Worship AVL January–February 2024

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Contents Issue 84

January–February 2024

Editor’s Letter Research from the Institute for the Impact of Faith in Life (IIFL) has recently reported that being a regular worshipper makes you happier and more optimistic about the future, with other benefits including better life satisfaction, well-being and self-control. However, despite offering a sense of community and the possibility that regular attendance may improve mental well-being and positivity, there’s equally no doubt that globally, places of worship are having to deal with declining attendance levels.

On page 32, Panasonic Connect’s Howard Rose looks at the strategies HOWs are

COMMENT 4 Robert Soo and Don Boomer

PROJECTS

8

8 Our Lady of the Rosary 10 Transformation Church 12 St Paul’s West Hackney 14 Woods Memorial Presbyterian 16 Christ Embassy 18 Linkway Church 20 Princeton Chapel 24 Al-Manaa Mosque 28 St Stephen’s Episcopal

using to boost engagement, with a particular focus on younger congregants.

In previous generations, whole families would attend places of worship on a weekly basis, but today’s Gen Z and Gen Alpha are experiencing religion in a completely different way and the obligation to attend has dramatically diminished.

However, by employing more immersive experiences into weekly worship, such as projection technology, churches are hoping that they can capture the interest of younger worshippers in new and engaging ways and secure the future generations of churchgoers.

16 18

KNOWHOW 30 Controlling intelligibility 32 Immersive visuals 34 Lighting terminology 101

TECHNOLOGY

24

36 Mackie’s DLZ Creator 38 CFX Conference 2023 40 Colour development

PRODUCT SPOTLIGHT

44

42 Magewell’s Director Mini

Email: kwallace@worshipavl.com

NEW PRODUCTS

Follow us on social media @WorshipAVLMagazine

44 The industry’s latest product news

TECH VIEW Contact us Richard Lawn

General manager

58

58 Spider Ranch Productions Sue Gould

Advertising director

rlawn@worshipavl.com sgould@worshipavl.com

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Simon Luckhurst

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sluckhurst@worshipavl.com cmoss@worshipavl.com lstonell@worshipavl.com

Sales associate

Senior reporter

Caroline Moss

Contributing editor

Libby Stonell

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January–February 2024 WORSHIP AVL 3

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COMMENT

Because everyone matters Sound equality for all worshippers Robert Soo introduces a new series of articles looking at the importance of delivering an equal sound experience for every worshipper

Robert Soo Cogent Acoustics (Singapore) Principal Consultant and Trainer

A BLESSED 2024 TO EVERYONE and thank you to the good folks at Worship AVL for having me back. After completing two series in 2022 and 2023, this year I’m happy to introduce a new series titled Because everyone matters, a conviction so close to my heart that it has been my consultancy company’s design philosophy and slogan for the past 12 years. To kick things off, I’ll be touching on why delivering an equal sound experience to every worshipper is so important.

One thing that I truly enjoy while sound mixing in church is that I get to observe how the congregation responds to the worship and sermon, and I would notice there are certain sections within the sanctuary where the worshippers

are just not as focused or engaged as the others. Though reasons behind this are plenty, a weak visual and sound delivery to those affected areas is usually high on the list. In my experience, 10 minutes is all it takes for people to lose focus and disengage when they cannot hear or view the church service proceedings clearly, so it’s important that all AV designs adopt a “no bad seats” approach so that everyone gets an equally engaging worship experience. I’ll touch on the visual portion in the following article, so let’s talk about the sound aspects here.

We have all attended church services or other events where the sound is substantially different in areas of volume, tone, imaging and

Unequal sound distribution

FGA Singapore enjoys a very even sound distribution with a welldesigned loudspeaker system

“presence” depending on where we’re seated, a scenario clearly exemplified in the image above. This inevitably leads to members wanting to find a seat with the “right” sound whenever they step into the sanctuary. Though room acoustics have a part to play in this, it is often the result of bad decisions behind the loudspeakers, how they are installed, tuned and balanced, and so on. An uneven sound distribution also makes it extremely challenging for the operator to mix, because even the simple task of delivering SPLs within a 3dB variation to everyone would be impossible.

A fundamental objective for every loudspeaker system installation is

to provide a consistent sound level and tonality to at least 90% of the seats. Careful consideration has to be given to the seating layout, structural constraints and room acoustics before selecting the appropriate types and combination of loudspeakers. They then have to be positioned at calculated locations and angles, and the right tone, balance and time alignment set up for each loudspeaker. This may seem pretty straightforward but it actually requires much understanding and experience in the use of different types and makes of loudspeakers. For example, the characteristics of point source loudspeakers, line arrays and smaller column arrays differ not only in the way they sound, but more importantly in how frequency dispersion and sound pressure level change in the horizontal and vertical direction as they project over a given space and distance.

Most worship halls will require multiple loudspeakers in various combinations to provide adequate coverage, such as line arrays supplemented by point source cabinets with various driver sizes and horn dispersion angles serving as down/side/rear fill, so knowing how they overlap and will interact with each other and the room is extremely critical towards avoiding both hot and dead spots. The various loudspeakers also need to be properly EQ’ed to ensure they transit and blend smoothly, otherwise you’ll end up with very different-sounding zones. In such complex setups, computer simulations are often run at the preliminary design stage to get things started in the right direction.

If all this sounds complicated, that’s because it is, so it is always good to engage the help of an experienced engineer or consultant to work this out.

I have been asked if subwoofers perform better flown or floorstanding. Actually, it is not a question of which is more superior

4 WORSHIP AVL January–February 2024

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COMMENT but rather which works better for each specific venue or application. I have implemented both approaches with good intended results; however, if the goal is to have a more consistent distribution of lowfrequency energy across the room, then (as long as the ceiling height is favourable) flying the subwoofers would be my preferred choice, as the difference in distance from the subwoofers to the front row and the back row is much reduced. In addition, subwoofers flown close to the main loudspeakers allow for a more accurate time alignment. It is also good to note that heightened levels of sub bass at the front rows from floor-standing subwoofers may not fare well for churches with more traditional or conversative styles of worship.

An earlier article addressed the importance of having the sound mixer positioned at a vantage point, where many would assume that “sweet spot” would be right in the middle of the sanctuary. However, it is important to note that, in reality, less than 25% of the congregation actually gets to experience that (particularly when there is a centre aisle) and the majority would hear mainly from either the left or right

Each loudspeaker needs to be correctly positioned and tuned loudspeakers. There is no specific right or wrong location because it really depends on factors such as the hall shape, seating and aisle layout, loudspeaker placement and how they are focused. Since every sanctuary and respective loudspeaker setup are not identical, the most simple guideline then is to position the mixing console where the operator gets to hear what the majority of the congregation are actually hearing, and this usually ends up being an off-centre position.

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Sound operators have expressed concerns that they cannot properly mix in stereo with an off-centre mix position, but the question is, are stereo mixes really practical? In a sanctuary served by a typical L-R loudspeaker setup, worshippers seated in the left section do not hear much of the inputs that are panned to the right, and vice versa for the worshippers seated in the right section. In other words, a nice stereo mix could actually prove to be bad for the congregation. It may

be beneficial to apply conversative panning for opening up the mix, but hard panning to either side could very often come across as an unbalanced mix to worshippers seated at different sections.

While we place an emphasis on ensuring a good and consistent sound delivery to worshippers present in the sanctuary, we mustn’t overlook the importance of providing a similar quality for those participating online. In the May– June 2022 edition of Worship AVL, I focused in detail on the essential audio system requirements as well as good practices necessary to deliver an immersive worship experience for those joining in remotely, so even though they could be thousands of miles away, they could still feel they are a part of the local community of worshippers. And why we do this is because everyone matters. Do check out that article in the online archives.

I hope this short article has shed some useful insights on the importance and key factors to delivering good sound to every single worshipper. There’s more to what I would like to share, so do look out for my next article. Till then, take care and God Bless.

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COMMENT Partial list of RF interferers

Radio frequency interference (RFI) RF Venue’s senior applications engineer, Don Boomer, looks at the causes of RFI and how to achieve a reliable performance WHEN CONSIDERING THE operation of wireless microphones and IEMs, radio frequency interference (RFI) is any natural or man-made electromagnetic energy that creates unwanted interactions between radio equipment, whether it be intentional or unintentional.

Causes of RFI interference include external, naturally occurring sources like thunderstorms and static electricity, as well as man-made sources created through out-of-band transmissions, radiation from network antennas and cabling, and the proximity of adjacent radios operating on overlapping frequencies. Every one of these things is going into your antennas and down into your receiver, making its job much more difficult.

In order to help handle RFI, most industrialised nations have set up user hierarchies that dictate who has the “right of way” to operate radio equipment on a particular frequency. In the US, unlicensed UHF wireless microphones have the least authority of all the devices permitted to operate there. They must accept any interference they receive from other unlicensed users and licensed users, like television stations.

Because of this limitation, users of wireless mics and IEMs have a limited but powerful set of tools at their disposal. The goal of these tools is to improve the dynamic

The signal from the transmitter must reach the receiver at least 20dB stronger than the residual RF noise floor range of your transmitters to your local noise floor. It is this dynamic range that is the principal gating factor of reliable on-the-air performance.

Many of these tools work by improving the signal-to-noise ratio to mitigate interference. Understanding the relationship between noise floor and signal is crucial to correct wireless systems operation. The noise floor is the average level of the RFI in a given location that creates a “floor” of RF energy. If a microphone signal arrives at an amplitude that is too near that noise floor, the receiver will have difficulty distinguishing signal from noise, no matter how expensive the gear. For this reason, one (perhaps even the most important) goal in wireless audio is to ensure the highest possible signal-to-noise ratio between noise

floor and transmitter signal. The goal is to maintain at least a 20dB dynamic range, that is the signal from the transmitter must reach the receiver at least 20dB stronger than the residual RF noise floor at your venue. This factor is much more important than actual signal voltage, although there are limits below which a receiver cannot distinguish your intended signal.

Rejecting the effects of RFI Practices to improve dynamic range (also called carrier-to-noise ratio or CNR) include using directional antennas as opposed to simple omni whips that are included when you purchase wireless mic systems.

Since a directional antenna is only picking up signals from the direction

it is aimed and not from behind it (think cardioid microphone pattern), it will typically be picking up only one-third of the surrounding RF interference.

Your antennas are going to pick up whatever RFI there is in your venue, but getting the antennas closer to the transmitters results in a stronger intentional signal without a rise in the noise floor level. There will be less loss in the coax than through the air.

Reducing the number of antennas will also result in a stronger CNR since antennas actually interfere with other antennas until those antennas are about three wavelengths apart (about 3m for 500MHz operation). So the best practice is to use a single A/B pair and an antenna distro to couple that pair to all of your receivers.

Using the newer 100% shielded (foil plus braid) coax will ensure less signal is lost over distance and prevent ingress from outside signals (such as other cables or other equipment in your rack) and therefore better CNR. And, finally, the use of bandpass filters can block RF signals that are out of your band of interest and keep them out of your receiver entirely, making its job much easier. www.rfvenue.com

6 WORSHIP AVL January–February 2024

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PROJECTS

Coast to coast DPA has been travelling across the US installing its instrument, vocal and headset microphones as gain before feedback within the room and near the wedges.

The North Carolina house of worship called on audio director Justin Whisnant, who tackled the challenge with multiple DPA solutions. For broadcast events, the church pastor utilises wireless d:facto vocal capsules, along with a 6066 Subminiature Headset Microphone. A 2011C Compact Cardioid and 4055 Kick Drum Microphones are trusted for recording projects, both live and in the studio, while a 4017B Shotgun serves as a crowd mic and the new 2012 Compact Cardioid and 2015 Compact Wide Cardioid Mics amplify the church’s B3 organ.

Our Lady of the Rosary DPA MICROPHONES’ INSTRUMENT, vocal and headset microphones are said to suit multiple applications at churches of any size. This can be seen with recent installs throughout the US, from the east coast’s Our Lady of the Rosary and Elevation Church to Mount Angel Abbey and Seminary and Bethel Church on the Pacific coast.

South Carolina’s Our Lady of the Rosary Catholic Church turned to Devin Sheets, lead engineer for audio installation company Alpha Sound. Sheets selected the brand’s 4018 Supercardioid Gooseneck microphone, and two each of the 4011 Cardioid Condenser and 4060 Miniature Omnidirectional microphones. “This church has been blessed with very high-quality liturgical elements,” Sheets shares. “The sleek and sophisticated nature of these microphones match the aesthetic of the space very well. The 4018 provides the utmost natural sound at the ambo and for the priest’s chair, where we created a custom wireless mic stand setup. The 4011 mics also amplify the choir and cantors beautifully. The 4060 mics are hidden on the rear wall for added ambience in the narthex and sacristy. The space now has fully intelligible spoken word in every seat.”

On the west coast, Alpha Sound also oversaw the install at the

beautiful Mount Angel Abbey and Seminary, which was looking for an audio upgrade: not only sonically, but aesthetically. As a longtime DPA fan, Sheets knew the brand would be ideal for this Oregon church. Turning to two standard and three custom 4018 Supercardioid Goosenecks, four 2011Cs and two 6060 Subminiature Lavalier microphones, Sheets has provided the abbey with clear audio and discreet solutions that blend into the architecture of the venue.

“Five times a day, every day, monks gather in the church for various functions,” explains Sheets. “There is no audio engineer or large mixing console, so the DPAs help provide a balanced sound in the venue and for the livestream. The goosenecks ensure the warmest, most natural sound possible for speech and singing at the ambo and lectern. In the triforium, the 2011Cs act as adjacent pairs of choir microphones, while the 6060s nearly disappear from view as they pick up the sound of the rear organ.”

In California, Bethel Church audio director Jonah Thompson noticed significant and consistent stage noise bleed with the team’s previous vocal mics. After finding it difficult to cut back on the noise without sacrificing vocal quality, Thompson knew an upgrade was necessary.

Now outfitted with DPA d:facto vocal

A 4055 Kick Drum Microphone at Elevation Church mics, church visitors experience clear and natural vocal performances, both at the venue as well as during the events, tours and live album recordings put on by Bethel’s music collective, Bethel Music.

“These mics are ideal for us, especially for live recordings,” Thompson says. “They sound the same live as they do for overdubs. It is now a seamless transition for us; some of the microphones we used in the past struggled with that and required a lot of extra work to match up the sound. There has also been no quality loss switching to these handhelds – house engineers ask about them, and other worship leaders come to Bethel and ask how our vocals are so clean and intelligent.”

Elevation Church faced a similar issue with vocal clarity, as well

The brand’s 4099 Instrument Mics can be found on horns and strings, especially during Easter and Christmas services.

“DPA microphones are just so easy to work with,” adds Whisnant. “They give us the clarity and response we are looking for – whether we are recording, doing live mixes or streaming online. The d:facto and 6066 have been great mics for our pastor. We are able to get his handheld loud and stable in the wedges without a lot of work. His headset has also allowed us to keep his mic loud enough in front of the PA without any feedback. Then, for our pop-up church setup, the 4099s and 4055 make it possible to get a great mix quickly and easily.” www.dpamicrophones.com

8 WORSHIP AVL January–February 2024

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PROJECTS

Creating an impact Robe’s LEDBeam 350s have helped Transformation Church remodel its lighting setup

TRANSFORMATION CHURCH IN Tulsa, Oklahoma, has recently had a complete redesign of the lighting rig in its 4,000-seat main auditorium, which was created and delivered by 46 Entertainment, a team of engineers and technical creatives specialising in event production, design and management.

At the centre of the current production lighting design is a 12m-diameter circular truss on a six-axis Kinesys automation system, which is rigged with 64 equidistantly spaced Robe LEDBeam 350s. “Transformation Church has been a client of 46 Entertainment for the last 13 months,”

explains project manager, Noah Wilbanks. “The church works with us to reimagine the lighting and technical design every six months or so, a task that is achieved by utilising a collection of its own kit purchased from different companies over the years, together with some rental items as required for the current design.”

Livestreaming has become an essential aspect of Transformation Church’s Sunday service and worship sessions, which are known for their high production values. The streams are also posted on YouTube (sometimes getting up to half a million

views in the following days) so there is a definite need to keep the look and style of the presentations fresh.

The LEDBeam 350s were already owned by the church, while the circular trussing sections were rented in for the occasion to support 46’s design, which is flown above the stage and can pitch and tilt into a dynamic array of positions due to the automation.

The lights are used every Sunday, occasionally on Mondays and often a couple of times during the week.

Positioning the LEDBeam 350s into a flown circle, complete with plenty of back and key lighting, created a

captivating environment for the live audience as well as a modern studio look for the broadcasts.

A large upstage LED videowall dominates the stage, so Wilbanks and the 46 team thought the LEDBeam 350s would be ideal in this format and have enough of an impact to stand out against the high amount of ambient light coming off the screen.

“The LEDBeam 350 is a perfect luminaire for this,” Wilbanks notes.

“It’s a highly versatile fixture with a nice tight beam and, thanks to the great zoom, also produces a nice wash. You can create some gorgeous effects, and that was the idea here, together with the shape and movement of the circle.” He is also impressed with the speed of the unit and its impact as a fly-out, spinning or effects fixture.

In addition to the LEDBeam 350s, the church also has 46 Anolis Divine 160 LED architectural luminaires which are scattered around the auditorium ceiling to provide house lighting, including coloured and atmospheric mood looks for walk-ins and interval states. Lighting control is a grandMA3 full size and there are approximately 300 other lighting fixtures in the rig. www.robe.cz

10 WORSHIP AVL January–February 2024

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PROJECTS

Catering to all

The church is equipped with four white Yamaha VXL16 speakers

Audac VEXO112 and VEXO110 speakers in the hall

DM Music has equipped St Paul’s West Hackney with a new sound system to cater for the variety of events the church holds SOMETIMES IT’S NOT ONLY about worship. Churches nowadays are looking at ways that they can serve the parish, and not just spiritually. St Paul’s West Hackney – located about 30 minutes northeast of central London – runs a variety of projects aimed at the vulnerable and those on the edge of society. Events include lunches for the homeless, keep fit and narcotics anonymous. The church is built in a T shape – a hall runs across the top of the building and can be combined with the main sanctuary by pushing back large wooden doors. When it came time for a new PA system, it was important that the equipment was able to cater for all the different types of events that are held in the building.

Built in the 1960s, rector Niall Weir describes the church as fairly ordinary. “There’s nothing flamboyant about it,” he explains. “It’s a concrete building with wooden floors so acoustically quite live. Without sound reinforcement, it’s quite difficult to make yourself heard. We put in a sound system about 15 years ago and prior to that there hadn’t been any sound reinforcement at all so how anyone heard anything for the last 40 years is beyond me.”

