When we think about worshipping today, it’s no longer about simply visiting your local church or mosque. Technology is evolving and developing at such a rapid pace that it’s now providing houses of worship with even more ways to reach their congregation beyond the walls of the sanctuary. Churches are starting to open their eyes to online content and realising that there’s a huge potential audience that can be reached by posting regular videos or clips to social media.
Several of the features in this issue reflect this trend. Our Tech View (p.58) highlights a company called Sermon Shots which has
sermons into short reels that can be uploaded to Facebook and Instagram. Meanwhile, a simple camera and streaming setup in a garage in Missouri is allowing Rev Delbert Hooge to preach to his congregation at Faith Baptist Church South Metro some 8,000 miles away in Manila, the Philippines (p.26). And on page 34, Graeme Spencer discusses how churches can strengthen their online ministry and how an authentic and consistent approach to producing content can build stronger relationships in the community.
I hope you enjoy the issue.
Richard Lawn General manager rlawn@worshipavl.com
Nick Smith Digital media manager nsmith@worshipavl.com
Sue Gould Advertising director sgould@worshipavl.com
Chris Yardley Video editor cyardley@worshipavl.com
Casey Hawkins looks at how plans can emerge – then disappear – as ministry prepares for special events
Image courtesy of Heather Garrison
Hoisting the crown into place
Image courtesy of Heather Garrison
Heather was mostly in charge of the design and build. “Initially, we discussed a crown measuring about 4.5m wide but, as ideas flowed, it evolved into a grand 6.1m-wide masterpiece. The challenge was clear: the crown needed to be transportable and easy to assemble. To kick off the project, I sat down with our florist, who shared a small model of their vision. Inspired by their design, I began to sketch ideas in my mind, considering various materials that would work effectively. A trip to the local hardware store was my next step. I wandered the aisles, looking
began. At first, it appeared as though I was going to luck out and get a shot right through the centre of the crown for the baptistry. I was so relieved. But then the crown moved a bit, then moved a bit more and a bit more and then the next thing I knew, the crown was right in the middle of my shot. Since we had nearly 20 baptisms scheduled for Easter Sunday, I was able to convince the powers that be to lower the crown by about 0.3m, providing me with a clear shot right through the centre of the crown. My stress levels dropped by about 80dB. Easter was a “go”.
Considering how the crown will look on-camera
world, summer is one of the busiest –and most exciting – seasons in church ministry. From youth camps and outdoor worship services to mid-year conferences and outreach events, production teams are often stretched thin to support a packed calendar.
But for those behind the scenes –audio engineers, tech volunteers, camera operators and lighting leads – summer can also be a chance to grow stronger as a team. Here’s how to strategically prepare your production ministry for a successful and spirit-filled summer – whether you’re in Manila, Manchester, Melbourne or Miami.
Anticipate the surge in activity
Summer varies by region, but one thing is constant: it rarely follows a typical Sunday rhythm. Mid-year often brings youth gatherings, outdoor services and special midweek events. Start with a calendar review – meet with ministry leaders to anticipate tech needs and volunteer availability. Consider document locations, gear requirements and expected turnout. The earlier you plan, the smoother things will go. Also consider that volunteers and
holidays. Pre-scheduling can help avoid burnout and last-minute stress.
Perform a system health check
Before the busy season kicks in, give your equipment a solid checkup. In areas where summer brings heat or humidity – such as Southeast Asia, Southern Europe or the southern US –technical systems may suffer without proper care. A basic mid-year maintenance checklist could include dusting fans and vents on amps and projectors; inspecting cables and connectors for damage, replacing old or swollen batteries in wireless gear; updating firmware and testing presets on digital consoles; and verifying backups for power, media and signal routing. Whether you’re running a portable PA in a village church or a full-scale setup in a city campus, small steps now prevent major failures later.
Reinforce the team: recruit, train and encourage
With added events and fluctuating team availability, summer is the
them: they’re not just serving –they’re ministering through excellence.
Outdoor and offsite events: plan for the unexpected
Many churches hold offsite events during the summer. These could be park gatherings, outdoor baptisms or camps – and they bring new challenges. Key planning tips include bringing extra cables, power strips and batteries; using tents or tarps to protect gear from sun or sudden rain; testing the load capacity of generators before the event; and communicating roles clearly with speakers, worship leaders and logistics teams. For coordination, use walkie-talkies or messaging apps with group threads. Communication is everything when you’re working in wide or unpredictable spaces.
Keep the mission central
It’s easy to get wrapped up in schedules and setups. But summer is also a spiritually powerful time in many churches. Lives are changed – and your role helps create the space where that happens. Build a spiritually healthy tech culture that involves starting services with a team prayer, encouraging volunteers to attend part of the worship, not just work it, and share stories of how your team’s service contributed to life change.
As one tech lead from the Philippines once said to me: “We may be in the booth, but revival is happening right in front of us –and we helped make that space possible.”
Final thoughts
perfect time to build depth. Many churches use this season to train new volunteers or give students a chance to serve. Make onboarding easy and practical with short howto videos filmed on your phone, visual signal flow diagrams and simple checklists for setup and teardown.
Beyond technical skill, foster team connection. Host a night for your team to gather, eat, pray and prepare for the season. Remind
Wherever you’re based, the middle of the year brings big opportunities. With the right preparation –technically, relationally and spiritually – your church production team can thrive through the season. So dust off the gear, check the schedule and rally the crew. This isn’t just another busy stretch. It’s a moment for ministry, and your team is right in the heart of it. Let’s be ready for revival.
Summer events can include outdoor baptisms
The earlier you plan for outdoor events, the smoother things will go
Image courtesy of Good News Church/CTS AVL
Image courtesy of Daniel & Hannah Snipes
Speaker and Speaker Enable
Monitor audio on the speaker by pressing the button or double press to lock on.
USB-C Input
USB-C connects video from laptop computers and powers the computer.
Control Buttons
Change settings in the converter menus with the menu and set buttons.
LCD Display Monitor video with audio meters, timecode and the converter video standard.
10G Ethernet
Connect to SMPTE-2110 IP video out and program return. Supports PoE++.
HDMI 4K Output Connect to projectors, TVs or LED screens.
HDMI 4K Input
Connect to laptops or video products such as cameras.
USB-C Video Input
Connect to presenter’s laptop as a second display and power the laptop.
12G-SDI Output
Connect to equipment such as switchers, recorders or monitors.
Analog Audio Inputs
Balanced microphone inputs with support for phantom power.
Analog Audio Outputs Balanced audio outputs for PA speakers or sound systems.
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Blackmagic 2110 IP Presentation Converter handles all your audio needs! It has 2 XLR audio inputs for microphones that support phantom power. There’s also 2 balanced XLR outputs for connecting PA speakers. Plus there’s a built in audio mixer to blend audio from the HDMI/USB-C video inputs and the analog XLR inputs. There is even a speaker and headphone connection on the front panel!
Front Panel for Monitoring and Control
The front panel controls and bright color LCD allow you to see the input video and audio at all times. This is a big help when a presenter connects a new computer because it gives them confidence that the computer is working. The LCD and buttons let you access almost every single operational feature of the presentation converter including 2110 routing and standard settings.
Standards Converts Video Inputs and Outputs
The Blackmagic 2110 IP Presentation Converter has 2 standards converters with one on the HDMI/USB-C video inputs and another on the HDMI output. The video input even emulates a HiDPI monitor so you can scale the user interface independently of the video standard. Now AV staff can let presenters plug in their own laptops without video problems!
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Fundamentals of mixes
In this first part of two articles, Allen & Heath’s commercial audio manager, Samantha Potter, considers some of the fundamental rules of mixing
MIXING AUDIO IS AN ELUSIVE task. Even when working with the most gifted speakers and musicians, there’s still this very human element of imperfection. It’s actually why I chose to go down the live sound pathway all those years ago, leaving my studio journey to eventually come to an end. I love that nothing can or will be perfect. That pursuit of perfection simply doesn’t vibe with the way that my brain wants to function. But live sound? Oh, what an exciting event full of flaws – perfect. Mixing can really be broken down to a few fundamentals. The artistry of mixing is very subjective, but I’m about to lay out the bits and pieces that are non-negotiables. The following are all things that make the biggest difference early on and make our (or your team’s) lives so much easier and should be done each and every time you walk up to a mixer.
Gain
The signal chain (the flow of audio from a source to a destination), as far as the mixing stage goes, begins at the preamp. The preamp’s job is to take a small signal and make it much “stronger” so that it can be better used by our electronics. Some inputs don’t
require that extra boost, but I don’t want us to get lost in the weeds here. If the preamp is set correctly, every stage following in the signal should be receiving what we refer to as the “optimum level”; better known as Unity Level (Unity for short) or 0dB.
