Worship AVL July-August 2019 by Blank Canvas Publishing Ltd

AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST

May–June 2019 July–August 2019

INSPIRED BY ARK CATHEDRAL OFNOAH’S THE NATIVITY The largest cathedralCATHOLIC in the Middle East GWANPYEONGDONG CHURCH

ETERNAL LIFE ASSEMBLY OF GOD HOW TO MIC A DRUM KIT MOSQUÉE DE LA RIVIÉRA GOLF

VIDEO TERMINOLOGY 101 NATIONAL DAY OF PRAYER AT FNB STADIUM Singapore: MICA (P) 020/07/2018 PPS 1644/05/2013(022954)

LOCATING A SOUND BOOTH Singapore: MICA (P) 020/07/2018 PPS 1644/05/2013(022954)

CONTENTS

Issue 59

July–August 2019

NEWS POWERING PRAYER FOR 800,000 Full Gospel Church adds Powersoft amps

CLARIFYING LESSONS JBL reinforces Daijozan Houonji Temple

FLYING COLOURS A Night of Worship lit up by Chauvet lighting

POINT SOURCE CELEBRATION ICF Mittelland adds KV2 speakers to venue

GETTING TO THE POINT Point Source Audio headsets for Elevation Church

HERE AGAIN Experience Community stages in the round concert

INTIMATE IN TEXAS Megachurch equips Meyer Sound for smaller chapel

IFGF SEMARANG BOOSTS MUSIC Adamson IS-Series gets installed

COMMUNITY AT ALGERIAN MOSQUE Djamaâ el Djazaïr Mosque opens its doors 14 SLIMMING SOUND Yamaha VXL line arrays deployed in French Catholic church 15 FIRST LOVE GENERATION South African church upgrades to L-Acoustics

BUDDHIST SINGING BOWLS New album recorded using DPA mics

DAISY-CHAINING WIRELESS Mipro sets up at Chiayi Nanmen Presbyterian

AVOIDING REVERB Renkus-Heinz steers sound in Minnesota cathedral

PROJECTS COVER: GWANPYEONGDONG CATHOLIC CHURCH Architecting audio for everyone 22 ETERNAL LIFE Reverend Lau’s musical talents inspire new sound setup

DIVINE MERCY CHURCH Martin Audio delivers intelligibility to Indian church

QUEENSTOWN BAPTIST CHURCH Tailor-made sound system installed in Singapore 28 MOSQUÉE DE LA RIVIÉRA GOLF Ivory Coast HOW finds the right solution

SHILOH CHURCH Morris Integration brightens up Californian church

KNOWHOW HANGING LIGHTING FIXTURES John Black explains where and how

LIVE VIDEO FOR ALL SIZES NewTek’s Matt Allard on a networked approach

HOW TO MIC A DRUM KIT Where do you begin? Gordon Moore has the answer

MAINTENANCE Frank Wells provides a loudspeaker system check-up

LEADER Cathédrale Notre-Dame de Paris made global headlines last month due to the outbreak of a fire, which destroyed much of the iconic church. Amid the damage, the 91m spire collapsed, removing a key piece of historic architecture from the Paris skyline. While the loss of a prominent place of worship is deeply saddening, the opportunity is there to rebuild. As French president Emmanuel Macron stated, we will ‘rebuild this cathedral together’ and it will be ‘even more beautiful’. In the weeks that have passed since the flames were extinguished, there has been plenty of debate over how Notre-Dame should be rebuilt. Many historians and traditionalists argue that the sanctuary should replicate its original design as closely as possible. Meanwhile, Macron laid down the gauntlet to architecture firms around the world to submit their proposals for a redesign. Bids so far have been received from the likes of Paris-based Vincent Callebaut Architectures, which has offered an eco-friendly design with a roof made from glass, oak and carbon fibre, inside which would be an urban farm producing fruit and vegetables to be given to local residents. Other designs under consideration would see the roof becoming a greenhouse – a sanctuary for wildlife and insects – or the replacement of the roof and spire with a blue-tiled roof constructed from recycled ocean plastic. Those in favour of a new design point to the fact that renovations and additions to the cathedral reflect the differing styles of various centuries. Whichever design is ultimately chosen, seeing Notre-Dame restored will be a sight to behold.

James Cooke Editor

Telephone: +44 (0)1892 676280

Email: jcooke@worshipavl.com MEET THE TEAM

TECHNOLOGY MIDI SHOW CONTROL What is it and what can it enable you to do?

VIDEOMAKING TOOLS FOR BEGINNERS All you need to get started

INTERFACING AUDIO WITH COMPUTERS A detailed look at audio interfaces

BUYING GUIDE What to consider when choosing a vocal microphone

PRODUCTS Equipment launches and updates

THE TECH VIEW Trinity of Fairview finds the right mix at last

IN THIS ISSUE

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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 July–August 2019 WORSHIP AVL 3

NEWS

Powering prayer for 800,000

KOREA: Full Gospel Church has a huge following that keeps growing. When Worship AVL last reported on the South Korean church in 2017, it boasted a congregation of 500,000. Less than two years later, Yeouido Full Gospel’s membership has risen to more than 800,000 worshippers. While no building is large enough to host the entire congregation at one time, the numerous services throughout the week and running all day on Sunday still draw extremely large crowds from South Korea’s largest Pentecostal Christian congregation, and a working sound system is vital to ensure that everyone gets to be part of the experience. So, when the church’s old and outdated amplifier setup started to encounter frequent errors, an upgrade became immediately necessary. Dasan SR, a pro audio

consultancy and distributor of, among other brands, Powersoft, presented a solution in the form of the Italian amplifier manufacturer’s eight-channel X Series tour-grade systems to power the sanctuary’s main PA setup, which includes EAW KF750 loudspeakers with KF755 down-fills. Dasan SR’s technical manager, Changyu Choi, designed the solution, which resulted in the installation of seven X4 amps, taking into account the church’s need for both flexibility and stability. The price and performance offered by the system also helped as it won over bids from other manufacturers. ‘The key, however, was the greybox support,’ explained Choi. Powersoft’s DSP+D amplifiers, including the X Series, are all capable of natively reading and loading EAW’s greybox presets,

aligning the loudspeakers with the amplifiers. Powersoft’s ArmoníaPlus software handles system management, pairing the loudspeakers and universal switch mode power supplies with Power Factor Correction (PFC) and patented Class-D technology. Choi also explained that the Powersoft X4’s matrix features assisted greatly with installation and adjustment. ‘The matrix function, allowing you to send one or more

Greater Mount Moriah seeks Pioneer musical performance USA: Greater Mount Moriah Primitive Baptist Church has a music programme led by recording artist Christopher Ervine and services that feature a choir, band and praise team. The church was founded in 1891 and its current sanctuary was opened in 2002, although it was designed to enhance the spoken word and not music. Therefore, Music Maker USA was recently called in to provide a sound system to acoustically elevate the sanctuary. Music Maker USA chose a Pioneer Pro Audio solution due to its ongoing

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inputs freely to all outputs, is very attractive.’ Yeouido Full Gospel’s sound engineer, Joung Kim, worked alongside Choi to organise the input and output channels and to stabilise the system. ‘The Powersoft products are very stable and reliable,’ Kim confirmed. ‘The control of the system now is very simple, with no need to manipulate the system at all now the setup is complete. Power on/off is available remotely, which is very convenient and all we need to do is monitor the system status. That the amplifiers support their own Dante network is invaluable as it now bypasses the original network. I’m very happy with how the installation went.’ www.dasansr.com www.fgtv.com www.powersoft-audio.com

brand name and the company,’ said Music Maker’s Caleb Baker. ‘We were excited to use the Pro Audio line to provide exactly what our customer needed for this project and have been amazed by the performance of the products.’ The new setup installed at Greater Mount Moriah comprises eight XY-122 speakers that cover the main floor and balconies. A pair of XY-218S subwoofers deliver low-end reinforcement. Following installation, the church has received positive feedback and stated that the setup provides consistent coverage and great tone. www.mountmoriahpb.org

relationship with the manufacturer and past success in using its

products. ‘We have always respected the integrity of both the Pioneer

www.musicmakerusa.com www.pioneerproaudio.com

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NEWS

Clarifying lessons in the temple

JAPAN: The School of Nichiren’s Daijozan Houonji Temple has been equipped with a new sound system to reinforce sermons and deliver announcements with clarity. Hibino Sound installed JBL Intellivox DSX280 HD powered column speakers.

The School of Nichiren’s Daijozan Houonji Temple was founded in 1909 by Tatsuko Sugiyama. It imparts the text of the Lotus Sutra and the teachings of 13th-century priest Nichiren. ‘To provide optimum sound coverage, ensuring that all visitors

can hear the sermons clearly, the temple management requested us to implement a system that would provide crystal-clear audio quality during the events,’ said Akio Taniguchi, branch manager at Hibino. ‘We used JBL’s Intellivox column speakers and the Soundcraft digital mixer, to set up a robust sermon delivery system. The combination delivers full and balanced audio coverage over the entire seating area, ensuring that every guest receives a superior listening experience.’ The Intellivox DSX280 HD speakers deliver consistent audio coverage up to 35m. Hibino also installed Soundcraft Si Expression 1 digital audio mixers to control the system. ‘As a result of significant reverberation in the main hall where sermons are delivered, it

was often difficult to make out the priest’s words and there were some areas where the sermon could barely be heard,’ said a spokesperson from Houonji Temple. ‘Amid discussions of alternative sound delivery systems such as earphones, a test of the Intellivox speakers using the DSP to control the vertical spread of the sound provided a major improvement in clarity. The response has been excellent from the visitors. With the addition of the Si Expression 1 mixer and other changes to improve the system’s overall sound, the quality is significantly better in the office and other areas as well.’ www.hibino.co.jp www.jblpro.com

Events Evolution performs with flying colours

ZIMBABWE: A Night of Worship at United Family International Church in Mutare led by minister Michael Mehendere filled the venue with worshippers and uplifting music. Well known throughout Africa, Mehendere has worked with some notable musicians on the continent, as well as being a senior pastor, so an inventory that would elevate the evening gospel service was required. Blessing Bero of Events Evolution was approached for lighting design, with Tatenda Rushwaya running the board for the show. Using a mix of Chauvet DJ fixtures, Bero focused on creating warmth for the event through washes and special effects. ‘UFIC Mutare has a good stage, but it is not very large, so it was important to create depth by alternating patterns

of shadows and light,’ said Bero. ‘We used eight EVE F-50Z Fresnels, rigged on the balcony of the venue, to wash a warm feel of light for backing vocalists and some band members. The spill of light from that angle worked as a side warm wash for the leading vocalists as well. For the main FOH lighting, we

6 WORSHIP AVL July–August 2019

used six EVE E-100Z spots for all the leading vocals and MCs.’ The flexibility of the EVE fixtures helped the Events Evolution team create varied looks throughout the service. ‘We like their manual zoom, as it allowed us to create an even field of light while we changed the coverage

area,’ said Bero. ‘The crisp edges of the beam were also very good for spotlighting people on the stage.’ A collection of 24 SlimPAR Tri 12 IRC fixtures was used to add colour. Most of these RGB LED washes were hung on upstage and side truss or positioned on totems, while other units were used as truss warmers. Bero also used eight Intimidator Hybrid 140SR fixtures, along with four Chauvet Professional Rogue R2 Wash units, for specials and aerial effects, to add power to some of the leading songs. ‘This was a high-energy event, and we wanted to reflect that in light,’ said Bero. www.chauvetdj.com www.chauvetlighting.com www.eventsevo.co.za

BIGGER

BRIGHTER BOLDER

NEWS

Point source sound Elevation in Celebration Hall production staff get to the Point SWITZERLAND: ICF Mittelland is a non-denominational free church housed in the Celebration Hall at the You Event Center in Oftringen, which accommodates up to 350 seated worshippers, or 800 in a standing room depending on which configuration best suits the type of service or event the church is running. The church’s flagship weekly event is its Celebrations service, an energetic and vibrant worship experience that includes a full worship band. To support this, as well as the church’s other services, ICF Mittelland recently

The newly installed setup comprises two wide dispersion SL412 speakers as the main PA, driven by an SL3000 amplifier. Two VHD2.18J subwoofers, powered by a VHD3200, provide low-end reinforcement and, depending on the event, a pair of EX6 full-range speakers and an ESD5 centre speaker are used for stage monitoring and as fills. Completing the KV2 setup are two SAC2 super analogue controllers, an SDD3 super digital display and a VHD LD4 four-channel line driver.

Jared Olson wearing his CM-i3 headset

upgraded its audio setup to a KV2 system, supplied by Swiss pro AV and lighting specialist Plusmusic AG. New technical equipment, including the audio system, had been required following the laying of a new floor in the Celebration Hall. ICF Mittelland called on Plusmusic AG to help with its audio requirements, to ensure optimal sound for the wide, shallow hall. Once acoustic panels were installed on the ceiling and walls, Plusmusic arranged a live KV2 demonstration. ICF Mittelland’s technical manager, Patric Neeser, and the rest of his team were impressed with what they heard and decided to invest in a KV2 point source system.

‘Our new KV2 audio equipment enables us to fill the entire room with high-quality, cr ystal-clear sound – so we can get right to the point, and ever yone can hear us,’ said Neeser. ‘The sound quality is truly remarkable. Firstly, the definition and transparency are stunning and, secondly, the wide dispersion of the SL412 system is per fect for the shape of our venue. It’s a difficult area to cover from an acoustic point of view, being very wide and shallow, but we have managed to achieve smooth and even coverage across the whole area.’ www.icf-mittelland.ch www.kv2audio.com www.plusmusic.ch

8 WORSHIP AVL July–August 2019

USA: With 19 campuses dotted around North Carolina, Elevation Church places significant importance on its production values. Yet, four years ago, one of the technical volunteers at its main broadcast campus, Mike Mitchell, decided to replace the can-style headset he’d been issued for communicating with the rest of the team out of his own pocket, buying a Point Source Audio CM-i3 in-ear headset. Since then, other tech team members have taken notice, and CM-i3 headsets are now used by 15 of the crew. ‘When I first used the CM-i3 headset, it was transformational,’ said Mitchell. ‘The ability to hear better and protect my hearing at the same time has improved the way I approach my role in the production process.’ ‘I wear mine for 8–10 hours a day every Saturday and Sunday,’ said production director, Jared Olson. ‘I’ve had the same headset for four years with no problems. Any production I do,

I do with this headset. I wear glasses and any muff-style headset gives me a headache. Most of the techs have custom in-ear moulds and you can easily replace the stock or standard earbuds with your in-ear moulds. It’s even more comfortable, and also provides an added measure of isolation.’ The CM-i3 is designed to go behind the head, instead of over the top. It is built with a lightweight frame that fits over ears and has small earbuds and a mic that’s a little larger than a standard lavalier. Olson wears his headset for rehearsals, FOH mixing or managing the streaming mix, and for party-line communication with camera operators, graphics, the stage, the band and the production team. As production manager, he wears the headset the entire day to allow staff to contact him with any queries. www.elevationchurch.org www.point-sourceaudio.com

NEWS

Here Again in the round USA: Tennessee’s Experience Community Church recently hosted its Here Again Worship Night. Nashvillebased Myers Concert Productions supplied a Vue Audiotechnik sound system for the in-the-round event, deploying some of the newest cabinets in its arsenal for the first time.

the entire line, Vue provided an option where we could use differentsized line array elements to provide uniform coverage while sustaining the same tonal characteristics across the listening area.’ The system deployed comprised 16 al-8 line array cabinets, in four hangs

The stage was situated in the centre of the Experience Community Church’s rectangular sanctuary. A former factory, the venue features highly reflective exposed brick walls, concrete floors, steel rafters and a 6m-high ceiling. Therefore, the Myers team deployed a Vue PA system with a 360° configuration to match the in-the-round stage setup and to overcome the acoustic woes felt in such an environment. ‘We were faced with a variety of issues that you’d expect from a large warehouse not originally designed for live performances,’ confirmed Brice Clark, system engineer at Myers Concert Productions. ‘Several issues included height limitations, varying room depths and weight restrictions for the overhead truss. Because of the scalability and uniformity across

of four for longer throws, four hangs of four al-4 speakers for shorter throws and six ground-stacked hs221 ACM subwoofers. ‘The low-end extension was incredible, while the top was very crisp without a bit of harshness,’ said Austin Kursave, the church’s FOH engineer. ‘Everything sounded so clean and clear.’ ‘I was extremely pleased with the performance of the Vue system,’ added Clark. ‘It provided even dispersion across the listening area without losing any energy and excitement throughout the venue. I look forward to deploying these boxes on more of our shows.’

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www.experiencecc.com www.myersconcertproductions.com www.vueaudio.com

July–August 2019 WORSHIP AVL 9

NEWS

Intimate solution for Texan megachurch invisible. And that’s why we proposed a Meyer Sound CAL solution.’ The previous sound system saw line arrays mounted in faux organ chambers, hidden behind grille cloth, at either side of the chancel. Coble noted that the arrays had enough power, but just lacked the precise control needed to avoid exciting the room.

USA: Prestonwood Baptist, a large, multi-campus church near Dallas, has a main auditorium that seats up to 7,000 people at its Plano campus. However, for occasions such as weddings, which require a more intimate setting, the site also features a smaller building, Faith Chapel, which has room for up to 550 guests. Although the chapel was built during this century, its traditional design, with stained-glass windows and an arched barrel ceiling, is great for orchestral music, but too reverberant for speech intelligibility. Therefore, Paragon 360 was called in to offer a solution, and installed a Meyer Sound CAL system. ‘The reverberation time was so long to the point where, if somebody was standing 15 feet away from you when the room was mostly empty, it was

‘We had looked at options from different manufacturers, but the precise beam shaping of the CAL 96 gave us the pattern control that was necessary for this space,’ explained Coble. ‘And keeping everything off that ceiling was a high priority.’ The team at Prestonwood Baptist had wondered if any solution could have fixed their sound problem.

hard to understand what they were saying,’ recalled Mark Coble, audio and acoustics specialist for Paragon 360. ‘The church was adamant in not wanting to change anything about the feel of the room, and that included keeping all loudspeakers essentially Images courtesy of Paragon 360

CAL 96 loudspeakers are mounted discreetly within the grille openings

The new system comprises two CAL 96 loudspeakers mounted discreetly within the grille openings. The beam tilt and spread of one of the CAL 96 speakers spotlights the lower seating area, while the other is narrowly focused on the rear balcony. Also installed are two of Meyer Sound’s UP-4slim loudspeakers, which anchor the sound imaging for the front rows, and a pair of 750-LFC subs behind the grilles that supply low-frequency extension.

‘Honestly, the CAL loudspeakers do things I wouldn’t believe possible unless I had heard it,’ said Bryan Bailey, director of media at the church. ‘The system has raised the bar of excellence, and given us an end product that is less distracting and higher quality than we had before.’ www.meyersound.com www.paragon360.com www.prestonwood.org

Light of Jesus at the movies PHILIPPINES: The Light of Jesus Community in Cebu has been holding church services and events at the SM Cebu Theatre 2 cinema. The auditorium has an audience capacity of 1,200 people, and its ageing sound system was recently fitted with a TOA HX-7W speaker system and FB-150W subwoofers by Zion Productions. When the church approached Zion Productions to design and install a new sound system, the SI’s system technician, Anthony Dy, had recently been introduced to the TOA solutions by the manufacturer’s local dealer, Lyric Piano & Organ Corporation. Dy therefore decided to design a solution for The Light of Jesus Community using the HX-7W and FB-150W. As a functioning cinema, the theatre’s ceiling had no trusses on which to hang the speakers. Placing

the speakers on the stage, which rises less than 1m from the floor, was ruled out so as to not obstruct the congregation’s view. So, Dy

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deployed a pair of 4.5m vertical trusses, flying two HX-7W speakers and an FB-150W subwoofer from each. The trusses are located on either side of the stage, reaching a total height of 5.5m, ensuring audience members from front to back receive uniform coverage. The Zion Productions team used EASE Focus

prediction software to design the system to cover every seat. Meanwhile, TOA DA-1000F and DA1250D amplifiers power the HX-7Ws and FB-150Ws, respectively. www.toa.com.sg lojcebu.tripod.com www.zionproductions.ph

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NEWS

IFGF Semarang boosts music INDONESIA: Big Knob Audio has installed an Adamson IS-Series loudspeaker system at IFGF Semarang’s new campus in Semarang, Central Java. The church held a rigorous audition process, comparing five audio solutions in the main auditorium, seating up to 650 worshippers for contemporary services that are describd as musically rich.

‘We heard the other four systems first, and none had the clarity or impact of the Adamson ISSeries,’ said Dibya Krisnanda, IFGF Semarang’s senior engineer. ‘As soon as we heard it, we knew we’d found what we were looking for.’ Left and right arrays of five IS7 enclosures each hang beneath single IS118 subwoofers. Four additional E119 subs are installed

Ahmad Rafi’i and Timo Wibianto from Big Knob Audio with IFGF Semarang’s Dibya Krisnanda, and Steve Widjaja on the ground for further low-end support. ‘The ultra-compact IS7 cabinets pack a lot of SPL and sound like a much larger system, and the E119s are just a world apart from any other

subwoofer on the market,’ added Krisnanda. ‘We can get the furniture literally shaking if we want to.’ ‘The installation crews love the IS-Series because it is incredibly light considering its capabilities and goes up so easily,’ explained Timo Wibianto, senior partner at Big Knob Audio. ‘It’s just a matter of following the instructions from Adamson’s Blueprint AV software regarding the angling and tilting. It’s as simple as that.’ Since moving in to the new campus, both the clergy and congregation at IFGF Semarang have reported a significant increase in the clarity and quality of their services – particularly the music ministry. ‘This system is just so flexible,’ said Steve Widjaja, one of the church’s audio department volunteers. ‘You want it loud? You’ll get loud. You want it musical? You’ll get musical. It’s so enjoyable to mix on this system. Regardless of what you throw at it, the Adamson IS-Series will deliver.’ www.adamsonsystems.com www.ifgfsemarang.org

Controlling Harmony USA: An Allen & Heath SQ-6 digital mixer, DX168 expander and AR2412 expander have been installed in the Fellowship Hall at Mount Harmony Baptist Church in Matthews, North Carolina. The SQ-6 is used for mixing FOH and in-ear monitors during the church’s contemporary worship service each Sunday. The church previously relied on an old, analogue console. The new Allen & Heath systems were supplied by Alan Conner from Audio Video Concepts. ‘The SQ-6 gives them more channels, a whole bank of effects and we added two expanders for their future growth,’ Conner commented. Taylor Helms is the pastor of music and worship at Mount Harmony and responsible for managing the church’s tech team. He explained that a different digital mixer is also employed in the church’s sanctuary. ‘I have struggled to train people on that board,’ he said. ‘But, with the Allen & Heath, my volunteers just seem to click with it. I had one volunteer who had only used the older analogue board, so going digital kind of spooked him. But he has been like a fish in water with the Allen & Heath.’

Helms saves an SQ-6 scene, ensuring services always start from the same mix, EQ and effects. ‘You just hit a button and there it is,’ he said. He also uses SQ-6 hot keys for tasks such as recording, noting that the flexibility provided is an added benefit. Mount Harmony’s contemporary service includes a full band with vocalists and backing tracks. Helms

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is also considering adding further vocalists. Conner explained that the two expanders, installed at the stage, and the SQ-6’s inputs for wireless mic receivers provide the church with 48 mix channels, more than enough to handle an expanded worship band. Helms also noted that the booth is much tidier following the upgrade, with Cat-6 connections from the stage replacing the old analogue snake.