Weir describes the old sound system as fairly state-of-the-art for its time, with six sets of speakers in the church, another six sets in the hall and radio mics with the facility to play tapes and compact discs. “It was always a bit on the clunky side,” he continues. “It made us a bit louder

The discreet Yamaha speakers blend into the background

The Epson projector retracts into the ceiling

but not necessarily audible and we would’ve needed to spend a lot of money if we’d wanted to dampen the building down acoustically.”

When the system began to show its age, the church’s architect, Alex Sherratt, recommended DM Music as he had worked with the company in the past. A meeting was set up at the church with Weir, DM Music’s projects director Jon Miles, a member of the church’s PCC who works in theatre and a representative from an organisation called Duckie, which runs the Royal Vauxhall Tavern and rents out the church’s hall for a variety of events.

The new system is based around an Allen & Heath AHM32 which allows the venue to be used in two modes: either church or hall mode. The radio

mic antenna that’s been centrally installed ensures that the Sennheiser EW-D radio mics work in either mode.

DM Music has installed four discreet white Yamaha VXL16 speakers in the church with one Martin Audio CDD6 installed by the partition at the back of the hall for basic relay.

Two Audac VEXO112 speakers have been installed at the front of the hall, supplemented by two Audac VEXO110 for delay. The hall has also been fitted with an Epson EBPU1007W 7,000 ANSI lumen laser projector on the stage in an AudiPak projector lift. Additionally, there is an analogue mixing system in the hall to enable small events to take place, which feeds into the AHM32.

Both rooms have a custom wooden control box that features a control

panel for system power (and projector control in the hall), an Allen & Heath IP8 for audio control and an Audac WP225 panel for Bluetooth and aux input, plus an HDMI input in the hall, and a second Audac WP225 panel in the church. Crucially the installation has been futureproofed with additional cabling for when the need arises.

“The installation went very well,” explains Miles. “The biggest problem was cable routes, so we actually ran cables outside the building in conduits to avoid surface mounting internally. We also had a job to install the projector in the hall as it was a solid plaster ceiling and we put in a projector lift so it disappears when not in use.”

“The hall is heavily used and trying to find gaps in the timetable was probably the most challenging part of the upgrade,” describes Weir. “DM was really flexible. They were able to come in over the summer when things are a little quieter in terms of events.

The sound quality is so much better than before, even though we’re in a very live building. Duckie uses a lot of technology for their over-60s’ cabaret and they’re really experienced, and they were very impressed. So, we’re really pleased with the outcome.

It can be the Wild West out there sometimes and having those personal recommendations is invaluable.” www.dmmusic.com www.stpaulswesthackney.org

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The MI-58 Series digital IEM system has been praised for its wide 20 Hz ~ 23 kHz frequency response, extremely low audio latency, and delicate sound. No matter vocals or musical instruments, the MI-58 system offers crystal clear sound and great hearing experience.

Now MIPRO expands the system with the new MI-580R stereo bodypack receiver. While the MI-58R receiver is powered by one Li-ion battery, the MI-580R is powered by either two AA batteries or one Li-ion battery, conveniently charging via USB Type-C. Both are compatible with the MI-58T and MI-58TD transmitters. The system also offers an ENG MODE, giving sound engineers full control over every live performance.

MI-58R / MI-580R ● Stereo / Mixed mode ● L / R AF balance ● 4 equalizer modes ● 18500 Li-ion rechargeable battery (MI-58R) ● AA batteries / 18500 Li-ion battery (MI-580R) ● USB Type-C charging port for 18500 Li-ion battery (MI-580R)

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MI-58T / MI-58TD ● 12 channels (Group A) and 64 ID codes ● Dual earphone monitoring connectors ● Easy-to-read volume indicator ● Two 6.3 mm loop outputs ● ACT-BUS networking interface ● Dante ® interface (MI-58TD)

100% Made in Taiwan

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PROJECTS

A lasting impact Williams AV has enhanced the worship experience at Woods Memorial Presbyterian Church with an assistive listening solution FOR OVER A CENTURY, WOODS Memorial Presbyterian Church has been a central focus of the Severna Park, Maryland community, providing a welcoming space for worship and spiritual growth. As the church’s membership expanded, so did the need to accommodate individuals with hearing loss during services. To meet this growing demand, Woods Memorial Presbyterian decided to seek a new, comprehensive assistive listening solution.

Over the years, the existing assistive listening device at the church began to show its limitations and struggled to provide consistently clear audio in the 500-seat sanctuary. With the rising number of church members came a rising number of congregants requiring hearing support. Primary goals for the new system were to deliver clear audio, facilitate ease of use for church volunteers and members, cater to those with hearing aids and adhere to a reasonable budget.

Initially, the church considered the use of hearing loops, which could have worked well for those using hearing aids, and the provision of hand-held receivers for others. However, after assessing the cost and potential disruption to the floors during

The FM 558 system consists of one transmitter, four receivers, four surround earphones and two neckloops installation, this option was set aside.

After a thorough evaluation of various options, Woods Memorial Presbyterian decided to implement Williams AV’s FM solution.

The FM transmitter is designed to support large spaces and comes with up to 17 available channels so that individualised audio content can be broadcast to other assembly spaces in the building. It also accommodates diverse listening preferences – members can use a hand-held receiver and earphones for discreet listening. Alternatively, those with hearing aids can use a neck loop with the hand-held receiver, allowing

audio to be directly broadcast to their hearing aid. The system ensures that both hand-held receiver users and hearing aid wearers receive the same high-quality audio.

The FM 558 system consists of one FM T55 transmitter, four PPA R38N receivers, four EAR 022 surround earphones and two NKL 001 neckloops. The transmitter comes with multiple digital audio input options and an OLED display with easy-to-manage navigation and network control features. The PPA R38 is a multichannel FM receiver with a high-resolution OLED screen. It offers a quick view of receiver status,

immediate entry to all user settings, onscreen channel selection with easy access to 17 pre-set, wide-band frequencies and is compatible with all Williams 72–76MHz wide-band transmitters. The complete assistive listening system is expandable and can accommodate any number of listeners.

With the adoption of Williams AV’s FM system, Woods Memorial Presbyterian has taken a significant step towards enhancing the worship experience for all its congregants.

“The new assistive listening solution not only addresses the needs of individuals with hearing loss but also sets a precedent for inclusivity and accessibility within our community,” explains Mike Dawson, an AV volunteer at Woods Memorial Presbyterian.

“The new system has elevated the worship experience, ensuring that every member of the congregation can fully participate in the spiritual journey.

As we continue to grow and serve the community, our commitment to inclusivity and accessibility remains a priority, so that we can leave a lasting impact on everyone who walks through the door.” www.williamsav.com

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array

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DESIGNED & ENGINEERED IN GERMANY LD Systems® is a registered brand of the Adam Hall Group.

28/11/2023 15:28

PROJECTS

Worth the wait

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Premier AVE has supplied Christ Embassy with the first LD Systems Maila line array to be installed in a UK house of worship BARKING IN EAST LONDON HAS been the home for Christ Embassy church since 2012. The large, modern Pentecostal house of worship has the capacity to hold 800 congregants in its main worship space. A mezzanine at the back of the sanctuary can also hold an extra 400 visitors for special events.

Having worshipped at the church, Morakinyo Awosanya, director at Premier AVE, had supplied the church with some LD Systems U series wireless microphones about six years ago, which he happily reports are still in use today. The previous stacked line array system had never really been used to its full potential, so when the church decided to upgrade the speaker setup inside the main worship area, it didn’t hesitate in contacting Awosanya and asking him to design the new system. “I already understood the building and how everything sounds inside,” he explains. “Premier AVE has been selling Adam Hall, LD Systems and Cameo equipment for about 12 years and we have some of their equipment in our hire stock, but this is our first Maila installation.”

The arrays are barely visible in the large room Having attended ISE in Barcelona in 2023, Awosanya was able to discuss Maila with the Adam Hall team in-person, leading him to think about where he could use it. “When I first talked with the leadership of Christ Embassy, they gave me the opportunity to spec and design the whole system and I realised this was the chance I had been waiting for.

Adam Hall knew I was interested in

trying out a Maila setup but I don’t think they realised quite how excited I was.”

The size and shape of the sanctuary provided Premier AVE with the perfect opportunity to install its first Maila system. With a ceiling height of around 8m, a width of 20m, a distance of 40m from the front of the church to the back and the mezzanine area at the rear, the Maila system

has successfully reduced all the extra reverberant noise caused by the high ceilings. “The columns take all the heavy lifting of the low-mids – the sound isn’t murky or coloured and it travels so well,” adds Awosanya. “The satellites at the bottom of the array enable the highs and high-mids to be directed at the audience and provide the speech and vocal clarity needed for a good listening experience.”

However, it’s not just the quality of the sound that has left Awosanya full of praise for the Maila system – he chose Maila for its consistent sound distribution within a wide space. “It was so easy to set up, with very few cables to connect,” he says. “Connecting the satellites with the column was a breeze, with the satellites just sliding onto the column and clicking into place. The flying bracket has also been really well designed. It allowed me to not only fly the system but set vertical and horizontal angles of the hang.

By panning in, I could cover the whole width of the room by taking advantage of Maila’s wide 100° horizontal dispersion. But what I also really like is the fact that you can control the boxes – once I’d put in

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PROJECTS the dimensions of the room and the height of the install, the app tells you what angles to use – it was that easy.”

He also compliments Maila’s discrete and unobtrusive look. “It took a few weeks before some of the congregants even noticed the speakers were there. They couldn’t believe that this incredible sound was coming from such small boxes.” Each array consists of one Maila COL 4 x 6.5-inch powered column speaker on top of three Maila SAT which houses five 1-inch tweeters in front of a 6.5-inch midrange driver.

The church and congregants are really happy with the system, which has significantly reduced the echo in the room from the spill at the top of the building. It has also increased the clarity of sound in the main worship part of the hall. “What I really like is that the low-mids are at the top and then the high-mids and the highs are at the bottom, so the speech is really clear and it cuts through any reverberation in the room. I could’ve chosen a point source system but it wouldn’t have given the client the wow factor that they were looking for.

We did keep a speaker on the floor for front fill in case we need it but so far it’s not been used, even when the church is full.”

Each array consists of one Maila COL on top of three Maila SAT Premier AVE is already on the lookout for another opportunity to use a Maila system. “Having used

LD Systems in the past for so many small installations, we’re now waiting for those slightly bigger installations

where we can use Maila again. I love the scalability of the system – you can build it up to suit different room sizes, applications and audiences.”

But Awosanya may not have to wait long at all. Christ Embassy is also considering installing a much smaller Maila system to cover the 400-seat mezzanine at the back of the church. “The current system we installed was only ever intended to cover the main worship area,” he explains. “Currently, for special events the church uses some old speakers that they put on stands, but because Maila has such a sleek design, it would fit really well up there.”

With the first Maila system up and running in the UK, Awosanya and Premier AVE are hoping that the setup at Christ Embassy can be used as a demonstration point for other churches that are considering upgrading their sound system.

Alternatively, he’s also considering investing in a small Maila system for rental stock so that the company is able to take the speakers anywhere where a client might be interested.

Clearly, Maila has made a lasting impression on him. www.christembassybarking.org www.ld-systems.com

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January–February 2024 WORSHIP AVL 17

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PROJECTS

Tw si

The church celebrated the opening of its new auditorium in November

Opening act

Gearworx’s Jarred Venter preparing to fly the JBL BRX300 arrays

Linkway Church in Edgemead, Cape Town, has recently completed the first of three phases to equip its new sanctuary with AVL equipment LINKWAY CHURCH STARTED LIFE in the living room of Pastor Gavin van Heerden and his wife, Val, back in October 1994 with three other families. Over the years, the church has grown rapidly, moving into Joe Simon Pre Primary School in 1995 and Edgemead High School in 1996. In 2002, the church purchased land and built a 250-seat sanctuary, extending the building in 2009 with rooms for families to worship and an office area.

In May 2022, Linkway launched its Heart for the House project, the third and final extension of the building.

Completed in late 2022, the extension consists of a new auditorium capable of seating 600 worshippers, including a raised mezzanine, platformed stage, technical booth and control room; a parents’ room with a live feed from the auditorium, along with a changing room and kitchenette; additional toilet facilities; and structural cladding around the entire building to promote a unified aesthetic around the older and newer sections of the venue.

Cape Town-based Gearworx Technical Solutions submitted a tender for the entire AVL project towards the end of 2022 and was appointed by the church in early 2023. Gearworx hadn’t had any connection with Linkway

prior to the tender, with the church approaching the company following a recommendation. Installation began in March 2023 with cabling, trussing and the addition of 168 acoustic panels to reduce the reverberation in the room.

“The acoustic treatment was really important for the client,” explains Gearworx director Jarred Venter. “They knew acoustics were going to be an issue because the pre-cast concrete slabs that have been used are hollow in the middle, so it was important that this was dealt with before we installed the PA. Finding a way to mount all those panels to walls was the hardest part of the installation – you can’t use a standard knock-in anchor so we had to get a specialised Hilti anchor, but that was the only curveball that we had to deal with during the installation.”

The generosity of Linkway’s parishioners had entirely funded the R9 million (US$485,000) Heart for the House construction project.

However, even though the extension was completed in late 2022, the church still needed to find another R1 million (US$54,000) to complete all the electrics (including a generator), have basic sound and lighting, carpeting, some audio treatment and video equipment. Initially the

The Allen & Heath SQ-6 at FOH plan was for the church to move into the new premises in early 2024 but, when more funds became available, Venter and the Gearworx team were able to complete the first part of the installation earlier than planned.

As part of phase one, Gearworx has installed four-per-side JBL BRX300 dual 8-inch tops, flown in an L–R configuration, with two groundstacked JBL BRX300 dual 15-inch subwoofers with a built-in amp module. This is the first house of

worship in South Africa to receive a JBL BRX300 system as a permanent solution. For FOH and monitors, Gearworx specified an Allen & Heath SQ-6 digital mixer alongside an Allen & Heath GX4816 stagebox. “We had a couple of PAs in mind but then the new JBL BRX was launched. We looked at the specs and tested it in the room and it sounded great,” adds Venter. “The low end and midrange on these boxes are phenomenal.”

Phase one lighting includes eight Longman F4UP 25° LED Parcans and 10 Longman Facepar 900s to wash the stage (supplemented by four Longman Phoenix 300B COB bars on loan for the launch weekend); one Zero 88 FLX S24 lighting console which comes with an easy-to-use interface for the volunteers; one NEXUS Ethernet to DMX module; two 14m Total Fabrications OV30 trussing – one for the front lighting and one for the stage for future lighting fixtures – powder-coated black to blend into the room; and four Stage Plus pendant house lights with RGBW control.

Two Grandview 200-inch white 16:9 screens, two VUE2 VIN W7A 6,500-lumen WXGA laser projectors, and HD-SDI cabling infrastructure –

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The luxury of complete control.

Two Grandview 200-inch white 16:9 screens have been fitted either side of the stage including future cable runs for cameras and displays around the venue – and a custom PC with a Blackmagic Design DeckLink DUO2 running ProPresenter 7 complete the current video setup.

The church celebrated the opening of the new extension across a weekend in mid-November. “The launch couldn’t have gone better,” smiles Venter. “We were somewhat anxious since many of the regular churchgoers are older, and we wanted to ensure they felt at ease with the new equipment. We’d also

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10 Longman Facepar 900s wash the stage kept the lighting quite static rather than suggesting moving heads.

But everyone was really pleased with how the weekend went and we received lots of positive feedback.”

Phases two and three will follow as soon as the finance becomes available. Plans are already in place to supplement the phase one audio system with additional front fill, two more dual 8-inch tops and two additional dual 15-inch subwoofers.

Lighting is also on the agenda for expansion, with plans to install four Stage Plus pendant house lights with RGBW control to illuminate the mezzanine. Furthermore, there are plans to introduce more pendant lights to the main floor space in the future. This decision arose because the church initially installed warm white LED high bays with DMX controllability prior to appointing Gearworx as the AVL integrator. “Gearworx has played an integral role in giving guidance in the best and most effective steps to take moving forwards,” explains Venter. “Our priority is to create an environment that encourages participatory worship that doesn’t distract people from their focus on worship, and we try to achieve this by providing excellence in all areas that we work in.”

The Linkway AV team currently consists of 26 volunteers that are trained and managed by full-time church staff members. This team is responsible for live sound, lighting, livestreaming, camera operations, lyric and graphics display. The church has been livestreaming since the start of the pandemic with services viewed around the world. The church hopes that upgrades to broadcast equipment that are scheduled for phases two and three with help extend its reach worldwide. “The Gearworx team will also be assisting Linkway with the necessary training and support to the church’s volunteers as this something we value to ensure our clients get the most out of their new investment,” concludes Venter. www.gearworx.co.za www.linkwaychurch.org.za

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visual environment technologies etcconnect.com January–February 2024 WORSHIP AVL 19

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PROJECTS

Fu su ch

Blending old with new WPS has engineered a complete audio upgrade at the stunning Princeton Chapel THE PRINCETON UNIVERSITY Chapel is the religious and ceremonial centre for Princeton University. It was built in 1928 and is used to formally open and close the academic year with an interfaith service. It’s also the site of special services of music, thanksgiving and concerts throughout the academic year. Seen as an oasis in the middle of campus, people of all faiths visit the chapel for prayer and meditation every day.

When the Marquand Chapel, built in 1881, was destroyed by fire in 1920, an appeal for funds was issued to construct a chapel in an architectural style based on the 14th-century English Gothic and appointed Ralph Adams Cram of Boston, a leading architect of Gothic revival. When completed in 1928 at a cost of more than US$2m, the building – capable of seating 2,000 people – was second in size only to the chapel at King’s College, Cambridge. The oak pews in the nave are made from wood originally intended for Civil War gun carriages. The pulpit, brought from France, dates

back to the mid-16th century, while the wood for the pews in the chancel, where the choir and clergy are seated for services, comes from Sherwood Forest in England and took 100 people over

a year to carve. One of the most recognisable architectural features is the grandiose, 8,000-pipe Mander-Skinner organ designed in the English cathedral style and completely renovated in 1991 in

the UK. Needless to say, it’s an impressive building.

In 2022, Princeton University decided to completely revamp the chapel’s audio system. The aim of the upgrade was sixfold: to provide

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cle al sa ba th ar su in le pr br vis th bu fo an T ba sy ac de ge un co is pe m Pr pr bu Pr wo pr co W au

PROJECTS

The 8,000-pipe Mander-Skinner organ was completely renovated in the UK in 1991

Fulcrum Acoustic speakers are suspended at the bottom of the chandeliers clear and intelligible speech for all congregants throughout the sanctuary; deliver acoustically balanced music enhancement throughout the sanctuary seating areas; provide a system that supports a variety of events, including worship, weddings, lectures and music performances; provide the capabilities for broadcasting events; minimise the visual impact of the system within the historical architecture of the building; and provide better audio for worship leaders, choir, musicians and organist.