Luckily for us all, manufacturers of pro audio gear seem to have all agreed on the same colour scheme at the same levels, so I don’t want you to focus on how many decibels anything is – focus on the input meter of each input “kissing yellow”. As in every input’s meter should be comfortably in the green, not clipping (red) at all and just periodically lighting up yellow. On some consoles this is 0dB, on others they use a different scale and it comes to about –12dB –again, don’t get lost in the numbers here.
Go through every input every time (rehearsals are an especially good time to do this as they’re playing like how they will in a service) and make sure all the signals are “healthy” and kissing yellow. This sets us up for great success and allows us to bring those faders (or level knobs, depending on your mixer) up to Unity (separate Unity than on the preamp – I know, I’m sorry) and mix channels with far
you’ll notice there’s far greater space between –10dB and +10dB than is available between down at –40dB and –50dB. We won’t have to work as hard to make a few decibels of difference.
Setting our gain appropriately also gives us excellent gain staging, but that may be for another article.
Last note on gain: once your service begins, do not touch that gain knob again unless you absolutely must and have no
clipping, or someone is whispering into the microphone and you’ve already pushed the fader all the way up). There are many things downstream of that preamp, and they all are affected by this change – namely musicians’ wedges or in-ears, and perhaps your livestream. Unless you have a separate console for mixing the musicians’ monitors or the livestream (very few of us do), in which case have fun and just keep your eyes on your own paper – I mean, preamp.
Signal level just right
Signal level too high
Remove the rumble
The next step to mixing fundamentals after setting up all the preamps correctly is to utilise what is called the high-pass filter (HPF). It does what it sounds like it might: lets the high frequencies pass through. In other words, it cuts out low frequencies. You may see it referred to as a low-cut filter or HPF. I cannot overstate the importance of this simple mechanism. If you’re running an analogue console, it’ll likely be a switch near the preamp knob to punch in or out. If you’re running digital consoles, it’s typically found in the preamp section of your channel strip.
you to adjust which frequency the HPF is set at (on some analogue consoles, it either is in or it is out, and that’s it) then be extreme with it. I love letting my students do this. The best way for us to understand the nuance of mixing is to go in heavyhanded and see what an extreme scenario sounds like. Then we can identify the smaller differences much easier. Crank that HPF all the way up; how does that input sound? If you were standing next to it, would this be an accurate recreation of it? Is the life sucked out of it? Does it sound like it’s coming out of someone’s earbuds nearby?
The primary job of an HPF is to remove the nonsensical noise that comes in through a microphone. Think of things like stage rumble, mic stand handling noise, vibrations through the ground. Those things can be softened or even eliminated using an HPF. Also worth mentioning is how few audio or sound sources are utilising those low frequencies. Kick drum and bass certainly are. Keys, perhaps. Singers, no, guitars, no, the drum kit, hardly. Certainly not speaking voices. It all adds together when we sum all these channels and microphones and it
becomes just… noise. HPFs let us cut it out and create a far cleaner, more easily controlled mix.
This tool also gives us the opportunity to let the instruments and tracks that do want to live in that frequency range a chance to be heard without distortion or disruption. It’s hard enough getting the kick drum and the bass to sit together nicely, let alone fighting everyone ham-fisting the mic stand.
WAVL_half page-vokal+_print.pdf 1 14.01.25 15:24
I recommend getting a pair of decent over-the-ear headphones to have at your console. Go through and solo
each input and punch in the HPF. Truly listen. It will likely sound different, that’s not exactly what we’re looking for. We are looking to see if the timbre of the input has changed. The HPF shouldn’t be affecting how the guitar or voice “sounds” – there should just be less junk in the way. If you punch it in and notice something like, for example “wow, that bass guitar has really lost its soul” then I would vote to remove the HPF. Again, you should be hearing less junk, not changing the sound of the voice or instrument. If you’ve got a console that allows
I typically advise finding that point, that frequency, that is “too far” where it’s now changing the sound of the input, and then to just back it off a tad. That is usually the sweet spot. Then do it to the next channel. You’ll get fast at this, don’t worry. It won’t always feel like complex surgery –someday it’ll just feel like a quick maintenance checkbox.
Be sure to check out part two to learn about balancing all of our channels together and a checklist of things to do each time you walk up to a mixer.
www.allen-heath.com
MAKES THE WONDER HOW
Q&
Amplifying Africa
PAXT managing director, Tim Pollard, shares his insights into the emerging African HOW market and the problems – and solutions – that the company is facing
ESTABLISHED IN 1987 AS A distribution hub, PAXT specialises in serving the most challenging and complex markets, including Sub Saharan Africa. It aims to make trade a realistic possibility between these emerging markets and the company’s major brands, by smoothing out (sometimes complicated) currency exchanges, freight compliance, insurance and credit. The company consolidates and ships products from all over the world into countries that are often more complex to ship into. In addition to distribution, PAXT identifies, trains and develops projects directly with systems integrators in Eastern Europe and sub-Saharan Africa. Business development managers in Kenya, Nigeria and Dubai identify systems integrators and, with an MEA project manager in Cambridge in the UK, train their engineers on leading DSP platforms.
How did you get involved with the HOW market?
PAXT began this relationship initially by handling urgent shipments for the well-known German evangelist Rheinhard Bonnke’s Christ For All Nations. We realised that some of the churches in Nigeria were enormous. The worship community is huge in Africa – the continent boasts many of the largest churches in the world, with congregations approaching 500,000 people. Historically, 90% of our professional audio sales have been into the HOW market.
What are the biggest hurdles you face in the Sub-Saharan African HOW market?
Africa is a very harsh selling environment. Affordability is always
the first consideration. High-quality performance audio, standard in leading houses of worship worldwide, has been largely absent in Africa. Large congregations here are supplied with sound via unbranded/ low-cost loudspeakers. Convincing churches to invest in branded, highperformance audio is a challenge. We are gradually eroding the resistance, and our message is that quality is not a luxury, and cheap equipment is a false economy. There is rarely a “head of audio” that you would expect in leading houses of worship in Europe and the US. Instead, an ethics committee with little formal audio understanding handles the purchasing. This leads to a lack of understanding of the difference in quality between extremely low-cost loudspeakers to the high-quality performance audio from brands such as JBL and QSC, costing much more. We find the language to bridge this gap.
What do you believe is the answer to these problems?
PAXT’s ethos is building highquality relationships, which in turn build trust and confidence.
PAXT has a dedicated business development manager in each of the main geographic areas. These BDMs are in close and regular contact with the main church leaders and audio engineers. Our role is to instil enthusiasm and faith in the benefits of high-performance audio for their congregations. Our team has an exceptional depth of knowledge in this field, and they work with committees to promote a better understanding of what high-quality audio can do for their houses of worship.
The PAXT technical team demonstrates the performance capability of high-grade loudspeakers using sophisticated software, such as the new JBL Venue Synthesis. This captures the performance in the acoustic space and illustrates it to the layman, in an easily understandable visual form. This method overcomes the need for specialist technical knowledge. The quality speaks for itself, in what could otherwise be a hard sell to a tentative decision-maker. We are never pushy, just informative, encouraging and helpful.
How does the SubSaharan market differ from other territories?
The Sub-Saharan market has an immense but very poor population. Communication is difficult, so relationships are extremely important and valuable. Churches are bureaucratic, with enigmatic management. America and Europe are more straightforward and more rigorously regulated. There are problems with counterfeit products throughout Africa. Our first job is earning the trust that this is the genuine product, at the best price.
L–R: Tim Pollard with Sunday Mbegbu from Sunny C Electronics in Lagos, Nigeria
PAXT supplied a QSC L Class line array for BAPS Dar es Salaam in Tanzania
What are the main trends there at the moment?
The worship market is finally beginning the transition from lowcost to professional performance audio. The pioneering churches are still very few but, once this momentum takes hold, I believe that the change towards quality will be rapid. To put it bluntly, big churches need big congregations. Pastors of African mega-churches are visiting churches in the US and experiencing the sophisticated “total immersive experience” that you would see in a Hillsong church. They are also beginning to realise the jeopardy of not investing in high-quality screens, sophisticated acoustics and the means to provide the level of entertainment and impact audiences are growing to expect. Where America leads, Africa will follow.
How has the HOW market changed over the last decade in the region?
It hasn’t changed – yet! Communication remains challenging, and many churches
QSC and JBL speakers have been installed at Burhani Masjid in Mombasa
still purchase poor-quality or fake equipment. One area of dramatic change is the move from analogue mixers to digital. This change has been accelerated by the arrival
of much lower-cost digital mixers of adequate quality. Line array speakers are a common request once the lead pastor has seen the mega churches in the US, but cost can still be a prohibitive factor.