‘Now, we have a full stereo setup,’ Helms concluded. ‘That is a night and day difference. And the Allen & Heath has been a huge quality leap for us. People hear more distinctions in the music than they could before and the clarity is much better.’ www.allen-heath.com www.avpro.tv www.mtharmony.net

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NEWS

Community speakers installed at Djamaâ el Djazaïr Mosque

ALGERIA: Located in the Bay of Algiers, Djamaâ el Djazaïr Mosque, also known as the Bouteflika Mosque, is set to open its doors imminently. Inside, Community R Series loudspeakers were used for sound reinforcement, supplied by Italian distributor Prase Media Technologies. International construction company Drees & Sommer worked with Jürgen Engel Architekten and the engineering consultancy Krebs+Kiefer on the build, while AV integration was carried out by Advantex and the China State Construction Engineering Corporation. Construction began on what will be the third-largest mosque in the world in 2012. Djamaâ el Djazaïr Mosque also possesses the world’s tallest minaret, which will also be the highest building in Africa at 270m. Built to accommodate 120,000

worshippers, the mosque covers more than 200,000m2. ‘Community R Series loudspeakers were chosen for audio reinforcement of the cour, the esplanade and the minaret,’ said Prase’s project manager, Marco Cappellotto. ‘The

choice was made on the basis of their premium audio performance, high power, controlled coverage and outstanding intelligibility, in addition to their resistance to all weather conditions, which includes salinity due to the building’s close proximity to the sea.’ Four Community R6-51BIAMP three-way vertical array loudspeakers provide audio coverage in the 100m2 cour. A further eight have been installed in the 300m x 100m esplanade, built into the capital of the building’s columns that line the perimeter. Eight arrays of four R2-MAX loudspeakers are installed in the area surrounding the mosque – two arrays on each side of the minaret. These 32 speakers offer 360° coverage up to 3km from the tower

R2-MAX loudspeakers have been installed on the outside of the minaret and, along with the R6-51BIAMPs in the esplanade, were fitted into recesses with precision to ensure they are unobtrusive and do not inter fere with the building’s aesthetics. In addition, the R2-MAX loudspeakers were custom painted to match the tower’s marble. As well as the loudspeakers, Prase provided Biamp TesiraForté DSP, Lab.gruppen D120T amplifiers and Extreme Networks switches, all integrated on an Ethenet network. ‘The Community R Series has an unequalled track record in providing high intelligibility and extreme durability, so it is with confidence they were chosen as the optimum solution for this most prestigious project,’ added Cappellotto. www.communitypro.com

R6-51BIAMP speakers installed in the columns of the esplanade

www.prase.it

Planetshakers makes a visual upgrade AUSTRALIA: Planetshakers Church, the Australian megachurch internationally famed for its touring worship band of the same name, has upgraded its visual production capabilities. The church wanted to incorporate stunning imagery and broadcast-quality production into its services, and turned to Grass Valley for solutions. ‘While we have over 17,000 weekly visitors to our church, we want to continue growing our congregation, making our church services and events accessible wherever people are,’ explained Chris Peterson, Planetshakers’ video manager. ‘It was imperative that our chosen camera technology provider could deliver unbeatable image quality and Grass Valley was the clear choice for us. As well as unmatched expertise in live production, Grass Valley solutions are easy to use for our volunteers and third parties and come

14 WORSHIP AVL July–August 2019

with hallmarked reliability. Having local expertise and support on the ground was also a key factor.’

The new camera system not only delivers broadcast-quality HD visuals, but also offers a clear path to 4K UHD and HDR in the future. It is formed from Grass Valley’s LDX 86 cameras,

chosen for their performance and sensitivity, as well as the GV-eLicense upgrade option which paves the aforementioned path to 4K UHD and HDR implementation. ‘As a contemporary church with a strong youth ministry programme, high-quality production is a crucial aspect of the Planetshakers Church experience,’ commented Ward Hansford, vice president of Oceania sales at Grass Valley. ‘The Grass Valley camera system helps the production team produce rich, high-quality content that engages the church congregation, whether in person or over a live stream, and connects them together. With an easy-to-deploy software upgrade option, the church can make the switch to 4K UHD and HDR as and when required.’ www.grassvalley.com

NEWS

Slimming sound in Coulommiers

FRANCE: Église Saint-Denis-SainteFoy recently hired MDS Audio to improve sound for its Catholic congregation. The systems integrator installed Yamaha VXL series slim line array loudspeakers in an effort to not compromise the historic church’s aesthetics. ‘I initially looked at a solution by another manufacturer, but then I became aware of the Yamaha VXL series,’ explained Pierre Vandekerckhove, technical director at MDS Audio. ‘I realised that the 170° horizontal coverage would make high-quality sound in the side aisles possible, helping to deliver an economical solution that would perform very well.’ Église Saint-Denis-Sainte-Foy is located 65km east of Paris, in Coulommiers. The vertically directional qualities of the VXL assists in steering sound away from the reflective walls and vaulted ceiling. Vandekerckhove and his team installed a pair of

15 – 17 October, 2019

VXL1W-24 and four VXL1W-16 enclosures in three rows of two along the nave. Meanwhile, two VXL1W-8s cover the altar. The entire setup is powered by XMV4280 and P3500S amplifiers, managed by an MTX3 matrix processor and controlled from an DCP1V4S surface-mount unit. ‘With the MTX3’s VXL EQ bank, Dan Dugan auto mixing and the ease of programming delays for each row, we have a well-tuned system that has produced much better overall coverage of the church,’ explained Vandekerckhove. ‘The directivity of the VXL1W-8s at the altar has also proved very impressive at preventing feedback. The DCP1V4S makes the system incredibly easy for church staff, but the slim size of the VXL1s make them blend beautifully into the décor.’

Dubai World Trade Centre, UAE

The church is said to be very happy with the Yamaha system. ‘The intelligibility for parishioners is so much better, it’s incomparable to the previous system,’ said Vandekerckhove. ‘They will definitely recommend the system and installation to their peers.’

Uplift your message with powerful sound and visuals

www.mds-audio.com www.polecoulommiers.catholique.fr www.yamahaproaudio.com

www.prolightsoundME.com

1/2 Vert

When it comes to bespoke broadcasting solutions for houses of worship, Prolight + Sound Middle East is your go-to event in the region. From lighting and audio equipment to systems integration and installation, explore a unique variety of products and brands that holistically cater to all your AV needs in one place. For more information on visiting, go to www.prolightsoundME.com/AVL

NEWS

New sounds for the First Love Generation SOUTH AFRICA: First Love Generation, a church established in 2007 by pastors Pieter and Tilla van Tonder and built with an auditorium and lecture rooms over the course of the nine years that followed, has now been equipped with an L-Acoustics Arcs WiFo system. Pieter is friends with DWR Distribution’s Victor Vermaak, who helped with the installation. ‘Pastor Pieter is a man who strives for excellence and, when it came to the audio, he wanted the right system that would cater for growth,’ explained Vermaak. ‘The setup includes one Arcs Wide and one Focus flown per side, and a pair of

ground-stacked SB18i subs, again on either side of the stage. The system is run by an LA8 amplified controller.’ As South Africa’s L-Acoustics distributor, DWR also facilitated the sale. As First Love Generation continues to grow, the Arcs WiFo has the headroom and the flexibility to grow too. ‘We are very happy with the building blocks and the quality, and are excited to see God’s plan unfold,’ commented Pieter. www.dwrdistribution.co.za www.firstlovegen.com www.l-acoustics.com

Image courtesy of Collin Nixon

C3 Church undergoes digital upgrade USA: Troy Payne, production manager at Clayton, North Carolina’s C3 Church, turned to Nashville-based Morris Integration to help in its transition from analogue audio to digital sound. This resulted in the installation of a DiGiCo SD10 mixing console and a Klang monitoring system. ‘C3’s ageing technology created distraction and frustration for the staff and congregation,’ explained Philip Hagood, general manger of Morris Integration. ‘The new DiGiCo and Klang system will allow for more dynamic, distraction-free communication and ministry at C3.’ ‘It boiled down to three things: quality, user interface, and scalability,’ added Payne. ‘The DiGiCo SD series of consoles has proven itself to be one of the best for all

types of live production. The user interface is well laid out and easy to set up for a team of volunteers to operate comfortably. As we grow, the plan is to have all venues using an SD console for continuity and ease of training.’ The SD10 is complemented by three SD-Racks with 56 inputs each, operating at a 192kHz sampling rate. Meanwhile, the Klang personal monitoring systems provide added control for the church’s lineup of artists and musicians and, following Klang:technologies’ acquisition by DiGiCo in late 2018, can be managed by the sound engineer at the SD10. www.c3church.com www.digico.biz www.experiencemorris.com www.klang.com

DPA instrument mics capture Buddhist singing bowl performances CHINA: Producer and sound engineer Chan Pui Ching employed DPA’s d:vote 4099 Instrument Microphone to record Tsang Man Tung’s new album, The Seed of Sound, in which the Chinese artist plays more than 30 Buddhist singing bowls. Singing bowls have long been used in Buddhist religious ceremonies to accompany periods of meditation and chanting. In recent times, they have become popular with music therapists, sound healers and yoga practitioners who use their steady and harmonious sound to create a sense of calm and relaxation. ‘To capture the sound and full frequency range of the bowls, it was crucial to choose the

Tsang Man Tung right microphone early on in the process, at concept stage,’ said

16 WORSHIP AVL July–August 2019

Chan. ‘We decided to go with d:vote 4099 Instrument Microphones because they could deliver the results we wanted. We mounted them in the correct location and they perfectly captured a balanced mix of the high and low frequencies.’ The album, at the request of Tsang Man Tung, was recorded live. Thirtynine tracks were recorded over three days. ‘This is not the first time I have recorded with singing bowls, but it is the most challenging one because, unlike other albums, almost all of the music on it was recorded live and without adding any effects at the postproduction stage,’ Chan explained. ‘More

than 30 bowls were used, each of which sounds very different to our ears. Each bowl has a complicated radiating pattern because the radiation comes from the different sizes of the bowls and the material it is made of.’ www.dpamicrophones.com

STAGE MICROPHONE CAPSULES

THE BEST OF TWO BRANDS NEUMANN CAPSULES KK 204 / KK 205 + SENNHEISER HANDHELD TRANSMITTER Neumann capsules are available in nickel and black for Sennheiser SKM 2000/6000/9000 and EW 300/500 G4 wireless systems.

NEWS

Daisy-chaining wireless at Chiayi Nanmen TAIWAN: Chiayi Nanmen Presbyterian Church relocated to its current site in the Taiwanese city in 2008. As its flock continued to expand, the church decided to build separate chapels for its Taiwanese and Mandarin Chinese speaking congregants. These were completed at the end of 2018 and the site has been equipped with wireless microphone systems from Mipro. What now exists is a three-storey building with the main chapel on the second floor, while the deputy hall and the fellowship hall are found on the first floor. ‘The building was not pre-wired for wired microphones,’ explained AV engineer, Daniel Ku, who was in charge of planning and operates the AV systems for the new hall. ‘Therefore, all the microphones needed to be wireless.’ Ku chose several of Mipro’s wireless microphone and wireless portable public address systems with advanced wireless interlinking speakers to be installed across the different halls. In the main hall is a 16-channel wireless system comprising an ACT-848 quad-channel digital receiver, three ACT-74 quad-channel true diversity receivers, an AD-708 auto gain control antenna divider and two AT-70W omnidirectional antennas. The ACT-848 is paired with four TA-80 plug-on transmitters:

one for the piano, one for the bass and two for the choir. The trio of ACT-74s are paired with six ACT-70HC rechargeable wireless microphones for capturing speech and singing. These are joined by six ACT-70TC bodypack transmitters, two of which are installed within a BC-100 desktop conference microphone base with an MM-205 gooseneck mic, used as a pair of podium microphones. Another is used for the pastor with an MU-53L lavalier microphone, while the other three are used for electronic drums, an electric guitar and an acoustic guitar. Meanwhile, in the deputy hall, a 14-channel wireless system has been employed. It includes an ACT-848 quad-channel digital receiver, an

Sound system designed for Templo El Calvario

ACT-72 dual-channel true diversity receiver, a pair of ACT-2414 quadchannel 2.4GHz digital receivers, an AD-708 auto gain control antenna splitter and two AT-70W omnidirectional antennas. The ACT848 pairs with three TA-80 plug-on transmitters – one for the piano and two for the shotguns – while the fourth channel is paired with the ACT-80TC for the musical instruments. The ACT-72 is paired with two sets of BC100 desktop conference microphone bases and MM-205 gooseneck microphones on the podium. The ACT-2414s are used with five ACT24HC rechargeable handheld wireless microphones and three ACT-24TC rechargeable bodypack transmitters

for capturing speech, singing and the instruments. Finally, the fellowship hall has been equipped with an MA-909 wireless mixer with two receiving modules and an MT-92 transmitting module, as well as two MA-303 wireless portable PA systems. Two MRM-70B receiving modules receive the signal from an ACT-32H handheld microphone and distribute the mixed audio signal through the MT-92 to two MA-303SB systems for receiving and public addressing. Signals from the main hall are transmitted to the deputy hall and the fellowship hall via wireless interlinking. ‘Each space has its audio system operated independently,’ explained Ku. ‘However, the audio and video signals of the main hall must be connected to the deputy hall and the fellowship hall for the parishioners to watch the live feed simultaneously from the main hall. All the signals from the main hall are input to the mixer, and then transmitted through the MT-92A interlinking transmitter to the ACT-311Bs in the deputy hall and the fellowship hall respectively, and then connect to the mixer, thus the daisy-chaining of the audio system is completed.’ www.mipro.com.tw

Geo M10 system, ID24 speakers and PS10 monitors are all powered by nine Nexo DTDAmp1.3 power amplifiers. Additionally, the stage monitors and ID24 speakers were painted in a custom RAL colour, including the grilles, to blend in with their surroundings. www.instrumentos.com.do

DOMINICAN REPUBLIC: Templo El Calvario in Santo Domingo has been equipped with a new sound system from Nexo. The manufacturer’s Roberto Tschopp designed the system, along with Arlene Lomba from Dominican Nexo distributor, Giraldez. Local engineers Juan Pardilla and Marcos Segundo played a vital role in the installation, accommodating the two large video screens at podium level. A total of eight M1012 and four M1025 Geo M10 mid-size line arrays have been installed in left and right hangs that each comprise six enclosures. Low-end

reinforcement is provided by two flown and two ground-stacked LS18 subwoofers. As the Geo M10 arrays were flown at a higher point than originally planned to make way for the projection screens, ID Series speakers were incorporated into the design as fills. Four ID24T cabinets were placed under the balcony, while another four deliver front-fill. A further pair provides side-fill. Completing the speaker setup are four PS10s used as stage monitors. A Yamaha M7CL mixer at front of house controls the entire sound setup over a Dante network. The

18 WORSHIP AVL July–August 2019

www.nexo-sa.com www.temploelcalvario.org

dbaudio.com/worship

More than words. When a loudspeaker system is clear and transparent, sound does not intrude. Listening is feeling. Designed to work unnoticed, d&b systems can truly serve the congregation. Helping to ensure the worship space remains a soul space. A home for solace and belief, connection and community.

NEWS

Brightening up Avoiding reverb in Cathedral of Saint Paul Northview Church

USA: Minnesota’s Cathedral of Saint Paul is the USA’s largest church located outside of New York and Washington DC. It has the capacity to accommodate up to 3,000 worshippers with an interior formed largely from American Travertine marble that runs 53m high before reaching a dome that’s more than 30m in diameter. It’s a big, reverberant space, and it has recently been equipped with Renkus-Heinz Iconyx Gen5 IC32-RN digitally steerable line arrays, installed by Metro Sound & Lighting. ‘If you took the Statue of Liberty off its pedestal and set it in [the catherdral], it would fit under the dome,’ said Metro Sound’s Randy Keele. ‘And everything within this space is very reflective: Travertine marble all over the walls and floors, hardwood pews, different angles, glass – you’ve got sound literally going everywhere. In

the more than 40 years since Metro Sound’s founding, we have performed installations in numerous churches and spaces with tough acoustics, so we understood the nature of the challenge.’ Keele and his team deployed two IC32-RN arrays in a left–right configuration. Their steerable nature allows the sound to be kept away from the walls and directs it towards the congregation. The speakers were custom painted to match the colour of the marble, meaning they blend in. ‘We can steer beams vertically to keep them in the listener areas and try to prevent energising any more of the space than we need to,’ confirms Keele.

USA: Northview Church boasts seven campuses in the greater Indianapolis area, and its congregation continues to grow. Up to 2,200 attend services at the church’s main campus in Carmel, and are served visual content from a 80-foot x 30-feet projection screen, as well as IMAG from smaller screens to the sides. The projection system catering to the giant, central screen was more than 10 years old though and losing its brightness. Therefore, Travis Carpenter, the church’s production service manager, sought assistance from Jon Cawston of JNE Productions, ultimately resulting in the installation of six Barco UDX 4K32 projectors. The lack of brightness exuded by the old projection system was detracting from the worship experience, so Carpenter looked into possible new solutions to add some brightness to the screen to fully engage congregants. He viewed various options, including replacing the screen with LED panels; however, infrastructure issues made this too costly at the Carmel site. Barco’s UDX

4K32 projector was finally chosen due to its bright, laser technology. ‘We did a demo in the space comparing the existing equipment to the Barco UDX,’ revealed Carpenter. ‘There was no comparison.’ The installation took three days, ensuring no Sunday services were interrupted. This process included the installation of hydraulic lifts, implementation of additional voltage and the adjustment of image blending so that the six projectors form one large, seamless image. Carpenter also upgraded Northview’s screen management solution to Barco’s E2 Master system, which is capable of managing a 4K projector blend with refresh rates up to 60Hz. The screen is now much brighter than before and congregants are said to be more engaged than ever. ‘The UDX addresses the simultaneous issues of brightness, system flexibility and frame delay,’ said Cawston. www.barco.com www.jnepro.com www.northviewchurch.us

www.cathedralsaintpaul.org www.metrosoundlighting.com www.renkus-heinz.com

Bethany Grace’s sound update USA: Bethany Grace Fellowship in East Earl, Pennsylvania recently updated its sound system. Systems integrator Horizon AVL installed a PreSonus solution comprising six CDL12 loudspeakers and two CDL18s active subwoofers with assistance from Lienau A/V Associates. ‘It was crucial that the new sound reinforcement offer a high degree of speech intelligibility in addition to excellent music reproduction

enclosures white so that they would blend seamlessly into the aesthetics of the room.’ Horizon AVL’s Kevin Cermak produced the system design, which sees three CDL12 speakers flown per side above the front of the stage. The CDL18s subs are flown in end-fire configuration behind each array. www.bethanygf.org

capabilities,’ explained Joshua Kell, CEO at Horizon AVL. ‘The CDL

20 WORSHIP AVL July–August 2019

loudspeakers are extremely versatile. For this space, we painted the

www.horizonavl.com www.presonus.com

Your Message. Focused.

With 6 different steerable product lines including everything from compact, visually unobtrusive columns to large format steerable line-arrays, only Renkus-Heinz has the tools necessary to place sound where itâ&#x20AC;&#x2122;s needed most, providing the intelligibility, clarity, and power you demand without the reverberation and reflections of traditional sound systems. From contemporary high-energy services to traditional worship services and small congregations to mega churches, the Renkus-Heinz Iconyx family of products allows you to focus on what really matters: the message.

www.renkus-heinz.com

PROJECTS

Architecting sound for everyone Gwanpyeongdong Catholic Church’s construction is inspired by Noah’s Ark. James Cooke climbs aboard to explore how audio is steered towards every seat HOUSES OF WORSHIP COME IN ALL shapes and sizes. While hundreds of years ago, particular types of sanctuary adhered to the same architectural patterns, today we see a wide variety of modern designs, especially when it comes to churches. Some churches are built to replicate the gothic stonework of centuries gone by, while others work with what they have, converting a warehouse perhaps, an old cinema or a school gym, to provide a practical space for a congregation to meet. Occasionally, a new church will be built from the ground up that is immediately recognisable as a House of God, but also features its own, unique architectural flair. Something never before seen, yet familiar all the same. A building that is truly stunning to behold and a joy for congregants to worship inside.

One example of this has recently appeared in the South Korean city of Daejeon. The brand-new Gwanpyeongdong Catholic Church has been designed with the story of Noah’s Ark in mind, a mighty vessel to welcome worshippers in from the storm of daily life. Its front façade mirrors the deck of the ship, sailing up towards heaven. The building’s interior was designed by Italian art organisation Centto-avo, as well as an architect who had been previously responsible for renovation work at the Vatican. While the church itself provides a visual treat for the eyes, both inside and out, it is of course still of the utmost importance that those attending services can hear the pastor’s message. Therefore, prior to opening the doors to the church, those in charge approached systems integrator YNC Solution to

22 WORSHIP AVL July–August 2019

design and install systems for sound reinforcement and assistive listening for the hard of hearing. ‘The people in charge at the Catholic church requested an audio reinforcement system that was easy to operate, while also blending into the internal architecture, so as to not distract from the room’s aesthetics,’ recalls Terrie Lee, president of YNC Solution. ‘We were able to design a solution that met these requirements with systems from Voice-Acoustic.’ The sanctuary is 28m x 17m (LxW), with a ceiling height of 8m. At the rear is a balcony with seating for 420 people, including the choir and musicians. To ensure coverage for the entire congregation, YNC Solution installed a main PA system comprising six Voice-Acoustic LA-Stick 4x4 line array speakers, flown three per side. Powered by a

PROJECTS Voice-Acoustic HDSP-0.2A amplifier, these speakers were chosen due to their beam-steering capabilities and were finished in a white coat to match the decoration of the room. Even the brackets from which the speakers were hung were specially ordered with the RAL code to match the colour of the paint on the wall. To ensure that everyone seated on the balcony receives the even coverage that congregants filling the pews on the floor experience, the YNC Solution team also flew four VoiceAcoustic Alea-4 compact loudspeakers from the ceiling as balcony-fills. These were aligned as delays and provide foldback for the choir. In addition, another four Alea-4 cabinets were installed on the floor around the podium and table at the front of the church as foldback monitors for the pastors and other speakers. The compact size of the Alea-4 was one of the major reasons it was included in the design here, so as not to stand out from the minimalist aesthetic design in the view of the congregation.