The university appointed New Yorkbased SIA Acoustics to design the system. “The acoustic consultant acts as an intermediary and designs the system because they’re getting the information from the university and we’re working with the consultant to make sure the system is feasible from an engineering perspective,” explains Vero Tabares, marketing director at Washington Professional Systems (WPS). “The project went out to tender in 2022 but we have a great relationship with Princeton and we’ve done a lot of work for them in the past, and so our prior experience certainly helped us complete this project successfully.”

WPS had designed the existing audio system nearly 20 years

ago. “One of our engineers, John Fish, had worked on the previous system so he was really delighted that he could work on the project again,” explains Tabares. “The old analogue system was working perfectly – it was just time for us to engineer a digital system that works on the Dante network and is interoperable with other equipment, so it means that the chapel can upgrade consoles, speakers or microphones in the future and it will all be interconnected.”

The system design focuses on two modes of operations, enabling it to be used both with and without an operator. With a technician, the system operates with full capabilities. Without an operator, the system will provide speech reinforcement from the pulpit or chancel with one wired and one wireless microphone, and allows the user to turn the system’s loudspeakers on or off in the nave. Additionally, the second non-operator mode provides a partitioned section for speech

reinforcement in the Marquand Chapel. These modes are controlled via touchscreens at separate locations, including FOH mixing, the pulpit and the Marquand Chapel.

The loudspeaker system was designed with the goal of delivering high-quality speech intelligibility and tonal balance for music. With that framework in mind, it uses 13 different self-powered RenkusHeinz Iconyx series loudspeakers throughout the main sanctuary, located on each side of the altar, on the columns of the nave, on the sidewalls of the balcony and in the Marquand Chapel.

Each loudspeaker receives an independent audio signal from the DSP and is programmed with specific delays to act as one unit, creating the effect that the audio is being delivered from the altar.

The Renkus-Heinz loudspeakers feature beam-steering capabilities, allowing sound dispersion from the loudspeakers to be controlled in both the vertical aiming and angle.

This capability helps fine-tune the system for highly intelligible speech in a very reverberant and reflective space.

The design also consists of Fulcrum Acoustic’s RX599 Series loudspeakers suspended at the bottom of the chandeliers in the nave, crossing and transept sections. The loudspeakers are practically invisible as they’ve been integrated so well within the chandeliers. These loudspeakers provide envelopment support for musical and choir performances.

View from the balcony overlooking the FOH position and the Renkus-Heinz speakers on the columns

January–February 2024 WORSHIP AVL 21

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PROJECTS Additionally, Fulcrum CX8 Series loudspeakers are placed in the chancel’s chandeliers above the choir section and act as flown monitors to provide audio from above the choir. This configuration allows the choir to hear the spoken word from the pulpit and lectern and also hear themselves and other musicians during performances. The system also incorporates six dBTechnologies DVX DM28 portable floor monitors for the choir and musicians.

The audio system is powered by a set of QSC Q-SYS CX-Q Series networked powered amplifiers and a Q-SYS Core 510i integrated DSP. FOH mixing uses an Allen & Heath Avantis digital mixing console for mixing, signal routing and control. The Avantis is a 96kHz/64-channel/42-bus digital mixer that is fully configurable and allows settings to be stored and recalled based on user profiles.

A series of microphones are used throughout the chapel, both for broadcast/recording purposes and for audio amplification. In the choir section, two pairs of DPA Microphones 4011C stereo microphones are closely spaced out, with one pair facing the chancel and the other pair facing the crossing/nave.

updates to minimise any scheduling conflicts. “One of the caveats for the project is that we couldn’t interrupt the day-to-day running of the church and its services. It meant we had to have staggered schedules or we had to work in parts of the chapel that weren’t currently being used. It also meant we had to work nights in some cases, particularly when it involved running or pulling cabling or the physical installation of microphones or speakers.

“We’re incredibly grateful to Princeton and SIA Acoustics for the opportunity to be involved in this extraordinary project,” concludes

The Allen & Heath Avantis console at FOH

The altar lectern uses an Audix MicroPod gooseneck Earthworks FW730 cardioid microphones have been installed facing the choir section for speech, music and choral applications. For instrument audio pickup in the choir section, Audix SCX, D6, MicroBoom and DP5 microphones as well as an Earthworks PM40 system are connected to a portable rack under the pulpit and can be used for events requiring additional capture capacity.

Both the pulpit and lectern locations use Audix MicroPod goosenecks. A Shure Axient wireless microphone system with two Shure AD4Q receivers are used throughout the chapel to support a series of Shure

ADX2, ADX1 and TL46B wireless microphones.

Finally, a new assisted listening system from Listen Technologies provides two modes of operation for audience members, using either dedicated ListenTech receivers or their own smartphones as headsets.

The system uses ListenTech’s combined Wi-Fi/RF transmitter technology on the chapel’s Dante network to deliver wireless audio with minimal interference and latency.

This design configuration reduces the number of transmitters required and covers a broader portion of the seating area.

Although the chapel is based on the old English Gothic cathedrals, it’s not unusual to find buildings in this style in the US, particularly in the northeast of the country. “In the late 1800s and early 1900s, there was a movement to design chapels and school buildings in the US in this Gothic style, and this included several chapels on older university campuses. So it was no surprise that the number one goal from the university and the acoustic consultant for this project was that we had to preserve the historic quality and visual aspect of the chapel.”

WPS employed a tiered escalation process to identify potential modifications to the chapel’s infrastructure and sought guidance from either the project architect or Princeton’s preservation team. The use of this tiered process ensured that the WPS team minimised the effects of the installation on the chapel’s irreplaceable stone and woodwork, and created an open dialogue between the project staff.

Additionally, the university emphasised that the chapel remain open throughout the project for daily mass and events. To maintain normal operations, WPS created staggered shifts for the field teams that followed the chapel’s daily activities and provided constant

The audio setup consists of 13 self-powered Renkus-Heinz Iconyx series loudspeakers Tabares. “The chapel is very meaningful and has a huge impact on the campus. There’s a lot of Gothic-style buildings surrounding the chapel but it stands on its own in the middle of a plaza where students congregate after class, and when the sun shines on it, it’s a beautiful piece of architecture. Inside, the new system achieved its goal of blending modern and advanced capabilities with flexible, easy-to-use operation, plus it has enough headroom to be used for a wide variety of events with no drop-off in quality or sonic clarity. The upgrade has elevated the overall speech intelligibility, improved choir and instrumental clarity, and expanded the recording capabilities, all the while sticking to the original goal of minimising the visual and physical impact on the historic building.” www.fulcrum-acoustic.com www.renkus-heinz.com www.wpsproav.com

22 WORSHIP AVL January–February 2024

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EM-362 Neck-worn Microphone TOA EM-362, neck-worn microphone specially developed for the use by Iman during prayer. Unique design suspends the microphone in front of the speaker’s mouth optimizing speech pick up and avoid being brushed against during prayer.

We supply sound, not equipment. www.toa.com.sg

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TOAasiapacific

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PROJECTS

Worship in Lusail comes to life at Al-Manaa

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Darwish Technology looked to Bose Professional to provide intelligible audio inside Lusail’s primary mosque WITH ITS CONSTRUCTION starting as the country began to gear up for the World Cup, the Al-Manaa Mosque, also known as the Lusail Marina Mosque, was the first of its kind to open doors for worshippers in Lusail. Once a quiet village 15 miles north of Doha, Lusail has taken on new significance after hosting the World Cup final inside its huge 88,000-capacity stadium. It’s grown to become a modern city, the second biggest in Qatar – serving as an extension of the capital itself, and has been investing in infrastructure that will eventually allow it to accommodate upwards of half a million people in the near future.

All this has led to a recent wave of construction that has included several places of worship covering different denominations.

Nestled within the heart of the Lusail Marina, the Al-Manaa Mosque covers 14,000m² with a capacity to accommodate up to 3,000 worshippers. There are a number of smaller mosques in nearby neighbourhoods, but residents of Lusail City had been eagerly awaiting a “main” mosque in the area. The building beautifully blends with the hypermodern infrastructure surrounding it, and stands out for its simplistic beauty in combining both traditional and modern elements. The interior is simple yet elegant, with minimalistic décor, a beige backdrop and golden lighting. In keeping with most of the grand mosques around the world, Al-Manaa also features a courtyard that is semi-open air and can serve to accommodate additional worshippers.

Darwish Technology was brought into the project at the early stages to assist with the design and integration of the audiovisual systems. Like many mosques, the main worship space inside is cavernous, with high ceilings, large reflective walls and awkward columns hindering sound propagation. “We got involved at

the construction stage but it was an incredibly fast-paced project and we were working concurrently on several other big sites at the same time,” explains Darwish Technology’s ISD operations manager, Ahmad Dabberni. “As a result, it was quite challenging and the upper management was also very involved, as everything had to be finalised prior to Ramadan. We completed the entire installation in less than one month. Beyond simply

The main worship space

Si pr

designing everything, we also had to make sure the sound quality would be very good in what was quite a tricky environment.

“During the installation, we worked closely with the building contractor which integrated all the cabling alongside construction. The entire project covered audio, video and a live production solution that allows broadcasters such as Qatar Media Corporation to come in, plug in their cameras and take live pictures.

Events can also be livestreamed on YouTube.”

Covering the main worship area from an audio perspective are six Bose Panaray MSA12X column speakers lining the back

wall – the four primary inner fullheight columns each formed from a pair of Panaray arrays. Filling in the coverage gaps around the protruding columns are an additional pair of Bose 402 series II speakers on either side wall. The entrance area, which serves as an overflow space for worship, integrates six Bose surface-mounted speakers high up on the walls to bring audio coverage of the Imam into this area.

Six wall-mounted Sony 75-inch 4K Professional BRAVIA TVs – three in the main hall and three in the entrance hall – can display feeds from any of the two Sony EVI-H100 HD or three Sony BRC-X400 4K

PTZ cameras mounted in the main worship area, together with screens in the main sanctuary itself for IMAG purposes. The speakers connect back to the amplifier rack in the building’s rear via Dante and the entire setup is then powered by a combination of Bose Professional PowerMatch PM8500, PM4500 and PM4250 amplifiers, with DSP capabilities from a ControlSpace EX-1280C processor. Eight TOA TH650 horn loudspeakers outside in the minaret are powered by TOA A-2240 power amplifiers also housed in the same rack.

“We modelled the space thoroughly with Bose Modeller before designing the solution,” says Jerico Acosta,

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PROJECTS system programmer at Darwish Technology. “The two pillars block sound from the column speakers in certain locations which is why we installed the fill speakers further back to fill in the gaps. We’ve done extensive testing since with a local consultant here and we have only ±3dB difference across the entire space. It sounds fantastic.”

Providing audio capture of the Imam’s call to prayer are a selection of Sennheiser hand-held and

of movement by speakers when required.”

In order to manage which camera will be displayed onto which of the mosque’s TV screens and in which format, Darwish created a bespoke AV control platform with simple drag-and-drop operation from an Apple iPad. “The entire system can be controlled by the iPad through the Crestron 4 Series Control processor and Sony live production The entrance hall

Six Bose Panaray MSA12X column speakers line the back wall for primary reinforcement

podium microphones, such as the e 865-S vocal mic and MZH 3042 metal gooseneck mic, set in the middle of the space for use in various worship configurations.

These connect back to a QSC WP in-wall stagebox that feeds the 16-channel Yamaha TF1 audio mixer used to balance signals.

“We installed an interface on the wall that allows them to just plug the microphone in and it’ll be immediately connected to the audio system,” notes Dabberni. “Every time someone new comes to play in the mosque, they have their own requirements. The current Imam likes to be placed centrally, quite far away from the traditional location.

Three rack units of Sennheiser ew G4 wireless also allow for freedom

Control of the system is via an iPad and Crestron 4 Series Control processor controller,” says Dabberni. “There’s a multiviewer for the PTZ cameras inside the Crestron Mobile Pro iPad interface where the user can simply drag a camera source onto the correct window. It’s a custom interface we designed and includes all of the audiovisual devices here

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January–February 2024 WORSHIP AVL 25

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PROJECTS and the ways to connect their inputs and outputs together. The idea is that you can simply drag a camera onto a screen and it will display on one of the TVs out there.”

Local recording, livestreaming and camera control is handled by the Sony AWS-750 portable live content producer in tandem with a Sony RM-IP500 PTZ remote camera controller and a Blackmagic solution of five SmartView Duos (capable of showing a total of 10 feeds – six of which are reserved for broadcast purposes), two MultiView 4 multiviewers, a Smart VideoHub 12G router and a Videohub Master Control Pro. A Sony XDS-1000 professional media station additionally allows pre-recorded content to be introduced to the production.

“Operation of the audio is even simpler than the video,” adds Acosta.

“Several presets have been configured depending on the use case, and the Imam can just come in and hit one button to set everything up.”

Outside, the building is surrounded by a large car park on all sides. During popular events, worshippers can often spill out of the main building and into the car park. As a result, Darwish integrated Bose 402 series II cabinets along each side wall which, in combination with the minaret speaker,

402 series II speakers on either side wall fill in coverage around the columns reinforces the call to prayer around the building’s vicinity.

“During Ramadan, even outside, there’s not enough space to accommodate the whole population of the mosque,” explains Dabberni.

“We installed the additional speakers around the periphery, but this created another challenge for us as it was an additional requirement that came later. We brought the contractor back again in order to do the cabling.”

At the very rear of the building is a dedicated hatch for interconnecting broadcast vehicles with the interior camera and sound system, allowing OB vans to drive up and plug straight in when covering important events. A Blackmagic Mini Converter Optical Fiber 12G installed inside the main rack converts SDI to optical fibre, feeding an ACS Reveal Plate that can be opened by OB operators.

“We got a lot of great support from Bose to help achieve really superior audio performance inside the mosque,” Dabberni concludes.

“Thankfully the client is very satisfied with the result. But not only the client, even worshippers both inside and outside have commended us on the quality of the sound.” www.darwishholding.com pro.bose.com

Bose 402 series II cabinets along each side wall cater to overflow areas

26 WORSHIP AVL January–February 2024

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PROFESSIONAL

COSMO THE INTEGRATIVE LINE ARRAY HK Audio’s COSMO line array system combines state-of-the-art audio quality with ingeniously simple handling, utmost utility and remarkable economy to provide an extremely flexible, easily configurable PA for professionals.

COSMO raises the performance bar for line arrays, setting a whole new standard for productivity and efficiency. Integrative and versatile by design, it delivers measurably higher effective SPL in the HF range than comparable systems.

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PROJECTS

Connecting the congregation

Sunday services can have up to 15 open microphones

St Stephen’s Episcopal Church has upgraded to automated livestreaming with Q-SYS SERVING LOCALLY AS A PLACE of worship as well as a gathering place for residents of Richmond, Virginia, St Stephen’s Episcopal Church holds daily worship services as well as a Saturday farmers’ market. The church recently sought to enhance its livestreaming and audio capabilities to maintain the highest quality possible for its congregation. Recognising the existing system needed an upgrade, it contacted RTW Media for assistance.

With its strong affinity for Q-SYS products, RTW selected Q-SYS as the ideal technology to provide a unified, adaptable solution.

Zack Guida, AV integrator at RTW Media, saw the need to offer St Stephen’s broadcast-quality audio for its livestream. Guida comments: “For those sitting in the church, the sound produced by the organ and the choir was clean and vibrant. However, those watching the livestream elsewhere had difficulty hearing anything clearly, creating a noticeable contrast between the sound experienced in person and the sound coming through online.”

Given that intelligible audio for the congregation is an essential component of an uplifting experience, Guida cites his choice of Q-SYS due to its native AES67 capability, advanced DSP and control capability.

In addition, Guida believes that Q-SYS offers integrators a cost-effective solution, with the ability to stream audio between the Q-SYS system and third-party products supporting native networked audio technology.

“We have a Q-SYS Core 510i processor (now available as the

updated Q-SYS Core 610) running the entire system,” explains Guida.

“The Core is located next door in an adjacent building, which was easy to hide and flexible to install. We have Q-SYS I/O frames for the microphones at the altar and PTZ cameras tucked away in little nooks in the sanctuary to provide broadcast-quality video. We designed the system to be flexible and handle the various services, including weekday prayer, traditional Sunday morning services, contemplative evening services and funerals.

“During morning prayer services on weekdays, the Q-SYS system automatically turns on at a specified time and provides a hands-off solution delivering quality audio and video for the livestream. The system autoselects the microphone and camera needed for this livestream. During Sunday services, where there are up to 15 open microphones and six PTZ cameras in use, the Q-SYS system provides the control and audio DSP needed to deliver a quality finished product. All control is handled from the control room by St Stephen’s technical director, who simultaneously manages the audio controls for the in-room experience and livestream, video broadcast, cameras, lower thirds and captions, overflow audio and video routing. During Sunday morning’s complex services, Q-SYS provides the control for the director to accomplish what many other churches need three or four dedicated members for.”

Guida notes that one of the key motivations for St Stephen’s to invest in Q-SYS products was the shorter learning curve to allow for

Images courtesy of Ionic Dezign Studios

end-user changes over time. “Many of our clients want a system that isn’t complicated – with Q-SYS Designer Software, engaging training videos and custom-built user control interfaces (UCI), it’s super flexible and easy to learn. With Q-SYS, we built one of the most sophisticated systems, all with a terrific user interface, and it’s rock solid.”

Guida highlights the advantages of using Q-SYS for traditional churches that are interested in livestreaming.

“Many of our clients have dedicated staff or volunteers on Sundays but are in great need of weekday technical support that can assist with the popup meeting, conference or funeral, that may require simple AV on weekdays.

Q-SYS enables churches to gain access to a high-quality audio and video system that can be automated

and scheduled to begin running whenever they need it. It can also provide incredible audio control during Sunday services. For example, the Q-SYS system at St Stephen’s can mix up to six lavalier microphones, podium microphones, choir microphones, organ and ambient microphones for congregation pickup. Along with using various gates and compressors, Q-SYS can create an in-room lift and a separate livestream mix off the touch panel that automatically runs in the background.”

With the new setup, St Stephen’s Episcopal Church has been able to create a dependable ecosystem that allows them to focus on what matters most: connecting with their congregation. www.qsys.com

28 WORSHIP AVL January–February 2024

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YOUR MESSAGE.

SPIRITUAL.