Where do you see the market going in the next decade?
The population of Nigeria, already Africa’s most populous country, is forecast to grow from 220 million to over 300 million by 2030. This population explosion, combined with dramatic changes to the per capita income, will drive wealth for the many, and will bring financial rewards to the continent. Its huge worship community will transition from poor-quality audio to the exceptional worship environment that we see, particularly in the US. We are entering the most exciting period of business growth in Africa. 1 The Nigeria Agenda 2050 projects annual average real GDP growth rate of 7% percent from 2021–2050. Per capita annual income is projected to rise from US$1,621 (2022) to about $33,328.02 by
2050, transforming the country to achieve upper-income status. There is an almost unimaginable opportunity for high volume trade, and we are well-positioned to engage with this. We have a “baked in” system for handling trade in the most nuanced and complex scenarios. We have mastered the art of making it feel seamless to brands and end users alike. Our tailored software and very specific team expertise qualifies us to be a big part of this widely anticipated wave of business growth.
What
is your biggest achievement?
Our biggest achievement is, and always has been, the relationships we have built among the audio community in our territories. Our integrity and attention to detail has earned us the trust and respect of our partners over many years. Confidence is paramount in these less-regulated territories and that is what we have built our reputation on.
Whitwam AVI has designed and installed a futureproof audio, video, broadcast and CCTV solution at the historic Benedictine monastery
PERCHED ATOP A HILL ON THE Hampshire–Surrey border to the southwest of London, Saint Michael’s Abbey is a small monastic community where Benedictine values and worship have been observed and preserved since the abbey’s foundation in 1895. Living a traditional life of prayer, work and study, the community of monks at Saint Michael’s welcomed a recent upgrade of the abbey’s AV, IT and security systems, a project led by specialist systems integrator Whitwam AVI, which used its expertise in the intricacies of installing technology in historic and listed buildings.
Brother Michael, a resident of Saint Michael’s Monastery responsible for overseeing the community’s operations, reached out to Whitwam AVI following a visit he made to Saint George’s Chapel in Windsor. “I appreciated the attention to detail which had been taken to respect the surroundings when installing the technology at Saint George’s,” recalls Brother Michael. “On seeing the custom-coloured loudspeakers, I knew this would be a great solution for Saint Michael’s Abbey. Our community has
L–R: Brother Michael with Whitwam AVI’s technical director Andrew Pymm
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SOMMER CABLE based in Straubenhardt/Germany was founded in 1999 and is now one of the leading suppliers of professional high-quality cable and connection technology with a focus on the audio, video, broadcast, studio and media technology sectors. The product range including the in-house brands HICON, CARDINAL DVM and SYSBOXX covers cable bulkware, connectors, connection cables, individually adaptable distribution systems and electronics.
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ensure any cable runs were neatly contained and discreetly hidden.
“It was not a straightforward project,” confirms Clarke. “The evolving scope and natural architectural limitations at Saint Michael’s posed challenges but, by collaborating closely with the client, maintaining open communication and harnessing our own experience in similar venues, we were able to work around these constraints.”
“When working onsite, it was like the Whitwam AVI team were invisible,” comments Brother Michael on his experience of the installation project at the abbey. “We didn’t even know they were there, and their work was professional and accurate.”
The audio system, which covers the nave, the high altar and the side chapels, consists of five pairs of Bose MA12 modular column array loudspeakers, ensuring even audio coverage throughout the abbey, along with one Bose PowerMatch PM8250N
On the video side, five Panasonic AW-UE50 PTZ cameras, also customcoloured, have been installed at key locations throughout, including the high altar, side crossings and at the rear of the nave to capture all proceedings during abbey services. A portable camera offers an additional perspective for special events such as weddings. Aside from the livestreaming functionality, the abbey’s organist also benefits from an improved view of the venue via a Lilliput FA1014/S 10-inch video monitor, improving the accuracy of timings for musical elements of services.
unique as Saint Michael’s Abbey,” comments Alan Head, business development manager at Panasonic.
“The team at Whitwam AVI have taken great care to integrate five of our AW-UE50 cameras seamlessly with the ounding architecture. Given their skill and expertise, we allow for their in-house customisation to ensure the integration at the abbey not only looks great but also gives the user peace of
events such as weddings to be shared with an extended audience.
“As a Benedictine monastery, we have many different practices or ‘offices’ each day, and there are friends and family of the community around the world who would like to participate in some way with our life here at the abbey,” says Father Abbot of Saint Michael’s. “We wanted to connect with our community through broadcasting
cameras into the CCTV system. Using one Antrica ANT-2554 and one ANT-2551 video encoders, the abbey’s era footage is sent directly to a HikVision NVR, which provides smart monitoring of activity both within the abbey and the wider monastery buildings. For video distribution, a networked solution via one Lightware VINX 120AP encoder and four VINX 110AP decoders enables CCTV multiview on an NEC 32-inch largeformat display in key locations, such as the Abbot’s office.
“We set up a preset so as soon as the cameras are turned off at the end of the day or after a service, CCTV mode is activated,” explains Clarke. “Incorporating the broadcast cameras into a CCTV system saves Saint Michael’s time and money and limits the impact on the fabric of the building by not needing additional security cameras.”
Looking to the future, Whitwam AVI will remain on hand to serve the abbey’s evolving needs. Clarke and the team are the first port of call for support requests through a preventative maintenance contract, covering all AV and network infrastructure onsite. “It was important to deliver a system that will serve the abbey well into the future; therefore, having the network infrastructure in place now will allow the system to grow as the needs of the monastery evolve,” says Clarke. “We’re proud to have been on board since the very beginning and to have had this opportunity to work with Brother Michael on a project that encompasses many different elements, from AV to IT and security.”
The feedback from Saint Michael’s community of monks and worshippers has been wholly positive, especially in terms of the quality of the technology and how it is discreetly installed to respect the architecture of the abbey.
“We have a great relationship with Panasonic, so were are able to disassemble the camera enclosures to paint them to the desired RAL colour and reassemble them without compromising the product warranties,” explains Clarke
“We are pleased to see our technologies installed in spaces as
To ensure accessibility, a Sennheiser MobileConnect system was chosen for its ease of use, allowing hard-ofhearing users to listen to services via a smartphone app. Given cabling constraints, a traditional hearing induction loop would not have been possible, and the choice of the MobileConnect system gives Saint Michael’s Abbey a modern, scalable alternative. The combination of four Sennheiser MZH 3015 gooseneck microphones and an Audio-Technica AT-U851R/H boundary mic for the high altar ensures crystal-clear speech pickup. Two AKG C451B cardioid condenser microphones were also
several reasons. Firstly, to enable those far away to participate; secondly, for intellectual access; and, finally, to reach those who might be looking for a vocation within a monastery and allow them to watch from a distance to give them a flavour of the place.”
The broadcast system consists of a Blackmagic Design ATEM 2 M/E Production Studio 4K and an Epiphan Pearl Nano streaming solution, which allows for the encoding of various sources and outputs directly to the desired channels or displays. To maximise the technology and save on additional resources, Whitwam AVI proposed incorporating the broadcast
The services at Saint Michael’s are now successfully reaching a worldwide audience, with followers in the United States, Canada, Asia and Australia regularly watching the livestream broadcast of Sunday Mass.
“We have had many contractors over three very busy years during the renovations, and Whitwam AVI have been one of the best in terms of punctuality and communication,” confirms Father Abbot. “Following the upgrade, we remain one of the most traditional communities in terms of our worship here at Saint Michael’s, but we are now one of the most modern in terms of the technology we use to promote that worship.” www.whitwamavi.co.uk
The abbey has been fully restored
Bose MA12 speakers blend seamlessly into the stonework
Five custom-coloured Panasonic AW-UE50 PTZ cameras have been installed at key locations
Added value
Acoustic & Lighting has overseen the bulk of an extensive AVL upgrade at the 4,700-seat
Sarawak Blessed Church
FOLLOWING THE ARRIVAL OF the British to North Borneo in 1882, Christianity grew over the course of the 20th century to represent a majority in the state of Sarawak. As one of four major religions that have a freedom protected by the Malaysian diversity law, Christianity ranks overall as third in Malaysia. Although less than 10% of the entire country’s population identified themselves as Christians in the 2020 census, two-thirds of this figure reside in East Malaysia.