Completing the sound reinforcement setup are several ceiling speakers found above the balcony, in the baby room and in the hallway. A 32-channel Soundcraft Si Impact digital console handles mixing duties. The installation also includes Crown amplifiers,

AKG gooseneck, suspension and dynamic microphones, and a wireless microphone system. ‘Sound absorption materials were not used, as these would also distract from the look of the sanctuary,’ explains Lee. ‘For most people, the sound coming directly from the Voice-Acoustic speakers will be heard with full intelligibility. However, those with hearing loss and other hearing impairments would still have difficulty in listening to the priest’s sermon. During the audio system design, we therefore also included a personal assistive listening system from Listen Technologies for those with hearing loss, as well as a portable hearing loop system for those with hearing impairment.’

was also installed by YNC Solution,’ he adds. On the visual side, YNC Solution installed an 8,000 ANSI lumens projector from NEC with a projector screen, an HD camera for IMAG, a video switcher and a 32-inch television monitor in the church office. This beautiful church is now open with services held before packed congregations that would indicate that the detail put into the building’s design has done its job. YNC Solution’s AV systems have also performed well, with Lee noting that the sound and assistive listening systems have particularly impressed. ‘The church was extremely satisfied by the custom colour-matched VoiceAcoustic products,’ Lee concludes. ‘Not only do they match the interior

Three Voice-Acoustic LA-Stick 4x4 speakers have been arrayed on each side

The Listen Technologies LT-800-072 RF transmitter The Listen Technologies setup includes an LT-800-072 RF transmitter, LA-123 antenna and 12 LR-4200-072KR RF receivers. The church is also in possession of two LA-430 neck loop lanyards, 12 LPT-A207 breakaway lanyards and 12 LA-401 universal ear speakers. ‘These solutions allow everybody to hear under the same conditions,’ says Lee. ‘The video system at Gwanpyeongdong Catholic Church

of the architecture very well, they also satisfy the need for a high quality of sound. And, in order to serve the older members of the congregation and those with hearing loss, the church has expressed its pleasure at being able to deliver services to all members of the public.’ www.listentech.com www.voice-acoustic.de www.yncsolution.co.kr

July–August 2019 WORSHIP AVL 23

PROJECTS

An Eternal journey Richard Lawn takes a tour of Eternal Life Assembly of God’s new sound system LIKE MANY HOUSES OF WORSHIP in Singapore, Eternal Life Assembly of God church is something of a hidden gem. Tucked away from the hustle and bustle on the fifth level of Bukit Timah shopping centre, senior pastor Robert Lum oversees the services provided in English, Mandarin, Cantonese and Filipino. The added singing and songwriting talents of Reverend Daphne June Lau add a further ingredient to the church services that captivate and lift its worshippers. As such, the church opted to upgrade its audio system in an attempt to match the virtuoso requirements of Reverend Lau. Soundsmith Solutions Pte successfully tendered to supply and install an audio system into the 400-capacity sanctuary, having provided a Danley SH96HO and TH118XL on a one-month trial period. ‘At first sight it seemed straightforward,’ confesses Soundsmith Solutions MD, Nicholas Loe. ‘Ultimately, the works went on for almost six months, for which the experience was a valuable learning curve for the company. In addition to upgrading the audio, video and lighting, the project turned into a structural engineering exercise, but we definitely came out a lot stronger from this.’ The overriding challenge affecting any sound reinforcement system in this cinema conversion was the 14m-high metal roof. Once planning permission had been approved, six Doughty Engineering self-hoisting lighting bars were fixed into position above the sanctuary. ‘The room’s shape is asymmetrical and, as such, the lighting

L–R: Yamaha Asia’s JinFu Chen with Soundsmith’s Nicholas Loe

A Danley Sound four-way system provides audio reinforcement bars had to be customised to fit by precisely positioning them.’ Three hired scaffold towers were needed for the works, which had to be dismantled and re-erected each week to make way for the Sunday services and other functions. Once the trusses and lighting bars had been erected, the simple task of installing the speaker system could commence. An extensive infrastructure of Klotz Ais data, fibre, loudspeaker and SDI cables was routed in advance between the loudspeaker and projection outputs to the amplification room and FOH production area at the rear of the sanctuary. ‘We added eight cores of OM3 for which only two are currently used by the digital console, so the infrastructure is future-proofed for many years,’ explains Loe. Having installed the video and lighting aspects of the upgraded works, Media Architects replaced the complex SDI composite video-cabling infrastructure with fibre and copper cable routing and conduits. ‘An L–R system was the only option for a small room with a depth of 16m from the stage to the central back wall,’ adds Loe. ‘My overriding concern was slap back, but not at the expense of sacrificing dB loss. Danley’s simulations were greatly simplified and accurate using the Danley Direct software. The high directivity of the

24 WORSHIP AVL July–August 2019

Three scaffold towers were hired for the installation speaker ensured that the speaker had good pattern control down to 400Hz, directing the audio towards the audience rather than the walls.’ Like Eternal Life Assembly of God, the Danley SH96HO three-way speaker is a unique design. The 100kg Baltic birch and polyurea cabinets each comprise four 15-inch LF drivers, six 4-inch MF drivers and a single 1.4-inch exit HF compression driver, all mounted within a 45-inch x 25-inch horn. Operating within a 50Hz to 16kHz (±3dB) frequency range, while providing a 90° x 60° (HxV) coverage pattern, the SH96HO cabinets can produce a

maximum SPL of 139dB (peak). The US manufacturer asserts that this creates a proper phase alignment between the frequency bands. By allowing the physically separated bands to combine and emerge from the horn with synchronicity, off-axis distortions in frequency response are greatly reduced, extending clarity away from the source. Low-frequency extension down to 35Hz (±4dB) is provided by L–R TH118XL subwoofers that incorporate a tapped horn design whereby the driver element doubles its output ability. The reduced ceiling height in the rear section of the room dictated the requirement for rear-fill speakers to supplement the Danley SH96HO system. Two pairs of Bose Professional EdgeMax EM180 in-ceiling models are sufficient to provide ample 180° horizontal coverage from their locations close to the wall/ceiling boundary. Operating within a frequency range of 50Hz to 18kHz (±3dB), the proprietary PhaseGuide technology inherent in the two-way, 8-inch design provides unique asymmetrical vertical patterns. Combining 96kHz DSP and networked control, two Linea Research 44C10Dante four-channel amplifiers supply 2,500W per channel into 4Ω to the L–R speakers and subwoofers. A fourchannel 44C06 model supplies up to 1,500W per channel to the two Danley

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Flexible sound forBaptist Sarangsaem Church Thomasville First finds the right touch

A return to The Decibells Experience adds Thump to CSI Sawday Church

1/2 ISLAND

Septemberâ&#x20AC;&#x201C;October 2018 41 January-February 29 51 Julyâ&#x20AC;&#x201C;August 2019 25 Januaryâ&#x20AC;&#x201C;February 15 Septemberâ&#x20AC;&#x201C;October 21 July-August Marchâ&#x20AC;&#x201C;April 2019 WORSHIP WORSHIP AVL AVL 47 25 Mayâ&#x20AC;&#x201C;June 2017 WORSHIP AVL

PROJECTS

Divine intervention

The newly opened Divine Mercy in Mira Bhayandar turned to Zoodio for a lasting sound solution. James Cooke reports MAKING DIVINE MERCY CHURCH A reality has been a labour of love. The building’s foundations were first laid along Mira Bhayandar’s Ramdev Park Road in 2014, and it would be almost five years before the finishing touches were applied to the sanctuary. While the gothic architectural designs had been implemented, adding

striking visual elements within the new church, Father Francis Noronha also placed high significance on the intelligibility of sound within his new house of worship. ‘Speech is of the utmost importance for us to communicate to the people,’ explains Father Noronha. ‘We visited a lot of churches and, based on what

CDD8 delays are installed above and below the balcony

26 WORSHIP AVL July–August 2019

we heard, decided to go with Zoodio to install our sound system.’ Mumbai-based Zoodio is a sound systems installer and acoustic consultancy. ‘We have been working in the fields of audio integration and installation for the last 10 years,’ says Zoodio owner, Dylan Hilton. ‘In that time, we have worked in many churches, in Mumbai and across India. When the client, Father Francis Noronha, contacted us, having visited St John the Baptist Church in Thane, we immediately thought of implementing a Martin Audio O-Line system for Divine Mercy Church.’ It was an O-Line rig, previously installed by Zoodio, that Father Noronha had heard at St John the Baptist Church. ‘Divine Mercy Church was looking for something similar since they did not want to have speakers placed on the walls,’ furthers Hilton. ‘We have found that the Martin Audio O-Line family best suits this kind of church and has been one of the most successful systems for us during previous

church installations. And, since this is a new church, the parish committee wanted a sound system that would not only last for a long time, but also provide them with the sound audio they needed. Therefore, we wanted to implement a solution we could trust.’ A total of 16 flown O-Line cabinets form the main PA setup, while Martin Audio CDD8 ultra-compact two-way passive loudspeakers are employed as both delays throughout the sanctuary, and as monitors onstage. ‘The entire system is powered using Powersoft M Series amplifiers and we have implemented a Behringer X32 digital mixing console,’ Hilton confirms, ‘as it is easy to use for the church’s audio team, who can create their own presets and manage the system during Mass.’ The Powersoft amplifiers are the M50Q model, which power the O-Line speakers, and the M28Q, which drive the CDD8s. The CDD8 delays can be found in pairs above and below the balcony, while the

PROJECTS PROJECTS monitors monitors are are hung hung above above the the doors doors serving serving as as entrances entrances to to the the stage stage from from both both the the left left and and right. right. Another Another CDD8 CDD8 has has been been installed installed at at the the main main entrance. entrance.

‘The ‘The entire entire system system is is powered powered using using Powersoft Powersoft M M Series Series amplifiers amplifiers and and aa Behringer Behringer X32 X32 digital digital mixing mixing console’ console’ ‘Since ‘Since the the church church ceiling ceiling had had aa height height of of more more than than 12m, 12m, the the major major challenge challenge was was to to fly fly the the system system as as rigging rigging and and hardware hardware had had to to be be fabricated,’ fabricated,’ explains explains Hilton. Hilton. ‘The ‘The church church isis designed designed with with aa gothic gothic style style architecture architecture and and caters caters to to around around 3,000 3,000 people people on on average. average. ItIt has has an an area area of of approximately approximately 325m 325m22 and and features features aa wooden wooden altar altar and and stained-glass stained-glass windows. windows. Due Due to to this this architectural architectural design, design, there there were were aa lot lot of of echoes, echoes, which which were were taken taken care care of of by by carrying carrying out out some some acoustic acoustic treatment treatment to to the the church. church. Since Since we we

The The view view from from below below the the balcony balcony have have been been working working with with Martin Martin Audio Audio for for aa long long time, time, we we were were able able to to use use the the Display Display 2.3 2.3 software software to to make make sure sure that that we we placed placed the the speakers speakers at at the the appropriate appropriate height height to to get get even even coverage coverage throughout throughout the the room, room, as as well well as as aa dbx dbx Venu360 Venu360 loudspeaker loudspeaker management management system system that that was was able able to to help help us us set set crossover crossover and and achieve achieve near near perfect perfect equalisation equalisation which which was was expected expected from from our our side.’ side.’

Zoodio Zoodioalso alsoequipped equippedDivine DivineMercy Mercy with withseveral severalmicrophones. microphones.Five FiveAKG AKG D5 D5SSdynamic dynamicvocal vocalmicrophones microphones are areused usedto tocapture capturethe thechoir, choir,while while aapair pairof ofShure ShureCVG18 CVG18gooseneck gooseneck condenser condensermics micscan canbe befound foundon onthe the lectern lecternand andthe theambo. ambo.Audio Audiocapture capture at atthe themain mainaltar altarisiscaptured capturedby byaa Shure ShureMX418 MX418D/C D/Cgooseneck. gooseneck. With Withcongregants congregantsfilling fillingthe thepews pewsof of Divine DivineMercy MercyChurch Churcheach eachand andevery every

week, week,the thesound soundsystem systemisisdoing doingits its job jobin inensuring ensuringeveryone everyoneinside insidethe the sanctuary sanctuarycan canhear hearclearly. clearly.In Infact, fact, Father FatherNoronha Noronhanoted notedthat thatZoodio’s Zoodio’s work workand andthe thenew newsound soundsystem systemhas has more morethan thanmet methis hisexpectations expectationsand and will willserve servethe thechurch churchfor foryears yearsto to come. come. www.martin-audio.com www.martin-audio.com www.zoodiopro.com www.zoodiopro.com

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July–August July–August 2019 2019 WORSHIP WORSHIP AVL AVL 27 27

PROJECTS

Shape matters What appears to be an acoustic wave is a series of decorative scrolls

Singapore’s Queenstown Baptist Church has been equipped with a tailor-made sound system that’s just the right fit. Richard Lawn reports WHEN AN AUDIO CONSULTANT IS called in to improve the audio in a church’s unique worship space, they enter the venue with an open mind in the knowledge that they cannot impose a cut-and-paste design from a previous solution. Specialist house of worship AV consultant Robert Soo readily admits that he has gazed at some Singaporean sanctuaries for long periods of time, becoming ever more perplexed in his attempts to tame the space. Having been asked to troubleshoot and tweak the audio system in Queenstown Baptist Church (QBC) for several years, he eventually received a request to design a new AV system that would enhance its modern contemporary Sunday services. Despite having familiarised himself with the church for several years, Soo acknowledges he was going to be tested by the room’s low ceiling, asymmetrical shape, lack of acoustics and tight budget. ‘Each time I created a design, it was a case of going back to the drawing board,’ comments Soo. The room width at the front is approximately 13.7m, tapering out to 26m at the rear over the 18.5m depth. What appears to be an acoustic wave suspended below

the 4.7m-high ceiling is in fact a series of decorative scrolls that serve no intended acoustic purpose. Having ruled out a line array at the outset, Soo conceived a simple point source design. ‘The idea was to keep the speakers as focused, tight and flush as possible to the ceiling in order to maximise height and minimise reflections. However, it was always going to be a challenge balancing performance, aesthetics and acoustics in this tricky room.’ Several loudspeaker suppliers were asked to provide demonstrations over a number of weekend services

28 WORSHIP AVL July–August 2019

Four ceiling suspended Outline Vegas 12 speakers provide the main sound reinforcement in QBC’s sanctuary in September 2018. PAVE System Pte Ltd was ultimately selected by the appointed church committee to supply and install the audio upgrade prior to the 2018 Festive Season. ‘It wasn’t an easy switchover,’ confirms PAVE’s project manager, Lee Cheng Hee, who headed a team

of eight technicians including sales manager Koay Kheng Ying. ‘We had to gradually phase out and dismantle the old system during the week, clear up in time for Sunday services and carry on where we left off on the Monday.’ The sanctuary is now adorned with four ceiling-mounted Outline Vegas 12 two-way cabinets paired as separate L–R systems for half of the hall each. ‘The 1.75-inch compression driver is mounted onto a rotatable horn assembly, ensuring we could orientate them horizontally while maintaining the required HF dispersion,’ explains Soo. ‘The rotatable 90° x 60° waveguide really mitigated the effects of the low ceiling and controls the directivity.’ Suspended from poles fixed onto individual concrete blocks above the ceiling décor, the Vegas 12 operates within a 55Hz to 19kHz frequency range. Low frequencies down to 35Hz (±3dB) are maintained by pair of L–R Outline DVS 118 subwoofers, whose crossover is set at 80Hz. Similarly, the quasi-omnidirectional 18-inch

PROJECTS models are pole-mounted to concrete blocks above the ceiling, but flushmounted to the rear wall ensuring a line of sight of the stage for the congregation. ‘There is a 3dB loss from the front to the extreme rear seats, but I ruled out side- and rearfills as it would have over complicated the audio pattern and would have been costly,’ adds Soo. ‘Adding the pole mounts to the speakers had already pushed PAVE to the limits. Luckily, they have contortionists who could climb into the tight ceiling and prepare the fixing points.’ The four Vegas 12 cabinets and dual DVS 118 subwoofers are powered by single Powersoft Quattrocanali 2404 DSP+ fourchannel and Duecanali 1604 DSP+D two-channel amplifiers. All relevant Duecanali and Quattrocanali amplifier parameters are accessed on a PC running Armonía Pro Audio Suite software. In addition, Dante cards have been inserted into both Powersoft amplifiers to create an audio network system for management and control from a PC via the Cat-6a infrastructure. Loudspeaker management settings are programmed within a Xilica XP-4080 processor. FOH operations have been digitally upgraded to provide ease-of-use for the audio, video and lighting operators. Central to the audio control is a 48-channel Allen & Heath SQ-7 console that is Danteenabled courtesy of an M-SQ Dante-A card. Incorporating a XCVI 96kHz FPGA engine, the 33-fader console comes with 32 on-board preamps and connects to the two DX168 96kHz remote stageboxes.

Low frequencies are maintained by pair of L–R Outline DVS118 subs

The 48-channel Allen & Heath SQ-7 console

The previous monitoring system was not earmarked as part of the audio upgrade. However, the musicians and singers now benefit from six myMix personal monitor systems, which are connected over the Cat-6a network to an IEX16 16-channel input expander for line-level signals. The addition of a Ferrofish Verto32 integrates these MADI devices into the Dante network. In terms of inputs, up to 10 channels of Shure QLXD4 digital wireless receivers can be connected to Beta 58 handheld wireless microphone transmitters. Specified on account of being able to quickly locate open frequencies and deploy them to transmitters via a one-touch sync function, the QLXD4 operates within the reduced 530–602MHz bandwidth. The IT infrastructure that has been added by PAVE has also enabled the use of Shure Wireless

Workbench software for remote control of receiver settings from a PC, including networked channel scanning across multiple receivers. The shielded drum kit is equipped with a selection of models including a Sennheiser e902 on kick, EV PL35s on tom toms, Audio-Technica AE2300s on snare and AE3000s on overheads and hi-hat. With the addition of a Datavideo SE-2850 multi-definition switcher at FOH, QBC can now connect up to 12 channels of HD or SD inputs. In addition to its connection to the SQ-7, the SE-2850 comes with audio de-embedding, delay and four XLR inputs. Capable of producing 4:2:2 10-bit image resolution with I/O configurations, the SE-2850 features dual picture-in-picture (PIP), downstream keyer (DSK), logo insertion and an integrated title overlay system. ‘With most modern-

day houses of worship, there is a continual demand to add dedicated video outputs,’ expresses Soo. ‘In addition to the previously existing confidence monitor projector, there is digital signage throughout all the various levels. Having extra outputs is vital for future-proofing.’ Video inputs include a Blu-ray player and a new Panasonic HE-40 PTZ camera managed by an AW-RP50 controller. The addition of Datavideo DAC-60 HD/SD-SDI to VGA, DAC-70 HDMI/VGA to HD-SDI and VGA to HDSDI converters provides consistency of image from the inputs to the two WUXGA 7,000-lumen Epson EB-G 7905Us that project onto the rear stage wall. A Blackmagic HD-SDI video distribution amplifier mini converter completes the video upgrade. Fully digitalised, the AV volunteers at QBC are getting up to speed with the new setup. ‘They’re getting used to the layout of the control surface, but like the preamps on the SQ-7,’ confirms Koay. ‘The new AV system has a lot more flexibility built into it and, with further training, the AV volunteers will be able to blend the added benefits into their productions. What is the most satisfying is that it has received very good comments from the church. It has elevated the worship experience to a brand-new level.’ Gazing at the finished result, Soo adds: ‘It looks simple – but it really was not. Ultimately, the finished design was a best fit in a challenging space and PAVE got it spot on.’ www.cogentacoustics.com www.pave.com.sg www.qbc.org.sg

The musicians benefit from six MyMix personal monitor systems

July–August 2019 WORSHIP AVL 29

PROJECTS

Reinforcing Mosquée de la Riviéra Golf A new TOA sound system has been installed, inside and out, at Mosquée de la Riviéra Golf by Protech Distribution

ALMOST HALF OF THE POPULATION of Ivory Coast follows the teachings of Islam, the majority of which adhere to the Sunni denomination, abiding by the Maliki version of Islamic law. In the late 1990s, as the religion enjoyed a resurgence in the West African country that continues to this day, Mosquée de la Riviéra Golf was built to serve a Muslim community of up to 800 people in the Riviéra 1 district of the city of Abidjan.

TOA TC-631M public address horn speakers were installed outside Over the course of the past two decades, the mosque has struggled to find a sound system that suited its needs. Several potential solutions had been tried over the years until Protech Distribution was contacted recently. ‘We were approached by the mosque president to provide a worldrenowned sound solution,’ recalls Inza Bamba, managing director of Protech Distribution. ‘For the past 20 years, the mosque has been looking for a

high-quality sound system that can offer the intelligibility needed both inside and outside of the building. They tried several systems with different combinations of mixers and amplifiers. But, not only were the speaker systems not up to the standard the mosque was looking for, the sound solution as a whole was always far too complicated for the non-technical members of the mosque staff to operate.’ Among the catalogue of manufacturers that Protech Distribution represents as a supplier in Ivory Coast is TOA Electronics, which produces audio solutions across the entire signal chain. ‘We installed a TOA MX-6224D digital mixer amplifier,’ says Bamba. Specifically designed for use in smalland medium-sized houses of worship, particularly mosques, the MX-6224D provides 240W of power per zone for two zones of public address systems and is easy to use with a three-band EQ available on all six of its mic inputs. ‘For coverage inside the mosque,’ Bamba continues, ‘we installed 31 TOA BS-1030 two-way, bass-reflex speakers. We chose the BS-1030 because it has a wide frequency range, making it suitable for use in reinforcing both speech and music playback. The speakers were installed around the pillars and in the ladies’ prayer room. ‘In addition, we fitted 12 TOA TC631M public address horn speakers to cover the outside of the mosque and the minaret. Built for public address announcements, the TC-631M features an external speaker component and is finished with a powder coating and stainless-steel screws for use in all

30 WORSHIP AVL July–August 2019

TOA BS-1030 speakers serve the inside weather conditions. We chose TOA speakers for this installation as they not only form consistency across the system with the digital mixer amplifier, but also because of their reliability and sound clarity.’ Although the installation, for the most part, was as simple as the system setup itself, the project wasn’t completely without its challenges for the Protech Distribution team. ‘We encountered feedback from six open microphones,’ explains Bamba. ‘However, we were able to fix this by simply turning down the volume and adjusting the frequencies on the built-in amplifier DSP settings. The result was astonishing. Not only have we received plenty of adulation from our client, we have also had kudos from other mosques in the area.’ www.facebook.com/Grande-MosqueeRiviera-Golf-1443793935863380 www.protech-distribution.com www.toa.co.za

PROJECTS

Brighter days ahead Shiloh Church’s sanctuary was described as ‘dark and dreary’ before Morris Integration installed a new lighting rig. James Cooke aims the spotlight on this Californian church

SINCE 1965, SHILOH CHURCH HAS welcomed Christians from all denominations through its doors, just off the 580 in Oakland, California. In addition to its three Sunday services (two in English, one in Spanish), the church hosts a weekly family night featuring a variety of classes and activities, as well as a range of other events throughout the year. However, until recently, Shiloh’s sanctuary left something to be desired – more light and clearer video.