MORE THAN JUST SPEECH

K&F PIA M CONVEYS YOUR MESSAGE It has always been our main goal to deliver clear, natural sound to ensure every word is heard throughout the whole audience. Especially in places of spiritual contemplation it is particularly important to not just transmit speech. Using K&F PIA M makes room for the most important thing: the message. Loud, crystal clear and natural. www.kling-freitag.com

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KnowHOW

Controlling intelligibility

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Eric Grandmougin, marketing director at Arbane Groupe, discusses how to increase intelligibility in difficult acoustic spaces FOR A LISTENER, THE QUALITY of a sound system designed for speech reinforcement is linked to intelligibility. In places like houses of worship, intelligibility is a challenge for a contractor or a consultant. These large venues are built with hard materials that generate difficult acoustics and long reverberation times.

To achieve good intelligibility in a difficult acoustic space, an integrator needs to follow simple principles. The aim of these principles is to use the properties of the loudspeakers to reduce disturbances to the audio signal generated by the room.

The first principle is to control directivity to reduce the disturbances generated by late reflections, especially those coming from the ceiling and the rear wall of the venue. It is possible to use

also directly linked to directivity control. The taller the column, the lower the frequency that it controls.

Speech intelligibility is linked to the reverberation time (RT), which is generally higher for low frequencies.

This is why it is necessary to control directivity at the low frequencies and therefore use tall column loudspeakers.

Using tall column loudspeakers (2m or more) allows the integrator to limit the impact of late reflections and RT in difficult acoustic environments, and increase intelligibility (see Figure 1). Thanks to the thinness of the columns, it is easy to integrate them into buildings such as a house of worship.

The second principle for increasing intelligibility is limiting the number of acoustic sources that are needed to cover the audience area. By limiting the amount of

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Figure 1: Sound rejection comparison between a 70cm and 2.1m column loudspeaker big horns but it’s neither easy nor pleasing to the eye to integrate this kind of large system into a house of worship. Another solution is based on the directivity control of a loudspeaker array. The maximum sound level or the range of a column loudspeaker is linked to its size. The taller the column, the louder the sound and the wider the range. But the column size is

speakers, integrators can reduce the interaction between them, which can generate interference or a lack of time-aligned reflections.

Steerable column speakers are a good technical solution to limit the number of loudspeakers. These products are designed to make it possible to adjust the directivity of the loudspeaker array using dedicated software. As a result,

the column directivity can be adjusted to perfectly fit to the room size and the soundfield is then focused only towards the audience area. Limiting the number of loudspeakers also makes wiring easier, especially in old or listed buildings.

The third principle relates to the setup of the system. The loudspeakers must broadcast the sound in the same direction. With this

type of system design, it’s possible to put delays between the loudspeaker lines to provide a coherent soundfield.

Sound spreads at 3ms/m, creating a natural delay between the speakers. If the distance between two acoustic sources is higher than 10m, intelligibility is affected and for distances greater than 17m (50ms), you will hear an echo. In large houses of worship, distances greater

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KnowHOW than 17m are very common and an electronic delay must be inserted to increase intelligibility.

A well-designed sound system with high-quality loudspeakers is not always sufficient for good intelligibility – the choice and the EQ of the microphones

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are key points to consider as well. The directivity of the microphones must be considered to prevent the speakers picking up reverberation in the acoustic field and the EQ will reduce the low frequencies and prevent feedback. Sound processors including feedback fighters or automixers that

14/06/2023

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StepArray columns at Notre Dame du Rosaire in Lourdes

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StepArray speakers use Active Audio’s DGRC (digital and geometric radiation control) technology – the tilted arrangement of the drivers helps provide better horizontal and vertical coverage

automatically cut sound from used microphones are a good solution.

It’s important to use a well-trained sound technician, especially if several microphones are open or musical bands play in difficult acoustic spaces.

Microphones must be installed in an area not covered by the sound system. The directivity adjustment on a steerable column loudspeaker makes it possible to limit the sound level at the microphone position and prevent disturbances generated by the loudspeakers at the point where they catch the sound. Last but not least, the speaker must not be disturbed by the sound delay generated by the nearest loudspeaker. A further argument for choosing steerable column loudspeakers is that they limit the sound level even if the speakers are located close to each other.

Using tall steerable column loudspeakers arranged in delayed lines oriented in the same direction can help increase intelligibility in difficult acoustic spaces. The directivity of the microphones also needs to be considered in relation to the acoustics of the room and finely equalised to reduce feedback and low frequencies. www.arbane-groupe.com

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January–February 2024 WORSHIP AVL 31

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KnowHOW

Immersive visuals for an engaging experience Howard Rose, senior product manager, Panasonic Connect, provides tips on deploying projection technology in your sanctuary DECLINING CHURCH attendance levels1 have left worship leaders searching for new strategies to boost engagement. Many have set their focus on expanding their audience of younger worshippers to establish a strong community of loyal congregants for years to come.

Less than half of Gen Z reports attending weekly religious services with their families while growing up.2 This means they likely don’t have a strong preconceived image or memory of what a worship service should look like. Worship leaders now have the opportunity to create a unique, engaging service catered directly to their interests.

What will this service look like?

It will definitely be much more immersive than a traditional gathering. 59% of Gen Z consumers report that they prefer to shop in stores that offer an immersive experience3 and it’s not a stretch to imagine that same preference extending to worship services.

Projection technology helps worship leaders cater to that preference in their weekly services. Let’s explore some of the benefits offered by projection technology before diving into tips for a successful deployment.

Why deploy projection tech?

The top benefit projection technology offers houses of worship is the opportunity to leverage more visuals.

We live in a visual society, so the ability to share images that coincide with readings and songs is critical to an engaging worship service.

Imagine encasing all walls of the sanctuary with a serene image at the start of a service to help audiences enter a communal state of calm. This level of immersion helps create a shared experience among all worshippers, enhancing their sense of community. Meanwhile, accompanying digital signage used

alongside projection technology can share the page numbers for songs and readings, or even the lyrics and passages themselves, making it easy for everyone to follow along and feel welcome.

While direct view LED walls also give houses of worship the opportunity to share visuals, they do not offer as much flexibility as projection technology. Houses of worship should have the freedom to change their platform and room aesthetic each week to keep audiences inspired and engaged. Direct view LED walls must always stay in the same place.

Projectors, on the other hand, offer more flexibility and mobility, so worship leaders can easily switch up which wall shares content. Overall, projection technology allows for a more seamless and straightforward workflow that is especially critical for houses of worship relying on volunteer production teams.

Similarly, projectors give houses of worship the freedom to share content across all surfaces, including the ceiling. Encasing the whole room with visuals helps make the worship experience even more immersive.

While this is possible with direct view LED walls, it would cost a church significantly more to install these walls throughout the room. In the end, projection technology can be a more cost-effective way to deliver an exciting visual experience for your audience.

Three factors to consider when choosing the right projector As with any tech deployment, budget will be a key factor in determining which projector model works best for a given worship setting. Beyond that,

the lights for quiet contemplation, worship leaders shouldn’t have to worry about whether or not their projected visuals appear clearly.

While it may seem as if the lighting needs dimming for audiences to see the projected visuals, darkening the space only makes it harder for worshippers to see their peers and feel part of the community. Choosing a system with the ability to project with high brightness ensures that visuals will be clear and easy to distinguish, regardless of the room lighting.

Similarly, the projector’s colour accuracy and contrast ratio allow for consistent, realistic colours that support an engaging worship experience for all in-person attendees and a solid viewing experience for those tuning into the livestream.

2. Performance and size Following the projector’s visual capabilities, worship leaders

Images courtesy of Oak Creek Assembly of God/Sven Pro

projector features ensure the model you deploy aligns with your space and your intended use case.

1. Visual capabilities Houses of worship operate in various forms of lighting, so their projection tech should complement all settings. Whether they’re letting sunlight stream in through the stained-glass windows or dimming

need to prioritise a model that aligns with their physical space.

Specifically, they’ll have to think about the device’s power source and whether it can run on existing electrical infrastructure.

Likewise, worship leaders must consider where the projectors will sit. Attaching them to the ceiling will require lighter models than if they were to rest on a platform.

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KnowHOW Quiet operation is also crucial if the projectors will be situated near audience members so as not to interfere with the service’s audio.

Room size and the positioning of the projectors in relation to your audience also determines the necessary lenses. Projecting crisp, clear visuals on all walls of the room, close to audiences, requires a zero-offset lens that minimises the effect of shadows and eliminates gaps between the ceilings and floors.

3. Compatibility with other AV tech Projectors aren’t the only form of technology you’ll need in your worship space. That’s why it’s important to seek out a model that works well within a connected ecosystem of AV technology.

This is especially helpful when producing hybrid services for both in-person and remote audiences simultaneously. Projectors that offer compatibility with your live video IT/IP production platform will make it easy for your production team to control the visuals being projected to your audience.

Adopting this workflow makes it easier to switch up the projected content throughout the service for a more engaging experience.

Beyond that, a live production platform that’s also compatible with your digital signage displays makes the workflow even more seamless. This way, production teams can easily switch the

around the sanctuary for a dynamic livestream. Now, it’s possible to capture a stream of the speaker while also panning the room to show the audience members and the projected content. This

in-person. Using these solutions as a connected ecosystem helps create a seamless production workflow and an engaging worship experience, regardless of whether attendees are at home or in the sanctuary.

Supporting a unique, engaging worship experience

announcements you’re displaying alongside your projections and even stream the service to worshippers sitting in an overflow room.

Likewise, production volunteers can use that same live production platform to pull footage from different PTZ cameras positioned

INTELLIGIBILITY ?

supports a dynamic broadcast that makes remote worshippers feel as if they are worshipping

Projection technology is an important component of a house of worship’s connected ecosystem of AV technology. There are many different features to consider depending on the atmosphere you’re looking to create. Working with an AV partner will help you choose the right models, along with any supportive technology, to achieve your vision. These solutions give your team the freedom and flexibility to create an unparalleled worship experience to draw in the next generation of worshippers. connect.panasonic.com/en

References 1. https://news.gallup.com/poll/507692/church-attendance-lower-pre-pandemic.aspx 2. www.americansurveycenter.org/research/generation-z-future-of-faith 3. https://kadence.com/understanding-gen-z-insights-into-the-newest-consumer-market

We hear you

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Find your local distributor at www.activeaudio.fr Active Audio an Arbane Groupe brand

January–February 2024 WORSHIP AVL 33

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KnowHOW

Lighting terminology 101 John Black considers how basic lighting terminology can be used to help new volunteers get up to speed THE BEGINNING OF THE YEAR IS always a great time to on-board new volunteers on the lighting team, alongside giving existing volunteers a much-needed break from the busy holidays. Production tends to quiet down a bit until they ramp up to the spring/Easter season. As new volunteers start out, one of the first training topics that I cover is basic lighting terminology. It’s important for the team to share a common language through which directions can be clearly communicated and tasks can be accomplished efficiently and safely.

Let’s define some basic lighting terminology that I cover with my new crew members.

This is not a comprehensive list of terminology used in the lighting industry, but rather a set of terms that enables them to begin working with the gear as quickly as possible.

I’m starting with terms related to the tools, focusing methods, stage directions and lighting positions that they need to successfully get started.

Lighting fixtures Each worship venue will have a unique lighting package installed and available for use. However, all lighting instruments can be grouped together based on common characteristics. I categorise lighting instruments into two main categories: conventional (non-moving) and automated (moving).

I used to define a conventional instrument as any instrument that

Barndoor

had a single controllable parameter – intensity (brightness). However, as LED technology has swiftly made its way into many venues, I use “conventional” to define any instrument that doesn’t feature a way to physically move the light beam, regardless of the lamp technology

ETC’s Source Four LED Series 2 is an Ellipsoidal Reflector Spotlight (ERS) used to produce light. Some of the most common conventional instrument types are: Ellipsoidal Reflector Spotlight (ERS or Leko): these instruments feature an elliptical reflector in the back of the instrument housing, which helps redirect the light from the lamp through the lens in a way that produces a hard-edged beam of light.

These instruments have swappable lens tubes which allow the user to narrow or widen the light beam as needed. They feature built-in shutter blades, which allow you to shape the light beam, and also accessory slots to insert gobos (patterns), irises and colour filter frames.

These instruments are used primarily for front lighting, side lighting, projecting patterns and specials.

Fresnel: these instruments feature a stepped lens, which disperses the light and produces a soft-edged, wide beam. Instead of changing lens tubes, the lamp can be shifted forwards and backwards

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

inside the instrument to narrow or widen the light beam as needed, but it is impossible to produce a “hard, focused” edge.

Accessory holders are available on the front of the instrument for holding barndoors and colour filter frames. These instruments are used primarily as top or back lighting to provide smooth washes of colour.

Strip light: These instruments feature a number of lamps lined up in smaller “compartments” and are similar to cyc lights in that they are designed to produce a broad spread of light. They are used primarily for creating a wash of light typically in a footlight position, but are sometimes used overhead as top or back lighting as well.

Cyc light: These instruments are typically open-faced, meaning they do not utilise a lens. They are designed specifically to produce a wide vertical spread of light to be able to light a cyclorama or backdrop evenly from top to bottom.

An automated instrument is any instrument that is capable of focusing the light beam in a new position through programming on the lighting console. These instruments also use either LED or traditional lamp sources, and often include a variety of programmable features. Automated instruments

Chauvet’s Rogue R2X Wash is an automated fixture can be generally grouped into three main categories: Wash: an automated wash instrument is similar in concept to a Fresnel in that it produces a soft-edged beam of light. These are primarily used to light large areas in colour or provide wide, even lighting of set pieces.

Profile/spot: an automated profile (or spot) instrument is similar in concept to an ERS in that it produces a hard-edged beam of light. This allows the fixtures to effectively project gobos (patterns) for aerial

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KnowHOW Lighting directions

effects or creating texture.

They can be used effectively as specials, washing a stage, for effect or a number of other ways. Some may also feature motorised shutters to further shape the light beam, similar to those found on ERS instruments.

Beam: an automated beam instrument produces a very narrow hard-edged beam of light.

These instruments are typically used for aerial effects and are used in large quantities. They are extremely common in concert lighting situations and not as much in theatrical settings.

Accessories Whether added to an accessory slot of a conventional instrument or built in and controlled through small motors and gears, there are a number of accessories that are important for any lighting crew member to be able to use: Iris: an iris features a large quantity of shutter blades that are arranged to form a circle. Closing an iris brings the shutters closer together and forms a smaller circle, effectively cutting into the light beam and shrinking the size of the beam of light projected. This allows the designer to create a tight pool of light where desired.

Gobo/pattern: a gobo (or pattern) is a steel cutout template or glass disc containing an image that is placed into the light beam. The pattern is then projected from the instrument onto a surface. A pattern holder is used to hold a gobo. Patterns can also be used with haze to create atmospheric texture.

Shutter: a shutter is a blade that cuts into and blocks a portion of the light beam, allowing the user to shape the beam or block it from illuminating unwanted surfaces.

Gel/colour media: a gel is a coloured plastic film placed in the light beam used to change the colour of the beam of light. A colour frame is used to hold a piece of gel. Gels have become less common due to the increase in use of LED-based instruments.

Focus terms When the lighting crew is involved in a focus session, the following terms will commonly be used to give instruction to the crew member adjusting an instrument, whether conventional or automated: Pan: to pan an instrument is to rotate it in the horizontal plane (left or right).

Iris Tilt: to tilt an instrument is to rotate it in the vertical place (up or down).

Hard focus: to bring the light beam into focus (ERS/profile/spot/beam instruments).

Soften focus: to bring the light beam out of focus (ERS/profile/ spot/beam instruments).

Spot focus: to bring the light beam into a tighter (smaller) focus (Fresnel/wash instruments).

Wash focus: to bring the light beam into a wider (larger) focus (Fresnel/wash instruments).

Shutter to here: to adjust the shutters of an instrument to a demonstrated position.

Add colour/iris/pattern: add the stated accessory to the instrument.

Open iris: to adjust an iris to a larger diameter, creating a larger beam of light.

Close iris: to adjust an iris to a smaller diameter, creating a smaller beam of light.

Lock down: tighten all bolts and handles on the instrument to set its position and prevent further movement.

The last set of terms that I cover right away are lighting directions.

This allows the crew to be able to understand where light is coming from, or what its intended purpose is. Each house of worship will have lighting positions installed according to the design of the auditorium.

They may label or refer to positions differently as well. However, the following terms are commonly used based on the general purpose for instruments in each location: Cyclorama: a cyclorama is a vertical surface at the back of a stage traditionally made of cloth and lit by cyc lights. It provides a background to what is happening on the stage.

These days, it is common to see LED videowalls or physical backdrops at the back of a stage, so cyc lighting may or may not be used.

Sidelight: this is a position where light is approaching the stage from the side and can be described as lowsides and high-sides, indicating their

Stage directions In addition to focus terms for making adjustments to the instrument itself, it is important for the lighting crew to also know standard stage directions.

Often stage directions will be given as starting points for focusing. It is important to remember that stage directions are given in reference to the presenter’s view as opposed to the audience’s point of view. For instance, “stage right” will be to the audience’s left.

Lighting from the back and/or top helps to draw the subject away from the background and provide depth.

Footlight: this is a position where lighting approaches the subject from the ground and is used to subtly remove any shadows cast by the front lights. If the vertical angle of front lights is too shallow, footlights will not be used. If the vertical angle is too steep, footlights can help remove cast shadows.

Frontlight: this is a position where lighting approaches the subject from the front and is used to illuminate a subject to an audience. Usually, the light approaches from a natural angle (close to a 45° vertical and horizontal angle) to prevent shadowing under the brow and chin and create a natural look.

Specials: these are lighting instruments that have a very specific “special” purpose related to either an actor, an effect or the scenery. For example, they may be a custom gobo, a very tight actor spotlight, a wall sconce or a chandelier.

Stage directions vertical positioning. Lighting from the side helps to model or sculpt a subject.

Backlight/toplight: this is a position where lighting is approaching the subject from directly above or behind a subject and produces highlights on the top of the head and shoulders. These positions will possibly interchange depending on the position placement in your facility.

These are the very basics of lighting terminology that I cover with my crews at the beginning. Once they have a firm understanding of these terms, they can comfortably begin working with the instruments. This then provides the foundation for other terms and principles as they grow in their skills and knowledge of control systems, cabling, programming and lighting design.