Drawing on an initial congregation of 70 towards the close of the last millennium, Sarawak Blessed Church (SBC) in Kuching today numbers 3,500 members. Demonstrating a commitment to the future of SBC, senior pastor Lim Gee Tiong and his associates realised that an extraordinary rise in membership had led to growing pains. Having addressed the problems of accommodating their Sunday worshippers prior to the 2020 pandemic, the senior pastor drew up the names of various experts who could realise SBC’s ambitions. With the church’s architectural blueprints being drawn, one of those names was Munique Group technical director Dominic Koh. Appointed to
advance SBC’s contemporary Sunday services to the next level, the AV consultant would spend five long years before the audio, lighting and video systems would be commissioned in late December 2024. Accommodating 4,700 seats, the 5,440m2 sanctuary features cutting-edge concert hall facilities that are the envy of other venues in the state. The four-year timeline, however, between the ground being broken in January 2021 and the four-level auditorium opening its doors was laden with obstacles.
In the lead-up to re-envisaging the new space, the Singaporean consultant regularly interacted with the audio, lighting and visual technical teams. A wish list emerged that would fulfil the mission and vision of the church. Keeping everything within budget and meeting the expectations of the technical crew would greatly challenge Koh over this half-decade period.
The Munique Group technical director was also required to go back to the drawing board time and again to mitigate rising costs, delivery delays and to factor in advances in technology. Complying with both client requirements and industry standards, Koh played a central role in overseeing
L–R: Acoustic & Lighting’s Fredyus and Damian Lim
the AV design, specifications and execution of the project. Based on technical capabilities, pricing and adherence to the project timeline, the tender selection process endured for several months.
Ultimately, Acoustic & Lighting (A&L)’s Kuching-based office was successful in its bid to supply the bulk of the AV and lighting fulfilment in addition to overseeing the engineering and installation works from conception to commissioning. Based on personal preferences, however, two major aspects of the technical design sourced by SBC were supplied by separate contractors. Based in Kuala Lumpur, Search Music was appointed to supply and install the loudspeaker system, while another Malaysian dealer separately shipped the LED walls.
The Sarawak satellite of A&L had never been appointed to work on a project of such magnitude. Staffed by nine employees, their resources were reinforced by their headquarters in Kuala Lumpur. Given the enormity of the project, branch manager Damian Lim assumed the role of project manager, assisted by his main engineer Fredyus. In addition, the team could draw on their long-term freelance contractor Stever who assisted with programming and tuning.
The intensity of the project between June and December 2024 ensured Fredyus become an almost permanent fixture at the developing SBC site. “We’re a small team, and there is only so much we can outsource,” explains Fredyus. “To maintain alignment with
the project goals, we reported directly to the main contractor, although our team also communicated directly with the client and the consultant. With other projects to fulfil, I had to maintain my presence onsite almost every day over a six-month duration.”
Once the cabling had been laid by an external contractor in mid-August 2024, the stage lighting and the hoists for the rigging system followed in mid-September, with the stage lighting arriving in late October. “Much of these works were dependent on obtaining purchase orders and the arrival of shipments,” adds Lim.
“Workload management required balancing multiple projects, as Fredyus had to cover other projects during the SBC works. With this project being prioritised, overtime work at night and weekends was granted to meet the deadlines.”
As the main contractor, A&L experienced delivery constraints that led to high shipping costs stemming from air freight charges. “We absorbed these charges to ensure the project was completed on time,” furthers Lim.
“The sea shipments need clearing by Malaysian customs in Kuala Lumpur, before being shipped to Kuching. This process usually adds another two weeks. If we did not have the time available, we had no alternative but to air freight.”
Maintaining the branding and the quality at the expense of quantity became a central theme in Koh’s design. Located at front of house within the extensive balcony production area, an SSL Live L200
consoles each serving FOH, monitors and streaming was ultimately limited to one,” exemplifies Koh. “However, by combining monitor and broadcast functionality within the same SSL Live L200 work surface, SBC boasts a premium, rider-friendly console. The only compromise that I made was to reduce the number of channels. Should the channel count need to be increased, SBC can always rent a console, and an SSL BiG SiX production mixer can also be utilised.”
Having overcome initial technical issues to interface the SSL Live L200 with the three stageboxes, Stever meticulously integrated and programmed the analogue and digital network connections between the various microphone inputs and d&b audiotechnik outputs. In addition to distributing Ethernet control data, d&b DS10 audio network bridges interface both the Dante networks and AES3 digital audio signals. Positioned within the signal chain in front of the amplifiers, each DS10 delivers up
console takes pride of place. Dante input signals are routed from the wired and wireless microphones connected to three SSL ML 32.32S remote digital I/O stageboxes. The MADI mix is returned via split outputs to the wedge and wireless IEM monitors. The initial plans for the control room revealed its location in an enclosed, climate-controlled room on the mezzanine level. Koh requested its relocation to an open area on the upper balcony, to which the committee was receptive. “From this open position, the technicians can visually and aurally monitor the stage performance. Many seats were lost, but the outcome is significantly better.”
To maintain budget, Koh chose to reduce quantities without having to compromise on performance. “My initial proposal for three audio mixing
to 16 Dante network channels via AES3 digital signal outputs to the d&b 4-channel amplifiers. Additionally, AES3 input channels provide access to the Dante audio network for the SSL Live L200 console.
Following simulations made in EASE 5, the church committee approved Search Music’s proposal to install the German brand’s KSL12 line array as the main FOH loudspeaker system. Collaborating with d&b audiotechnik’s Asia Pacific team, the KSL line array system delivers exceptional clarity, balanced coverage and immersive sound throughout the sanctuary.
Delivering full-range coverage across a 120° horizontal plain, a flown L-R configuration comprises 12-per-side KSL12 loudspeaker line array modules. Two 10-inch LF drivers, coupled with two side-facing 8-inch
The main LED wall behind the wide stage measures 23m x 9m
An SSL BiG SiX production mixer can also be used if required
LF drivers, develop an extended response and extreme low-frequency output down to 54Hz (–5dB). Powered in active mode by a 40D amplifier, one channel drives both 10-inch drivers, while all other components are passively crossed over and driven by a second amplifier channel. Powered by the same model of amplifier, three-perside flown KSL-SUBs together with an additional six ground-stacked SL-SUBs extend the low frequencies down to 30Hz (–5dB).
To ensure even coverage throughout the sanctuary, the KSL modules demanded additional fills. Powered by 10D amplifiers, a total of 14 d&b audiotechnik dual 6.5-inch T10 point source enclosures cater for the frontfills and under-balcony seats and the out-fills are covered by L-R Y10P dual 8-inch point source cabinets powered by a 40D amplifier.
Listening to the KSL design for the first time, SBC music director, Jaydon Joo, felt vindicated in the church’s decision to go with the d&b system. “There’s so much definition and clarity, yet without any harshness. This system is on another level, because I could experience the full sound image, and the immersive audio. When playing live onstage in a big venue, the spill back from the speakers is minimal.”
The church leaders and musicians onstage can monitor their individual performances from d&b audiotechnik M4 coaxial 14-inch foldback enclosures and a drum-fill for the percussionist is provided by a 15-inch RCF SUB 905-AS II. Like the SSL Live L200, SBC marked a first for IEM developer KLANG:technologies. Networked to a KLANG:konductor with a Dante interface, up to 32 musicians can personally monitor their performances through headphones receiving their individual mix from one of 16 networked KLANG:kontrollers. Connected through Netgear GSM4212P network switches, the ecosystem includes DiGiCo DMIDANTE2 and MADI-B interface cards. Following extensive research, Koh’s original wireless specification cited a Sennheiser Digital 6000 system. However, the launch of Sennheiser’s EW-DX platform in 2024 allowed him to make an order iteration, without having to compromise on the quality of wireless channels. Currently, four EW-DX EM 4 Dante 4-channel receivers operate 12 EW-DX SKM-2 wireless handheld transmitters fitted with MM 445 capsules. Likewise, the IEMs rely on Sennheiser technology, with eight EW IEM G4 twin receivers connecting to 16 EQ IEM G4 transmitters and
earpieces. The wireless setup and control throughout the sanctuary has been initiated with Sennheiser Control Cockpit software. Providing a clear overview of the network-enabled Sennheiser devices, simultaneous adjustments can be made for multiple devices based on status information. The antenna signals are bundled by combined Sennheiser AC 3200-II transmitters and A 5000 remote antennas. The worship leaders deliver their sermons and prayers using wireless DPA 6066 headsets and DPA 4098 45cm goosenecks fitted with MicroDot adapters. The musicians draw on a large inventory of wired microphones. The percussionist’s setup is amplified by various Audix diaphragms including D2s and D4s on toms, a D6 on the kick and an i5 on the snare in addition to Sennheiser and DPA models for the
kick, hi hats and overheads. The DPA signature is extended to the choir with six DPA 4097 super cardioids and a string ensemble fitted with DPA 4099 COREs.