‘The sanctuary was so dark and dreary,’ says executive pastor, Chris Casimere. ‘People were having a hard time seeing their Bibles and the text on the screens.’ Therefore, the church management made the decision to embark on an overhaul of both its house and stage lighting rigs, drafting in the services of Morris Integration for the design and installation. ‘Shiloh's old lighting system had all the brightness of a dungeon,’ confirms the church’s creative media

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32 WORSHIP AVL July–August 2019

PROJECTS director, Rick Chavez. ‘I believe Morris Integration measured it at 4FC (foot-candles), which was as low as any building they'd ever done. We were literally using a control panel from a 35-year-old construction crane to control the dimmer switch for our house lighting.’ When Morris Integration’s lighting designer, Paul Holst, first arrived from the company’s home base in Nashville, Tennessee, he declared that ‘the house lighting was essential to create consistent quality throughout the church’. The foundation of the design was dynamic and consistent house lighting. In addition, a major aspect to Morris Integration’s design was to deliver unlimited colour control throughout the entire room. This led to the installation of 16 Ovation H-605FC house lights from Chauvet Professional. The RGBA-Lime LED fixtures have been deployed throughout the sanctuary, providing an even field of light and the flexibility to fill the room with white light or any colour. This ability is used to help immerse the congregation during services and events, with key lighting changes planned out to coincide with particular points during a sermon. ‘When we first visited the church, it became apparent very quickly that we needed to address the house lighting of the room,’ recalls Holst. ‘We took an FC reading of the room with the houselights at full, and they were only getting 4FC.’ An FC reading measures the illuminance cast on a surface from a one-candela source a foot away. A candela is a unit of luminous intensity. ‘The H-605FC did a great job of bringing the house light levels to a much higher point, all the while being more efficient than the old fixtures,’ Holst continues. ‘Now, the congregation can finally read their Bibles at church. We had to bring the house lighting up to this level before

we turned our attention to the stage lighting. It may not be as exciting as stage lighting, but the house lighting was essential to creating consistent quality throughout the church. With the H-605FC, the church has unlimited colour control of the entire room.’ Senior pastor Javier Ramos was notably impressed by the unlimited colour control bestowed upon Shiloh Church, as well as the house lighting in general. ‘It is like the lights were turned on and I was seeing things I had never seen,’ he says. ‘I have not seen so many faces in a long time.’ When stage lighting was addressed, Morris Integration designed a system capable of producing a wide range of dynamic looks. The goal was to not only keep the congregation engaged in-house, but also look good on camera for those watching from home. Shiloh Church live streams its services via its own website and social media channels such as YouTube and Facebook. A system was installed comprising 10 Rogue R2 Wash fixtures, six Rogue R1 Washes, six Rogue R1 FX-B and six Maverick MK1 Spot units, eight Ovation F-265WW and four Ovation FD-105WW Fresnels, and 14 Ovation E-260WW ellipsoidals. These fixtures, all from Chauvet Professional, feature

adjustable Pulse Width Modulation to avoid flickering on camera. ‘We used the R2 Washes over the stage to create a nice colour wash for the worship team,’ explains Holst. ‘The Mavericks were also used over the stage to create breakup and beam patterns. We placed the R1 Washes and FX-Bs on uprights that we spread out between the worship team for more beam effects and added dimension. The Ovation E-260WW ellipsoidals were used for front lighting the worship team, while the Ovation F-265WW Fresnels were used to create a nice even front wash of the lower stage for speaking, with the FD-105WWs providing backlighting.’ Chavez has already seen plenty of benefits as a result of the new install. ‘The new lighting rig gives Shiloh the flexibility to program the worship segment per song and even per chorus or bridge,’ he explains. ‘The worship team is happy now and so is the congregation, since they are able to enjoy the enhanced stage lighting. That also helps greatly with the look on the side screens and allows Shiloh to host special events that can be programmed accordingly. Lastly, it opens the door for volunteers to learn a new

craft, while at the same time being ministered to.’ In addition to the lighting upgrade, congregants are also now able to read the text on the screens from the new projectors. ‘Shiloh's old projectors were just that: old, tired and costly to maintain,’ says Chavez. ‘It was time to move into the laser projection era to save time, money and hassle. Shiloh also added a third projector for a middle screen that hadn't been used in several years.’ A Panasonic PT-RZ870BU was set up by the Morris Integration team to cover the centre screen, which is used mostly for lyrics, while a pair of PT-RZ970BU DLP projectors deliver image magnification to screens on both sides of the stage, allowing congregants in the farthest corners of the sanctuary to see clearly what is happening onstage. Morris Integration also assisted in upgrading the church’s older Panasonic SD cameras to two new Panasonic Px280 1080p HD cameras for a greater image quality when using image magnification and live streaming. The camera operators and video producer at Shiloh are now using a two-channel Clear-Com intercom system to communicate more effectively during services. A Ross Video Carbonite switcher was part of the video installation, offering control over the live video and leaving room for future expansion. Following the upgrades to the lighting and video systems, the congregation at Shiloh Church can now read their Bibles, see the pastor and view the projector screens. Gone are the dark days; the future is bright. www.chauvetprofessional.com www.experiencemorris.com pro-av.panasonic.net www.shilohchurch.com

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STAGING · ACOUSTICS · RIGGING

July–August 2019 WORSHIP AVL 33

KnowHOW

How to hang lighting fixtures John Black looks at where to hang lighting fixtures that support both weekly services and special drama performances WE’VE ALL BEEN IN SITUATIONS where an actor, director or service planner comes to us half an hour before an event asking for a particular area of the stage to have a spotlight or a particular colour wash. Depending on the equipment you have installed in your facility, where it is installed (and accessed) and the experience of the technical team, lastminute requests may be something you can easily provide for, or it may be impossible in the time you have before the service starts. One of the surest ways to meet the lighting needs of special performances – regardless of whether they are last-minute or well-advanced requests – is to plan lighting fixtures into your rig specifically for the purpose of these special events.

Redemption to the Nations Church cues its Elation lighting rig to create a wide range of effects Image courtesy of intyde

Functions and qualities of light

Repositioning lights before a performance These are fixtures in addition to your standard service rig and are placed specifically to achieve certain looks that can be easily and quickly adjusted when needed. In all of my venues, I have a ‘house plot’ hung, circuited and patched that consists of fixtures that can front light, top/back light and colour every stage zone individually (see Setting Up a Basic Lighting Grid in the March–April 2019 issue). In addition to these fixtures, I include a number of ‘specials’, tight spotlights focused on areas of the stage that I want to light more specifically. These specials are frequently used and are therefore a part of the house plot. Finally, I have

a number of fixtures hung throughout the rig for the sole purpose of quick and easy focusing for special lighting needs of events that come and go. The fixtures stay in place, circuited and patched, but will be adjusted as needed (whereas the rest of the house plot never changes). Before looking at the specific positions where lighting fixtures can be hung to support special drama performances, let’s first quickly review some basics about stage lighting as that will help guide us in fixture placement. Remember that none of these basics are unique to lighting drama performances and are considerations for any lighting design.

34 WORSHIP AVL July–August 2019

Often when a special drama is performed in a worship service, large elaborate scenic elements may not be possible to help set the scene and so lighting can play a dominant role in supporting and reinforcing the message of the drama. The first function is visibility or selective visibility, which refers to the ability to see – or not see – certain objects. To the designer, it is a balance between what is illuminated and what is not. Most importantly, seeing the actors helps the audience understand them. The second function is focus, which refers to directing the audience’s attention towards what is most important. When it is important for an audience to focus on a single character or object onstage, it helps if the entire stage area is not lit, bringing focus only to where the scene action is taking place. If the focus of what is being said is a particular object, perhaps it may be powerful to focus lighting only on that object for the audience to consider. The third function is form, which refers to the three-dimensional modelling of the actors or elements onstage. Lighting can make an actor or scenic element look flat and

two-dimensional, or sculpted and three-dimensional. Form is created predominately through the physical positioning and angles from which light is hitting an object. The fourth function is composition. Just as a photographer considers all of the objects or elements in the frame, or a scenic designer considers balance, elements of symmetry and line in a set design, the lighting is also an important part of composing the ‘stage picture’ that the audience sees. The fifth function is mood, which refers to the use of lighting to portray and reinforce the feelings of the characters and circumstances. Lighting can be used to reinforce certain emotions through the use of colour and angle from which it hits an object. Finally, the sixth function is given circumstances, which refers to the use of lighting to let an audience know when and where the action is taking place. The use of colour and patterns for suggesting weather, time of day or location, for example, provide detail to the audience about where and when the action is happening. All of these functions are realised through manipulating the controllable qualities of light, which include intensity, colour, direction, shape and movement. These functions and

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KnowHOW qualities are not unique to lighting for drama and should be considered when creating the house lighting plot used in your facility for your weekly services.

Where to hang special lighting fixtures In facilities that are equipped with LED wash fixtures and/or moving light fixtures, it may be that you can meet the needs of special drama performances using your house plot through making programming changes on the lighting console. However, if your facility is not equipped with these fixtures, then I would recommend adding some fixtures to your house plot for the purpose of special drama performances or other special lighting needs that may come up from time to time.

New Destiny Christian Church has a lighting rig above the congregation number of small zones, it may be that what you’ve set up will work for the majority of your special lighting requests. However, having a few extra fixtures available never hurts and allows you to provide some special lighting if and when needed (such as lighting a specific scenic element or an auditorium aisle for an entrance). When it comes to hanging these fixtures, try to place the fixture in a position that is accessible. This may also determine the type of fixture you choose. If you have a balcony rail accessible without a ladder or positions accessible via catwalks, throwing a few extra conventional fixtures into your rig will meet the majority of your needs.

Adjusting lighting fixtures

Front light first – visibility and focus First and foremost, the function of visibility is key. I would first add fixtures to your front lighting positions so that when a special lighting need comes up, you are able to make the actors or playing area visible. In one of my venues, I have 12 ellipsoidal fixtures hung and ready in front lighting positions that get refocused on a weekly – if not daily – basis. These fixtures are equipped with irises to adjust the beam size as well. What really makes this work in my case, however, is the accessibility of the fixtures. In this venue, the front lighting positions are accessed by a catwalk system, so getting to the fixtures and refocusing is fast, simple and safe. In another one of my venues, the front lighting positions are electrics on motorised winch systems directly over the audience seating area.

When working on these fixtures, the electrics are lowered to a workable height and then flown out again. As it spans the full width of the auditorium and for safety reasons, I can’t make adjustments to fixtures without removing the audience from the front half of the auditorium. In this case, making last-minute changes for special lighting needs using conventional fixtures would not be possible. Therefore, I have placed a number of moving light fixtures in these positions so that when special lighting needs arise, I am able to support these requests without having to directly access the fixture. When lighting special drama performances, often there is a need to provide a specific focus and visibility for the actors that are performing, so that is why I would prioritise building flexibility into your front lighting. If you’ve set up your house plot to light your stage in a

36 WORSHIP AVL July–August 2019

Top/back light second – mood and circumstance The second most common request I receive is colour. Performing groups often want particular colours to support or help portray certain moods and/or circumstances. This is easy to achieve if the rig consists of top/back lights set up in zones and equipped either with colour scrollers or LED fixtures. If you only have one set of top/back lights used throughout a regular service for providing form, then you may need to look at placing some additional fixtures in these positions to provide colour for special drama performances. The benefit of an LED wash fixture or a unit equipped with scrollers is that the colour of a particular stage zone can be

changed programmatically on the lighting console. However, if neither exist, you won’t be inserting gels mid-service for a special drama performance. In that situation, add a few extra fixtures that you know are available to place a gel in from week to week depending on the needs of the service. Again, accessibility is important. About eight years ago, I changed one of my venue’s top/back wash rigs completely over to LED. The response and flexibility for planners and performances was amazing. A year later, I did the same thing in my other venue, although I put in moving head LED wash fixtures. The flexibility to change a colour wash anywhere on the stage has not only provided a level of flexibility and support that I wasn’t previously able to provide, but the amount of time it took me to prepare for and meet those needs was significantly reduced as I no longer had to access the fixture for refocusing.

Conclusion As you can see, lighting for weekly services doesn’t necessarily differ from lighting for special drama performances, but building flexibility into your rig will allow you to be able to meet special lighting requests easier and more efficiently. All facilities are built differently, so be sure to look at how accessible areas of your rig are. These are the two hanging positions I would start with. There will always be special lighting requests. If you plan for that happening, then meeting those needs will be much easier.

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KnowHOW

Live video for all shapes and sizes All images depict Rock Springs Baptist Church in Easley, South Carolina

Matt Allard, product marketing manager for NewTek, describes how live video can be implemented for worship facilities and congregations of all size and reach VIDEO IS AN INTEGRAL PART OF people’s lives – and that extends to the spiritual institutions they worship at. Video holds true value in the house of worship space as it is a powerful means to deliver inspirational messages, and allows organisations to expand their reach while maintaining a personal connection when distributing media around facilities, to multi-site locations or to individuals with remote access using streaming. At NewTek, we’ve seen a number of creative and impressive examples of this taking place, including a Christian university in Texas that has brought in live video feeds from missionaries located in nearly every time zone to allow for all-inclusive worship services; a church in Kansas broadcasting its services out to satellite locations across the state – locations that were on the verge of shutting their doors as the costs of staffing had grown too cumbersome; a mosque in Kenya that established its own television station to distribute nationwide on the public access feed; and churches around the world that have found ways to add streaming services of their broadcasts over the internet to bring in followers who are unable to attend – or only attend from afar. While these integrations may seem like costly propositions reserved solely for the megachurches of the world, the above applications fit comfortably in the small- to medium-sized house

of worship market thanks to video workflows that have moved to the network.

A networked approach Many house of worship facilities already have some combination of standard IT wired or wireless networks. For those that do not, adding networking is far less complex and costly than installing dedicated wiring for traditional video and audio distribution. These networks are key to making live video both more cost effective and easier to set up and operate than ever before. As network-based video workflows have graduated from the elementary years of development, the market is now robust enough to offer up network-native cameras, production systems, graphics systems and streaming devices that work entirely with IP protocols for video, such as NDI. There are also converters that take traditional video outputs and convert them to NDI feeds. NDI devices are simply put on the network, quickly discover each other and are ready to efficiently transport media back and forth with little effort. This connectivity can be extended across the network to other locations using streaming – even over public internet. Using these networks is critical to affordable and effective integration. A networked solution not

38 WORSHIP AVL July–August 2019

only removes the costs associated with traditional cabling, it also reduces the complexity of running wires and troubleshooting such systems. From there, streaming can occur in real-time to connect sites, guests and viewers to a specific event, but can also be used at a later time by congregants by recording the event and saving it as a file that can be put on a local server or on to a cloudbased video hosting platform. Streaming can also be set up with social media platforms or on the organisation’s own website. This expands the reach of the service to those in the congregation who may be unable to attend – and serves

as a valuable outreach tool to those considering joining a congregation. Religious organisations often rely on volunteers to help produce events, and even those with dedicated staff, they likely do not have extensive video production experience. The good news is that with the advent of more IT-based practices and IP transport, creating media content is getting easier. The tools and systems are embracing a more inclusive user experience. Devices have more auto configuration and discovery functionality to take the technical complexity out of connecting components together. Customised software control panels are put together that optimise common

KnowHOW KnowHOW tasks tasksand andlimit limitthe thevariables variablesto to just justwhat whatisisneeded neededfor foraaparticular particular programme programmeor oroperator. operator.Control Control surfaces surfacescan caneven evenbe bedeployed deployedon on touchscreens touchscreensand andtablets. tablets.Programme Programme details detailssuch suchas aseffects effectsand andgraphics graphics are areset setup upwith withpresets presetsand andtemplates templates to tomake makeititfast fastand andeasy easyto toadd addor or change changeproduction productionelements. elements. As Asmany manyevents eventsare arepre-planned, pre-planned, simple simpleprogramme programmeautomation automation based basedon onwritten writtenscripts scriptsmanage manage the theteleprompter, teleprompter,switching switchingsources, sources, effects, effects,video videoplayback playbackand andgraphics graphics to torun runthe theentire entireshow showwithout withouthaving having to toknow knowabout aboutthe theoperation operationof ofthese these systems. systems.Simply Simplyput: put:live livevideo videohas has never neverbeen beensimpler simplerto toadd addto toworship. worship.

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produce produceprofessional-grade professional-gradevideo. video. The Thekey keyisisto tofind findaapartner partnerâ&#x20AC;&#x201C;â&#x20AC;&#x201C;both bothon on the themanufacturer manufacturerand andlocal localintegrator integrator levels levelsâ&#x20AC;&#x201C;â&#x20AC;&#x201C;that thatwill willconsultatively consultativelyengage engage ininhelping helpingyou youreach reachyour yourgoals. goals.Seek Seek out outmanufacturers manufacturersthat thatcan cancite citepast past success successwith withthe thehouse houseof ofworship worship market. market.Find Findlocal localintegrators integratorswho whodeal deal directly directlywith withthese thesemanufacturers. manufacturers.This This ensures ensuresnot notonly onlyaaquality qualityproduct productbut but also alsoan anassurance assurancethat thatyou youwill willhave have long-term long-termsupport supportas asyou youinstall, install,learn learn and andoperate operatethe thesystem. system. By Byfinding findingthe theright rightpartners, partners,you you can canset setyour yourcongregation congregationup upfor foran an advanced advancedand andimproved improvedexperience experience through throughlive livevideo videoat ataaprice pricethat that makes makessense senseand andaalearning learningcurve curvethat that wonâ&#x20AC;&#x2122;t wonâ&#x20AC;&#x2122;tbe bedaunting dauntingfor forthose thosehelping helpingto to bring bringthe theproduction productionto tolife. life.

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39 39

KnowHOW

How to mic a drum kit Gordon Moore asks why would you want to mic a drum kit and how to go about it DRUMS OFFER A DILEMMA FOR many church sound operators. Typically, they are too loud for worship spaces unless the drummer’s skills include good level control. So, why would you want to mic a drum kit? First, there are larger facilities where amplification is helpful. Second, recordings still need the drums to be accurately represented. Finally, and most importantly, even when excessive volume is a problem, the operator needs the capability

MEET THE AUTHOR Audio expert and industry veteran Gordon Moore is the director of technical ministries at Rio Rancho United Methodist Church in Rio Rancho, New Mexico; president of Lectrosonics Inc; senior faculty member for the InfoComm Academy; and was named Educator of the Year for InfoComm in 2000.

with a very limited (or even worse, an uncontrolled) dynamic volume range. Compressors are useful to level the sound and give the sound operator more consistent signal. With a consistent signal, the operator – as the last musician in the chain – can then add the musicality to the drums, soft levels for contemplative peaceful songs and rocking levels for the ‘get LOUD’ songs of joy.

Choosing the microphone

to properly ‘sweeten’ the mix for the sections of the kit that are not as easily heard – such as hi-hat cymbals. The key when setting up microphones for drums is to keep a high awareness of the pickup pattern when selecting the position for the microphones you have chosen. There are a few good rules to follow. RULE 1 – Cardioid patterns are, in most cases, your best choice for the pickup pattern. Cardioid microphones are most sensitive directly in front and almost deaf from behind. This becomes very important when trying to set up a microphone to capture the snare, yet you want to avoid getting the cymbal that is directly above it into that channel. RULE 2 – Dynamic microphones are well suited to the high SPL levels typical for a microphone placed close to a drum or cymbal. Dynamic microphones are typically less

sensitive than condenser mics. This can help prevent overload/clipping when the drummer gets enthusiastic. Dynamics are also tough microphones (typically) and able to better withstand the occasional stick strike. RULE 3 – Watch your gain. Keep plenty of headroom on your input trim for the hard strikes – the input compressor on digital boards will be your best friend on the drums to help keep consistent levels, especially for less experienced (and less nuanced) drummers. I have worked with a few drummers who are incredibly adept at controlling volumes of their various heads through skilful control of their sticks. For those drummers, I release the compressors because these masters of the drum arts are very musical and use varying volume for enhancing their contribution to the musicality of the band’s performance. I have found many drummers, however, tend to play

40 WORSHIP AVL July–August 2019

Think about the content of each part of the drum kit when selecting the microphones. Cymbals need a microphone with a high-frequency response and good sensitivity to catch the gentle, shimmering taper off of level. The kick needs a solid low-frequency spectral response and the ability to handle some pretty hefty levels. The toms will want a midrange

response and the snare has both the midrange spectrum of the toms plus the high frequency of the staccato from the wires (the snares) against the lower skin. Fortunately, microphone manufacturers make drum-specific microphone kits. These kits will give you, in a single purchase, their recommended selections of microphone they specifically designed for drum pickup. These kits will have 5–8 microphones with mounts specifically designed to handle a full drum set. Pricing ranges widely – remember the adage that ‘you get what you pay for’. But even a lowercost kit can be a good start when you are on a budget. If you have to acquire your microphones over time, review each kit – their selections can offer you guidance for selecting each mic as you build up your kit. Don’t be afraid to mix brands – sometimes one brand offers something you really like for the kick but another’s tom choice seems better suited to your budget and sound.

Let’s look at the kit, one percussive unit at a time KICK The kick or bass drum is the bottom end of the kit. A large diaphragm dynamic mic placed on a short stand (or even within the drum) gives an

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KnowHOW excellent low rend response. Some specialised kick mics may have a super cardioid pattern – in that case, watch out for rear pattern pickup. Remember that the best approach is to be flexible – try different placements until you get the sound you are looking for. TOMS Toms are easily miked with a pencil-style microphone such as the ubiquitous Shure SM57. Place the microphone close to the rear edge (out of the strike pattern to avoid getting hit by the sticks) aimed at the drum surface. Stick with cardioid pattern mics – often the cymbals are mounted low just above the toms. The lack of a rear pickup pattern from a cardioid mic will minimise bleed over of the cymbals into the drum mic. Many microphone manufacturers have specialised low-profile mics designed to easily clip to the lip of the drum and place the mic in a good position (plus it eliminates yet another mic stand on the stage). SNARES Using the same style microphone as the toms but consider two microphones for the snare. Place one in the typical position on the top of the drum (especially effective at catching brushes). Place the second underneath aimed at the bottom skin.

and people who do the same work as you, you can exchange ideas and, often, even borrow gear from each other. That makes experimenting easier if you can borrow a mic you are interested in using for your drum kit before you actually buy it. Be prepared to also work with the drummer(s). They will want to achieve a signature sound and, by including them in your decisionmaking process, you will find them more sensitive to the requirements of your job as a sound mixer. In that cooperative process, you will also create the common language between you that improves communications – you will learn to speak ‘drum’ and better understand when the drummer makes requests. mechanical sound of the motion of the moving head. CRASH If a mic is necessary (usually the crash is loud enough), then the best approach is aimed at the cymbal but well overhead or underneath, far enough away to avoid physical contact. Again, watch your placement and try to avoid allowing the mic to pick up anything else besides the cymbal. Keep in mind the motion of the crash cymbal as well – they fly all over the place so make certain your mic can’t be struck by a wildly pivoting cymbal.

prevent excessive levels from the drums overloading the rest of the band. This approach requires fewer microphones and gives the sound operator a more generalised sound to mix in. You will not be able to have ‘more snare’ in the mix for a special song like you will with a

tighter, closer-mounted kick. The advantage will be the reduction in the number of required channels (2–3 for a jazz setup) versus a rock and roll setup that will take 5–7 channels on your mixer. When your mixer channel count is limited to 8–16 channels, the overhead mic rig can help you economise both in terms of microphone inventory, but also in terms of channel count. The bottom mic will capture more of the shimmer of the snares and allow the mixer to mix different sounds for different songs from the same kit. HI-HAT CYMBALS Place a pencil mic about 4–6 inches away from the cymbals about a third of the way in from the edge. Experiment here because each hi-hat is different. Try to avoid capturing the ‘whoosh’ of air as they close together or the

The above suggestions are based on a ‘rock and roll’ type drum kit. If your praise team is a bit lower key with a more ‘jazz’ like style, you might consider using a more remote, general mic kit that hangs above the drums. Place a mic for the kick drum and then set up some overhead microphones on tall stands to capture the kit. This is especially effective if your drummer is placed inside a gobo – a plexiglass enclosure designed to

42 WORSHIP AVL July–August 2019

Keep experimenting Drums are like guitars – no two sound the same. Be willing to experiment with your microphones on the drum kit and try different setups until you find that particular combination that works best for you. Get to know other church sound mixers in your area – perhaps even establish a special ‘breakfast group’ where you meet on a regular basis. By interacting with other churches

At the mixer Pay attention to your compression attack and release times (experiment here). Proper use of some compression with different attack times can make a snare

very expressive (with a hard initial crash followed by a sustain through a slow release time). Play a bit with the attack time and start with a 3:1 compression ratio. Here is another place where experimenting with the compressor will give you a signature sound.