January–February 2024 WORSHIP AVL 35

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27/11/2023 12:16

TECHNOLOGY

Taking control

Mackie’s director of marketing Rob Puzzitiello discusses the DLZ Creator and its suitability for houses of worship DESIGNED AS AN ALL-IN-ONE podcasting and streaming audio solution for content creators, the DLZ Creator can record or stream multitrack audio to a computer or USB-C device, or directly to an SD card. Connections include four discrete XLR/TRS combo inputs, stereo channel with dual/4-inch TRS inputs, stereo channel with a 1 ⁄8-inch TRS connection and a stereo Bluetooth channel. A 10.1-inch highresolution, full-colour touch display with anti-glare coating allows users to see more of their mix, levels, effects and settings, while providing “faster and easier” metering, adjustments and navigation. Other features include five

dynamically colour-coded rotary controls for instant adjustment of parameters, nine professional long-throw faders, one for every channel, backlit mute and solo buttons, dedicated backlit home, record and auto mix buttons and backlit sample trigger buttons.

According to Puzzitiello, the biggest value add for houses of worship are the three user modes. Users have

access to all of the professional capabilities expected of a digital mixer in pro mode and can dial in all of their settings and then put the DLZ into “easy mode” for other church members who may not have as much familiarity with audio products. The product also has a virtual assistant feature to help navigate through setup.

Who is the product aimed at?

DLZ Creator is an adaptive digital mixer that enables creators of all levels to quickly get pro results for podcasts, YouTube and livestreaming.

It’s suitable for houses of worship that are looking to create content and is suitable for live sound configurations as well.

Is it applicable for HOWs of all sizes?

Because of the compact form factor and limited I/O, the DLZ Creator might

not be suitable as a replacement for larger consoles used in HOW live applications. However, what sets the DLZ Creator apart is that it incorporates NDI, meaning you will have no upper limit to how you need to scale your solution.

The DL1608 was very popular in houses of worship – how does this product improve on that?

The DLZ Creator is the next evolution of Mackie’s digital mixer offerings.

In this iteration, we have made it easier than ever to get the benefit of professional audio, including adjustable user control modes from easy to professional, as well as an AutoMix feature that takes the fuss out of managing multiple inputs.

It’s also been designed to support streaming users by providing best-inclass preamps, internal processing and flexible routing. We’ve had several requests from our users to include remote mixer control so we hope to include this in a future update.

What is the best feature in your opinion?

From the ground up, the user control modes were a big part of making the DLZ usable by all. We have an easy workflow that simplifies the process of setting up your sound, but you can just as easily switch to professional mode to tweak your settings. One thing that we love is a seasoned

user can go in on pro mode, craft the sound they want, then switch back to easy mode so a volunteer or less initiated user can easily manage the rest of the production.

For years, Mackie has been focused on giving its users a professional audio experience normally reserved for the big leagues. Every few years, we see technology become easier to use and easier to attain. The DLZ Creator stays true to that core belief by levelling the playing field for all content creators.

How can churches benefit from it?

I believe churches will benefit from the implementation of the DLZ in a few ways. In terms of creating a livestream sermon or a pre-recorded broadcast, the DLZ simplifies the process of creating productions and makes it easier to access improved sound. As a result, the DLZ can help increase the reach of your message and reduce the time it takes to make a professionalsounding production. In addition, if churches want to incorporate broadcasts from remote locations, they can leverage the NDI network ability of the DLZ to expand their efforts. The DLZ also has benefits for live sound as well – it’s still a true digital mixer with audio outputs, so it can be used as the main board to run sound through the house speakers or for an outside event. www.mackie.com

36 WORSHIP AVL January–February 2024

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27/11/2023 12:18

SPREAD THE WORD

Compact, powerful and unobtrusive, NEXO loudspeakers combine even coverage and full range sound with excellent speech intelligibility to create the perfect system for worship spaces. Find out more about spreading the word at nexo.sa.com

Thinking. Inside the box.

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SHOW REPORT

Ro co

CFX took place in Dallas at the end of October

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Fujinon’s 25-1000 box lens

L–R: Fujinon’s Bret Shisler with Kaegan, Taylor and myself

CFX Conference 2023 Casey Hawkins took a road trip to CFX at the end of last year to discover what the exhibition had to offer

Ro

MY TEAM – KAEGAN, TAYLOR and I – took a day trip up to Dallas, TX (about 100 miles from Tyler where we are) in October for the CFX conference and exhibition.

I have been before, but this year I concluded that there was more technical info and more technicalrelated vendors than in the past.

I am very glad we went this year, because next year it moves to Chattanooga, TN. Because of our schedules at the church, we were unable to attend any seminars in-person. However, we were able to visit the vendor exhibition and we did purchase a year of online videos that were recorded at the seminars this year. I am looking forward to my

M B& Yo Li an an so th an fri in su ex wi he le le wi 25 pi

team learning some new skills from those videos – I am very pleased that they offer this if you’re unable to go.

That being said, I will talk about our visit to the exhibit hall and tell you about some of the video seminars that I look forward to discovering.

The exhibit hall According to their website, there were over 130 vendors that had a presence in the expo hall. I would estimate that a good 30–50% of them had something technical to offer. From tithing solutions to Fujinon lenses, there were a lot of great people to meet and talk with.

MEET THE AUTHOR Casey Hawkins is the director of video engineering and IMAG operations for Green Acres Baptist Church in Tyler, Texas, a Southern Baptist megachurch with over 17,000 members. Having begun his career in 1990 volunteering at his childhood church in Fullerton, California and Casey Hawkins later at Green Acres in Tyler, he spent the past 25 years in broadcast television working for multiple television stations in the US. He has worked as a broadcast technician for a major telecoms company, managing national and international television broadcast signals over a switched fibre optic network. He also owned and operated an independent video production firm in Tulsa, Oklahoma for 10 years before returning to Tyler in 2016.

38 WORSHIP AVL January–February 2024

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27/11/2023 12:19

SHOW REPORT

Ross displayed a TouchDrive control surface

The Canon booth

The Limitless AVL team

Roland showcased its streaming solutions My favourite of them were B&H (AVL superstore in New York), Canon, DiGiCo, Fujinon, Limitless AVL (systems design and integration), Roland, Ross and Solid State Logic. We use something from every one of those vendors at my church, and Limitless AVL is owned by a friend of mine that I hadn’t seen in over seven years so it was fun surprising him when I visited the expo. I was also able to catch up with Bret Shisler with Fujinon – he advised and sold our camera lenses for the Worship Center and let me and my team play around with their new US$260,000 25-1000 box lens – it’s a very nice piece of glass.

communicate with less or even non-technical pastors and ministers on staff. All of us in technology know very well how difficult it can be to get nontechnical people, especially leaders on staff, to understand the needs of the technical aspects of the church.

I haven’t written as many words this issue, so there is plenty of space for the photos I took.

Please enjoy looking through them. Hopefully, they will inspire

you to visit an event like this, or even this very event in the future.

No matter how much you know, there is always room to learn more, and I love to stay educated about the latest trends and to stay on top of what churches by and large are doing today.

Even if I don’t adopt any new procedures or policies, I at least learn what is going on around me professionally, and I get to meet and follow up with some great industry people as well.

2023 Dates:

9 – 11 October, Dallas, TX

2024 Dates:

21 – 23 October, Chattanooga, TN

Contact:

www.churchfacilitiesexpo.com

Online video courses Some of the video courses that I am excited to take are Staff and Volunteer Development and Training; Streaming and Broadcast Production: Tools, Practices and Solutions; Service Planning Strategies, Processes and Tools; Funding Building Upgrades and Projects; Building Design Concepts for Maximum Engagement; Budgeting for a Building Project or Upgrade; and Planning Considerations for Multi-site Campuses. Somewhere in there I saw something about How to Speak Pastorese, which is structured to teach technical people like me how to effectively

Sony’s FX9 camera on the B&H booth

January–February 2024 WORSHIP AVL 39

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27/11/2023 12:20

TECHNOLOGY

Full-spectrum additive colour development Elation Professional’s Larry Beck looks at how adding LED emitters to the RGB array has resulted in increased colour choice and higher-quality light

FROM THE FIRST MOMENT that light was projected onto a stage, lighting professionals have been in search of the ideal colour palette. The colour spectrum is infinite, however, and the variety of shades that designers desire and have sought to create over the years is immense. It’s no surprise then that recreating the full range of colour, and transferring that into an automated luminaire, has been elusive.

For years, subtractive colour mixing systems were the default in our industry and the only viable way to achieve a rich colour palette. White light from lamps or LED engines combined with gels or subtractive colour filters (such as the age-old CMY) was seemingly the only option.

Additive LED systems that tried to bring a quality RGB alternative mostly failed to produce the rich, saturated colour that designers needed, and resulted in unnatural skin tones and a general washedout look.

Not all colours can be generated by mixing just three colours, however. It became clear that an RGB-only system was limiting access to the colour spectrum and was incapable of achieving perfect whites, accurate colour temperatures,

pastels and almost any of the desired vivid and deep colours that designers value. Those RGB emitters were only capable of a decent saturated red, green or blue – everything in between and mixed colours looked unnatural and lacked the accurate hue and saturation that designers desired.

When lighting people, sets or

the myriad of skin tones and the intricate detail of costumes and scenic sets but lacked the proper tools to do so. Following years of research into LED colour quality, optics and consistency, Elation realised that the production of luminaires capable of utilising the full colour spectrum was within reach after all. The

It made sense, of course, to put more colours into the LED engine design. Extra emitters were added to the RGB and, when carefully balanced, the overall output was much improved, but better still, access to a broader colour gamut was the real benefit. The extra emitters, although an important step in the quest for a true theatrical-grade LED engine, were no cure-all and eventually raised more questions than answers. A new journey of experiments ensued.

The early additions to the RGB array certainly helped, such as a dedicated white emitter and amber – which both allowed for dynamic whites to come into play.

Often though they were hard to balance with the RGB, and still only gave a modest improvement to the colour gamut. Yes, an added white emitter provided access to a wider part of the spectrum and helped with fine-tuning colours, but it was clear that the spectrum was still not fully balanced.

Amber, for example, isn’t the

objects, we simply couldn’t achieve the natural tones or colour reproduction needed, a fact that was made even more evident when used alongside other conventional or tungsten fixtures.

Lighting designers have a responsibility to light properly

company began working with LED manufacturers to develop multiarray LED engines that could deliver what designers needed – theatrical-grade precision instruments that expanded a designer’s creativity and options, not limiting it.

brightest emitter compared to RGB, so giving up space to it as part of the engine wasn’t proving to be the most efficient solution either. An RGBA fixture perhaps gave something extra for event applications but, for a designer, improvements were marginal.

40 WORSHIP AVL January–February 2024

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28/11/2023 12:43

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TECHNOLOGY What amber did well, however, was to offer a better range and control of warmer tones. Now we were starting to get somewhere.

Balance was the key. All these individual emitters by themselves offered nice, saturated colour, but how they blend together to achieve a natural colour mix was crucial.

Was the control of whites enough?

Which mixed colours simply weren’t bright enough? Do all colours look natural on skin? How was the dimming? And what about unit-tounit consistency?

Answering these questions, or rather solving these problems, tended to uncover other related issues, complicating the solution.

Dimming is a prime example. With one LED source, dimming was always a difficult aspect to control to make it look smooth, seamless and natural. Now there are fixtures with four, five or six emitters and upwards, all with their own individual dimming characteristics.

How to solve all these issues involved the combination of many engineering factors – careful selection of optimised LEDs, batch control of those LEDs, perfect lens/diffusion choice, innovative electronics and intuitive calibration software to tie it all together.

Much of the impetus for a revolution in colour can be laid at the feet of the LED manufacturers, who were pioneering new emitters that brought additional criteria to the mix. Mint arrived, giving a substantial boost to overall output. Lime offered a somewhat similar scenario. Yet both offered a differing ability to offer highquality whites without sacrificing saturation.

It was clear, too, that these new modern emitters would have a different impact for specific applications and for different

types of fixtures. An automated spot fixture wouldn’t necessarily need the same colour capability as, say, an LED panel for instance.

Mint added to an array could be more suitable to helping theatrical whites, pastels and the unique colours needed for that application.

Lime helps to fill in the entire spectrum. Furthermore, an efficient cyan emitter came along, which helps with ultra-precise colour temperature control, joining the lime LED to create an expansive colour gamut for the demanding world of on-camera work. The

result has been LED arrays that can boast a superior balanced colour gamut with the best overall brightness and more precise finetuning of any colour.

Adding LED emitters to the RGB array has resulted in increased colour choice and higher quality light but, most importantly, it has opened up for designers a whole new world of creative possibilities.

Who knows what extra colour emitters will join the LED arrays of the future. www.elationlighting.com

Looking for a professional audio visual solution?

The team at DWR Distribution look forward to assisting you with the sale of sound, staging, rigging, power, audiovisual and lighting equipment, backed up with advice and great service.

We also offer professional installation services.

Stage and Touring • Theatre and TV Studios • Events and Leisure Discotheques and Clubs • Architectural Lighting • Worship • Schools DWR Distribution, Block C, Unit 1, Kimbult Industrial Park, 9 Zeiss Road, Laserpark, Honeydew, 2170, Johannesburg, South Africa • Tel: +27 11 794 5023 • Fax: +27 11 794 5702 • www.dwrdistribution.co.za January–February 2024 WORSHIP AVL 41

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PRODUCT SPOTLIGHT

SPONSORED BY

The solution offers powerful production tools in an intuitive interface

Portable production The Director Mini is an all-in-one production and streaming solution for houses of worship VIDEO PRODUCERS AT HOUSES of worship around the globe have long trusted Magewell’s video capture, streaming and IP conversion devices for their reliability, feature richness and affordability. Building on years of experience and expertise, Magewell’s new Director Mini is a portable, allin-one live production and streaming system that combines multi-input switching, graphics, streaming, recording and monitoring in one compact device.

Particularly ideal for small and midsized churches with limited production staff, the device enables a single operator to easily create visually compelling productions for live worship services and other church events. For multi-site churches, features such as SRT output also enable the Director Mini to easily contribute live feeds between remote campuses.

The flexible array of AV and IP inputs allows the solution to integrate easily into any worship production environment, whether the HOW is using traditional AV signals or IP-based workflows. In addition to two HDMI inputs and two USB AV inputs, the Director Mini supports three simultaneous live IP-based inputs, including SRT streams, RTMP streams or NDI HX sources. The SRT input compatibility allows producers to easily incorporate network-based contribution feeds from satellite church campuses.

The Director Mini provides flexible AV and IP inputs File-based media assets including video, audio and images can also be combined freely with live sources.

Embedded audio is supported alongside a 3.5mm analogue audio input. The companion Director Utility app can also turn up to three smartphone cameras into streaming sources as mobile inputs to the Director Mini hardware – for example, having members of the congregation provide unique viewpoints during live events.

The intuitive user interface is accessed through its integrated 5.44-inch AMOLED touchscreen, putting producers in complete control without the need for any additional devices. Users can define multiple scenes that combine live HDMI, USB and audio inputs with network streams, media sources and graphics, then switch or transition between these scenes on the fly. Chroma keying enables the use of virtual backgrounds, while telestration enables real-time onscreen drawing. Integrated graphics and CG capabilities enable users to create and trigger customisable titles, lower thirds, animated text crawls, clocks (analogue or digital), timers (which can

42 WORSHIP AVL January–February 2024

WAVL Pg42-43 Product Spotlight.indd 42

automatically switch to a specified scene at the end of the countdown) and more.

PTZ cameras are extremely popular in houses of worship, and the Director Mini’s integrated PTZ camera control simplifies single-operator productions.

Users can control the pan, tilt and zoom of NDI-based PTZ cameras as well as HDMI-connected PTZ cameras that support the Visca UDP protocol over the network.

The touchscreen interface is complemented by the Director Utility smartphone and tablet apps, which provide remote input switching, graphics triggering, audio controls, starting and stopping of streaming and recording and more. The Director Mini is also accessible through a browserbased web interface, which provides remote management of the hardware from anywhere on the same network.

The unit’s hardware can be powered with the included power adapter but also supports two NP-F hot-swappable external batteries (not included), enabling uninterrupted power for long productions. The ability to be batterypowered combines with the Director

Mini’s compact size to make it ideal for both in-sanctuary and field productions.

The Director Mini can produce and encode video up to 1080p60 in either landscape or portrait orientation with a wide range of output capabilities for both onsite and online content delivery.

RTMP output enables productions to be easily streamed to popular platforms such as YouTube Live, Facebook Live or custom destinations. SRT output is ideal for sending live feeds over the internet between locations, such as multiple church campuses or buildings.

A total of two RTMP or SRT streams can be output simultaneously.

Alternatively, the Director Mini can create one NDI HX output to serve as a source for additional IP-based production tools in the church’s workflow.

Content can also be recorded to an SD card, USB flash drive or the device’s internal storage. Two-channel ISO recording lets users record any combination of two choices from the program output or dual HDMI inputs.

Last but not least, the Director Mini offers a USB-C AV output for connection to a USB-C display, and can be configured to show the program output, user interface or a loop-through of either HDMI input. This output can easily be adapted to HDMI, enabling the device to serve as a source for in-venue image magnification (IMAG display).

For more information, please visit www.magewell.com/director-mini www.magewell.com

27/11/2023 12:22

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NEWPRODUCTS

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

A–ZCONTENTS

Studio Camera 4K Plus G2

Blackmagic updates its Studio Camera 4K An updated studio camera model, the next generation of the Micro Studio Camera 4K and two hardware control panels have been unveiled by Blackmagic Design BLACKMAGIC DESIGN has released its Studio Camera 4K Plus G2, an updated studio camera model which adds 12G-SDI, allowing customers to connect it to SDI-based switchers such as ATEM Constellation. The new model also adds support for remote camera control over networks via REST APIs and talkback on 3.5mm headsets.

Blackmagic Studio Cameras have the same features as large studio cameras, miniaturised into a single compact and portable design. With digital film camera dynamic range and colour science, the cameras can reportedly handle extremely difficult lighting conditions while producing cinematic-looking images.

The sensor features an ISO up to 25,600 so customers can create professional-looking images, even in dimly lit venues. Advanced features include talkback, tally, camera control, built-in colour corrector, Blackmagic RAW recording to USB disks and livestreaming.

Features of the Studio Camera 4K Plus G2 include a native 4K

sensor with 13 stops of dynamic range, a USB-C port for recording to external disks or remote camera control over a network, a large 7-inch high brightness viewfinder, 12G-SDI and HDMI connections and optional focus and zoom demands for lens control.

The manufacturer has also unveiled the Blackmagic Micro Studio Camera 4K G2, a nextgeneration model of the Micro Studio Camera 4K. Retaining the same compact design of the original model, the G2 version comes with a 4K digital film sensor with 13 stops of dynamic range and dual native ISO up to 25,600 for low-light performance.

In addition, the camera adds 12G-SDI for operation up to 2160p60 and a new USB-C expansion port for recording Blackmagic RAW to external disks as well as network control via Ethernet adapters.