Like the loudspeaker system, the submitted PO for the lighting system followed a good personal demonstration by ACME with its Solar Impulse LEDs. Suitably impressed, the SBC committee favoured this lighting fixture brand. Controlled from an Avolites D9215 DMX controller, the ACME LED inventory includes 23 spot, 23 Neozone wash and 12 Solar Impulse spot moving heads in addition to 18 Libra models. Generic fixtures include Silverstar Eclipse profiles and Nouvoled LED blinders together with a couple of LDR Astro 600 followspots. The original specification for nine 23m lighting bars suspended from 64 electric hoists was reduced to
seven bars hanging from 46. As such, Koh suggested a reduction in the number of lighting fixtures. A decrease in quantity, but quality was not compromised as Koh insisted on a German brand of motorised chain hoist with a double break for safety reasons. Accessed from a programmable touchscreen, and capable of lifting loads between 500–1,000kg, the customised 56-channel hoist system controls Stagemaker SL5 and SL10 15m-long chain hoists.
Perhaps the loftiest summit to climb for A&L involved the fixture of the 46 chain hoists below the lighting grid. Although A&L approved numerous air shipments to ensure deadlines were fulfilled, the German chain hoists had to be sea freighted via Kuala Lumpur. “When the Stagemaker hoists arrived, the air conditioning ducts and other ceiling fixtures including sprinklers were in place,” recalls Lim. “Some of the original placement markings were not available and, with the seating now fixed below, extra care had to be maintained.”
The preplanning meetings conducted by Lim in advance of the works ensured that the remainder of the integration interweaved seamlessly around the other operating trades who were also working seven days per week to complete their contracts before the final deadline. For fixing the hoists, the 18m-high scaffold tower was not tall enough for the team to work from. As such, the painful task of having to manually lift all 46 of the 50kg hoists upstairs to the overhead catwalk commenced. “The operation took a full week to complete,” furthers Lim. “It took five of us to carry each
Hoisting the d&b KSL12 line array modules into position
An extensive Sennheiser EW-DX wireless system has been installed
hoist upstairs, before individually suspending and fixing them into position with necessary protections placed below to satisfy health and safety standards.”
Upon entering the sanctuary, the attention of the worshipper is immediately drawn to the main LED wall display behind the wide stage. Measuring 23m x 9m (LxH), it is balanced by 8m x 4.5m (HxW) IMAG LED projection screens to the immediate left and right. Fixed to the central lip of the balcony, a 2m x 8m (HxW) LED display serves as a confidence monitor for the pastor and worship leaders.
Impressive outputs require numerous 4K inputs, with a predominantly Blackmagic Design video suite supplied by A&L. The FOH and Jimmy Jib crane positions are served by three URSA Broadcast G2 cameras fixed with Fujinon lenses and further equipped with Blackmagic Video Assist 7-inch 12G HDR finders and SMPTE fibre converter receivers and transmitters. In addition, portable Sony FE wireless handycams fixed to DJI Ronin handheld stabilisers provide a contrast of visual inputs.
a wireless intercom with single ear headsets over a wireless antenna system.
“We have integrated a complexity of technologies that this state has never seen before, and in implementing these we have raised the bar,” adds Lim. “This is the first time we have installed an SSL mixing console, KLANG monitoring and a Sennheiser EW-DX wireless system into an East Malaysian venue. The features have been integrated into the design as part of a user-friendly, high-end solution, making it easy for end users to learn and program.”
Blackmagic ATEM 4 M/E and 4K Broadcast Studio switchers connected to an ATEM 2 M/E Advanced Panel 10 control panel aggregate the inputs
with the outputs. The Blackmagic ATEM video suite also employs a camera control panel, HyperDeck Studio Pro HD recorder and SmartView 4K recording monitor. In addition to the main LEDs and numerous 4K displays fixed beyond the main hall, the broadcast setup also promotes livestreaming and recorded playback on the YouTube and Facebook platforms.
“For the video setup, there were some adjustments,” adds Koh. “The Blackmagic solution with its ATEM camera control unit was initially favoured because it fell within the budget. In addition, I felt that its feature set operating over fibre was broadcast quality.” Finally, the back of house technical team communicates using Hollyland Solidcom M1 4-channel beltpacks connected to
“Given the scale of the new development, the church initially debated to lease the space to local events promoters,” explains Koh. “As such, I knew that SBC would need to provide a premium AV package that could compete with facilities such as City Harvest Church and the Star Performaning Arts Centre in Singapore. This potential revenue stream was abandoned in favour of retaining the church for religious services only. However, the AV package has not been compromised, as SBC demanded a reference venue for the state of Sarawak.”
acousticlighting.com www.blessed.org.my
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The SSL Live L200 console takes pride of place
Taking control
A strategic upgrade introduces state-of-the-art control into one of Johannesburg’s most iconic houses of worship, writes Miquette Caalsen
JOHANNESBURG-BASED
SOUND
specialist ProSound has been servicing Houghton Mosque, one of South Africa’s highest-profile Islamic centres, for more than 15 years. Rather than replacing the building’s current sound system entirely, ProSound recently completed a thoughtful upgrade – adding flexibility and control while leaving intact the underlying infrastructure that has been serving the religious institution effectively for more than a decade.
“Due to our ongoing maintenance of the system throughout its lifespan, there was no need to replace, merely build on those foundations,” says Dwaine Schreuder, broadcast solutions specialist at ProSound. “The client truly appreciated this approach.”
Originally installed more than 13 years ago, the audio system was designed to cover regular prayers, Friday prayers and special events across various zones like prayer halls, outer courtyards and the women’s areas. The hub of the system is DSP and control from Symetrix, which has now been extended by integrating T-Series touchscreen interfaces. “It was actually very easy,” says Schreuder. “That’s why we prefer to use it.”
The T-5 touchscreens work in conjunction with the existing Symetrix Prism 8x8 DSP to provide smarter system control without disrupting the fundamental architecture. “The existing Symetrix Prism DSP core is very straightforward,” notes Schreuder. “This was the initial DSP installed at Houghton, so the upgrade
adds value without requiring the client to purchase a whole new system.”
The T-Series touchscreens replace the mosque’s old push-button workflow and provide a more intuitive and heavy-duty control solution. “We were able to remove the mosque’s existing workflow and give them a state-of-the-art control solution that enables the client to recall a selection of presets for different prayer times, and also to recall different reverbs for various readings.”
Using Composer software, ProSound configured the T-5 to modify EQ curves, zone levels and reverb from a Lexicon MX400 processor, all via simple onscreen buttons and workflows. The touchscreen is now an effective mosque audio command centre, substituting a legacy manual switch system with a flexible, futureproof platform.
“Symetrix gives us the reliability we need onsite, and the remote management features we love offsite,” Schreuder adds. “If an imam needs another mic EQ or something is not just right, we can log in remotely and tweak in real time. This additional layer of control means the mosque can now easily adjust EQs on the fly, adapt to the acoustic dynamics of a fuller or emptier prayer hall, and accommodate different imams. We’re able to recall presets for an emptier mosque versus a fuller mosque. It gives the client more freedom to set the system according to their needs.”
The core of the audio system’s loudspeaker inventory remains the same, and for good reason.
ProSound’s original installation featured Electro-Voice S40 speakers in the main prayer hall and women’s areas, with EVID 4.2 speakers covering outdoor and overflow spaces.
Three Electro-Voice CPS 4.5 amps drive the system, each delivering 500W of power over four channels. A fourth amp stands by as a fully wired backup, to ensure no downtime.
“This is one of those installs where the loudspeakers and amps just worked – and still do,” says Siphelele “Pepe” Khumalo, technical sales support engineer at ProSound. “We didn’t see a need to replace what wasn’t broken.”
On the microphone front, the team upgraded from longtime Electro-Voice PolarChoice microphones to DPA Microphones models, which enhance vocal articulation and pickup. The new arrangement includes DPA 4017 shotgun units for the main spots and
matched capsules for other locations, which are optimised for the mosque’s setting and use.
For ProSound, the Houghton Mosque project is emblematic of their longterm, client-focused approach to doing business. “This wasn’t a complete overhaul – it was about respecting what works, and improving what could be better,” says Schreuder. “We’re proud to have a relationship with the mosque that has lasted this long.”
Ultimately, as highlighted by Houghton Mosque, upgrading a church’s AV system doesn’t have to mean breaking the bank.