Equalisation is important Cymbals need little to no low frequencies and, by rolling off the bottom, you can eliminate the kick from your cymbal microphones. Rolling off the top end on the kick will conversely prevent the cymbals from spilling over into your kick mic. Finally, use groups to simplify your live mix – group the drum kit once you have the balance dialled in – it will make your job easier during the worship ser vice. Be blessed and mix well.

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MAINTENANCE

Loudspeaker system check-up Testing your loudspeakers before issues occur can help with system performance, monitoring and troubleshooting. Frank Wells offers a methodology for such evaluations LOUDSPEAKER SYSTEM PERFORMANCE issues can creep in over time due to worn speaker components, wiring that’s loosened or processing and amplification path issues. By evaluating and documenting system performance when your HOW’s system is performing optimally, you can establish a performance baseline for comparison during later testing. Begin by ensuring you have a backup of all system settings, including console output processing settings, external processor settings and amplifier processing and level settings, by means of electronic configuration export files, photographs of knob positions and/or paper logs of menu settings and knob positions.

positions, captured and displayed system performance can be monitored over time, with drastic change being an indication of something amiss. The available RTA software pages range from simple mobile phone apps (many that are free) to computer software packages that range from simple to highly sophisticated. One caveat: unless you are using calibrated test microphones and interfaces with RTA software (or hardware for that matter) and you have a really firm grasp on room tuning concepts and practices, do not adjust your tuned system based on your measurements.

can isolate (left and right channels together, then independently and, if possible, test individual cabinets within a system). Using a more subjective but still valuable approach, spend time learning what pink noise sounds like. Train your ears with pink noise through your system when you are sure everything is working properly.

External test microphones allow more accurate measurement than built-in mics

Channel D’s Waavebox signal generator’s pink noise output measured with the 1⁄3-octave RTA function of its Mac the Scope signal analyser You can take an objective snapshot of system frequency performance with RTA software (real-time analysers display audio signal levels as a bar graph of level in divisions of fractions of octaves) and a pink noise source (audio pink noise has equal energy across all octaves within the audible spectrum). By using a consistent signal path and test levels and

Just holding your mobile phone up and using its internal microphone can give you an idea of a system’s performance compared to a similar snapshot taken at an earlier date with the same tools, but you may well do harm to the system if you make tweaks based on such measurements. Test and record an RTA snapshot of every component you

44 WORSHIP AVL July–August 2019

As with taking system RTA snapshots, listen to the full system and then isolate system elements and listen again. The objective RTA snapshots and the subjective listening can reveal performance issues that can help isolate system problems. Swapping out the amplifier channels feeding system elements can help determine whether you have a signal chain issue or a wiring or speaker component issue causing a discovered problem. If the problem stays isolated to the speaker system (say the left channel sounds wrong even if driven by the right channel amplifier), first inspect all wiring connections. If the wiring is good, you’ll need to then identify the speaker cabinet with the problem. If, with amplifier channels switched between output paths, the problem shifts from one path to another, then you have a signal chain issue prior to the wiring and speaker cabinets. Check to see if your amplifier settings are identical left to right and, if all are set the same, swap the amplifier inputs. If the problem stays with the loudspeakers connected to a given amplifier output channel with the inputs swapped, you likely have an amplifier issue.

Material measured with the Smaart Tools module for Studio Six Digital’s AudioTools If the problem moves when you swap the amplifier inputs, it could be a console setting or performance issue, the wiring between the console and any processing that precedes the amplification, or it could be an issue with processor settings or processor performance. Routine cleaning and physical inspections should be performed on loudspeaker systems. This can be difficult with flown, hung or wall-mounted loudspeakers. A lift or ladder might be needed to reach the systems; remember, safety first. In regard to cleaning, installed loudspeaker systems will probably only require dusting as it’s unlikely they’ll be subject to any build-up. Woofers can be lightly dusted with a fine brush. The same applies to tweeters, though some designs can be very sensitive to damage from contact. Be extremely gentle. Inspect the cones of woofers for physical damage, paying particular attention to the pliable surrounds that connect the cone to the frame. These speaker surrounds can get fatigued and let the cone sag or allow the cone to move asymmetrically. On very old speakers, the surrounds may even begin to deteriorate and crumble. If the surrounds are worn, or if there’s been damage to a paper cone, the speaker will need to have the cone or surround replaced, or the speaker itself will need to be replaced. On loudspeaker cabinets that have internal amplification, there may be fins on the rear of the cabinet to dissipate heat from the amplifiers. Dust can act as an insulator, impeding dissipation. Keep the fins clean with a dry rag, dry paint brush or a vacuum. The better you know your PA system, the better you can ensure performance.

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TECHNOLOGY

MIDI Show Control James Cooke discovers how a system based on musical instrument digital interfaces can help bring various AV elements under control such as the lighting or sound. The show control system combines the various enter tainment controls to form an all-encompassing solution.

MIDI Show Control

Image courtesy of Action Church

What is MIDI? Let’s start by defining MIDI (Musical Instrument Digital Interface). This is a protocol enabled by a digital interface and a series of connectors that facilitates communication between various electronic musical instruments, pro audio devices and computers. Pretty handy when you’re playing and recording music. Up to 16 channels can be routed through a single MIDI link and each of those channels can be sent to a different instrument, computer or device. MIDI is also able to deliver event messages. These can be instructions for music, such as a notation, the pitch or velocity of a piece. Advantages of MIDI include its small file format, which is able to both store and exchange data, its ability to manipulate a wide range of electronic instruments, like synthesisers and keyboards, and its compatibility with different manufacturers. For example, before MIDI came into being in the early 1980s, different branded electronic instruments were typically unable to communicate. A Roland keyboard could not be connected to a Yamaha synthesiser module, for instance. What’s more, using MIDI, a single controller can be used to play several electronic instruments at once, providing a degree of flexibility, and portability if needed, when it

Samson’s Graphite 49 is a modern MIDI controller for use with music software comes to setting up at the start of a service or event. This is because a single MIDI keyboard controller (or even software) can replace not only several full-size keyboard instruments, but outboard mixing and effects units as well.

What is show control? Show control almost defines itself. It is the control of the elements of a ‘show’. This can include the music and audio aspects, as well as lighting, video, rigging and even pyrotechnics. In this context, we’re referring to technologies that largely automate these various show elements. Show control systems tend to be built from multiple multimedia controllers or enter tainment control systems, which together form one automated system. These systems are used for ever ything from concer ts to live television productions, as well as at theme parks, public events and

46 WORSHIP AVL July–August 2019

ever ything in between. They would cer tainly not be out of place in a house of worship with professional audio, video and lighting systems in place. It should be reiterated that show control systems and enter tainment control systems are not the same thing. An enter tainment control system will manage one aspect,

So, now we come to the crux of this article. What is MIDI Show Control? Often abbreviated to MSC, it is an extension of the MIDI standard – an open standard that follows real-time computing protocols to allow any and all entertainment equipment, including control devices, to communicate with each other. In other words, you can form an entire show control system using the format (that’s why it’s called MIDI Show Control and not MIDI Entertainment Control). MSC was validated by the MIDI Manufacturers Association in 1991 and enables computers to perform show control functions automatically in live applications, such as a concert, worship service or event. As with the original MIDI protocol, MSC is used for transporting digital information and data, not the show media itself. As a historical aside, the first production to fully implement MSC was Walt Disney World’s Magic Kingdom Parade in September 1991, highlighting the complex show control that the protocol is capable of managing. MSC data is transmitted just as musical messages in MIDI are sent to a synthesiser. While compatible with MIDI hardware, modern MSC

An example of a MIDI Show Control software window Image courtesy of MA Lighting

TECHNOLOGY devices typically rely upon an Ethernet connection, potentially ruling out older systems. The benefit of using Ethernet, of course, is flexibility afforded by the network’s higher bandwidth. The data sent via MSC can include all manner of performance parameters, such as lighting desk submaster and playback settings. All MSC-compatible devices and instruments are able to communicate with each other and computers programmed to understand the messages as they all follow the same, standard MSC specification, using the MSC Command Set. This means each product transmits an identical message for the same MSC event, such as hitting a particular cue. As all MSC-compatible musical instruments feature a built-in MIDI interface, they are able to follow any number of MIDI-over-Ethernet protocols. MSC messages are assigned to the cues that a device is able to manage within the show controller’s cue list. These are transmitted from the controller’s MIDI output automatically during the show, as commanded by either the user or the controller’s internally timed sequences.

RME’s Fireface UC audio and MIDI interface

Other show control options There are, of course, other entertainment control alternatives available with which you can build a show control system. You will likely be familiar with, or at least have heard of, some of them. For example, you may have seen the letters DMX appear together in this magazine previously. The United States Institute for Theatre Technology’s (USITT) DMX512-A is often regarded as the current industry standard for lighting control systems. It works as a control method communicating between digital lighting consoles and entertainment lighting fixtures, dimmers and effects machines such as fog generators and strobes.

While USITT developed DMX512 in the 1980s, the Entertainment Services and Technology Association (ESTA) took over the standard in 1998. After ESTA revised it, ANSI (the American National Standards Institute – which established ANSI lumens as a measurement for light output of projectors) accepted DMX512 in 2004. Today, the Professional Lighting and Sound Association (PLASA) manages the standard, following its merging with ESTA in 2011. Although several manufacturers, most of which produce lighting control consoles, pitched for DMX to become a show control standard for all AV elements, network limitations and lack of speed meant that the idea was never widely considered.

Other contenders on the audio end of the spectrum include Audinate’s Dante and CobraNet. The latter is the older of the two, having been around since the mid-1990s. It is considered the first commercially successful digital audio network solution. Using a mix of hardware and software to manage, CobraNet still enjoys a large installation base to this day and is licensed to several pro audio manufacturers. Dante is another term that you may well be familiar with from browsing these pages. When it comes to audio networking, it is largely considered to be the heavyweight champion. Taking its name from the abbreviation of the phrase Digital Audio Network Through Ethernet, it is a propriety solution for distributing uncompressed, multichannel, low-latency digital audio via an Ethernet network. Whatever systems and standards you choose to use, it is vital to ensure that everything you are adopting is able to communicate. Some solutions may be better suited to a particular entertainment aspect. For example, it may make sense to employ a Dante network for audio. However, if you’re looking for a solution to control the whole show, MSC could be a simpler, yet all-encompassing, option.

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TECHNOLOGY

Videomaking tools for beginners

Video can help you expand your audience and enrich the worship experience, but there are several hardware components that can elevate your production. Here are some basic tips TO REACH CONGREGATIONS around the world, HOW facilities are more commonly integrating high-quality broadcast production, post and streaming tools into their video workflows. Critical to HOW productions are tools for video capture and streaming. From recording sermons and worship band performances in-house, to broadcasting services and events remotely in locations across the globe, HOW workflows are integrating modern production technologies to provide audiences with higher-quality content across a range of platforms.

Multi-camera video capture ‘The top tool for any HOW workflow should include robust and power ful video capture solutions that can record content from a range of sources, including DSLRs, HDMI or SDI cameras,’ says Bryce Button, director of product marketing at AJA Video Systems. ‘Video solutions that enable multi-camera recording from up to four channels simultaneously in H.264, the most widely used codec and industry standard for video professionals, are ideal. For multi-camera capture from a variety

Nail your livestreaming delivery

Grass Valley’s GV Stratus has been launched to offer an all-in-one video solution for volunteers with minimal broadcast experience of sources, there are video solutions that can enable H.264 recording at variable bit rates without the need for a black burst generator and with genlock-free inputs. HOW staff can record up to four channels simultaneously from any combination of 4x 3G SDI and 4x HDMI inputs and also capture a backup or redundant recording to off-theshelf USB media. Video recorders with flexible options to choose 10-bit over 8-bit and 4:2:2 over 4:2:0 colourspace also ensure that users provide audiences with a high-quality visual experience,’ adds Button.

Compress your video files Video files take up a lot of space. More often than not, it is a good

48 WORSHIP AVL July–August 2019

idea to compress your video content in order to distribute it. To compress a video for an IP stream, you will need a video encoder. Compressing a video file correctly is imperative to preser ving the quality. To learn more about video compression, have a read of our Technology feature on p48 in the September–October 2018 issue.

HOW workflows are increasingly turning to livestreaming to reach congregations around the world, as well as ageing, ill or travelling parishioners who are unable to attend regular services. For livestreaming workflows, Button suggests HOWs should opt for a portable, standalone streaming and encoding device that supports a range of video delivery platforms to simplify distribution via the chosen content delivery network. ‘An essential production tool for HOW workflows are I/O devices which can assist with streamlining editorial processes, as it becomes more common for facilities to edit live recordings of services and events and make them readily available to viewers. Simultaneous to recording, a video stream can be compressed for delivery to a CDN or Facebook Live. For workspace integration, video and audio I/O hardware devices provide connectivity between cameras, monitors and computers, bridging incoming signals to a range of software solutions for a much more simplified postproduction chain,’ adds Button.

systems systems integrator integrator Ecosystem, Ecosystem, CoreLab, CoreLab, as as well well as as specialist specialist sound sound Sky Sky Sound Sound worked worked alongside alongside three-day three-day youth youth retreat retreat itit once once held. held. subwoofers, subwoofers, from from Sky Sky Sound Sound for for aa ‘Choose ‘Choose aa video video solution that can can VR8 VR8 monitors monitors and andsolution BF151 BF151that compact compact support support aa wide wide range range of of delivery delivery rented rented an an Alcons Alcons system, system, comprising comprising platforms platforms and and Center, also also provide provide aa variety variety Chunma Chunma Arts Arts Center, but but had had also also of of features, features, including including the the ability abilityin to tothe having having staged staged several several events events in the schedule schedule recordings recordings and and streams streams that that particular particular system system firsthand, firsthand, automatically automatically from from calendar calendar inputs,’ inputs,’ Church Church had had not not only only experienced experienced explains explains Button. Button. ‘For ‘For production productionCentral recommendation. recommendation. Gyeongsan Gyeongsan Central scenarios scenarios with multiple multipleto sources that that Yeongnam Yeongnamwith University University tosources back back up up his his require require aa Arts live live line line cut cut to to be distributed distributed Chunma Chunma Arts Center Center at atbe the the nearby nearby via via streaming streaming platforms, platforms, there is is now now ultra-compact ultra-compact line line array arraythere system system in in the the aan aan range range of of powerful powerful I/O I/O devices. devices. When When Alcons Alcons LR16 LR16 compact compact and and LR14 LR14

TECHNOLOGY KnowHOW Know HOW

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

Gordon Gordon Moore Moore

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WAVL WAVL Pg32-33 Pg32-33 Gyeonsan Gyeonsan Central Central church.indd church.indd 33 33

09/01/2019 09/01/2019 10:33 10:33

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

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

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

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countryman.com/H6 52 52 36 36 40 40

July–August July–August 2019 2019 WORSHIP WORSHIP AVL AV AV 49 AVL 49 35 35

TECHNOLOGY

Interfacing audio with computers With so many different audio interfaces available to choose from, it’s important to know how they differ WHEN YOU THINK OF AUDIO recording, your brain quite possibly conjures up images of long reels of tape alongside a mixing console adorned with hundreds of knobs and wires poking out of it. But this is rarely how audio recording happens in 2019. Of course, there is no shortage of analogue enthusiasts still championing such technology but, as with many things in this world, a whole room worth of equipment has been replaced by a little box, aka the computer. Digital recordings were already happening on magnetic tape before the computer took over thanks to technology like ADAT; however, recording to a computer provides so many benefits over less flexible formats like magnetic tape that it’s no surprise that almost all nonlocation modern audio recordings today are made with a DAW – a digital audio workstation, namely a computer running audio editing and recording software. Furthermore, the expectation among your congregation that your ministry is recording and

RME’s MADIface Pro provides 64 channels of inputs and outputs over MADI archiving its services and events is only growing with time. But, in order to feed audio into a computer, you will first need an audio interface.

Audio interface – what is it and why do you need one? An audio interface is, in essence, an analogue-to-digital signal converter with lots of bells and whistles attached tailored specially towards

50 WORSHIP AVL July–August 2019

audio recordings. Technically speaking, a computer sound card is an audio interface. It is capable of sending audio signals to your computer in a format the computer can recognise. The chances are high that via this sound card your computer sports audio inputs and outputs (3.5mm headphone and mic ports) straight out of the box, so won't that be enough? Most standard sound cards are fairly basic in their connectivity

options, offering solely what’s required to get consumer-level sound into the computer. This typically means a stereo line input (or two if you’re lucky) for connecting a computer microphone, along with a headphone output and stereo line output for speakers. Even if all that’s required is simple recordings of vocals and a guitar, a sound card lacks the appropriate connections. A proper microphone will sport an XLRbalanced audio connector, while the guitar requires a high-impedance line input to match the signals generated by its passive pickups and ensure that the resulting sound inside the computer won’t be significantly affected. As such, the term audio interface, when uttered by anyone in our industry, typically means ‘a professional audio interface’. Easeof-use and high-quality audio capture are the differentiators between such devices. Audio interfaces come in all shapes and sizes and feature built-in microphone preamps, which amplify your mic's signal to line level. This is a step up in volume from what the

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TECHNOLOGY mic can produce on its own, and can be read by a computer. The very first thing you need to decide on before selecting an audio interface is the input/output connectivity required for recording and playback.

How does an audio interface affect sound quality? Nowadays, great quality audio recordings can be achieved by reasonably priced inter faces, yet there is still a big difference between solutions at each end of the market. This is largely down to the quality of the analogue/ digital converter and preamp used inside the device. The converter is responsible for converting the analogue electrical signal generated by a microphone or instrument pickup into a ‘ones and zeros’ digital signal. The preamp’s job is then to take that very weak digital signal and amplify it to useable levels. More expensive audio inter faces typically use betterquality preamps and converters intended to colour the audio as little as possible (or colour it in a way that is desirable to the ear). The most hotly quoted specifications for audio quality in inter faces are typically dynamic range and signalto-noise ratio. While buying an inter face with the lowest-possible background noise is sensible, in the real world many musicians won't be able to hear any difference at normal listening levels. If you're capturing

Yamaha’s CL5 is a fully fleged mixer that ships with Steinberg Nuendo Live to facilitate recording spec increasingly less important. Bit depth is the number of bits captured in each sample per second. As this changes, so does the dynamic range, which is the difference between the lowest and highest volume of a signal that can be recorded. Jitter is another aspect that can affect audio quality but is rarely stated by manufacturers.

Choosing the right connectivity Connectivity of the inter face comes in two forms. Audio – the inputs and outputs responsible for handling the transfer of audio through the device; and data – how the device itself ‘talks’ to the computer. The very first thing you need to decide on before selecting an audio inter face is the input/output connectivity required for recording.

TASCAM’s 16x8 16-input USB interface for PCs and Macs a live per formance via a mic, the background noise level of that mic and its preamp may already be higher than that of the audio inter face, especially since it's difficult to make recording areas really quiet without extensive soundproofing. Other specs to understand and be aware of include the bit depth, sample rate and frequency response. Many budget inter faces now sport 192kHz sample rates, making this

input. To connect external gear such as drum machines, samplers and external sound processors such as effects units, you’ll need line-level inputs and outputs. Many studio monitors and headphone amps that provide a separate headphone mix to performers also require linelevel I/O. For very simple speech recordings, a USB mic could be

into a coherent mix. Perhaps your church also already possesses and uses an analogue mixer for mixing its weekly services, but would now like to archive those services as well. All you would need is a fairly basic audio interface to expand your system and turn the analogue signals to digital. Why would you pick a basic interface over a fully functional mixer if cost is no issue? Typically, space and portability. Users mixing and producing inside a DAW already have access to virtual faders, auxes, busses and effects provided by the software, yet managing all these in a live situation with multiple sources can be challenging via just a keyboard and mouse. Finally, there are also different connectivity options available for connecting your inter face to your computer, with the most common being USB, Firewire, Thunderbolt or PCIe. While most inter faces work with both Macs and PCs, there are a few that have specific Mac or PC compatibility to be aware of.

If you’re a singer-songwriter who wants to capture your voice and acoustic guitar using microphones, a pair of balanced mic inputs may be all that’s needed. If either of these mics is a condenser type though, you’ll need an input with phantom power to power it. If you’re going to be playing an electric bass, guitar or electronic keyboard that you want to connect directly to your recording setup, you’ll need an instrumentlevel input, also known as a high-Z

52 WORSHIP AVL July–August 2019

Focusrite’s RedNet X2P connects back to a computer via Dante sufficient. Such units are essentially a microphone and audio interface built into a single package that can be connected directly to the computer (usually via USB). If, for example, you intend to record a full band setup, you’ll likely need an interface with at least 8–16 physical XLR/TRS inputs. A full-scale mixer with an audio interface built in may well be the better option in such scenarios. Mixers have equalisers and volume faders for each individual input channel, giving you maximum control over every sound that goes into your computer. You'll also often get on-board effects such as reverb, delay and chorus that you can apply to individual tracks. A major advantage of a mixer over a simple interface is therefore its usefulness managing live performances. The increased input and output options make them ideal for assembling multiple instruments played simultaneously

The majority of popular inter faces are USB, thanks to the fact that almost every modern computer has a USB port. While typically more expensive, Thunderbolt inter faces offer high data bandwidth and low latency, allowing them to handle many simultaneous inputs and outputs. As you hopefully can see from the points above, there is no such thing as a ‘best’ audio inter face – it all depends on your application and requirements – but there are plenty of differentiators to be aware of prior to purchasing. Understand what it is that you’re trying to achieve before working back through the amount of input and outputs you’ll need, then decide the most appropriate format for connecting to your computer, before finally deciding on a set of audio specifications that are good enough for the job at hand without going overboard and breaking the bank.

BUYING GUIDE

On the mic There are a number of factors to consider when choosing a vocal microphone, from feedback to frequency response, not to mention wireless options. Ledetta Asfa-Wossen learns more IT’S NO SECRET THAT THE two pieces of equipment crucial to delivering the most intelligible, highquality audio to your congregation are mics and speakers but the choices are endless and the upgrades seemingly infinite. With many houses of worship now integrating live music and events into their services and extracurricular activities, demand for high-level mic per formance has become essential. Selecting the right vocal microphone with the required features hugely depends on the task at hand. Gene Houck, director of sales at microphone manufacturer Audix Corporation, explains: ‘There is such a diverse selection of microphones in use in today’s churches and a plethora of misinformation. For choirs, any single microphone will be covering several singers, so high-sensitivity condenser mics are the best choice over a dynamic microphone. If the choir location and size are consistent from week to week, a hanging choir mic is often a traditional choice. In many of today’s churches, however, the choir does not stay in one place or there may only be a choir for special services. In this scenario, platform condensers attached to a stand or boom are a better choice.’

Built to perform When miking a single vocalist, on the other hand, you are looking to pick up just one voice and isolate it from other noise. In most instances, a tighter polar pattern, such as hypercardioid, can be a good choice. Microphones that feature reduced sensitivity to surrounding noise (often known as off-axis rejection) can also help the vocalist ‘cut through the mix’, explains Houck. ‘For the spoken voice, the popular choice is between a wired podium mic or a wireless lavalier or headworn microphone. If a podium or lecturn is in use and the pastor stays put, a traditional gooseneckstyle mic is still a viable option.

frequency response, provide excellent isolation when placed close to the mouth, are easier to use and are much less susceptible to breath pops and cable rubbing noise.’