Adamson

Blueprint AV v1.3.3

56

AJA

KONA X

46

Allen & Heath

CQ series

55

Audio-Technica

ATH-M50xIB

54

Ayrton

WildSun K9 Wash

47

Blackmagic Design

Studio Camera 4K Plus G2

44

Cameo

PIXBAR 600 IP G2

47

CAST Group

BlackTrax One

48

Chauvet Professional Ovation Rêve P-3 IP

50

Christie

4K860-iS

47

Chroma-Q

Vista 3 R4

47

Claypaky

Actoris Profile FC

48

Clear-Com

I.V. Direct

55

Contacta

RX-30

55 54

DirectOut

PRODIGY.MX

DPA Microphones

2017 Shotgun Microphone

50

Elation

Proteus Radius Beam FX

48

EM Acoustics

R5

52

ETC

8-inch Mosaic Touchscreen

46

Gravity

Multi Keyboard Stand

56

HH Electronics

Tensor Solo

51

High End Systems

Hyperstar

49

KLOTZ AIS

H3R88 series

54

LD Systems

MON G3 Series

56

Lectrosonics

DSR digital dual-channel slot receiver 56

Mackie

Thrash212 GO

51

Martin Audio

THS

51

NEXO

P18 / L20

51

Optimal Audio

Cuboid 6 and 6TX

52

RCF

SUB 7 Series mk3

52

Red House Streaming Flight

52

Robe

iFORTE LTX WB

49

RØDE

Wireless PRO

57

Sennheiser

EW-DP SKP

57

Shure

SM7dB

50

Sommer Cable

SC-Mercator Cat.6a Proflex

54

Tascam

IF-ST2110

53

Vizrt

TriCaster Mini Go and Vectar

46

ATEM 1 M/E Advanced Panel 20 Described as the ideal solution for placing cameras on set when customers don’t have space for regular-sized cameras, the G2 version includes an MFT lens mount, very low-light 4K image sensor and cinematic colour science. It’s also possible to control the built-in colour corrector and lens using the SDI and HDMI connections. It can even record Blackmagic RAW to USB disks. Designed specifically for live production and powered by a 12V or LP-E6 battery, the camera has a small, rugged body with a magnesium alloy core.

Finally, two hardware control panels have been created to provide access to the manufacturer’s ATEM Constellation HD and 4K switchers.

The ATEM 1 M/E Advanced Panel 20 and 30 models feature the same design as the 2 M/E and 4 M/E Advanced Panels, but in a compact size to fit into any broadcast studio space. The new panels include up to three system control LCDs, buttons for control of four upstream keyers, four downstream keyers and four M/E rows as well as a joystick and T-bar fader. www.blackmagicdesign.com

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PRODUCTS

AJA updates add up DESIGNED TO keep pace with evolving formats, protocols, codecs and other modern workflow demands, AJA Video Systems has released a low-latency KONA X I/O card, HDR Image Analyzer 12G v3.0 update and 12G-SDI OpenGear audio and HDMI conversion solutions.

Compatible with AJA Desktop Software v17 and v17 of AJA’s

software development kit (SDK), the KONA X is a four-lane PCIe 3.0 card for ultra-low latency video capture and playback and features built-in streaming DMA. Combining bidirectional dual BNC 12G-SDI and dual HDMI 2.0 connections, the KONA X has been designed to meet a broad range of I/O demands. An optional KONA Xpand board promotes more connectivity, including AES/EBU audio, LTC and REF. The latest HDR Image Analyzer 12G v3.0 monitoring and analysis solution update introduces several new workflow capabilities for live, on-set, QC and postproduction environments.

The update increases the volume of

video channels that can be analysed simultaneously, integrates Dolby Vision tools, adds NDI connectivity options, expands support for the

latest ARRI colour science with ARRI LogC4 analysis and enhances 8K/ UHD2 compatibility for high-resolution workflows.

With the OG-12G-AM and OG-12G-AMA, 16 channels of AES/EBU and analogue audio embedding and dis-embedding are enabled respectively. Supporting 12G-SDI input and output up to 4K/ UltraHD, OG-Hi5-12G and OG-HA5-12G cards ensure 12G-SDI conversion to HDMI 2.0. Each hot-swappable card is designed for high-density openGear 2U frames, including the OG-X-FR, for remote control via support for Ross DashBoard software.

TriCaster heads to the cloud PROMISING TO bring TriCaster technology to everyone, Vizrt has added a new model to the line-up with the TriCaster Mini Go. The solution is the company’s entry-level TriCaster for streamers and content creators of all kinds to add broadcastquality functionality to their video creations. It offers USB, NDI and SRT connectivity, four inputs, two M/Es and mix outputs at HD resolution.

The TriCaster Now offers access to the software without hardware tied to a specific location. The whole system can reportedly be deployed and ready to produce in under 10 minutes and switched off when no longer needed, all without users needing their own cloud infrastructure, saving on costs but increasing efficiency.

To ensure TriCaster offers something for everyone, the enterprise-grade 4K cloudbased switcher, Viz Vectar Plus, joins the TriCaster line as the TriCaster Vectar. Available to deploy to customers’ own cloud infrastructure, the TriCaster Vectar will soon offer an array of advanced features including increased bitdepth support and extended bitrate stream quality. These additions are said to offer customers two paths to production in the cloud: simple and standardised with the TriCaster Now and customisable and more powerful with the TriCaster Vectar. www.vizrt.com

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www.aja.com

ETC gets a bigger touchscreen ETC HAS released an 8-inch Mosaic Touchscreen station to join the 5-inch model that was released last year. The 8-inch screen comes with a 1024x768 pixel true-colour display that can be oriented horizontally or vertically.

Both units offer users multi-touch contact with the seamless glass screen, allowing them to slide faders and press buttons simultaneously.

Touchscreen stations have the processing power to offer multiple custom pages of control, based on built-in themes or users’ own designs.

According to the manufacturer, “high DPI, vivid colour and superior brightness mean greater screen fidelity”, so that users can choose the exact right colour show for their audience.

The 5-inch Touchscreen mounts on a standard 1-gang back box, while the 8-inch version uses a 2- or 3-gang back box. Both show no visible means of attachment for a sleek presentation.

They are described as quick and

via DMX, 0–10V, DALI, Lon and other signal types. OneTrack features standard lengths of 1m, 2m and 4m, as well as multiple coupler options, to create a range of lighting patterns.

Meanwhile, its hardware design provides secure mechanical and electrical connections, even when mounted vertically. ETC’s Source Four Mini LED, Irideon FPZ, Irideon WLZ and Desire D22 luminaires are

8-inch Mosaic Touchscreen easy to install and can be placed in a custom surface-mount back box when required. Both versions can be added to any Mosaic project with Mosaic System Designer software. The M-TS5 and M-TS8 work with the full line of Mosaic controllers, including the MSC, MSCX, MTPC and Atlas Controllers.

They communicate with controllers via standard protocols over a wired

Ethernet network using Power over Ethernet.

Designed to incorporate track lighting into a wide range of installations, OneTrack by ETC offers two 20A circuits that can be switched or dimmed independently. With a data circuit integrated directly into the track, OneTrack reportedly ensures compatibility with low-voltage dimming

OneTrack available with OneTrack adapters.

OneTrack also supports a broad range of LED track fixtures from a variety of manufacturers. www.etcconnect.com

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4K

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PRODUCTS

More mounting for PIXBAR G2 R4 for Vista 3 BOASTING OVER 200 improvements and new features, Vista by Chroma-Q has announced Release 4 of its Vista 3 lighting and media control software includes support for the NewTek NDI video protocol as well as Ableton Link.

Support for the NewTek NDI video protocol enables video content from any networked NDI source to be directly streamed into Vista’s matrix pixel mapper. The company says this takes advantage of Vista’s pixel arrangements and 11+ colour control without the need for any third-party lighting data merges. NDI sources can also be viewed directly within

Vista in dedicated preview windows; sources could be from a media server, visualiser or even a live studio or stage camera.

Meanwhile, Ableton Link is a technology that keeps devices in time over a local network. Vista is now able to synchronise chases or FX masters to Link, ensuring that dynamic stage looks always stay perfectly in sync with the performance, and requiring no further input from the lighting console operator, even if the performance increases or decreases tempo. www.vistabychromaq.com

Christie makes an inspired choice

4K860-iS CHRISTIE HAS launched two 1DLP laser projectors – the 4K860-iS and the 4K13-HS – described as compact and flexible projection solutions for venues including places of worship.

The Inspire Series 4K860-iS is said to be easy to move and install, weighing only 15kg, and lights up screens with 8,500 lumens in 4K UHD resolution. Built-in Christie Twist and optional Mystique software provide warping and blending capabilities and camera-based alignment, respectively, to provide content that “looks picture-perfect”.

The 4K13-HS delivers 14,800 lumens for projects that require a high-brightness projection solution,

but without compromising on form factor. Images are described as sharp and clear with 4K UHD resolution, and colours are more natural and blacks deeper, courtesy of built-in Christie BoldColor+.

The 4K860-iS and 4K13-HS are compatible with the Christie Intelligent Camera (CIC), an accessory that reportedly makes it faster and easier to achieve the desired image quality. Operators can use it to calibrate projector colour, trigger

4K13-HS autofocus and, when combined with Christie’s complimentary Mystique Lite software, automate warping and blending of up to three projectors in a horizontal array. The models come with a five-year/20,000-hour warranty.

THE PIXBAR G2 series is the second generation of Cameo’s PIXBAR LED bars. Comprising the PIXBAR 600 IP G2 (RGBWAUV) and PIXBAR 400 IP G2 (RGBW), both models are IP65-certified for outdoor use. With 16 individually controllable LEDs, the PIXBAR 400 IP G2 is equipped with fourin-one RGBW LEDs, while the

For noise-sensitive use, the PIXBAR G2 series has a fanless cooling design for low-noise operation. With a variety of connection and mounting options, bars can be quickly and easily connected to each other via side-mounted magnetic plates.

Cameo says its pixel pitch feature means the spacing between the LEDs remains consistent to create

PIXBAR 600 IP G2

a symmetrical overall look, even between different models. An optional STACK KIT is available for vertical stacking of up to three units with mechanical locking.

Cameo says versions with Tunable White and SMD LEDs will follow later.

PIXBAR 600 IP G2 expands the colour space to include amber and UV light with six-in-one RGBAUV LEDs. The beam angle of 24° (PIXBAR 600) or 25° (PIXBAR 400) can be extended up to 70° using optional filters.

www.cameolight.com

Ayrton goes wild in the sun THE WILDSUN K9 Wash is the latest fixture in Ayrton’s Multisources 9 Series. It’s been designed as a variant of the WildSun K25 TC and is geared to shooting video content and broadcasting in high definition.

With a new, sleek design and a visual footprint 20% smaller than its predecessor, the WildSun K9 Wash’s weight has been reduced by 25%.

The LED luminaire measures up to the classic Fresnel HMI 4000 lights in terms of pure output. Fitted with 217 next-generation, high-output LEDs, the luminaire reportedly delivers more than 60,000 lumens of overall output with 40% less energy consumption – and does not require lamp replacements.

Designed to produce high-quality, flicker-free light, the luminaire achieves a colour temperature calibrated at 5,700K and a colour rendering index greater than 92. The WildSun K9 Wash

renders the colour and grain of skin “impeccably”, as well as the textures and surfaces of material.

The WildSun K9 Wash comes with the same basic specifications as the WildSun K25 TC, and is equipped with tri-phase stepper motors that are said to allow fast, accurate and silent positioning.

Its optical zoom has a 6:1 ratio with a zoom range of 10–60°.

Luminous intensity can be fine-tuned using a precision electronic dimmer. The light output system is equipped with a protective holographic filter in polycarbonate and a honeycomb system to prevent glare. The user can control each concentric circle individually to adjust the luminaire’s power and beam size accordingly or create dynamic effects for stage lighting. www.ayrton.eu

www.christiedigital.com

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BlackTrax scales back with BT-1

INCORPORATING THE same precision and control

capabilities as the original BlackTrax system, but in a more

compact and portable footprint, the CAST Group of Companies has created the BlackTrax One (BT-1) tracking solution.

Specifically designed for small to medium-sized productions in a variety of locations including houses of worship, the BT-1 is cross-compatible with BlackTrax hardware. The scalable solution can be customised for varying production demands, and it can also be upgraded to a standard BlackTrax solution for multiple

integrations and larger spaces up to stadium-sized venues.

Capable of automating a followspot in a theatre or enabling media interactivity for an interactive display, the BT-1 is purpose-built to bring the impact of grand productions to a more accessible level. BlackTrax’s ease of setup and calibration features can be applied to any application through a single integration output. blacktrax.cast-soft.com

Modular lighting ADB’S ACTORIS Profile FC is a sixcolour ellipsoidal. The light source is based on an RGBAL + royal blue system, which reportedly means any desired shade of colour can be produced, including an array of pastel hues, with a CRI of up to 97.

It has variable colour temperature correction from 2,500–8,000K, and “perfect” Planck-curve CCT. The algorithm that regulates the colour control system is comparable to that of the Claypaky Sinfonya Profile, with advanced, standard, white and single-channel modes.

The Actoris Profile FC is a modular tool, with users able to choose from a 15–30° zoom, a 25–50° zoom

and seven fixed lenses (5°, 10°, 14°, 19°, 26°, 36° and 50°). The system is also compatible with ETC optical units.

The Midi-B FX has been developed as a way of adding lighting effects to a moving head wash light to get a fixture that can do both RGBW wash lighting and be used as part of a set design.

To do this, Claypaky has placed a long top hat on the body of a Midi-B, and fit five parallel rings of LEDs around it, each of which can be controlled separately for a wide range of colours. This patentpending technology reportedly allows dynamic, attractive plays

on colour and is suitable for a range of applications. As a wash light, the Midi-B FX has the same features as the Midi-B – with which it is fully compatible – including the optimised HD optical system, which provides a highly efficient, bright output. Its 4–50° zoom means it can be used in a wide variety of situations, and its 24-bit electronic dimmer provides five dimmer curves, which keep the colours balanced throughout the whole dimming range.

Actoris Profile FC

www.claypaky.it

Oceans apart for Elation as Proteus expands ELATION HAS extended the Proteus IP65 series with the Proteus Radius Beam FX and Proteus Odeon framing profile fixtures. Capable of projecting narrow, intense beams over long distances, the Proteus Radius is a compact, high-intensity, IP65-rated beam FX fixture. The 100W solid state phosphor-converted light engine delivers an intense 0.9° beam and offers 360° movement on each axis for impactful beam animations.

Aerial effects are enhanced with a CMY colour mix, gobos, prisms and frost.

The Proteus Odeon features a variable CRI LED engine for adjusting an optimum blend of light output and colour accuracy from CRI 70–93. As CRI adapts, the colour temperature remains stable. With CRI adjustable from a single fixture, the IP65-rated framing profile fixture can cater to a wide range of applications.

big brother of the Proteus Hybrid is equipped with a Philips MSD Platinum Flex 500 lamp and incorporates CMY and linear CTO colour correction.

Designed for noise-sensitive applications requiring silent automated framing, the fan-less Fuze Teatro houses a 480W RGBMA LED array with a CRI of 91 and output of over 15,000 lumens.

design to create optimum blends.

The fixture can also be used for footlight positions, providing versatility for stage and event lighting use. Magnetic alignment, a simple mounting bracket attachment, power and data management are included

KL CYC

Proteus Radius Combining a 550W rating output with an extended lamp life of up to 4,000 hours, the Proteus Hybrid Max is a compact IP65 hybrid fixture. Capable of emitting 22,000 lumens through a 170mm front aperture, the upgraded

Two rotating gobo wheels, animation wheel, dual frost, prism and iris are also included in its feature set.

The KL CYC is an LED lighting solution for smooth and even cyclorama, set and wall washing applications. Incorporating an RGBMA colour system, the KL CYC utilises an asymmetrical reflector

to reportedly make the KL CYC simple to integrate.

Created to complement the KL Profile FC, the IP65-rated KL Spot IP is a fully automated static ellipsoidal fixture with a 7–50° zoom that requires no additional lens tubes. www.elationlighting.com

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Hyperstar shines with Lonestar WITH THE introduction of High End Systems’ Hyperstar, ETC has added a companion to the Lonestar automated luminaire. Optimised for projection versatility, the compact moving light can create unique designs for a wide

Hyperstar have been removed to provide more versatility when using patterns and aerials. Offering nine rotating patterns, 11 fixed patterns, an animation wheel, dual frosts and dual prisms, the unit also provides a large selection of breakups, aerials, radial patterns and gobos specialising in morphing and texture.

variety of venues. The same size as Lonestar, Hyperstar shares the same compact footprint and brightness ratings. With Lonestar recognised for its projection capabilities and framing, the framing modules of

www.etcconnect.com

Robe strengthens its inventory LIGHTING MANUFACTURER Robe is aiming to create “drama, excitement and anticipation” with the launch of a variety of new products.

The iFORTE LTX WB is described as a long-throw LED wash beam, developed for any application where intensity is needed over long distances. Powered

by Robe’s iSE-TE 1,000W XP (Xtra Performance) IP65-rated white LED Transferable Engine, the fixture produces 335,000 lux at 5m. The Transferable Engine technology is said to offer all the advantages of field exchange, cost-effective replacement and the ability to keep up with LED development to ensure a long fixture life. It comes with a solid beam,

iForte LTX

245mm front lens and three zoom modes: Standard Optical Mode for the widest 3.5–55° coverage, Follow Spot

Mode of 2–55° and Long Throw Follow Spot Mode producing an ultra-tight 0.8–2° to deliver tight, crisp beams without any intensity loss over long distances.

The FORTE Fresnel and PC washes also utilise the manufacturer’s Transferable Engine technology.

Both products deliver “powerful and intense” washes without losing any theatrical subtlety or control.

The wide-ranging zoom from 6–61° (Fresnel) and 5.5–62° (PC) offers even coverage, making the FORTE Fresnel comparable to a traditional 2.5KW Fresnel luminaire. The TE 1,000W XP (Xtra Performance) white 6,700K LED Transferable Engine generates 90,200

lumens. Both models output over 41,000 lumens from the front of the fixture. The CMY colour mixing system provides “buttery smooth” colour transitions from the subtlest pastels to the strongest saturates. Features include two colour wheels, CRI 80 and 90 filters, plus a variable CTO from 3,000–6,700K. The FORTE Fresnel includes medium and light frosts; RotaScrim, which is a graduated filter system with position control; ±180° rotation and edge colour correction; and the rapid 4Door internal barndoor system for accurate individual blade control and ±90° module rotation. www.robe.cz

Everything you love about Dante Audio, now for video.

