ‘But, in my experience, this is especially the case for churches, where the vision and creative aspirations for AVL systems routinely outstrip the “currently held” financial resources. Since procuring quality technical systems will represent a significant investment, it is prudent to do adequate research, get advice from qualified, trusted sources, work from a solid design that will meet your needs,

Garrison has gained a vast amount of knowledge in HOW systems integration. He concludes by reflecting upon his most memorable project: ‘I learned a great lesson during a construction project at the Faith Chapel Christian Center in Birmingham, Alabama. God had told the church leadership, “If you will contend for a spirit of unity within the project team, I will provide all you need for a debt-free building”. The entire team agreed to this policy but, when another contractor caused MGA significant extra work, and blamed us for the problem, I prepared a thorough written defence. The church’s project manager

A lesson was learned during a project at the Faith Chapel Christian Center and – if your budget requires you to implement things in phases – stick to a master plan and only purchase gear that fits into the design.’ The MGA owner also issues a warning for those contemplating a DIY AVL installation. ‘Don’t assume you can’t afford to involve an AVL professional in your project or, worse, that you don’t need one,’ he suggests. ‘I have witnessed many churches spending more money, time and grief attempting to remedy problems from a badly designed and implemented system, than it would have cost to do it right the first time. Remember: “We don’t know what we don’t know”. It is wisdom to seek advice from others with more experience than ourselves.’ With more than four decades of experience in AVL project work for faith-based organisations, Mr

said: “Michael, we don’t want any conflicts; we know this is not your fault, so just tell us what the fix will cost”. I protested that the church shouldn’t have to pay for this other contractor’s mistakes, but the project manager responded: “That’s not MGA’s responsibility – focus on working peacefully and we’ll cover the extra expense”. I was humbled by my poor attitude. Later, I learned that this and several other similar situations had caused the project to go approximately US$1 million over budget, which the church paid without complaining. However, when completed in December 2002, the church was totally debt free. I learned that good stewardship is more about “obedience” than it is about pinching pennies.’ www.mganow.com

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Worship AVL September-October 2018

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