No wires

Audio-Technica Third-Generation 5000 Series Wireless However, most pastors now like to roam. Lavalier and head-worn microphones allow more freedom of movement,’ comments Houck. ‘Unlike a lavalier mic, a headworn mic moves with the head, so head turns won’t result in reduced volume. Because the mic is close to the mouth, there is less chance of picking up ambient noise and certainly less chance of picking up the rustling of clothing.’

The best-quality and value microphones normally range between $350 and $500, according to Countryman. ‘Assuming that the highest cost equals the best quality is probably the biggest misconception. For head-worn vocal microphones, it’s tempting to assume a directional microphone is best; however, we see most HOWs happiest with an omni. Omnidirectional microphones typically have the most natural

Over the past decade, there has been a wave of churches moving towards wireless vocal microphones, yet Houck remains cautious of this trend. ‘While wireless microphones are a great tool, in most cases, the most expensive wireless systems are simply trying to do their best to emulate that which is simply accomplished by a microphone cable and a wired mic. Secondly, once you learn the added cost, servicing issues and potential RF inter ference issues to deal with, churches would be wise to consider wired microphones in places where mobility is not a factor, such as worship team members who are stationary. Sometimes a church may also site cleanliness of the platform for minimising cables. But

Is the price always right? The variety in price point for microphones can also be hard to navigate but Houck is keen to suggest that high-quality audio doesn’t have to hurt the budget. ‘A good-quality vocal mic doesn’t need to break the bank. In fact, good-quality handheld vocal mics can be had for around US$100. To keep within budget, some churches will invest in a more expensive microphone for the worship leader, such as a handheld condenser, and a more economical dynamic microphone for the backup vocalists,’ he adds. Chris Countryman, president of Countryman Associates, echoes the statement: ‘You simply can’t judge a microphone by its price anymore. I have found extremely inexpensive microphones that sounded good, although they didn’t have much longevity or consistency. I’ve also taken apart premium microphones to only find $2 microphone capsules inside.’

54 WORSHIP AVL July–August 2019

Countryman’s 077 H6 headset omnidirectional tan microphone

BUYING GUIDE truth be told, the congregants don’t really care if a vocalist is singing on a wired or wireless microphone. They just want to enjoy worshipping in a great-sounding sanctuary.’ But, as Countryman states, for HOWs, the message comes

first. Therefore clear, natural sound should be the key priority. ‘Ultimately,’ notes Countryman, ‘microphone buyers have to consider the true cost of degraded audio or outright failures when making their decision.’

A shepherd in costume, from Willow Park Church’s Living Nativity wearing the Countryman E6 Earset

Audix’s MicroBooms overhead miking system

Condenser mic 101 3. Transient response

WHEN CHOOSING a vocal mic for live performances, there are product specifications to note as well as the type of vocalist and volume of the stage where the mic will be used. Pedro Rocha, business development manager at Earthworks, explains three main features to observe in a condenser vocal mic.

1. Gain before feedback A good indicator of how happy a sound engineer and audience will be with a vocal performance is if it can be heard without feedback. You want to see the off-axis response – sound from the rear of the microphone – as attenuated as possible. If the back of the polar pattern shows a sensitivity of at least 15dB lower compared to the front, you may be at the margins of what will work on a loud stage. This is particularly important when a vocalist sings at a low volume and extra gain may be needed.

2. Frequency matters Frequency response is often shown as a number; 20Hz to 20kHz is the range of human hearing and is represented graphically by a vertical line of intensity (dB) vs a horizontal line of frequency (Hz). A smooth line without deep peaks and valleys means a microphone that will be easier to amplify and pleasant to the audience. A frequency response with numerous peaks and dips can be a sign that you’ll have to EQ these areas to smooth the response, or to control feedback. Using EQ to correct these issues is the only remedy at loud volumes but doing so can negatively affect the sound due to the way

A stainless-steel Earthworks SR314 mic can handle SPLs up to 145dB EQs interact with adjacent frequencies (phase issues). It then becomes a balance to keep the microphone from feeding back and having the source sound natural. As a rule of thumb, the less EQ the better.

Here is where the difference between dynamic and condenser microphones becomes apparent. For singers with quiet voices, if you hear vowels accentuated more than consonants, it may be an indication that you need a condenser microphone for clarity. Unlike dynamic microphones that use air pressure to move a coil to generate a signal, condenser microphones have low mass diaphragms and react many times faster to the presence of a pressure wave. With condenser microphones, the attack of a sound source is preserved and subtle details like teeth, tip of tongue and lip sounds that define consonants and make for intelligibility are better presented. There’s a reason why choir and pulpit microphones are generally condensers. And, above all, remember, when testing vocal microphones, never wrap your hands around the capsule of a mic while singing. It doesn’t matter how cool it looks, the sound is going to be altered in a bad way; even the best directional microphone will tend to go omnidirectional and feedback if a hand fully encloses its capsule. Microphones are ultimately filters; they change or at best minimally affect the natural sound of a source. Some microphones have a character that is well-suited for flattering an individual’s voice. It takes time to know which microphone is best and it’s best to audition them in the area in which they will be used to fully know what to expect. www.audixusa.com www.countryman.com www.earthworksaudio.com

July–August 2019 WORSHIP AVL 55

NEWPRODUCTS

PRODUCTS

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

A-ZCONTENTS

The REA-C1000 connected to a PTZ camera

Artificial intelligence for video content creation Sony has released the REA-C1000, an AI-based Edge Analytics system

FOR HOUSES of worship looking to increase the quality of their video content, Sony states that the REA-C1000 enables users to create video content in real-time without the need for professional training, additional staff or equipment. The REA-C1000 itself is described as a ‘compact and lightweight’ machine. It receives the inputs from cameras, automatically extracts the object in focus using AI-based video analytics technology to analyse the content, and combines it with other images in real-time on a Graphics Processor Unit. The system does this by using motion and face detection and colour/shape recognition algorithms to produce professional content designed to keep audiences and congregations engaged. ‘Video content has become a key method of communication and the demand for solutions that create high-quality content, offer a hasslefree shooting experience and help distribute content quickly is rapidly increasing,’ explained Lawrence

Absen

Aries Series/CR Series/Absenicon

AKG

DMS100/DMS300

Alcons Audio

CRMSC-SRHV120/CRMSC-SRHV90

Allen & Heath

DT168/DT164-W

Atlona

AT-OME-EX-KIT

Avonic

T-Rex

beyerdynamic

Creator 24 and Creator Pro

Broadcast Pix

BPswitch IX

Canon

LX-4K3500Z

Chauvet

Ovation PAR series

Christie

Mirage 304K/FHD553-X

Claypaky

HY B-Eye

d&b audiotechnik DS20/R90/Revit files

Digital Projection Titan Laser 33000

Electro-Voice

RE3/RE420/RE520

Eventide

Instant Phaser Mk II

GLP

impression FR1 track-mount version 68

Green Hippo

Hippotizer V4.5

K-array

Rail

LD Systems

IPA412/IPA424

Litepanels

Gemini accessories

Luxul

AMS-1816P

Magewell

Pro Convert SDI Plus/Flex I/O

Martin Audio

WPL/SXC118

MXL Microphone

Blaze 990

Panasonic

SQ1 series /CQ1 series

PixelFLEX

FlexUltra with PixelShield

PR Lighting

Arc LED 1572/XPAR 543

Roland

V-600UHD

Ross Video

Ultricool/Ultrix 3.4

Shure

R189

Sony

REA-C1000

Soundcraft

Ui24R 3.0

TASCAM

DR-05X/DR-07X/DR40X

Yamaha

SWP2/VXC2F/VXC8S

REA-C1000 Tang of Sony Electronics Asia Pacific. ‘At Sony, we want to provide organisations on a limited budget with cost-effective, yet power ful solutions that allow them to easily create professional and engaging video content.’ 4K/HD input and output are supported and the REA-C1000 has also been designed to connect directly to Sony’s PTZ cameras and XDCAM camcorders. With an HDMI network connection, the REA-C1000 can also be integrated into AV setups commonly found in houses of worship, such as those with multiple displays, large screen projections and live streaming.

56 WORSHIP AVL July–August 2019

Point Source Audio CO2 Confidence Collection

Additionally, five optional features can be chosen for the REA-C1000. The first is handwriting extraction and presenter overlay, which can extract hand-written objects by optimising parameters and processing the images received by the camera, using the manufacturer’s moving/still object detection algorithm. In practice, this makes written content and diagrams clearer for the congregation to see. Second is PTZ auto-tracking, which can track a subject – say, a worship leader – throughout a ser vice, keeping them in shot automatically when using PTZ robotic cameras.

Close-up by gesture is the third optional feature. This allows the REA-C1000 to detect and react to the gestures of the audience, displaying an overview image and zoomed image in real-time. For example, if a member of the congregation were to stand up, the REA-C1000 can command the camera to zoom automatically in to that person. The fourth option, chroma key-less CG overlay, is based on Sony's motion detection technology. It extracts a subject from the shot and overlays them onto a background, ideal for placing a praise leader on an imaginary beach. Finally, the focus area cropping tool takes an overview image from one camera and displays it as two different output images: an overview in 4K and a cropped version in HD. The cropped HD image can be either static, like the overview image, or can be used to track the subject, making it appear as if it were from a separate camera. www.pro.sony

PRODUCTS

Simplifying network expansion

Broadcast Pix unveils BPswitch IX THE BPSWITCH IX integrated production switcher has been designed by Broadcast Pix for use in houses of worship that follow IP-based workflows and use remote cameras. The switcher includes six network inputs that support NDI and RTSP sources. With a pair of SDI/HDMI inputs and an analogue input for compatibility with legacy systems, BPswitch IX can receive and switch between up to six IP camera feeds. It has a native 1080p60 resolution and can integrate MPEG-2 and H.264, among other streaming formats within the same production, providing SDI, HDMI, analogue and streaming outputs. ‘It gives the flexibility to control and switch IP, wireless and SDI sources,’ confirmed Tony Mastantuono, product manager at Broadcast Pix.

When used in conjunction with the Broadcast Pix Commander touchscreen control interface, BPswitch IX provides browser-based control with full-motion video and access to all sources and workflow tools via a mobile device connected to the internet. Commander has been designed with simplified controls, enabling non-technical personnel to be able to switch during live productions, add titles, insert clips and control robotic cameras. As with previous BPswitch models, BPswitch IX delivers eight channels of clips and graphics, and three keyers with DVEs, as well as integrated NewBlueNTX multilayer 3D motion graphics CG with hundreds of templates.

AN 18-PORT PoE+ L2/L3 managed Gigabit switch has been launched by IP networking solutions provider, Luxul. Aimed at mid-sized AV applications, the AMS-1816P delivers high-speed per formance while enabling network expansion. According to Luxul, the switch can provide networking for integrators that need a scalable solution.

system expansions that require a switch with more than the eight por ts of Luxul’s AMS-1208P but fewer than the 26 of the AMS2624P. For network expansion in larger installations, the AMS-1816P is equipped with two 1GB SFP por ts to connect additional switches via fibre-optic cable or twistedpair copper when using SFP

The AMS-1816P combines plugand-play installation, a ‘simpleto-use’ management inter face, QoS and VLAN suppor t, and ‘faster switching’ capacity. The switch also includes self-healing features with por t auto-recover y and PoE power scheduling, to improve system reliability and uptime. Auto-recover y allows the switch to power cycle unresponsive PoE devices, and PoE power scheduling allows switch PoE por ts to be turned on or off on a schedule. With 18 por ts, the AMS-1816P is better suited for applications and

modules. In addition, the switch’s PoE+ por ts are compatible with expanding networks using PoE-enabled devices such as touchpanels, VoIP, IP cameras and wireless access points. Additionally, the AMS-1816P comes with rear panel por ts for a clean integration with AV racks; user-selectable, front-facing green or blue LEDs; variable speed fans for quiet operation; and a more compact design with a depth of 8.25 inches in a 19-inch rackmount enclosure. www.luxul.com

www.broadcastpix.com

Full 4K capability ROLAND’S V-600UHD multi-format video switcher has been designed to allow end-users to transition to 4K workflows. The switcher provides simultaneous use of full HD and high pixel density 4K sources, along with simultaneous output of 4K and 1080p resolutions. The V-600UHD uses High Dynamic Range (HDR) technology. For image magnification (IMAG), HDR technology reportedly makes it easier for users to achieve well-balanced stage lighting without over-saturating imaging. With full 60Hz frame rate support, the switcher supports BT.2020, the highest-specification Wide Colour Gamut (WCG), as well as the RGB and BT.709 standards. Internal 10-bit Colour Depth processing has been added

without the need for chroma upsampling (4:4:4) to reportedly make it easier to read small font text and other fine details, even when the image is magnified. The V-600UHD incorporates four HDMI 2.0 and two 12G-SDI inputs for productions that rely on multiple computer and video playback sources with IMAG camera support. Each input independently supports input and scaling of full HD, UHD 4K, DCI 4K and PC resolutions from UXGA to DCI 4K with no need

for external converters. The multi-view monitor lets users view all sources

on a single HD screen, while outputs support downscaling to full HD for feeding streaming encoders and other destinations with HD displays.

The built-in ROI function allows users to position a single 4K camera pointed at the stage and then apply the input sharing and scaling functions to crop out up to eight camera shots for assignment to the V-600UHD’s switcher crosspoints. The switcher also supports two picture-in-picture windows, while customisable aspect ratios, sizing and input source scaling reportedly allow content to be placed anywhere on-screen. With 24-bit/48kHz audio processing, audio can be deembedded from the selected source and sent to an external sound mixer. Audio from the same mixer can also be embedded to one or all video outputs. proav.roland.com

July–August 2019 WORSHIP AVL 57

PRODUCTS

Ross stays cool DESIGNED TO ensure that rack-mounted products work at their optimum temperature, Ross Video has developed Ultricool as a 1U external cooling system that complements the thermal performance of existing rackmounted equipment in extreme conditions or confined spaces. Ultricool can be configured to

rack room. Our customers … need their products to per form regardless of the hostility of the environment. Customers are also under increasing pressure to reduce their equipment footprint and are packing more production horsepower into racks and flight cases, leaving little room for airflow.’

provide directional airflow from front to back, front to right side or front to left side, depending on requirements. Both automatic and manual control options are available via Ross Video’s DashBoard control platform, direct front panel override and RossTalk. Commenting on the new product, Todd Riggs, marketing product manager for connectivity at Ross Video, explains that ‘not all products enjoy life in the ideal scenario of an air-conditioned

Ross Video has also announced version 3.4 of Ultrix, the company’s routing/AV processing platform. The update adds a multiviewer control panel for the control of Ultriscape multiviewers on Ultritouch; a licence that allows basic SNMP monitoring on Ultrix frames; and Ultricore DB Wizard to help users create SRC/DST assignments, levels, multiviewer head assignments and PIPs more easily. www.rossvideo.com

Omega expanded upon ATLONA HAS released several new additions to its Omega family of AV products for use in presentations. These include the AT-OME-EX-KIT 4K/UHD HDBaseT extender, which is formed from an OME-EX-TX transmitter and OMEEX-RX receiver. The AT-OME-EX-KIT transports HDMI video and audio, control, Ethernet and USB signals up to 100m. It integrates with PCs, cameras and microphones, among other devices, connecting between USB devices at remote locations. The OME-EX-TX transmitter includes a USB 2.0 host interface for a PC and is powered from the OME-EX-RX receiver via PoE. Also joining the Omega family is the AT-OME-SR21 HDBaseT receiver and 4K/UHD scaler, which also features an additional, local HDMI input. It receives 4K/ UHD, 4:2:0 video at 60Hz with embedded audio and control signals up to 100m over a category cable. The system can even receive USB data via HDBaseT from compatible

transmitters and includes a built-in USB 2.0 hub, allowing it to work with cameras, soundbars and touch displays. The third new Omega solution is the AT-OME-ST31A 3x1 4K/UHD switcher and HDBaseT transmitter. This features a pair of HDMI inputs and a USB-C AV input for interfacing with modern laptops and mobile devices. Mirrored 18Gbps HDMI and 10Gbps HDBaseT outputs provide system flexibility, while integrated video processing on the HDMI output can downscale 4K sources to 1080p HD if needed, and audio de-embedding extracts stereo audio from any video source to balanced, analogue audio outputs. In other news, Atlona has made a Dolby Vision feature available for its OmniStream AV-over-IP platform, reportedly making OmniStream the only networked AV solution with support for 12-bit, 4K Dolby Vision HDR content at 60fps. www.atlona.com

Low-latency conversion MAGEWELL HAS released a Pro Convert SDI Plus standalone NDI encoder that becomes the fourth entry in its Pro Convert family of devices for bringing traditional video signals into IP-based production networks using NewTek's NDI technology. The new model claims to convert SDI-connected HD or 2K input sources into NDI streams with lower latency. All four Pro Convert configurations allow content producers a choice of input connectivity and encoding resolutions. The new Pro Convert SDI Plus and recently introduced Pro Convert HDMI Plus encode source signals into full-bandwidth NDI streams up to 1080p60 HD from 3G-SDI or HDMI interfaces, respectively. The Pro Convert HDMI Plus can also accept a 4Kp60 input,

down-converting it automatically to HD for encoding. Meanwhile, the two flagship products in the Pro Convert series natively support 4K inputs and encoding. The Pro Convert HDMI 4K Plus transforms sources up to 4096x2160 at 60fps through an HDMI 2.0 input interface, while the Pro Convert SDI 4K Plus converts 6G-SDI signals up to 4K at 30fps into NDI streams. The Pro Convert products are all incorporated with NewTek's NDI embedded SDK to ensure compatibility with the growing ecosystem of NDI-enabled solutions

58 WORSHIP AVL July–August 2019

and come with automatic input format detection and network configuration.

The Pro Convert devices are suitable for fixed and portable use and include features for live production applications, such as a ¼-inch-20 thread for standard camera-mounting accessories,

preview and programme tally lights and NDI-based PTZ camera control. The units can also be powered by the included AC adapter or via PoE. Magewell has also unveiled its Flex I/O PCIe input–output cards that combine the manufacturer’s video capture benefits with high-quality playout capabilities. Available with SDI or HDMI inter faces, the first two Flex I/O models each feature four input channels and two outputs, all of which can be used simultaneously with independent resolution, frame rate and processing settings for maximum flexibility. www.magewell.com

Itâ&#x20AC;&#x2122;s a good day to be an artist. RelevĂŠ Spot, the new automated fixture from ETC designed for the theatre. Light that moves you.

visual environment technologies | etcconnect.com

PRODUCTS

Capture events in 3D

T-REX, A 3D-based, fully automated tracking system has been devised by Avonic. The system uses multiple PTZ cameras located at strategic positions throughout a venue to create a ‘TVlike capture experience’ at a video quality of 1080p60. For local capture/ recording, output from the T-Rex would typically be via HD-SDI. However, for streaming to a cloud-based capture system, the T-Rex supports the

H.264 and H.265 codecs. The T-Rex can automatically switch between multiple camera angles and is based on machine learning technologies that facilitate 3D speaker tracking without the need for the speaker to put on special equipment as it can be automatically or manually controlled via a web interface. www.avonic.eu

Heavy artillery CANON HAS released its first 4K projector designed for use in large venues, including HOWs. The LX4K3500Z is a high brightness DLP laser projector and is compatible with seven exchangeable lenses that can be used for screens between 100 inches and 1,000 inches from distances between 2m and 176m. The LX-4K3500Z features 10-bit colour processing, which allows it to output more than 1 billion colours across the DCI-P3 colour spectrum, without the need for additional filters. Featuring a laser optical system, encompassing a pair of colour light sources and a phosphor wheel, the projector offers a wide colour gamut. A three-chip DLP with HDR and a 30,000:1 high dynamic contrast ratio facilitates the production of vivid colours and deeper blacks

without colour breakup for a faithful reproduction on screen. The projector possesses two colour laser light sources that deliver 40,000 centre lumens. There are four different laser light output modes, including constant brightness and manual adjustment, which can be calibrated in 1% increments from 30–100%, providing added control of light output for blending. Its three 1.38-inch DLP panels allow for a 4096 x 2160 for 8,847,360 pixels output. www.canon.com

Omnidirectional performance THE MIRAGE 304K is a 30,000-lumen, 3DLP, 4K projector from Christie combining a compact form factor, light weight and userfriendly features such as built-in warping and blending, nearfield communication monitoring and an at-a-glance preview screen. Based on Christie’s 4K, true 120Hz capable projection system and TruLife electronics, the Mirage 204K has been built for omnidirectional deployment and can be mounted and operated in any orientation.

Mirage 304K The FHD553-X flat panel has been designed to replace the FHD552-X and features an ultra-narrow bezel flat panel with full HD resolution, high

pixel density and an LED backlit screen. The panel can be installed in either portrait or landscape mode and comes with a threeyear parts and labour warranty. Nearly a decade after the launch of Christie MicroTiles, the manufacturer has launched MicroTiles LED. The smaller, brighter, more powerful and more flexible LED version delivers P3 colour space and complies with HDR10. It includes a low-profile, ADAcompliant QuickMount system so displays can be created in any shape

FHD553-X and size, including 90° inside/ outside corners and both concave and convex curves. www.christiedigital.com

4K capability for Titan

Live event projection mapping

ABLE TO produce up to 33,000 lumens, the latest incarnation of Digital Projection’s Titan threechip DLP projector has hit the market. The Titan Laser 33000 boasts DisplayPort, HDMI 2.0 and HDBaseT connectivity, while also introducing HDR processing to large venues. Additional features include Constant Brightness Control and DMX Art-Net compatibility, making it suitable for fixed installations, along with Nonlinear Warp, Geometry Correction,

GREEN HIPPO has come out with its latest software offering to serve the live events market. The Hippotizer Version 4.5 allows real-time media playback and 3D projection mapping, and is the result of feedback from end-users operating systems at live events. The software includes new features such as Object to Output as a new method for output mapping. Object to Output maps content to outputs directly inside SHAPE’s 3D workspace – a 3D mapping tool set to aid the design and pre-production of shows, and help simplify the management, integration and movement of a large numbers of displays. Using Object to Output, users can expect to integrate moving set elements, map a single video

Edge Blending and Picturein-Picture as standard. Users of the Titan Laser in live environments also benefit from the real-time clock for on/off automation, email alerts and PC-based central control software. An optional lens adaptor allows a variety of non-Digital Projection lenses to be used with the Titan, overcoming the penalty of investment in new glass when upgrading to the latest projection technology. www.digitalprojection.com

60 WORSHIP AVL July–August 2019

across multiple displays, as well as adjust content. In addition, the new Beat Bridge feature aims to simplify programming by allowing Hippotizer parameters to react to audio input in real-time, to the beat of the music or the intensity of a crowd, and can be combined with Midi or DMX controllers. www.green-hippo.com

PRODUCTS

Panasonic adds 4K displays at all price points PANASONIC HAS added four new models – the TH-655SQ1, TH-55SQ1, TH49SQ1 and TH43SQ1 – to its SQ1 series of 4K display panels. These models present smaller options within the premium series, at 65, 55, 49 and

and a brightness of 500cd/m2, with In-Plane Switching technology and antiglare treatment for increased visibility from multiple viewing angles. The series is also HDR compatible and includes 12-axis colour management.