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Chauvet dreams of Ovation On target with compact shotgun

THE OVATION Rêve P-3 IP from Chauvet Professional can be used as a narrow spot or a wide flood and is billed as the manufacturer’s brightest IP65-rated, multi-colour, fullspectrum-white LED PAR. The indoor and outdoor fixture incorporates

all the advancements of Chauvet’s Ovation Rêve RGBAM LED source, and offers the versatility of narrow, medium, wide and very wide lenses.

The fixture provides linear colour temperature presets from 2,800– 8,000K with high CRI and CQS, while adjustable Pulse Width Modulation (600Hz, 1.2kHz, 2kHz, 4kHz, 6kHz and 25kHz) avoids on-camera flicker.

The unit comes with a USB port for fixture software updates, along with ± green adjustment and emulated red-shift via DMX or on-board control.

The light source consists of 80 LEDs – 10 red, 10 green, 10 blue, 20 amber and 30 mint – ranging from 4.4–7.8W. Other features include electronic dimming, electronic shutter/strobe, a stroke rate of 0–25Hz, standalone colour mixing, colour temperature presets, four dim modes and built-in automated programming. The fixture measures 478mm x 300mm x 210mm and weighs 9.8kg.

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MEASURING 184MM in length, DPA’s 2017 Shotgun Microphone is an ultra-compact shotgun mic that has been designed to endure extreme weather and mechanical impact. Tested in temperatures up to 40°C with 90% relative humidity, and cold environments as low as –40°C, the company claims the 2017 will hold up to travel and repeated use in harsh environments, including humid conditions and direct rain showers, as well as dry, arid environments.

Optimised for a range of broadcast and live events, it provides a high degree of off-

axis rejection, which permits the main source to stand out, while its heavily-attenuated off-axis audio can be mixed into the entire soundscape. Meanwhile, for broadcasts that take place at quieter locations, the 2017 delivers low self-noise, even in the presence of many open microphones.

DPA says it is ideal not only for fixed or booming applications but also on a FOH boom or fly bar; for indoor or outdoor booming while capturing location sound; or to pick up a musician’s ambient blend for in-ear monitoring during live musical performances.

from computer monitors and other audio equipment.

Shure has also made Wireless Workbench 7 (WWB7) available as a free download on macOS and Windows. The software provides a full suite of RF spectrum management tools in one place for the command of compatible wireless devices.

productions to better facilitate precoordination.

Additionally, WWB7 features a user-interface refresh that includes an optimised dark mode for more comfortable viewing in low-light environments. Futhermore, those using Shure Axient Digital and ULX-D in HD mode for maximum spectrum

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www.dpamicrophones.com

www.chauvetprofessional.com

Shure adds to its SM7 family DESIGNED FOR podcasters, streamers and vocalists, the SM7dB XLR dynamic vocal microphone brings the same sound as the SM7B but with the addition of a Shuredesigned, built-in active preamp with technology licensed from Cloud, tuned by Shure engineers specifically for the SM7dB. This integrated preamp provides a supplementary +18dB or +28dB of clean gain, eliminating the need for a separate preamp, and freeing users from the hiss and noise introduced by many audio interfaces when their preamps are driven to the levels necessary to provide enough gain for the SM7B. Suitable for users of all experience levels, the SM7dB’s additional gain brings the microphone’s sensitivity up to a level optimised for typical audio interfaces. For situations not requiring additional gain, users can simply set the integrated preamp to “bypass” to revert to original SM7B performance.

The SM7dB’s wide-range frequency response is suited to capture singing, spoken word and podcasting, as well as loud sound sources, including drums, vocals and amplifiers.

SM7dB Sporting the same EQ controls as the SM7B, the SM7dB’s bass roll-off and presence boost can be applied to best fit the sound source and recording environment.

A dynamic microphone with a cardioid polar pattern, the SM7dB is designed to reject off-axis audio, making certain the user’s voice is heard clearly, without distractions.

The microphone’s air suspension shock isolation technology and pop filter eliminate unwanted noises and breathiness, while advanced electromagnetic shielding defeats hum

P WWB7 WWB7 is equipped with a number of enhancements over previous generation, including the addition of the WWB Scan Library, which gives users access to an evergrowing, online database of RF scans contributed by professionals around the world. The integrated scan library portal allows users to view recently uploaded RF scans before upcoming

efficiency can now generate a set of evenly spaced, compatible frequencies by right-clicking on the device profile header. Wireless Workbench now also provides more ways to customise reports to ensure that users view only the information necessary to their production. www.shure.com

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Mackie takes live sound to new places ADDING TO its Thrash loudspeaker series, Mackie has unveiled the Thrash212 GO, a 300W battery-powered 12-inch loudspeaker with a 1-inch titanium compression driver that “allows high-output professional sound to go anywhere”.

Following in the footsteps of the battery-powered 8-inch Thump GO, the Thrash212 GO has up to 10 hours of playtime from the swappable, rechargeable battery.

With a frequency response of 52Hz–20kHz (–10dB), the speaker is portable and light enough to carry with four built-in handles and features Bluetooth connectivity for music streaming and stereo linking. It also allows users to connect two full-size, 12-inch

300W loudspeakers to a laptop or smart device for a wireless, prolevel music playback setup that’s “ready in seconds”. www.mackie.com

Going Solo with portable PA UK-BASED HH Electronics has announced the launch of the Tensor Solo, a portable, all-in-one column PA aimed at applications of 100+ audience members. Comprising an 8-inch subwoofer and six 2.75-inch drivers, the Tensor Solo has a fourpiece, slottogether, lightweight design which weighs 13kg and is available in black and white.

Microphones and line-level devices can be connected simultaneously to the Solo’s four-channel mixer, which features an adjustable reverb. Bluetooth

devices are able to connect for wireless audio streaming, while on-board DSP provides four EQ presets for music, vocal, natural and live. Audio protection prevents overloading and damage. www.hhelectronics.com

NEXO expands P+ Series FOLLOWING IN the footsteps of P12 launched in 2019 and joining its P8, P10, P12 and P15 siblings, NEXO has released the P18 which comes with a long-excursion, neodymium 18-inch LF/4-inch diaphragm HF coaxial driver in a curvilinear enclosure of custom birch and poplar plywood. The cabinet footprint is relatively compact, measuring 680mm x 579mm x 446mm. The speaker has a frequency response of 50Hz–20kHz and an SPL of 140dB peak (passive mode) and 142dB peak (active mode).

Like other speakers in the P+ Series, versatility of the P18 is said to be enhanced thanks to varying HF coverage patterns. Horn flanges can be interchanged to deliver a choice of directivities – from the 60° x 60° that is provided as standard, to a

90° x 40° or an asymmetrical 50–90° x 40°. Switching between different directivities can reportedly be accomplished in 15s by removing the steel grille with a coin and replacing the flare, which uses a magnetic fixing.

The P18 is available in Touring, Installation (passive only) and hybrid TIS versions. In the Touring version, two large handles on each side hold a 35mm pole stand adaptor and speakON connector for discrete connection when the cabinet is used on pole stands or in wedge monitor applications.

Two other speakON connectors are included on the back plate. In the

ensures IP54 protection when it is used outdoors.

Joining existing L15 and L18 subbass cabinets in the P+ Series, the L20 uses a 20-inch long-excursion driver, achieving an SPL of 141dB peak, extending the LF response down to 28Hz. NEXO NXAMPMK2 or DTD/DTDAMP deliver tailored power and processing solutions, combining multichannel, high-powered, networkable amplification with loudspeaker control and protection.

Linear phase presets included for P+ cabinets in both vertical and horizontal configuration – and for the full range of NEXO cabinets – are said to make it quick and easy to configure a plug-and-play solution for any system.

Installation version, a cable gland with a two-core cable for audio input

www.nexo-sa.com

Power in a small package PACKING THREE high-technology drivers into a compact trapezoid enclosure, the THS high-output loudspeaker from Martin Audio is the latest addition to the company’s TH series of standalone loudspeakers.

Capable of 135dB peak, Martin says its three-way triaxial configuration delivers superior mid- and highfrequency performance. To ensure the most effective use of amplifier count, the THS is designed to be bi-amplified, with an internal passive network

performing the mid/high crossover function.

The THS LF section comprises a reflex-loaded 15-inch LF driver with a 4-inch coil, waterproof cone and neodymium magnet structure. A 4-inch midrange ring radiator and a 2.5-inch HF ring radiator – both with high temperature polymer diaphragms – are arranged coaxially at the rear of the LF driver and integrated into a 1.4-inch

exit. This transitions through the magnet structure of the LF driver into an 85° x 50° horn. The horn itself is

user-rotatable, with a large mouth to maintain pattern control down through the midrange.

With multiple threaded inserts, the enclosure facilitates a variety of mounting options, including eyebolt, yoke, pole and truss mounting. Martin has designed the THS for mediumscale applications and installations that call for high sound levels from a compact, standalone system. www.martin-audio.com

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EM Acoustics extends its References CELEBRATING 21 years of operation, British loudspeaker manufacturer EM Acoustics has unveiled its latest addition to the Reference Series, with the ultra-compact R5. Characterised by their low-profile design, the Reference Series full-range point

source loudspeakers are said to provide remarkably flat frequency and phase responses.

Combining a 1.5-inch neodymium HF annular compression drive unit with dual 5-inch neodymium woofers, the R5 integrates a unique crossover design and FIR for

Optimal Audio expands ecosystem with Cuboid additions

UK COMMERCIAL audio manufacturer Optimal Audio has introduced its latest loudspeakers, the Cuboid 6 and 6TX. Following in the footsteps of the Cuboid 3, 3TX, 5 and 5TX models, the Cuboid 6 and 6TX come with a high-grade 60W transformer for improved 70V/100V line operation. With a 60W (AES) and 240W (peak) rating, the models deliver an audio output of 107dB (continuous) and 113dB (peak). With an IP54 rating and frequency response of 90Hz–20kHz, the Cuboid 6 and 6TX are suitable for outdoor spaces where there is often a requirement for enhanced low end.

The Cuboid 6 and 6TX are fullrange, two-way, passive 6.5-inch loudspeakers designed for distributed applications with high-quality background music and speech

reproduction. They can be fixed in either portrait or landscape orientation, and a weatherproof terminal cover is available for outdoor use. The units feature a 1-inch silk dome high-frequency driver mated to a shallow waveguide for consistent HF distribution. For enhanced bass performance, the speakers can be teamed with the Sub 10, while a SmartAmp or powered Zone will provide amplification, optimal sound settings as well as limiters to protect the drivers when playing at louder sound levels. When coupled with Zone and WebApp, system setup and end user control is described as straightforward, and can be supplemented by ZonePad wall controllers.

interchangeable wide (110° x 50°) and narrow (80° x 50°) rotatable waveguides. Operating within a frequency range of 80Hz–

20kHz (±3dB), the 300W RMS-rated R5 weighs 8.2kg.

Finished in black or white with RAL options available, the slim plywood enclosure promotes flexible rigging and mounting options. Quick-release attachments are included for toolfree connection of flying hardware, together with threaded rigging points, for suspending and installing in a variety of different applications. www.emacoustics.co.uk

Red House Streaming takes Flight FLIGHT IS a video production flypack by Red House Streaming that provides HD production facilities for live broadcast or streaming.

Designed for easy setup and quick deployment, Flight supports four Sony HDC-2570 3-CCD HD cameras with Canon 20x lenses on a base level, to cater for small to mediumsized location shoots.

The all-IP audio workflow simplifies routing and distribution for up to 40 channels of Dante audio, with direct connectivity to a 32-channel Calrec Brio audio console, Unity radios and an RTS ADAM matrix intercom with OMNEO and RVON connectivity.

When bridged with the company’s 16-foot Spark HD production trailer, Flight can also support larger REMI productions. Red House Streaming says that when used with Spark HD or a separate transmission rack,

Flight’s edge routing capabilities encodes video to IP with SRT transport capabilities for low-latency content delivery. Flight’s content acquisition capabilities can also scale for eight-camera shoots whether used with Spark HD or as a standalone REMI production flypack.

The complete flypack workflow also includes a 72x72 Ross Video NK router, Evertz DreamCatcher replay servers and a choice of a Ross Video Carbonite or Blackmagic ATEM Constellation production switcher.

Wheeled racks can be adjusted quickly to add equipment and capabilities and accommodate PTZs, POVs and RF cameras in the same flypack to provide directors with a broader array of camera angles and shot selections. www.redhousestreaming.com

www.optimal-audio.co.uk

RCF updates SUB 7 Series THE SUB 7 Series mk3 are the latest additions to RCF’s collection of highperformance subwoofers. Available in three sizes, with 10-, 12- and 15-inch cones, the SUB 7 Series devices are described as the ideal complement to RCF portable active speakers.

The SUB 702-AS mk3 is a portable 12-inch high-power active subwoofer for live sound applications. It features a state-of-the-art transducer with a high-power ceramic magnetic circuit

and a powerful Class-D amplifier that delivers sound pressure levels up to 129dB with “exceptional headroom”. It has been designed as the ideal complement for 8- or 10-inch loudspeakers. Rear panel controls include volume, EQ, polarity and crossover frequency selection. The rugged all-wood cabinet with scratchresistant polyurea coating are said to make it durable, easy to carry and install securely. The SUB 702-AS MK3

is most suited for small to mid-sized venues and portable applications.

The SUB 705-AS mk3 is a 15-inch subwoofer that delivers SPLs up to 131dB and can be paired with 10- or 12-inch loudspeakers, while the SUB 708-AS mk3 is an 18-inch version with SPLs up to 133dB and complements 8- and 10-inch speakers. www.rcf.it

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Expansion on the cards TASCAM HAS announced the development of an expansion card for the company’s Sonicview consoles that will provide full support for the SMPTE ST 2110 AV networking standard. The IF-ST2110 can access 64 audio input and output channels with full network redundancy in accordance with SMPTE ST 2022-07 and support for SMPTE ST 2110-30/31, NMOS, AES67 and SAP. With the global trend towards IP-based AV solutions, there is a growing need for products to be fully compatible with the different AV-over-IP protocols that are best suited to each specific application.

While broadcasters are increasingly

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implementing SMPTE ST 2110 and AES67 AV networks, there are also situations where different IP protocols are used, so the ability to connect between multiple formats is a key advantage.

With an integrated Dante interface, Tascam Sonicview 16 and 24 mixing consoles already offer AV network connectivity out of the box which can now be extended by the new card. The IF-ST2110 complements the existing range of expansion cards that include MADI, AES-EBU, analogue output, additional Dante capability and a 32-track audio recorder, serving the needs of live events, installed audio systems and broadcasters.

Model 12 A v1.4.1 firmware update aims to increase the functionality of its Sonicview 16XP/24XP digital recording and mixing consoles with a range of enhancements. The company says the update improves user operability of its Sonicview consoles, enabling any input/output port to be selected for insert send/return. In addition, in the MODULE (GEQ) screen of the MIX 1-22 module and MAIN L/R master module, Graphic EQ can now be operated by a fader.

Furthermore, Sonicview Control app for macOS, Windows and iPad iOS has been updated to v1.4.0, adding remote control capability for the Sonicview 16/24 v1.4.1 features. The manufacturer has also released a v1.11 firmware update for the IF-MTR32 recording expansion board,

which the company says addresses issues in certain situations when overdubbing and offers better stability.

The V1.40 firmware update for Tascam’s Model 12 Integrated Production Suite addresses a variety of functions that end users have been requesting and, in the process, provides “greater flexibility and more intuitive operation”.

With this update, the USB Return channels are now re-assignable.

Users can choose either Inputs 1–2, 9–10 or MAIN bus. Customers who want to use the channel or live/ MTR inputs on 1 and 2 while using the USB returns, can now simply assign the USB returns to 9–10 or MAIN bus. www.tascam.eu

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DirectOut unveils PRODIGY.MX SAID TO elevate the audio routing, converting and processing capabilities of the PRODIGY Series to the next level, the PRODIGY.MX multiformat audio matrix offers a capacity of 1664x1668 audio channels. Its modular hardware simultaneously accommodates multiple audio formats, selectable between Dante, RAVENNA/AES67, SoundGrid, AVB/MILAN and MADI, and ensures seamless interconnectivity among them.

The modules feature bidirectional sample rate conversion (HD SRC), enabling connections across various clock boundaries. Operational control is facilitated through globcon control software, compatible with both Mac and PC, while local operation is simplified with an intuitive touch display, providing essential monitoring and control capabilities.

Third-party control protocols, like Ember+, are available as options to ease integration into larger systems.

The PRODIGY.MX incorporates processing features such as gain control for all inputs and outputs, and channel grouping. Additional DSP

functions are planned for future updates, further expanding the application scenarios.

DirectOut is also introducing new high-channel count MADI modules shaped for the audio network slots of the PRODIGY devices and adding extra capacity and flexibility to the series. www.directout.eu

Connecting to the network GERMAN CABLE manufacturer KLOTZ AIS has released the H3R88 series of hybrid cables which combine mains and data lines in just one cable. Remote equipment can be optimally integrated and interference due to different earth potentials is avoided. According to the manufacturer, this is particularly advantageous over longer distances.

The HC72P15 hybrid cable enables a variety of applications as a connection for modern, computercontrolled devices. Two flexible Cat7 lines connect components of digital audio networks such as Dante, CobraNet and EtherSound or transmit DMX control signals based on the Art-Net, MA-Net or Pathport protocols. The cable also serves as a solution in the IT sector when a network connection plus power line is required. Thanks to the double shielding (Al foil + dense copper braiding) of the Cat7 cables, the interference-free transmission of high data rates over long distances is

H3R88RU possible without any problems, even in electromagnetically influenced environments.

The KSH series connects guitars, basses or other electric instruments with bodypacks from Shure, Sennheiser and other manufacturers. The robust TQG (mini XLR 4p) plug reportedly ensures a

Bright Sommer forecast for Proflex IDEALLY SUITED for live applications, Sommer Cable has upgraded the SC-Mercator Cat.6a Proflex network patch cable (580-1331). Marrying flexibility with ruggedness, the dual jacket 8.7mm outer diameter features a soft PVC jacket. The outer jacket is extruded by applying a tube to keep the wire pairs in a tight position, and the inner jacket provides added protection against abrasion, pressure or kinks. Constructed from S/FTP, the high cross-section of the AWG24/7

can be routed over longer distances.

Finished in matte, a PUR version of the Proflex variant is recommended for applications under high pressure, strong tensile forces and temperatures below freezing point. An RJ45C6XL plug or Neutrik NE8MX6 can be mounted onto the cable without tools. Most current standards are supported, including 10GBaseT and 1GBaseT Ethernet, Dante, AVB, ACE, GigaACE, Art-Net, MA-Net and HDBaseT. www.sommercable.com

secure connection to the bodypack transmitter and is optionally available with a screw cap (KSH-305 and KSH-307). On the instrument side, users can choose between straight and angled jack plugs with metal housing and gold-plated contacts. In addition, all KSH versions are also available with the Neutrik SilentPlug jack plug for a noisefree instrument change.