With thoughtful planning, the right partnerships and a clear understanding of the congregation’s needs, even modest investments can make a significant impact.
www.prosound.co.za www.symetrix.co
Worth the wait
First Baptist Morristown has turned to CTS AVL to provide an overhaul of its main PA system to improve coverage across the sanctuary
before the upgrade can actually take place. Occupying its current premises since 1998, First Baptist Morristown in Tennessee – which has a history stretching back as far as 1803 –replaced its PA system in 2008 as part of extensive renovations to the building. With problems starting to arise with its now-ageing audio setup, the church approached Brentwoodbased integrator CTS AVL about five years ago to begin the conversation of replacing the main speaker system.
“It’s not uncommon for us to work on a design with a church knowing that it could be a few years before they’re ready to proceed with the upgrade,” explains Neal Watson, vice president of integration at CTS AVL. “Giving a church the support they need early on provides them with the ability to plan in advance rather than waiting for the equipment to fail entirely which becomes a problem that needs an immediate response.”
CTS AVL’s relationship with First Baptist Morristown began about eight years ago when it was recruited for a large broadcast video project; this included upgrades to both the
projects, such as replacing the audio consoles a few years ago. The goal of the latest upgrade was to enhance the sound in the main sanctuary and create a more engaging experience for the congregation.
“The church wanted to improve the coverage so that the sound is evenly distributed across all seats, including the balcony,” continues Watson. “While the manufacturer of the audio system – d&b – stayed the same, we’ve moved the location of the main line arrays and changed the speaker model and positioning so that we could gain more control over the dispersion pattern. We also enlisted a different approach to the out-fills to keep the energy in the audience rather than on the walls and to minimise any acoustic issues.”
The architecture of the room provided CTS AVL with plenty of structural options for flying the speakers – the difficulty came with finding the right place to optimise the audio but also be easily accessible given the closed ceiling.
“We tried to minimise the aesthetic impact and any additional work that would need to be done because we were repositioning the PA,” explains Watson. “We also had to raise all the chandeliers up to get them out of the way of the audio because the new positions were higher than the previous ones. We worked with the church’s structural engineers to get confirmation that the capacities were within acceptable tolerances for the steel beams in the ceiling. We also needed to ensure line of
sight with the video screens, LED walls, the stage and choir, as well as ensure the optimal location for audio dispersion.”
The resulting design consists of main hangs of eight d&b Yi12 with two Yi-SUB and one 10S-D choir monitor per side flown behind each array. Out-fill arrays consist of four Yi12 and four Yi8, while two 21S subwoofers and eight 44S front-fills have been installed on the stage. Amplification is courtesy of one 30D, two 5D and four 10D units.
Two Yamaha Rivage PM5 consoles were installed during an earlier upgrade
Ten Nexo ID24 under-balcony fills and Q-SYS DSP have been retained from previous upgrades that CTS AVL carried out in 2019 and 2020, with the Q-SYS system chosen specifically with a future PA system upgrade in mind. The integrator aimed for a target level of around 100–105dB which has been achieved comfortably with plenty of headroom and even coverage throughout the room.
During initial discussions, the church team had indicated that they’d been pleased with their previous d&b setup but they were open to other options.
“When clients are in that position, we help them get their eyes and ears on all the choices so they can feel confident in their decision,” explains Watson. “After visiting us and hearing three different product lines, they were confident they wanted to stay with d&b. The other products had a slightly different audio signature and, when we turned the d&b system on, you could see the smile on their faces.”
Having planned and waited for the new PA to arrive, installation finally took place over a two-week period, allowing the church to remain open during the upgrade. In the first week, the CTS AVL team were able to do some prep work and then
the equipment was changed over in the second week. “Everything went really smoothly,” describes Watson.
“The musicians and the choir were immediately commenting on how they could hear better on the stage – partly due to the choir foldback monitors we installed but also because we were able to tune the whole system and balance everything so that the monitors on the stage weren’t being hindered by the rest of the system. The technicians are also finding that services are much easier to mix each week. The church now has well-balanced, non-fatiguing audio that creates even sound across the whole room.”
Watson comments that being able to experience the staff’s excitement over the dramatic improvements in the room after the installation of their new speaker system was very rewarding.
“Hearing the spoken word is critical in churches – if it’s too distant then you won’t engage with what’s being said – but it’s also about creating warm, enveloping audio for worship and, with the d&b system, you get just that.
“First Baptist Morristown is an easy client to work with,” concludes Watson. “They’re proactive and continuously looking to make sure they’re getting the best out of their equipment and ensuring its longevity.
AIMLINE SERIES
The camera and broadcast video upgrades we started with, the Nexo speakers, the Q-SYS DSP – these were all done with the main goal of a new speaker system in mind. By tackling everything one piece at a time, the church has been able to
plan for each step along the way and now, after years of preparing, they’ve finally achieved their goal.”
www.ctsavl.com www.dbaudio.com www.fbcmtn.com
Main hangs consist of eight d&b Yi12 with two Yi-SUB and one 10S-D choir monitor flown behind
Making Waves in Brooklyn
V1 Church has an LV1 Classic vision for its main broadcast and
DEDICATED TO FOSTERING
personal growth and spiritual connection, V1 Church in Brooklyn began as a gathering of 18 people in a Long Island living room. Over the past seven years, the HOW has expanded to eight campuses nationally, with approximately 2,500 attending in person each week and over 8,000 joining online. V1 Church has appeared on Outreach100.com’s “Fastest Growing Churches” list for five consecutive years, currently ranking at number 13. For its main broadcast location in Brooklyn, the church has recently taken delivery of a Waves eMotion LV1 Classic console for both FOH and broadcast needs.
Situated in Williamsburg, the Brooklyn campus doubles as a 1,500-capacity music venue during the week, which means that everything is set up and torn down each Sunday. Services typically feature a full worship team performing three songs, followed by a sermon from pastor Mike Signorelli. During the third song, the team simulcast to all eight campuses, transmitting the click, tracks and lead vocals across locations. This ensures synchronisation, with the lead vocalist from the broadcast campus guiding the performance on LED screens nationwide. The sermon
is then broadcast live in real time to all campuses.
“I’ve mixed on a lot of consoles, but the first time I heard a full band through the LV1 Classic was like a breath of fresh air,” comments Christopher Wrigley, lead audio engineer at V1 Church. “There’s something about the combination of its amazing preamps and the use of Waves plugins that ensures a pristine source and a clean, musical mix every time. It’s the ease of a digital console that feels and sounds like the best analogue desk you could ever hope to work on. Despite the challenges of having to set up every week, the eMotion LV1 Classic handles the complexity and rigours of our Sundays seamlessly.”
Wrigley also noted his appreciation for the eMotion LV1 Classic’s simplicity, citing how its interface keeps things straightforward –even for new users. He adds that the compact design allows it to fit into a relatively small and easily transportable case. “I’ve used many other consoles and I have to say that the LV1 Classic’s routing options are the most straightforward and userfriendly that I’ve seen on any console out there.”
The audio engineer believes that the console’s ease of setup and
quick deployment has resulted in significantly less time spent preparing and more time focused on sound check. “The eMotion LV1 Classic excels in this aspect, offering powerful group processing capabilities that deliver impressive results, particularly for drums and background vocals,” he explains, adding that the console runs smoothly on its internal DSP at approximately 65% capacity, handling the demanding audio requirements of V1 Church’s services.
In terms of his choice of essential Waves plugins, Wrigley tends to use the SSL G-Channel on most tracks. “It’s extremely versatile, reliable and delivers great results. Having grown up working on SSL consoles in studio environments, I appreciate their excellent sound quality and musical EQ curves, which make it the ultimate ‘Swiss army knife’ of plugins. Using it in a live setting has truly been transformative.
grasp the reasoning behind my processing decisions. The ability to make just one or two bands dynamic also allows me to use it as a more precise alternative to the C4, ideal for taming resonant toms or snares or addressing a specific problem spot in a vocal.”
Wrigley’s setup features an LV1 Classic at the FOH and broadcast location. The system integrates with several Macs running software, such as MainStage, Ableton, Reaper, ProPresenter, Resi and Pro Tools.
“Ever since adopting the Waves eMotion LV1 Classic, our production team has been receiving weekly compliments on the sound quality,” concludes Wrigley. “The integration of Waves plugins allows us to fine-tune and shape the audio with remarkable ease, using a system that is reliable, intuitive and familiar. Week in and week out, the LV1 Classic runs like a well-oiled machine. We consistently deliver a powerful mix that is punchy and engaging, while maintaining levels around 90–93dBA. And, we currently have two more eMotion LV1 Classics on order.”
www.waves.com
www.v1.church
Christopher Wrigley
LV1 Classic
From Missouri to Manila
A Marshall Electronics camera upgrade has helped Faith Baptist Church South Metro’s lead pastor improve the quality of his sermons from the US
WHEN WE THINK OF A TRADITIONAL house of worship setup, we picture a pastor preaching to their congregation from a pulpit or on a stage. In the past, if you couldn’t attend, you had to miss out. Then the technology started to emerge to allow HOWs to livestream
their services to worshippers at home so, if you were unwell or away on holiday, you could still join the service. Initially the technology was rudimentary, but it did the job; nowadays, livestreaming setups are the norm and growing in complexity.