TH-655SQ1 43 inches, respectively. They include the same features as the existing 98- and 86-inch panels already in the series, and offer a ‘slim and stylish design’ for aesthetic purposes. The SQ1 panels are reportedly capable of 24/7 continuous operation

The projectors are designed for easy set up with the manufacturer’s proprietary 4K Digital Link, which is based on the HDBaseT standard and connects video, audio and control signals to external devices via a single LAN cable. Meanwhile, a built-in 4K

PixelFlex forms a shield

FlexUltra with PixelShield PIXELFLEX IS battling the brittle nature of ultra-fine pixel pitch LED displays with the launch of its new FlexUltra with PixelShield. A COB (chips on board) solution, PixelShield is an impact- and scratch-resistant coating that adds an extra layer of protection to highdefinition LED systems. ‘Historically, these types of displays have been extremely fragile with high failure rates due to the damaging of pixels,’ said PixelFlex CMO, David Venus. ‘With our new PixelShield protective technology, we are not only

preventing the fragile nature of these displays, but we are ultimately enhancing the longevity of the ultra-fine pixel pitch display market as well.’ FlexUltra has an aspect ratio of 16:9 and a 160° horizontal and vertical viewing angle. Its viewing panels are serviceable from the front and the system operates at a refresh rate of 3.84kHz for a flickerfree look on camera. It is available in 0.9mm, 1.2mm, 1.6mm and 1.9mm pixel pitch versions. www.pixelflexled.com

USB media player negates the need for an external source. Multiple SQ1 displays can also be daisy-chained to form a videowall. ‘We are among the first to introduce the new Intel SDM (Smart Display Module) slot to the SQ1 range,’ noted Hartmut Kulessa from Panasonic. ‘SDM boards can house either an Intel CPU or interfaces such as SDI, NDI or VoIP. This means it’s possible to tailor the display and its connectivity to the application.’ At the lower end of the cost spectrum, Panasonic has introduced the entry-level CQ1 series of 4K display panels. They are built for 16 hours of continuous daily operation and are fully equipped with basic terminals that support HDMI CEC. ‘The CQ1 series will meet the needs of the vast majority of organisations looking for 4K displays for information sharing and

communication, but without the need for ultra-high brightness and round-theclock operation,’ added Mr Kulessa. Elsewhere along the video chain, Panasonic has launched three new zero offset lenses for its range of 1-Chip and 3-Chip DLP projectors. The ET-DLE020 ultra-short throw zoom lens fits all Panasonic 1-Chip DLP projectors 20 and is said 0 LE -D to be the T E industry’s first ultra-short throw projector to feature a powered optical zoom. The ET-D3LEW200 shortthrow zoom lens and ET-D3LEU100 ultra-short throw lens, meanwhile, are made for use with Panasonic’s high brightness 3-Chip DLP laser projectors and are also suitable for 20,000- and 30,000-lumen, WUXGA and 4K+ projectors. www.panasonic.com

Absen is an Aries THE ARIES Series 1.5mm (AX 1.5) is Absen’s first response to requests for a sub-2mm fine pitch LED NPP display. It is the first entry in the manufacturer’s Aries Series and, as the name suggests, has a pixel pitch of 1.5mm. Absen states that the Aries Series has been developed to produce a much broader range of colours, as well as providing ‘roadrugged’ corner edge protection, allowing it to be transported to events. It is also suited to fixed installations and supports the HDR10 standard. Its cabinet measures 27.5 inches with an aspect ratio of 16:9. This design aims to make it easy to replace existing LCD videowalls, as well as supporting full front service. The Aries Series solution also includes the latest Integrated Matrix Device and Common Cathode technologies, as does Absen’s 0.9mm pixel pitch CR0.9, which forms part of the CR

Series. The CR0.9 is typically suited for use in corporate settings and control rooms, with true pixel-to-pixel HD in 4K and 8K, and high grayscale at low brightness levels thanks to its incorporation of CrystalView technology.

AX 1.5 Also new is Absenicon, described as an all-in-one display solution, available in five different sizes between 110 inches and 220 inches with 4K compatibility. www.absen.com

July–August 2019 WORSHIP AVL 61

PRODUCTS

More bandwidth for Yamaha’s L2 switches LEADING A series of recent releases from Yamaha is the manufacturer’s new SWP2 series of L2 network switches, which facilitates better bandwidth than its predecessor, the SWP1 Series, via twin 10G uplink ports with opticalCON connectors. The SWP2 switches are stated to provide enough bandwidth for stable Dante networking at 96kHz, even over long distances. Available in both multi- (SWP210MMF) and single- (SWP2-10SMF) mode models, two optical fibre cables can be connected and link aggregation activated to provide trunk line redundancy via spanning tree (MSTP) protocol. Simple set up can be achieved by the ‘Optimise for Dante’ switch setting, while the SWP2 switches also allow the relevant settings for stable Dante network operation (QoS, EEE, IGMP Snooping and others) to be optimised via a single DIP switch. The SWP2 series switches include three built-in VLAN presets that can be selected via a DIP switch for efficient network utilisation. A User mode that enables custom VLAN setup is also provided. Indicators on the switches show which connectors are assigned to which VLAN subdivisions, while Yamaha’s LAN Monitor application for Windows offers visual monitoring of network load, switch status,

SWP2 Dante device info and other essential information via a single central display. It is possible to take a ‘snapshot’ of normal operating status and trigger an alert if any variation from the norm is detected, allowing problems to be quickly identified and rectified. etherCON and opticalCON network connectors help to prevent accidental disconnection at temporary installations, with a compatible V-lock AC power connector. An XLR-4-32-type external DC input connector is also provided for an optional PA-700 power supply unit (+24V) where power supply redundancy is required. All SWP series network switches are rack-mountable. In addition to the network switches, the VXC series of ceiling loudspeakers has gained two new additions. Featuring a newly developed 2.5-inch driver, the VXC2F is the shallowest model in the series, with a depth of 76mm. Weighing 1.9kg and with a diameter of 225mm, it offers a conical

coverage angle of 160°, sensitivity of 86dB SPL, a 67Hz to 20kHz (–10dB) frequency response and power rating (PGM) of 30W. With switchable low-Z (8Ω)/high-Z inputs, the VXC2F is suitable for background music playback. The shallow depth and light weight also make it installation-friendly, together with a magnet catch grille, carrying handle and black or white (paintable) colour options. Mounting options include the PK-C4 pendant mount kit, available in black or white (paintable) finish. The VXC8S, meanwhile, is the first ceiling subwoofer in the VXC range. Also designed for background

music playback, its bandpasstype structure (with a frequency response of 44–280Hz, sensitivity of 88dB SPL and low-Z: PGM 200W, high-Z: 3.8W to 60W in 4/5 steps) makes it an ideal solution for larger environments where additional low frequencies are needed. Measuring 325mm x 315mm (WxD), installation is optimised with features including an anti-drop tab, carrying band, magnet catch grille and black or white (paintable) colour options. Rivage PM V3 firmware has also been announced and adds a number of refinements, including the new DaNSe dynamic noise suppressor plug-in, Mix to Input routing and other workflow improvements to Rivage PM series consoles. uc.yamaha.com www.yamahaproaudio.com

The VXC2F and VXC8S

Martin Audio takes a long bow THE WAVEFRONT Precision Longbow (WPL) is the newest addition to Martin Audio’s Wavefront Precision Series. It has been developed for large-scale installations, including houses of worship. WPL is designed as a ‘complete system’ with external iKon multichannel amplifiers, Martin Audio’s automated Display optimisation software and the VuNet control platform. A three-way, biamped system, WPL makes use of the manufacturer’s horn-loading technology across all frequencies, including the acoustic output of the low-frequency section. It includes dual 12-inch drivers with hybrid horn/reflex loading, two 6.5-inch cone drivers on a midrange horn

The SXC118 sub

Martin Audio’s WPL

62 WORSHIP AVL July–August 2019

that covers the vocal frequency range from 300Hz to 4kHz and a trio of 1-inch exit HF drivers that operate from 4kHz and up. Each frequency section includes a range of horn-loading refinements to raise the WPL’s acoustic performance in terms of output and 90° horizontal coverage patterns for the mid and HF horns. The maximum peak outputs of the LF, mid and HF sections are 139dB, 140dB and 145dB, respectively, per enclosure at 1m and 6dB crest factor. Also new is the SXC118 cardioid subwoofer, which forms part of

what Martin Audio describes as its subwoofer overhaul. It incorporates an 18-inch, forward-facing driver and a 14-inch, rear-facing driver. Each is individually driven by separate channels and DSP from an iK42 amplifier and has its own chamber with optimised bass-reflex porting. This arrangement is said to produce a cardioid dispersion pattern that maximises front radiation while reducing unwanted radiation behind the subwoofer. www.martin-audio.com

PRODUCTS PRODUCTS

LD LD Systems Systems extends extends its its network network

IPA424 IPA424 WITH WITHTHE THEIPA IPAseries, series,LD LDSystems Systems has hasexpanded expandedits itsgrowing growing installation installationportfolio portfoliowith withaaseries series ofofDSP-based, DSP-based,four-channel four-channel installation installationpower poweramplifiers. amplifiers. The Thenew newIPA412 IPA412(120W) (120W)and and IPA424 IPA424(240W) (240W)feature featureintegrated integrated transformers transformerson oneach eachchannel channel providing providing70V/100V 70V/100Vtap tapand andlow-Z low-Z output outputdown downtoto4Ω. 4Ω.Each Eachmodel model includes includesaaslot slotfor foran anexpansion expansion card, card,which whichcan canbe beused usedtotocontrol control the theIPA IPAamplifiers amplifiersincluding includingall all DSP DSPparameters, parameters,via viaEthernet. Ethernet. Integration Integrationinto intolarger largerinstallation installation networks networksisismade madepossible possiblewith with Dante DanteAoIP AoIPconnectivity. connectivity.The TheDSP DSP section sectionincludes includesPEQ PEQwith withmatched matched speaker speakerlibrary, library,dynamics, dynamics,matrix matrix mixer, mixer,priority prioritysource sourceselector selector and anddelay. delay.With Withthe theaddition additionofofaa Controller ControllerArea AreaNetwork Network(CAN) (CAN)bus, bus, the theIPA IPAseries seriescan canalso alsointeract interactwith with remote remoteunits unitsand andpaging pagingmics. mics.

IMA30 IMA30 The TheGerman Germanmanufacturer manufacturerhas has also alsocreated createdthe thefirst firstmember memberofof its itsIMA IMAseries seriesofofinstallation installationmixing mixing amplifiers. amplifiers.Offering Offeringversatile versatileinput input and andoutput outputoptions optionsand andmulti-stage multi-stage priority priorityswitching, switching,the theIMA30 IMA30isisaa 2U 2Umodel modelhoused housedininaa9.5-inch 9.5-inch chassis. chassis.Features Featuresinclude includetwo twomic/ mic/ line lineinputs inputswith with+24VDC +24VDCphantom phantom selector, selector,two twostereo stereoline lineinputs inputs plus plusan anintegrated integratedBluetooth Bluetooth wireless wirelesssignal signalinput inputfor forconnecting connecting music musicsources sourcesand andaapriority priorityinput input for foremergency emergencypaging. paging.Included Included are arepowered powered30W 30Watat4Ω 4Ωoutput output ininaddition additiontotoaa70V/100V 70V/100Vtap tap

together togetherwith withbass bassand andtreble treble tone tonecontrols. controls.Optimum Optimumfrequency frequency response responseisisachieved achievedininlowlowimpedance impedanceapplications applicationsby byvirtue virtue ofofaalow-Z/high-Z low-Z/high-Zselector selectorthat that separates separatesthe theoutput outputsignal signalfrom from the theoutput outputtransformer. transformer.The TheIMA30 IMA30 can canalso alsobe beused usedwith withexternal external amplifiers, amplifiers,subwoofers subwoofersorormusic-onmusic-onhold holdsystems systemsvia viathe theseparate separateaux aux line lineoutput. output.The TheIMA30 IMA30offers offersfour four priority prioritylevels levelsfor foremergency emergencycalls, calls, mic/line mic/lineinputs inputsand andconnected connected music musicsources sourcesininaddition additiontotoaa selectable selectableautomatic automaticstandby standbymode mode for forEnergy EnergyStar Starcertification. certification. The TheMaui Mauiactive activecolumn columnspeaker speaker system systemseries serieshas hasevolved evolvedwith with the theintroduction introductionofofaanew newI1I1 installation installationmodel modelcomprising comprisingnine nine 3-inch 3-inchwoofers woofersand andtwo two1-inch, 1-inch, neodymium, neodymium,high-frequency high-frequencydrivers drivers together togetherwith withan anintegrated integrated2.52.5way waycrossover crossoverand and120W 120WRMS RMS power poweratat8Ω. 8Ω.The TheBEM-optimised, BEM-optimised, high-frequency high-frequencywaveguide waveguideprovides provides precise preciseadjustment adjustmentofofthe thevertical vertical dispersion, dispersion,ensuring ensuringhomogeneous homogeneous dispersion dispersionininacoustically acoustically challenging challengingenvironments. environments.For For

Maui MauiI1 I1 seamless seamlessintegration integrationinto intoconstantconstantvoltage voltageloudspeaker loudspeakersystems, systems,the the Maui MauiI1I1has hasan aninput inputmode modeswitch switch with with8Ω/70V/100V 8Ω/70V/100Voptions optionsand and aapower powertap tapselector selectorfor forhighhighimpedance impedanceuse usewith with60W, 60W,30W, 30W, 15W 15Wand and7.5W 7.5Wtaps. taps.Available Available ininblack blackororwhite, white,flexibility flexibilityisis enhanced enhancedwith withthe theinclusion inclusionofofaa dedicated dedicatedU-bracket U-bracketfor forflexible flexiblewall wall and andceiling ceilingmounting. mounting. www.ld-systems.com www.ld-systems.com

1/2PAGE HORIZONTAL TNi-4030 TNi-4030

M3000 M3000

The TheHH HHMMSeries Seriespower poweramplifiers amplifiersare areultra-high ultra-highpower, power,flexible flexible44channel channel 2U 2Urack rackamplifiers amplifiersdesigned designedto toprovide providemaximum maximumperformance. performance. • • Four FourChannels, Channels,Bridgeable Bridgeableto to2,2,33or or44Channels Channels • • Balanced BalancedXLR XLRInInand andLink LinkOut Outx4 x4 • • Ultra-Light, Ultra-Light,Class ClassDD • • Heavy HeavyGauge Gauge2U 2Uchassis chassis • • High HighQuality, Quality,over overengineered engineeredUniversal Universal90-260V 90-260VRegulated RegulatedPower PowerSupply Supply • • Anti-Tamper Anti-TamperPanel PanelIncluded Included • • Output OutputPower: Power:3kW 3kWMax Max • • Minimum Minimumimpedance: impedance:22ohm ohm

The TheHH HHTNi-4030 TNi-4030cabinet cabinetisisan anultra-compact ultra-compactfull full range rangeloudspeaker loudspeakerininthe theTessen TessenInstallation InstallationRange. Range. ItItisisdesigned designedto toprovide providemaximum maximumperformance performanceininits its class classand andbe bevisually visuallyunobtrusive unobtrusiveItItisisdesigned designedprimarily primarily for forfixed fixedinstall installuse. use. • • 44xx3″3″Full Fullrange rangePassive PassiveSpeaker, Speaker,Bass BassReflex Reflex • • 90°H 90°Hxx30°V 30°Vdirectivity directivityenables enablesprecise precisecontrol controlof ofsound soundfield field • • Compatible Compatiblewith withwide widerange rangeof ofindustry industrystandard standardmounting mounting hardware, hardware,including includingthe theHH HHbracket bracket (HH-BRK10 (HH-BRK10available availableseparately) separately) • • Weatherproof WeatherproofIP55 IP55rated ratedenclosure enclosure • • Frequency Frequencyresponse response(-10): (-10):85 85––20kHz 20kHz • • Max MaxSPL SPL(1M) (1M)(Peak): (Peak):112dB 112dB • • 400W 400WPeak, Peak,200W 200WContinuous, Continuous,100W 100WRMS RMS • • Nominal NominalSystem SystemImpedance: Impedance:88ohm ohm • • Injection InjectionMoulded MouldedCabinet Cabinet • • White Whiteor orBlack Blackfinish finish

63 63

PRODUCTS

K-array lays a discreet track K-ARRAY'S RAIL combines audio and lighting. It is a 1.2m line of warm, homogeneous linear LED lights that houses full-range cone drivers. Several combinations are available to cover a wide range of applications. All Rail options are available in black or white and include three 5-inch glass fibre audio transducers designed for maximum excursion. The inclusion of full-range speakers negates the need for subwoofers. Up to 12 Rail units can be driven by a single channel of the manufacturer’s four-channel Kommander-KA02 amplifier, meaning that one amp can power 48 Rails. Once powered up, Rail offers plug-and-play capability and Bluetooth connectivity, as well as USB ports and a mini-jack input. If more powerful sound is needed,

K-array’s Rail Rails can be combined with K-array's larger Kommander amp and paired with its subwoofer families. Rail models are driven at 24V. Versions are also available with DALI included, allowing for individual management of each unit for functionality such as light dimming. Multiple mounting options and dedicated accessories are also available for Rail. The Pendant model

is when Rail is surface-mounted to the ceiling. The Semi-Flushed model reduces the visibility of the unit, while the Flushed version is completely inlaid in the ceiling. A Suspended version provides a hanging option, while the Applique version can be surface-mounted to the wall. Other mounting options include corner Rails and complete systems in the T-models.

In other news, K-array has launched several miniature speaker systems. For starters, the new Azimut-Kamut2L1 system is formed of two mini 1.5-inch-long Lyzard-KZ1 loudspeakers, an ultra-compact Truffle-KTR24 subwoofer and a 14cm x 14cm x 2cm KommanderKA02 amplifier. The Azimut-Kamut2L14 is composed of two 10-inch LyzardKZ14 loudspeakers, an ultracompact Truffle-KTR25 subwoofer and a Kommander-KA02 amplifier. The Azimut-Kamut2V25, designed for when a longer throw is required, comprises two 25cm-long VyperKV25 loudspeakers, a TruffleKTR26 and a KommanderKA02 amplifier. www.k-array.com

Alcons tackles spill and dispersion DUTCH MANUFACTURER Alcons Audio has extended its line of products for live production and immersive applications with its CRMSC-SRHV120 compact, horizontal/vertical reference surround system for front width, side and rear surrounds said to provide improved dispersion from a ribbon driver. It is a two-way, passivefiltered, full-range loudspeaker with a high dynamic range. Using the Alcons RBN202 pro-ribbon driver for HF and a vented 6.5-inch mid-bass for LF reproduction, the CRMSC-SRHV120 is based on patent-pending technology from the company’s CRMSC-SRHV90 and VR5 mini versatile monitor. It has a

500W peak power input, enabling a 1:16 dynamic range with up to 90% less distortion from 1kHz to beyond 20kHz. The patented 120° and patent-pending 90° dispersions are said to offer a wide and consistent coverage to a large number of seats in the auditorium. Also new from Alcons are the CRMS-LFE18 and CRMS-LFE15. The CRMS-LFE18 is a large-format reference subwoofer system with an 18-inch woofer and dual 3-inch voice coils said to result in 10dB more excursion than a traditional 18-inch woofer. The direct-radiating transducer mounted in the sealed cabinet repor tedly enables an in-room response below 10Hz. The

CRMSC-SRHV120

CRMS-LFE15 is a lowfrequency extension and a smaller version of the CRMS-LFE18 with a 15-inch inver ted cone. It has been designed to match the CRMSC screen channel in smaller

applications. An SL version, with a sealed shallow cabinet at 11 inches deep, is also in development. www.alconsaudio.com

Portable Dante solutions ALLEN & HEATH has released a range of Dante-enabled products, including portable and wall-mount I/O solutions for installation, and two Dante option cards, all of which are compatible with AES67 and Dante Domain Manager. The DT168 provides 16 mic preamps and eight line outputs in a convenient stagebox form factor, suitable for portable applications due to its rubber bumpers and handle. The DT168 can be deployed onstage or used as a drop-in expander. The DT164-W provides 16 mic preamps and four line outputs in a wall-mount design for permanent installation. The reversible mounting

frame allows for in-wall or on-wall mounting. The unit also fits in a standard 12-inch x 12-inch NEMA box

64 WORSHIP AVL July–August 2019

or equivalent, or can be mounted in a floor pocket for stage use. The IEC mains power inlet can be replaced

with a gland module and screw terminals for fixed installation, and a DC 12V backup supply is provided. Both the DT168 and DT164-W come with Allen & Heath’s preamps, with 96kHz converters for improved sound quality over Dante, plus primary and secondary ports for daisy-chain or redundancy through secure EtherCon connectors. Both products are also compatible with the company’s DM and CDM MixRack/MainFrames and with the SQ series mixers. The two Dante cards offer 64x64 and 128x128 channels of 96kHz Dante audio (switchable to 48kHz). www.allen-heath.com

PRODUCTS

Studio-quality sound

beyerdynamic gets creative

AKG HAS extended its digital wireless systems with the fourchannel DMS100 and eightchannel DMS300. Available in two configurations – a handheld microphone or an instrument- or headset-ready bodypack – the systems offer 24-bit/48kHz uncompressed audio coding, ultralow latency and signal security provided by AES 256-bit encryption to protect the signal and keep wireless audio communications private. The DMS300 features a highresolution front panel LCD screen that reportedly allows for easy set up, monitoring and control. Up to

DMS300

THE CREATOR Bundles from beyerdynamic combine the Fox USB-C Studio Microphone with either the DT 240 Pro (Creator 24) or the DT 770 Pro (Creator Pro) professional headphones. The DT 240 Pro is a mobile stereo headphone for monitoring and recording with high noise attenuation to prevent the penetration of ambient sound.

receivers and transmitters are available in 10 prepackaged sets, configured to cover a wide range of performance and presentation applications. Sets contain one 1⁄2-rackspace diversity receiver with antennas, universal power supply, rack-mount kit, transmitter, batteries and an input device. The RE3 also contains an assortment of accessories to create large, multichannel systems. Five handheld system sets are available with a choice of interchangeable mic capsules: the ND76, ND86, ND96 (dynamic) and the RE420 and RE520

(condenser). Five bodypack system sets are available for instrument and lavalier/headworn microphone applications: the OL3, CL3 (lavalier), HW3 (headworn), GC3 (instrument cable) and one bodypack-only system. The RE420 and RE520 are the next generations of the RE410 and RE510, respectively. The RE420’s cardioid pattern reportedly combines ‘acoustic control with a comfortable working range’, as well as ‘a warm, low-frequency response, open mids and clear highs’. The RE520’s supercardioid pattern also claims to ensure superior sonic isolation and high gain-before-feedback, to maintain a vivid vocal presence –

four DMS100s and up to eight DMS300s can be synced and used simultaneously. The systems operate in the 2.4GHz band, avoiding the interference found in traditional analogue wireless systems, and are ideally suited for performing musicians in houses of worship. www.akg.com

It features a lightweight yet rugged design with a padded headband and soft, replaceable earpads. The DT 770 Pro is a closed, dynamic headphone for postproduction. Built with a low mass coil and diaphragm assembly, it features a tailored frequency response to highlight natural and balanced sound along with soft earpads and adjustable earpieces. www.beyerdynamic.com