KLOTZ is also supplementing its range of speaker cables with Neutrik’s FXX series speakON connectors. The FXX series replaces its FC and FX series predecessors and come with a twistlock system featuring solid contacts with screw terminals, including strand protection. The ergonomic design with non-slip two-component housing and the locking socket with

improved strain relief for a cable diameter of 6–16mm are said to make the connectors suitable for a wide range of professional speaker cables. The bend protection has been significantly improved by the new socket and the assembly has

TQG (mini XLR 4p) plug been simplified, as the strain relief mechanically locks with the insert and aligns with the housing. The FXX speakON connectors are certified according to IEC 61984, UL 1977 and CSA C22.2 No. 182.3. www.klotz-ais.com

Ice, ice baby AUDIO-TECHNICA HAS unveiled a limited-edition “Ice Blue” colour version of its ATH-M50x. The ATHM50xIB model is the result of a global crowd-sourcing campaign, where end users voted on their favourite colour of the next ATH-M50x model.

From the 45mm largeaperture drivers to its soundisolating earcups, the ATH-M50xIB can be used in critical audio applications.

The wireless ATH-M50xBT2IB delivers the same listening experience as its wired counterpart. Multipoint pairing lets users connect wirelessly to two Bluetooth devices at once, and a low-

latency mode improves synchronicity between audio and video. Battery life is approximately 50 hours of continuous use on a full charge and up to 3 hours of use on a 10-minute rapid charge via USB-C connection. www.audio-technica.com

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PRODUCTS

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Clear-Com updates Arcadia Central Station WITH THE introduction of I.V. Direct IP interfacing connectivity, Clear-Com has updated its Arcadia Central Station platform. The I.V. Direct IP interfacing feature connects Arcadia with the LQ Series of IP interfaces, Eclipse HX Digital Matrix System (via an E-IPA card) and other Arcadia systems over LAN, WAN or internet.

Capable of supporting distributed workflows, the update also provides an increase in capacity for 285 input/output connections on a single system to FreeSpeak beltpacks, transceivers and HelixNet endpoints.

The I.V. Direct connections allow intercom audio, logic controls and call signals to be passed between separately managed Clear-Com systems and assigned to channels, groups and keys in the individual systems. Interfacing with LQ expands current analogue connections using

two-wire, four-wire and GPIO ports.

Clear-Com’s Agent-IC and Station-IC virtual clients, two-way radios and SIP telephony are supported, bypassing the requirement for multiple audio and control cables.

Capable of supporting up to 16 I.V. Direct connections, Arcadia’s interfacing can be extended beyond local Dante-based networks to large, multi-site live events and remote broadcasting applications, where multiple systems require audio communications over large distances. With the latest update, Arcadia Central Station can now support up to 32 IP transceivers, 64 wireless FreeSpeak beltpacks and 128 HelixNet endpoints, while 192 digital beltpacks can be connected from the 1U unit. www.clearcom.com

ASSISTIVE LISTENING specialist Contacta Systems has launched a rechargeable loop listener, offering worshippers enhanced access to sound. The RX-30 is a complete wireless receiver, designed to help people with hearing loss who don’t use a hearing aid or cochlear implant.

The pocket-sized rechargeable receiver picks up signals transmitted by existing hearing loop systems. It features a bass cut filter, flat frequency response and adjustable volume control, and comes with headphones, enabling users to access clear sound comfortably and easily.

Created by Contacta’s in-house design team, the RX-30 offers up to 50 hours of battery life and comes with a range of charging options, with base stations to accommodate one, five, 10, 15 or 20 receivers.

The charging mechanism prevents accidental charging of any standard batteries. Contacta hopes that by having a drop-in charging station,

the RX-30 cuts out the need for cables and means the units are all in one place and easily located when customers request them.

The unit delivers speech or music from a microphone, via the hearing loop, to the RX-30’s headphones or any with a 3.5mm jack. There is no latency, and the product suppresses both background noises and low-frequency hums.

According to the manufacturer, it removes the effort of trying to hear, making venues more accessible. www.contacta.co.uk

Allen & Heath speeds up the mix PLACING A priority on ease of use and speed of setup and built around a new 96kHz processing engine, the CQ series comprises the CQ-12T and CQ-18T desktop mixers featuring tactile controls and a 7-inch multitouch screen, and the portable CQ-20B stagebox mixer, all controllable via the companion CQ apps.

The processing engine, utilising Allen & Heath’s FPGA technology, is said to bring numerous time-saving tools to the CQ to speed up and simplify common tasks for users of all abilities. Gain Assistant automatically sets preamp gain to the optimal level and monitors and adjusts for any unexpected peaks in the signal.

Feedback Assistant identifies and filters out problem frequencies across all outputs via simple one-button operation, with more in-depth control available for challenging acoustical environments.

Input channels can be switched between a Quick Input, giving users

the FX by dynamically responding to the input signal for optimal clarity. The CQ-18T and CQ-20B offer four FX engines and the CQ-12T features two FX engines.

All three CQ mixers benefit from flexible recording and playback options, including a multichannel USB audio interface, multitrack SD card, simple stereo

a source-specific set of controls with single knob control of channel processing, or a Complete Input for full control of all channel processing parameters.

Additionally, an Automatic Mic Mixer (AMM) is present on all input channels, instantly improving clarity and reducing background noise in speech-based applications.

The CQ range also introduces a suite of high-quality, user-friendly reverb, delay and modulation algorithms with instrument-specific presets for speedy setup, while the FX Assist tool shapes

recording and playback via an external USB drive, plus convenient stereo Bluetooth playback.

The CQ series is supported by a pair of free multiplatform apps. The

CQ-MixPad app enables remote control of the mixer from anywhere in the venue, while the CQ4You app allows performers to take control of their personal monitor mix via their mobile devices. The CQ-18T and CQ-20B also benefit from integrated high-performance dual-band Wi-Fi for quick and easy connection of control apps without any additional network equipment.

The CQ-18T provides 16 mic/line inputs and one stereo input; the smaller CQ-12T includes 10 mic/ line inputs and one stereo input; and the stage-friendly CQ-20B offers 16 mic/ line inputs, two of which can be used as Hi-Z instrument inputs, and two stereo inputs. All three models feature six independent outputs which can be configured to run up to three stereo outputs. www.allen-heath.com

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PRODUCTS

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Next-gen stage monitoring LD SYSTEMS has unveiled its MON G3 Series, the manufacturer’s third generation of active stage monitors which has been completely redesigned, both technically and visually, and is said to offer a mix of robustness, versatility and full-range sound quality. With their coaxial speaker design, integrated DSP functions and versatile connection options, the MON G3 units can be integrated flexibly into different stage setups – either as a classic monitor at the edge of the stage, a specific monitoring solution for a speaker or a PA speaker on a stand. The MON G3 Series includes four models in 8-, 10-, 12- and 15-inch sizes.

Adamson updates Blueprint AV software THE COMPLETE range of Adamson Systems’ IS Series loudspeakers is now available for design and simulation with Blueprint AV v1.3.3. The latest

The models are based on a newly developed combination of woofer and titanium tweeter in a compact coaxial design, which provide a consistent sound even away from the ideal listening axis as well as from a short distance. In addition, the integrated CD horn, with its optimised dispersion pattern of 50° x 90° (HxV), reportedly ensures a clean and separated sound image as soon as several monitors with different monitor mixes are used onstage.

The active MON G3 Series is driven by a Class-D power amplifier with 300W RMS and up to 1,200W peak power. Thanks to the integrated heat sink, the models operate without a

fan and are also suitable for noisesensitive use.

The new second-generation DynX DSP offers users a wide range of customisation options. The sound of the stage monitor can be precisely adjusted to different monitor setups and stage requirements via a threeband EQ, four EQ presets, a notch filter and a delay function. On the connection side, there are PowerConcompatible mains sockets (in/out), two line inputs with XLR jack combo socket and two XLR Thru outputs for the loop connection of additional monitors.

All connections, controls and carrying handles are located on the sides of the enclosure to help access onstage and protect against knocks and accidental adjustments due to the recessed arrangement. The units come with a robst polyurea coating, a sturdy speaker grille and a 36mm flange on the side for vertical use as a PA speaker on a speaker stand. For the latter, all MON G3 models offer a standalone full-range mode as a selectable DSP preset. www.ld-systems.com

The DSR era begins for Lectrosonics

INTEGRATING VECTOR diversity, digital and hybrid compatibility, and AES 256-bit encryption, Lectrosonics has launched the DSR digital dual-channel slot receiver.

Primarily designed for ENG and portable location sound systems, the miniature receiver includes design elements from the

DCR822. Making them operate well even in hostile RF environments, both receivers have a high IP3 figure of +15dBm. Directly compatible with digital transmitters in D2, HDM, Duet and DCHX modes, both receivers are backwards compatible with all Lectrosonics digital hybrid transmitters manufactured over the last two decades.

As the successor to the SR line, the compatible DSR draws on a

catalogue of accessories, docks, powering, audio output and mounting hardware available for the SR line.

Features include full-time Vector Diversity with two RF front ends per channel and a built-in RF spectrum analyser for quick local RF scan in addition to SmartNR noise reduction for digital and hybrid compatibility modes. IR Sync can be used for quick setup, sharing tuning groups, managing encryption keys and a 5P front panel connector and colour display are also included. www.lectrosonics.com

The multi keyboard stand experience from Gravity version also improves the Mac installer experience and fully supports macOS Ventura and Apple Silicon computers.

Blueprint AV has been the fundamental systems design and simulation solution for Adamson’s product family since 2013. Blueprint AV functionality has been added to Adamson’s recently released ArrayIntelligence software, which adds control and monitoring of the manufacturer’s CS-Series loudspeaker range and associated rack units, such as the Gateway and Bridge.

Systems designers and installers can use either Blueprint AV or ArrayIntelligence to accurately and efficiently design their systems and streamline their deployment. www.adamsonsystems.com

WITH THE Multi Keyboard Stand, Gravity has introduced an instrument and equipment stand with four levels for the placement of keyboards, synthesisers, workstations, groove boxes, effects units and mixers.

Manufactured in aluminium, each of the Multi Keyboard Stands can be freely adjusted by large rotary controls for positioning instruments or equipment comfortably and securely in the desired place.

Adjustments in height and distance can be made between the two supports on which the instrument or equipment is placed. In addition, the angle of inclination can also be set as desired. For precise adjustment, the black aluminium tubes can be provided with centimetre and millimetre measurements using the enclosed self-adhesive measuring

tapes. A double anti-tilt protection (2.5mm or 4mm) ensures the units remain in a stable position and an integrated cable guide enables the

safe routing of cables behind the instruments. www.gravitystands.com

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PRODUCTS

Sennheiser completes EW-DP family with new plug-on transmitter COMPLETING THE EW-DP series for videographers and broadcasters, Sennheiser has released the EW-DP SKP plug-on transmitter. The device features onboard 32-bit float recording, which – in combination with the series’ 134dB dynamic range – is said to ensure distorted audio is a thing of the past.

Everything can be handled by the SKP without the videographer having to reset levels, meaning recording will become faster and easier.

The recording function of the EW-DP SKP plug-on transmitter is described as a safety net for the user, with a safety copy of their audio being stored on a micro SD card. The SKP additionally offers 24-bit/48kHz recording so that videographers can also opt for this less memory-intensive recording format. Sennheiser describes the SKP as the most versatile member of Evolution Wireless Digital family, as it can be connected to dynamic and condenser XLR microphones (+48V phantom power on board) as well as to lavalier mics with a 3.5mm jack connector. Its low-cut filter can be switched off, so the SKP can also serve as an adjustment tool for PA systems.

The system comes complete with a magnetic mounting plate kit, a BA 70 rechargeable battery, two standard AA batteries, a locking 3.5mm TRS to 3.5mm TRS cable,

The EW-DP system a locking 3.5mm TRS to XLR cable and a USB-C charging cable for the receiver.

In addition to the plug-on transmitter, the German company has previewed the new MKH 8030 RF condenser microphone with a figure-of-eight pickup pattern. The MKH 8030 will not only unlock M-S, double M-S and Blumlein stereo recording options, but will also be a choice wherever the highest attenuation of neighbouring sound sources is required – be it a PA system whose sound needs to be eliminated or an adjacent instrument that must not be picked up. The sound signature of the MKH 8030 has been engineered

to blend in harmoniously with existing MKH 8000 series microphones. The MKH 8030 joins the MKH 8020 (omnidirectional), MKH 8090 (wide cardioid), MKH 8040 (cardioid), MKH 8050 (super-cardioid), MKH 8060 (short shotgun, supercardioid/lobar) and MKH 8070 (long shotgun, lobar) RF condenser microphones.

Staying with the MKH 8000 family, there is now a new filter module for the MKH 8000 RF condenser

microphone series. For broadcasting, the MZF 8000 II effectively blocks low-frequency wind and handling noise for better recordings and ensures the input stage of connected recorders does not get overdriven.

The filter module has been redesigned incorporating user feedback and replaces the existing model.

Lastly, Sennheiser’s AMBEO 2-Channel Spatial Audio live renderer will be made available as a plugin for Merging Technologies’ Anubis audio interface. The plugin transforms, in real time, standard multichannel surround and immersive formats into two channels of audio that can be delivered anywhere stereo is delivered today. Patented controls, adapted for use in a broadcast environment, allow for fine-tuning of spatialisation settings to maintain mix integrity and improve dialogue intelligibility over stereo mixdowns. www.sennheiser.com

RØDE debuts “compact and powerful” Wireless PRO DESIGNED FOR content creators, RØDE has unveiled what it calls its most powerful compact wireless system ever with the Wireless PRO, a dual-channel wireless microphone system that uses RØDE’s Series IV 2.4GHz digital transmission with 128-bit encryption to provide stable audio transmission at up to 260m line of sight.

The Wireless PRO offers 32-bit float onboard recording capabilities allowing for recording directly to the transmitters with no chance of the audio clipping, meaning that users will always have a clean backup of their session and eliminating the need to set gain levels prior

to recording. 32GB of internal memory offers over 40 hours of onboard recording.

as well as pre-configured camera presets for quick setup. For added peace of mind, the system offers

For users that want to record audio directly into their camera, the Wireless PRO includes RØDE’s GainAssist technology to automatically control levels on the fly. It also features output control with 30dB gain range available

a safety channel feature, which outputs a second channel of audio 10dB lower than the primary channel and clips the camera input.

Additionally, both transmitters feature locking lavalier connectors.

Plugin power detect on the receiver

automatically powers the unit on and off in sync with a connected camera. The 3.5mm output on the receiver also functions as a headphone output for audio monitoring as well as an audio input for a headset or other TRRS “narrator” microphone, such as a lavalier.

The Wireless PRO comes with a complete pro accessory kit that includes a smart charge case, two Lavalier II microphones and MagClip GO magnetic clips. It also comes with three high-quality furry windshields, all necessary cables for connecting to cameras, phones and other devices, and a case for keeping these accessories safe. www.rode.com

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THE TECH VIEW

Branching out Spider Ranch Productions is taking its expertise from coast to coast with a new company headquarters in Florida Mark Sweet

SPIDER RANCH PRODUCTIONS has been active in the worship market since the company was founded in 2004, although senior manager Mark Sweet has been equipping churches with AVL equipment since 1982. Today, the HOW market makes up about 85% of the company’s business.

Spider Ranch began life in south San Francisco, California; however, with a depressed and contracted market during and post-Covid, the company recently decided to move its headquarters to Florida. “We still have a presence in California and maintain manpower, insurance and a Contractors State License to support the work we continue to do there,” explains Sweet.

Despite moving its HQ across the other side of the country, the company is still working on several HOW installations in the golden state. Spider Ranch is currently installing new sound systems at a 2,000-seat church in Stockton and a 400-capacity sanctuary in Sacramento. “In about 8–10 months, we will also be doing the design/build for the audio, video, lighting and acoustics for a large church in Paradise. I’d previously installed a lighting system there in the late 1990s but the entire building burned down during the Paradise fires.”

There were a number of contributing factors that made the company consider moving the base of its operations to the sunshine state. “During Covid, we frequently travelled to Florida and all over the south, east and mid-west for our live concert/production side of the business. This forced us to start thinking, if we are constantly going east, maybe we should consider moving there. We felt a kind of oppression in California during and post-Covid but, in Florida, we are at liberty to proceed at a normal pace and carry on using the methods that we had successfully established before the pandemic.”

Spider Ranch recently fitted Renkus-Heinz Iconyx IC24-RN speakers at Holy Cross Greek Orthodox in Belmont, California Research drove the company to Ocala, Florida with the idea of basing the business between two large (Orlando and Tampa) and two smaller/medium metro areas (Gainsville and Jacksonville/ St. Augustine). “This allows us to live in a smaller, quieter area but we’re only a short drive between them all and nicely centred between the four business hubs. And it seems we’re not the only people to think this

way – Ocala has become one of the fastest-growing cities in the country at the moment and we’re looking forward to more local growth and opportunities in the area.”

The company has streamlined operations on the west coast and retained facilities in central California. “This keeps overhead down and allows us the freedom to move around,” adds Sweet. “I’m having to manage the hours of

operation and communicate with our employees on both coasts – it definitely makes it difficult to leave the office early at the end of the day. The only thing we have adjusted is that we’re taking a more proactive approach to scheduling projects in terms of lead times from vendors and staying in touch with pricing changes, as these have been changing more frequently than in the past.”

The company is currently focusing on completing its existing commitments in California and identifying new clients in the southeast that it can build new relationships with. “We are aiming at the markets that we are typically strong in – mostly churches but also corporate, entertainment and broadcasting. We are also busy outfitting our new shop and organising it for all the new work we’re hoping to get here. We’re really looking forward to meeting new people and providing them with a high-quality service for their AV projects.”

With 90% of the company’s work either coming from referrals or repeat business, it shouldn’t be too long before new clients come knocking on the door. “Doing the best job we can is our next calling card. We listen very carefully to what each client wants – understanding their priorities is so important. Then we build a good relationship and stay service-oriented. Anyone can buy and install equipment but clients want a quality service, support and a strong knowledge base. I like to provide a client with all the knowledge they need so they can be confident in their decisions. When that happens, you are closing the gap between us and the customer.

There’s no point saying ‘Trust me, it will sound good’ if they don’t trust you. We have worked hard to provide all that and will continue to do so here in Florida.” www.spiderp.com

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