But what happens if your worship leader or pastor isn’t in the same building? What happens if they are over 8,000 miles away?
A missionary for over 50 years in the Philippines, Rev Delbert Hooge is the senior pastor of Faith Baptist Church South Metro in Parañaque, a suburb of Metro Manila. When Rev Hooge returned to live in the US in 2024, he enlisted the help of his son Phil, a long-time technical director, to create a setup whereby Rev Hooge would still be able to deliver his weekly sermon to the 250+ members of the congregation from his home in Springfield, Missouri. “I’m still the senior pastor and play a large part in the church’s ministry, with the support of local people in Manila who help run the church,” explains Rev Hooge. “I speak once a week and I also work with another organisation made up of around 400 Christian schools in the Philippines where I help train staff to improve literacy levels. The studio setup allows me to host Zoom conferences and other community events.”
When the pandemic hit in 2020, Rev Hooge began experimenting with his first small camera to keep in touch with his congregation. “It was as simple as possible – just one small camera in a bedroom,” he explains, but it’s this basic setup that would form the basis for growth for his studio in a converted garage in his Springfield home following his return to the US. Here, Rev Hooge started out with a clip-on microphone and several mounted mobile phone cameras, but this resulted in a variety of issues and complications –such as inconsistent colour and saturation – that led the father–son combo to consider how they could get a better picture quality for the congregation in the Philippines. An experienced user of Marshall Electronics’ products, Phil has recently incorporated the brand’s CV506 Full-HD miniature cameras and CV508 micro POV camera into a three-camera studio setup for his father. The CV508 provides a stage left shot, while the two CV506s
Rev Hooge’s livestreaming setup in his converted garage
The congregation watches the livestream from Manila
immersive that inspires
With EAW’s ADAPTive technology, an immersive experience is possible everywhere.
Traditional systems could not provide immersive coverage throughout Faith Community Church’s intimate sanctuary. ADAPTive’s unique ability to control coverage delivered full range, even sound from each loudspeaker to each listener, drawing the congregation together into a shared experience.
“The ADAPTive part of this is unlike anything else… it’s shocking. This is the solution for churches.”
- Jacob Pierce, Administrative Pastor
at Faith Community Church
capture two straight shots, one bust and one tight.
“We’re in a studio setting so the lighting doesn’t change. Being able to set and store presets on the cameras means that even when we shut the system down and bring everything back online, everything looks and appears the same on a day-to-day basis,” continues Phil. “I’ve been using Marshall cameras for years. Their compact size and exceptional picture quality are standout features. For this application, the size of the camera is a game-changer. We mounted two of them through a teleprompter without taking up much space. The ease of use and reliability are exactly what’s needed for our remote, multi-camera studio setup.”
Another component of the livestream is the REMI-style workflow, so that Phil can control all the cameras and production remotely from Tampa, Florida, with the sermon being projected to the Philippines as well as streamed online. “I am the technician-on-call,” smiles Phil. “For the first few weeks after installing the equipment, I was logging in via TeamViewer to make sure that the connection was working properly. I’m able to switch from camera to camera here in Florida which allowed Dad to become more familiar with the new system and focus on his preaching. Now, he uses an Elgato Stream Deck that no one can see, so he can control all the cameras without anyone noticing what he’s doing.”
the service is projected for in-person attendees while also being broadcast on Facebook and YouTube for remote viewers.
Each Saturday night at 9.30pm EST (so Sunday morning in the Philippines), Rev Hooge delivers live sermons to the Faith Baptist Church South Metro congregation. Using the StreamYard platform,
“We use a Blackmagic Design 8-channel ATEM Mini Pro to receive the signal. I chose the Marshall CV508 and CV506 as they have an SDI output so we’re going SDI straight from the camera into the ATEM. There are also four HDMI ports on the ATEM so that in the future we can look into doing a picture-in-picture where he can put a PowerPoint in the back corner over his shoulder, for example. I upgraded him from the ATEM Mini which was HDMI input-only to the Pro so that we could use the extra four inputs for the SDI along with the HDMI.”
A Blackmagic Design UltraStudio Recorder 3G converts the SDI signal to a Thunderbolt that then goes into the computer through OBS which streams the feed to YouTube, Facebook and to the congregation in Manila. Rev Hooge can also use OBS to pre-record his sermon and send it to the Philippines if he’s unable to preach live for any reason.
Faith Baptist Church South Metro meets in a gymnasium that is converted to a house of worship every weekend. The setup includes a portable sound system that’s moved in and out of the space and a permanently installed projector for the stage. The control room has two computers set up with ATEM Minis, which allows them to use EasyWorship presentation software
to project lyrics and StreamYard to stream the live feed or the pre-recorded video onto a large screen at the back of the stage.
“There are always challenges with a setup that’s being put together and taken apart every weekend,” describes Phil. “I’ve been trying to encourage them to upgrade to the Mini Pro like we have here and to move to a camera that has an SDI output to free up inputs because it’s limiting their flexibility and ability to seamlessly transition from one input to another, plus this would allow us to do some of the other things that we’d like such as lower-thirds.”
Back in the US, Phil isn’t tied to any one location. “I can move to anywhere that has an internet connection which allows me to log in and see what’s going on,” he explains. “I normally check in with Dad on a Saturday afternoon to make sure there aren’t any issues with software updates for example. We’ve run into problems in the past when we were ready to go live and the computer had issues due to updates and we were unable to go live. Thankfully there are people on the ground who can step in and deliver a sermon if needed.
“We’ve also become very complacent on the stability of the internet here in the US but in the Philippines, it’s hit or miss,” continues Phil. “You can be hardwired and have a stable internet connection, and two seconds later it’s gone. So, the biggest hurdle is having solid connectivity and knowing that you’re not going to lose it. But because the church meets in the gymnasium of a multifunctioning Christian school campus, the internet traffic on a Sunday is normally quite low, so this does offer us a little more stability.”
Since returning to the US, the studio has allowed Rev Hooge to stay in touch with his congregation.
“The equipment means that I can extend my outreach beyond the church in Manila,” he concludes.
“There are now multiple locations that are set up across the Philippines and we’re able to use the equipment to improve the literacy levels of schoolchildren that fell behind when schools were shut for two years during the pandemic. Plus, it’s allowed me to develop and maintain the relationships that I built during my time in the Philippines and continue my ministry at Faith Baptist Church South Metro.”
www.marshall-usa.com
The production booth in Manila
Two Marshall CV506 cameras have been mounted through the teleprompter
• Class-leading, extremely wide 60 MHz UHF tuning bandwidth for maximum versatility
• Unique multifunction button on the handheld and body-pack transmitters can be used to switch to a backup frequency should interference be encountered
• Automatically adjusts squelch setting to maximize range while minimizing interference
• Optional network transmitter charging docks
•
• Frequency scan and IR sync for ease of setup Handheld transmitter offers industry-standard thread mount for use with six interchangeable A-T microphone capsules, as well as other compatible capsules
Directivity control
Grade II* listed Saint Paul’s in Hammersmith has turned to Solotech to provide a full AV upgrade to meet its contemporary needs
WHEN YOU THINK OF
Anglican church services in the UK, you might picture a traditional structure that follows preaching, Bible readings, prayer and communion, but sometimes churches opt to move away from this conventional style of worship and place more focus on modern elements such as a live music and a band. With a history stretching back to 1631, Saint Paul’s Church in Hammersmith is one such example. About a decade ago, the HOW undertook a renovation project that saw the addition of a modern foyer, café and dedicated space downstairs for meetings and youth events, along with a move away from its customary approach to worship to a more upbeat style. With this came the need for a new AV system to support the church’s evolving needs.
“I have been aware of this stunning building for the last 15 years,” explains Oran Burns, business development manager –systems integration at Solotech.
“During this time, the church has shifted its focus to a more modern style of worship utilising drums, bass, guitars, keyboards and vocals. The previous AV system had run its course, and there was a requirement for improved audible and visual clarity. The beautiful
church space is quite challenging acoustically with a measured midband reverberation time of around 5s. Saint Paul’s production manager James Gibson reached out to Solotech, through a mutual friend, and asked if we would assist with the upgrades.”