Rock-solid RF The RE3 system

TO ALIGN with the latest RF regulations, Electro-Voice has announced the launch of the RE3, a UHF wireless microphone system following in the footsteps of its predecessor, the RE2. RE3

Sweet high ends THE BLAZE 990 from MXL Microphones is said to retain the ‘silky sweet high ends and solid lows and midrange’ of the manufacturer’s original 990 microphones. With a black metal exterior and red LED lights within the grill, the Blaze 990 gives users the ability to produce a clear, smooth sound for stringed instruments, acoustic guitars, drums and electric amplifiers. It can also be used for live streaming purposes and is described by the manufacturer as a suitable solution for podcasters looking

to take their sound quality to the next level. It uses a wide frequency response to complement vocalists from any genre and incorporates a sixmicron, gold-sputtered, large diaphragm with a 15mV/Pa sensitivity. It has a cardioid polar pattern and a frequency range of 30Hz to 20kHz, with a slight increase in the upper register around 8kHz. The Blaze 990 requires phantom power for operation and comes with an included shock-mount and hardmount mic stand adapter. www.mxlmics.com

The RE420 and RE520 even in the most challenging stage environments. Both are suited for high-quality stage performances, productions and HOW praise bands. www.electrovoice.com

PSA gains confidence POINT SOURCE AUDIO (PSA) has unveiled its CO2 Confidence Collection microphones. The wireless microphones have dual elements offering built-in redundancy and a slimline design. Available in headset, earmount and lavalier styles, the mics feature an IP57 waterproof rating and an ‘unbreakable’ headset boom bendable to 360°. ‘The new form factor pairs our smallest elements at roughly 3mm each to create a dual miking system that is barely detectable,’ said Yvonne Ho, PSA’s vice president of sales and marketing. The backup element is fashioned to the existing mic in tandem, and

the independent and continuous wire paths are integrated into a singular wire jacket to give audio

technicians an alternative to cable dressing. The mic cable splits approximately 9 inches above connection to the bodypack to allow ample room for separation of the transmitters. The microphones also feature precisely matched elements to a near identical ±0.5dB difference so, when a vital backup is initiated, any difference in audio performance is nearly undetectable. www.point-sourceaudio.com

July–August 2019 WORSHIP AVL 65

PRODUCTS

Mini Shotgun Digitising a classic takes aim SHURE HAS launched the R189 lobar microphone cartridge. Capable of preventing feedback while rejecting unwanted ambient room noise, the minishotgun microphone can be threaded onto the existing range of Microflex goosenecks and overhead microphones. The R189 features a narrow, focused pickup pattern that is ideal for isolating talkers in live presentations or performances where there is an existing sound reinforcement system. The slim 10mm x 105mm dimensions promote the R189’s use with goosenecks on a table, together with hanging mics above a choir or ensemble. When used in podium and tabletop applications, the R189 allows the speaker to talk from a distance, while providing discretion when delivering speeches or sermons. www.shure.com

Instant Phaser Mk II EVENTIDE HAS released a new phaser effects plug-in that has been crafted from the original Instant Phaser analogue hardware it created in 1972. The new Instant Phaser Mk II claims to deliver the original sonic character while retaining the same look and feel. ‘A true recreation of the Instant Phaser had to satisfy not only our ears but also the ears of the pro audio community who still own and use the original hardware,’ commented managing director, Anthony Agnello. ‘A strict digital simulation of an analogue component is precise, whereas components in the real world are not. We discovered that the imprecision of the values of the analogue components are key to the Instant Phaser’s sonic character. The challenge was to write code that captured that imprecision.’ Controls include a manual mode, allowing for precise automation of

the phasing effect, an oscillator that modulates the phasing at a user-defined rate and an Envelope follower that allows the input signal to drive the phase effect. The plug-in can also accept input from

effects can be used to turn flatsounding mono guitars into stereo leads or make a single channel synthesiser fill out the soundscape of the mix. The plug-in is available in AU, VST and AAX Native formats.

Eventide’s H9000 a sidechain source, while Remote mode maps the phasing control to a modulation wheel for tactile manipulation. Like the original hardware, the Instant Phaser Mk II provides a pair of de-correlated outputs offering three different sonic characteristics – Shallow, Deep and Wide – for creating a stereo image. These

The company has also announced a significant software update for its flagship H9000 and H9000R multi-effects processors. The v1.1 software adds popular vintage effects and a new surround tool, as well as support for the most popular DAWs. www.eventideaudio.com

Ui24R 3.0 update SOUNDCRAFT HAS announced a free update to its Ui24R surfaceless mixer and multitrack digital recorder. New features include Cascade, which allows users to connect two Ui24Rs via Ethernet to double their mixing capability, enabling a new 32x32 bidirectional audio bus between consoles. Users can switch between Host and Remote units with a single click on Ui24R’s HTML5 screen user interface. Common applications include doubling mic inputs, by adding a second Ui24R as a submixer, routed into the main Ui24R; and using two Ui24R mixers to create two fully independent mixes, each with dedicated EQ/ gate/compression, for example when mixing FOH and monitors, or creating independent FOH and streaming/live recording mixes. The Cue Recall feature enables the saving and fast recall of mix settings.

The Ui24R stacked with tablet While recalling cues, the Ui24R can block any changes to routing or processor types to enable seamless operation. The UDP Lighting Control

66 WORSHIP AVL July–August 2019

adds simple buttons to send industry-standard UDP commands over Ethernet to external gear, such as lighting software or hardware

lighting controllers. The embedded Lexicon processing in the Ui24R is now enhanced with Reverb Pre-Delay, allowing users to easily set the time before first-surface reflections and more quickly simulate desired acoustic environments. The Big Desktop Info view provides a birds-eye view of the entire Ui24R mix environment, represented as a single large console surface. Users can see graphics of their gate, compressor, EQ curve, FX and aux sends, and jump between controls for editing with simple double clicks. This feature is designed for use on 1080p resolution screens. Users now have more options for touchscreen control of the Ui24R with more than 25 leading touchscreens, which directly connect to the Ui24R via HDMI and USB. www.soundcraft.com

PRODUCTS PROJECTS

d&b is Milan-ready D&B AUDIOTECHNIK has released its first product connecting its loudspeaker systems to the Milan protocol. The DS20 audio network bridge interfaces between Milan networks and AES3 digital audio signals and provides distribution of Ethernet control data. Metadata including Milan channel labels and cabling information is sent via the AES3 channel stream to the fourchannel d&b amplifiers. Positioned in front of the amplifiers within the signal chain, the 1U device is suited to both mobile and installation environments and provides four digital AES3 input channels for applications such as a break-in from an FOH console. It incorporates a fully AVB-enabled, integrated, five-port switch, ‘This madeathe layingand of cables very offering primary redundant difficult as the hadto toprovide install network. Thisteam is said them about 9m above thefor floor. extended connectivity a laptop Safety was therefore of our using to control the d&b one amplifiers main and, of course, we the concerns R1 Remote control software made sure our engineers were all

via the Open Control Architecture (OCA) protocol. d&b has also introduced the R90 touchscreen remote control. The 7-inch panel simplifies the general operation of a d&b system and grants users one-touch control

accidentally altering any of the carefully balanced system settings. Running AES70/OCA, the R90 can be integrated into any d&b system (using up to 15 amplifiers) without the need for additional programming. It incorporates a 1GHz ARM

DS20

of predefined functions such as power, mute, level, grouping and well-equipped theamp necessary recall of up towith nine presets. attire. We also had to in take All control functions theinto R90 consideration the house lights, work independently of the d&bair conditioning the wood R1 Remotesystem control and software, partition thatthe formed part ofofthe eliminating possibility interior décor when determining a

Cortex-A8 processor and provides a steel housing with aluminium front. path for the cabling to make sure All connectors are accessible from itthe didn’t interfere with any of those lower rear panel. elements.’ In other news, d&b has made It wasn’t Revit just the cabling that was available files that allow affected the hall’s interior design systemsby integrators to include though, as the positioning of the

EXPAND YOUR OUTREACH

speakers was also dictated by the main shrine hall’s aesthetics. ‘The positions of the speakers were adjusted several times due to the constant changes made to the interior design,’ says Seng. ‘In fact, the Ti10L centre cluster was added because we no longer achieved the desired coverage following these changes.’ However, the wood partitioning that the cabling had to avoid did provide acoustic benefits. ‘The entire room was surrounded by tiles and hard surfaces initially,’ recalls Seng. ‘This resulted in strong reverberation and unintelligible sound. Then, the wood loudspeakers partitioning wasd&b introduced along in a Revit-based with other materials that provided process at some acoustic BIM treatment, absorbing any stageso of that a we some of the frequencies Revit filesclear could tune the project. system to deliver provide photorealistic, detailed, sound.’ 3D data each loudspeaker, With all for challenges overcome, FGS including texture,isnon-branded HsingMa Temple now open and renderings to suppor t a neutral the d&b system is reportedly working tender process and the option to well. ‘The Y-Series system is mainly visualise Special and Colour versions. used for chanting speech,’ Where applicable, loudspeakers concludes Seng. ‘And, occasionally, can pitched, therebewill even berotated musicaland panned according to the specified performances.’ installation. www.dbaudio.com www.fgsmy.org/hsingma www.dbaudio.com www.searchmusic.com.my

Build a thriving community for less with NewTek systems. From creating inspired content for in-service congregants, to live streaming, overflow services, remote broadcasts, and on-demand viewing, NewTek can help you deliver a more compelling message. Creating professional-level productions has never been easier, faster, and less expensive.

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© 2019 NewTek, Inc. All rights reserved. NDI, TriCaster, 3Play, TalkShow, Video Toaster, LightWave 3D, and Broadcast Minds are registered trademarks of NewTek, Inc. MediaDS, Connect Spark, LightWave, and ProTek are trademarks and/or service marks of NewTek, Inc.

May–June 2019 2019 WORSHIP AVL July–August AV 35 67

PRODUCTS

Portable recording TASCAM HAS unveiled the DR-05X to offer portable, high-quality stereo recording in MP3 or WAV format – including 96kHz/24-bit highresolution audio – using microSD, microSDHC or microSDXC media. A pair of omnidirectional mics handle up to 125dB SPL. Features include

DR-05X low-cut filtering, variable speed audition and chromatic tuner, and there are three audio level modes (limiter, peak reduction and auto level) to help prevent accidental distortion while recording. The DR-07X is a handheld digital recorder and USB audio interface building on the manufacturer’s DR-07. Ideal for music recording and sound design, the DR-07X

incorporates a pair of cardioid condenser microphones to handle high SPLs and can be set up in AB or XY orientation for a wide stereo field or extra-clear reproduction with reduced phase displacement between both channels. The DR-07X can also be used as a USB audio interface with two inputs and outputs, making it suitable for voiceover work, live streaming, podcasting and songwriting. The DR-40X is a four-track audio recorder for music, podcasting and any other application requiring high-quality audio. Building on the company’s DR-40, this recorder adds several new functions to the already comprehensive feature set. Users can also use their own microphones or line-level source through dual Neutrik XLR/TRS combo jacks that support both mic level and +4dBu line level from mixers or the FOH console. The microphone preamps include 48V phantom power and plenty of gain to capture everything from small whispers to loud live sounds. TASCAM has also released its MM-4D/In and ML-4D/Out. The MM-4D/In provides four mic/line input channels with TASCAM mic preamps that offer remote gain control from the manufacturer’s free control software or from external controllers. Each channel has individually switched, +48V phantom power. Built-in input processing includes a compressor, four-band parametric EQ, level control, polarity

DR-40X reverse and mute. The MM-4D/In’s built-in eight-in/four-out matrix mixer combines the four analogue inputs with four Dante inputs (up to 48kHz) and feeds four Dante outputs. The ML-4D/Out accepts four channels of up to 96kHz Dante input and provides four line-level outputs, available on either XLR or Euroblock connectors. The onboard 4x4 matrix mixer includes level control, ducking, ambient noise compensation and muting. Each

output has a 10-band EQ, delay, level control, limiter, polarity reverse and muting. Also new are the MM-2D and AE-4D. The MM-2D features two channels of mic/line input with TASCAM preamps, including +48V phantom power and two channels of line output, available on either XLR or Euroblock connectors. An onboard six-in/four-out matrix mixer with the same mixer processing as the MM-4D/In and ML-4D/Out allows users to combine the two channels of analogue input with four channels of Dante input and routing to two analogue and four Dante output channels. Input processing is the same as the MM-4D/In and output processing is the same as the ML-4D/Out. The AE-4D provides four channels of AES/EBU input with SRC and four channels of AES/EBU output on XLR connectors. It converts directly to and from four channels of Dante audio, without needing an internal mixer. The AE-4D offers level control and muting on both inputs and outputs. www.tascam.com

MM-4D/In

GLP track-mount makes an impression GLP HAS released a compact LED moving head that includes a soft pencil beam, improved movement and continuous pan rotation for 3D multi-beam designs. Modified to fit into three-phase tracks, the trackmount version of the impression FR1 provides a solution for fixed installations. Using a single, high-powered, 60W, homogenised, RGBW LED at its core, the impression FR1 design features colour mixing across a vast spectrum, with a fuller range of colour temperature control. A 3.5– 35° zoom range also offers full beam control over both short and longer throw distances. The impression FR1 also features 16-bit dimming

impression FR1 track-mount version and 16-bit position control through a range of 540° pan and 220° tilt. The FR1 has the ability of bidirectional continuous pan rotation at varying speeds, while critical features can all be controlled using the on-board menu via wireless DMX.

68 WORSHIP AVL July–August 2019

Staying with the impression range, the impression S350 Wash has been launched as a partner for the S350 unveiled last year. It has the same high-efficiency LED white light source, with 350W of power. In other news, the KNV series has two new members: the KNV Line and KNV Dot. The KNV Line consists of five single pixels in a row, in which form factor is maintained 1:1, while the KNV Dot comprises a single power pixel (one white and 16 RGB) in a 2:1 form factor. Finally, the German manufacturer has unveiled Highlander, which consists of a 1,400W discharge lamp. With a 230mm diameter and signature baseless design,

Highlander offers a large zoom range with a 5° beam angle and up to 63° smooth field angle with focus link. With a framing system (±30° blade tilt, fully lockable, ±45° rotatable) and a fast iris, the wash light weighs 29.5kg. www.germanlightproducts.com

impression S350 Wash

PRODUCTS

Bright eyes Another standing Ovation CHAUVET HAS added to its Ovation line of LED ellipsoidal, Fresnel and batten models with a collection of PAR fixtures. Available in RGBA-lime, warm white, variable white and UV, the PARs feature 16-bit dimming, a single-source homogenous light, RDM and variable pulse width modulation. All models come with interchangeable lens plates for medium and wide beam angles and accept standard 7.5-inch beamshaping accessories. The three nonUV variants feature a high CRI, which reportedly results in more realistic lighting for stage applications. The P-56FC features the same advanced, full RGBA-lime colour mixing LED system found in the Ovation E-910FC ellipsoidal and can produce colours ranging from subtle pastels to punchy saturates, as well as nearly any temperature of white. The P-56WW

is described as a bright, compact fixture with an output comparable to a 1,000W PAR 64 lamp. It is said to produce a homogenised, singlesource, flat and even field of light by using the same efficient warm white LED system found in the Ovation E-260WW ellipsoidal. The P-56VW is an ellipsoidal that reportedly produces nearly any temperature of white with high CRI and CQS. The PAR’s colour temperature can be even further adjusted for ± green, while it features the same six-colour LED system found in the Ovation E-930VW. Finally, the P-56UV produces a flat and even field of true (365nM) UV light with minimal projected visibility via a homogenised, single-source LED.

THE HY B-EYE is the parameters and first Claypaky light functions. to be developed with In terms of Kling-Net protocol the light itself, built in. Kling-Net is a the HY B-Eye plug-and-play control incorporates protocol developed by 40W Osram Ostar digital media specialist RGBW LEDs, ArKaos and has been said to be twice added to HY B-Eye as power ful as the HY B-Eye K25 to enhance lighting LEDs found in the designers’ creativity original B-Eye. It is and simplify the management described by Claypaky as an and synchronisation of LED light ‘extremely bright and power ful wash light’ with a 4–60° linear zoom and an automatic retractable lens when the projector is turned off. The HY B-Eye K25 has the same dimensions as its B-Eye predecessor and weighs 27.5kg. The K15 version is more suited to small stages – it measures 49cm high and weighs 21kg. HY B-Eye K15

www.claypaky.it

www.chauvetlighting.com

Portable power LITEPANELS HAS added three accessories for its Gemini 2x1 LED soft panel: a dual battery bracket for either Gold Mount or V-Mount batteries, a floor-stand kit and a softsided carry case. The dual battery bracket aims to make the Gemini 2x1 more practical in situations where portable power is preferred over mains power, including use in a broad range of ENG and ENP applications. The dual battery bracket supports two batteries in sizes ranging from 90–190W per hour, including Anton/Bauer’s Dionic XT on-board cinema and broadcast batteries.

The floor-stand kit The bracket has also been designed to regulate power output to ensure maximum battery life for the Gemini 2x1 and includes a connecting cable. Released last year, the Gemini 2x1 is a white light, offering ‘precision colour control’ and an array of lighting

and cinematic effects and flicker-free output in a portable LED panel for easier rigging at on-location shoots. Previously, the mobile power option was a heavy, freestanding cine battery resting on the floor. The new dual battery bracket changes the equation

by enabling users to power a Gemini panel by mounting two industrystandard 14.4V broadcast camera batteries directly to the light’s yoke or stand. The new floor-stand kit for Gemini 2x1 is suited for settings where floor mounting is desired and includes all hardware necessary to connect the Gemini 2x1 Soft panel to the supports. The carry case includes a durable zippered closure, an accessory bag and a shoulder strap. www.litepanels.com

PR Lighting heads outdoors TWO NEW products, a luminaire and a PAR, have been launched by PR Lighting. Arc LED 1572 is an IP67rated architectural luminaire with two independent heads. It features 72 Philips 15W, four-in-one LEDs (RGBW) with 50,000 hours of operating time and colour temperature linear adjustment with four individual areas of control. It has an input of 100–240V AC (50/60Hz) and a power consumption of 1,080W at 230V. Other features include an electronic strobe (0–25fps) and a linear dimmer

Arc LED 1572

from 0–100%. With a beam angle of 14° and a field angle of 37° x 57°, control is via the DMX512 standard and a three-pin interface. In standard mode, 10 channels are available, increasing to 23 channels in extended mode. A wireless receiver and transmitter are optional. The luminaire weighs 46kg and is housed in a high-tensile cast aluminium alloy. Meanwhile, the XPAR 543 is an exterior PAR with an IP67 rating. It’s equipped with 54 3W LEDs

to provide RGBW single colour or colouring mixing effects. The PAR also comes with 50,000 hours operating time, 100–240V AC (50/60Hz), power consumption of 180W at 220V, electronic strobe (0.5–33fps), 0–100% linear adjustment, international DMX512 control, and six channels in standard mode and 11 channels in extended mode. Weighing 10kg, the PAR also comes in hightensile cast aluminium alloy housing. www.pr-lighting.com

July–August 2019 WORSHIP AVL 69

THE TECH VIEW

Trinity of Fairview on finding the right mix The church’s lead sound engineer, Jeff Gerhart, and Bruce Jensen of B&R Audio recall how Trinity of Fairview’s current sound setup came about L–R: Jeff Gerhart and Bruce Jensen with Pastor Stacey Harris

ESTABLISHED 63 YEARS AGO IN Fairview, North Carolina, Trinity of Fairview Baptist Church has called its current sanctuary home since 1996. Last year, the church underwent a refurbishment of its stage area, seating and sound system. The need for better audio reinforcement was something the church had sought for a long time due to the sanctuary’s challenging acoustics, trialling several PA systems throughout the past decade. Jeff Gerhart has served as the lead sound tech at Trinity for more than 20 years, while Bruce Jensen is an AVL industry veteran of 32 years, who established B&R Audio in 2003,

Bruce: Trinity originally had a very inexpensive loudspeaker system hung in the peak of the building and was using non-rated hardware, which was also inappropriately applied. The next step was to go through three different sets of ‘speakers on sticks’. This was better, quickly installed and cost-effective, but provided very poor coverage and was painful for those seated in the front of the room.

Blending in Bruce: It’s difficult to hide the technical gear with a tongue-and-groove ceiling and exposed Lamibeam supports.

Onyx framed screens with TecVision material. For lighting, an ETC SmartFade ML lighting console manages elektraLite Dazer WW stage washes, ETC Source Four ellipsoidals, various LED PARs and wall washes.

The Allen & Heath SQ-6 an Allen & Heath SQ-6 digital mixer with one AR2412 main audio rack and two AB168 stage audio racks, as well as ME-1 personal monitor mixers and Powersoft Quattrocanali 4804 DSP amps that provide power. There is also a Williams Sound FM wireless assistive listening system, an ETA SEQ6 AC sequence controller, S20RT power distribution and AC suppressor, and an ETA-15SH power sequencer. A SurgeX SX-20NE-RT branch-circuit surge eliminator and Ace Backstage custom floor boxes have been installed too.

Video and lighting

and was hired to design and install the new sound setup at Trinity of Fairview. The design included three Fulcrum Acoustics FH1596 speakers, flown from the beams in a wide, mono L-C-R cluster, and a CX1295 coaxial speaker used as a choir monitor.

Audio problems Jeff: The room is octagon in shape. It has been very difficult to get the sound we wanted. Many people have tried to fix the problems we have encountered. The addition of the acoustic panels in the room, and especially the ones in the front of the room, has helped greatly.

A compromise between function and aesthetics had to be made. The desperately needed acoustical panels helped both with the acoustics and making a more visually appealing background. Jeff: Where aesthetics is important, functionality is more important right now. The stage was designed so that everything is mobile. It is also a work in progress; our stage setup continues to change. Once everything is in place, more will be done to disguise things.

The new sound system Bruce: Other than the Fulcrum Acoustics speakers, the church has

70 WORSHIP AVL July–August 2019

Jeff: Before our remodel, our video consisted of a projector and a dropdown screen. Bruce: Trinity of Fairview is now equipped with two Optoma ZU660 laser projectors and two Draper

Jeff: The addition of the two screens and a pair of Optoma projectors has been great. Now, everyone in the room can see what is being projected.

Finding the right solution Bruce: Hire a professional consultant or design/installer that you can trust. Don’t buy something just because it’s cheap. Save your money and get the right system the first time. It’s much cheaper in the long run. Jeff: I agree with Bruce. Consult with a professional. Make sure that person is willing to work with your staff and create a sound that will work with your building, style and budget. Purchase higher-end products that will last. This has been an evolution over several years, beginning with donated items to the higher-end equipment that we use today. The sound in the room is now more balanced for all. www.bandraudio.com www.trinityoffairview.com

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Calvary Church - Napierville, IL

ENGAGE YOUR CONGREGATION SOUND SOLUTION FOR HOUSES OF WORSHIP

L-Acoustics systems are renowned for their uniform, full-range, natural sound. Our flexible, lightweight systems project crystal clear sound to your congregation, avoiding reverberant architecture. From the front row to the very back, your worshippers will never miss the message. Generous power ensures each congregant has the feeling of being in the heart of your music. Let our sound systems help you achieve maximum engagement for your house of worship. www.l-acoustics.com

Worship AVL July-August 2019

Articles inside

The Tech View