Burns first visited the 500-seat HOW back in March last year and worked closely with Gibson to create a design that was sympathetic to the environment as well as meeting the necessary technical criteria. “The new audio system needed to deliver clarity of spoken word as well as offering the bandwidth and headroom requirements to complement a
modern contemporary worship style. The existing video system also needed to be upgraded to be able to output high-resolution formats and elevate the visitor experience.” Solotech worked closely with the team at Saint Paul’s and was able to keep within the building’s constraints to produce a viable AV solution that prioritised audio directivity control across as many octaves as possible. “Thankfully our good friends at d&b audiotechink have had a healthy obsession with pattern control for the last 40 years, so my natural instinct was to come up with a design using d&b’s SL-Series which offers broadband pattern control.”
Solotech designed bespoke brackets that clamp onto the church pillars
Solotech specified a d&b audiotechnik XSLi system comprising an L-R ground-stacked setup of three XSLi tops and two XSLi-SUBs per side, with a pair of Ti10P front-fills on the stage lip. Pairs of Yi7P have also been added down the church as nave and aisle delays. Solotech’s fabrications department designed bespoke brackets that clamp onto the church pillars but don’t require holes being drilled into the building. These brackets can hold displays as well as delay/fill loudspeakers. d&b 40D and 10D amplifiers have been installed in the rack room and are driving the system, along with a DS10 audio network bridge.
“The ground-stack approach is a bit unconventional; however, there weren’t any overhead rigging positions for the main loudspeaker elements,” explains Burns. “XSL is an exceptional product with a lot of directivity control from a relatively small form factor. Most line array elements will start to output unwanted energy behind the system as you go lower down the frequencies, but the XSL doesn’t do that because it’s got side-firing drivers that cancel
Samsung 55-inch displays have been fitted on columns down the centre aisle
the sound that propagates around from the front. So, if you stand behind the whole stack, it’s like it’s not playing – it has remarkable directivity control.”
An entirely new FOH booth was also created, with Solotech providing an Allen & Heath D-Live S5000 console with a D-Live DM64 Mix Rack, along with a Waves Sound Grid Server Extreme. The integrator added to the church’s existing microphone setup with DPA Microphones d:facto 4018, 2028 and 4066 units, plus a Shure ULX-D digital wireless system and PSM 900 IEMs. “The band has already commented that they’ve never heard their in-ear monitors sound as good, because you don’t have all that energy coming back onto the stage and into their earpieces,” says Burns. “The new audio system has vastly improved the direct-to-reverberant ratio and it’s also tidied up the stage spill, so the vocal mics and the in-ear monitor mixes are much cleaner.”
While budget played a significant role, it was just as important that Solotech provided a system that worked in the space. “Both James and I are familiar with d&b so it was the obvious choice to solve the problems the church was
try out, which was the ultimate proof of concept.”
On the video side, Solotech specified two Samsung QMC 85-inch large-format displays for the front pillars, with a further three 55-inch models each side on columns down the centre aisle using the same bracketry as the fill speakers and a pair of 43-inch confidence monitors on the first column pointing back towards the stage. “The screens were mostly a like-for-like replacement – we just specified more modern, brighter, slimmer models that weigh a lot less.” A Blackmagic Design ATEM Constellation switcher, ATEM Advanced Panel and video hub have also been installed at FOH, with plans to add further cameras to the video system in the future.
a production space. The team at Saint Paul’s are already seeing the benefit of the new upgrades, with a prominent church organisation requesting the space to record their next worship live album.
“When I visited for opening Sunday, I was blown away by the response and everyone is so impressed with what the system has achieved,” concludes Burns. “The engineer at the back of the room was mixing the band and the mix was carrying really well throughout the space – you could hear all the nuances in the voices and instruments, it was really impressive. We’ve also made the building look so much better – the speakers are smaller and neater, and the installed infrastructure is barely visible.”
experiencing,” continues Burns. “If someone comes to me with a complex audio problem, there’s most likely a solution within the d&b catalogue. We used ArrayCalc for acoustic modelling and also provided the church with a demo system to
“The church also wanted to get some value from their investment –if the community isn’t active in the space, then it’s not really serving its purpose. Saint Paul’s felt that if they were to invest in new equipment, then it would make it more appealing to local event companies who wouldn’t then have to hire in their own equipment. Some of the events that run at the Hammersmith [Eventim] Apollo use the church as
With the new AV system up and running, a second phase of upgrades is planned later this year for the lighting, including architectural lighting both inside and outside the church as well as stage lighting for the band. It seems that Saint Paul’s move to a more modern, vibrant worship style continues apace.
www.solotech.com www.sph.org
The Experts in Beam Steering
How to choose the best wireless microphone system
AVIXA’s digital content coordinator, Lulia Popescu, explores popular mic types and considers the key features to look out for
WIRELESS MICROPHONE
systems serve an important purpose –they give you freedom of movement and allow you to move around without getting tangled up in a mic cable. But the durability, reliability and performance of your wireless microphone can make or break your service.
Assessing your wireless microphone needs
There is no one perfect microphone. To select the right wireless microphone, you should start by assessing your needs.
Consider your environment:
an indoor or outdoor event? Is your house of worship small or large? Your environment will impact your wireless microphone choice.
Think of mobility requirements: if you need to move around the stage, the range of the wireless microphone should support that. A wireless microphone with a limited range will cut off or distort the signal when you move too far from the receiver.
Types of wireless microphone system
The main four types of wireless microphone systems are handheld, lavalier, headset and instrument.
Handheld mics are ideal for when
will be multiple people on the stage. It doesn’t require clipping onto clothing or adjustments the way a headset would. Most people are familiar with how to use a handheld mic, so they’re ideal if only one person needs to speak at a time.
Instrument mics are used with a broader range of instruments, from kick drums to guitars, so they often provide a wider frequency range. For instance, an instrument mic’s frequency response is usually around 40Hz–15kHz, which can accommodate the low E string of a bass guitar, which is 41Hz. Bands can really benefit from crisp sound and freedom of movement using instrument mics.
Headset mics maintain a closer, fixed position to a singer or speaker’s mouth, so that audio level and sound quality remain consistent. While some headset models can be bulky, others are lighter and less noticeable to the audience.
Lavalier (clip-on) mics are the most discreet. However, since they clip onto clothes, they are generally further from the user’s mouth than a headset mic. So, you may need to turn them up louder to get a good signal, which can lead to extraneous noise and feedback. Additionally, audio levels can vary due to the speaker’s movements.
Technical considerations for your wireless mic system
When choosing a wireless mic system, some technical considerations should be kept in mind. Understanding frequencies is crucial, as they impact the microphone’s performance, signal quality and interference susceptibility. Wireless microphones usually operate in two frequency bands: UHF (UltraHigh Frequency) and VHF (Very High Frequency). UHF systems generally
The MM-58 from Mipro is a handheld cardioid vocal microphone
Sennheiser’s Profile Wireless 2.4GHz can be combined with a lavalier microphone or used as a wireless boom
offer a more reliable signal over a greater distance, perform better in challenging environments, support a greater number of wireless channels and are less likely to experience interference from elsewhere. Still, they tend to be more expensive than VHF systems.
Audio quality
When choosing a wireless microphone, understanding technical specifications such as signal-tonoise ratio (SNR) and dynamic range is key to ensuring the microphone delivers high-quality sound. The SNR measures the level of the desired audio signal relative to the background noise. It’s usually expressed in decibels (dB), with a higher value indicating a cleaner, clearer signal. Decent wireless microphone systems typically have an SNR of more than 90dB, with 95dB or 100dB being ideal for high-quality sound. A higher SNR is especially important in noisy environments to ensure a clear, crisp sound.
Operational range
The operational range refers to the distance between the microphone’s
device that captures the signal and sends it to your audio system). Compared to VHF systems, UHF systems typically offer longer and more reliable ranges. Factors like frequency band, obstacles, interference and transmitter power can influence the range. Ensure you choose a microphone with an operational range that suits your specific needs, whether for small-, medium- or large-scale events.
Interference resistance
Wireless systems are vulnerable to disruptions from various sources, such as other wireless devices, electronic equipment and physical barriers. UHF systems tend to have better interference resistance than VHF systems. Digital wireless systems with frequency hopping or adaptive frequency selection can help avoid interference.
It’s helpful to select systems with diversity receivers (multiple antennas) for more stable signals and look for high SNR (90dB or higher) for cleaner audio. Use adjustable output power and optimise antenna placement for better reception. And choose systems with adjustable frequency bands to avoid crowded channels. Finally, test the system in the actual performance
Battery life and power options
Battery longevity, or how long your microphone can operate on a single charge or battery change, directly impacts its reliability and convenience of use. Look for systems that offer 8–12 hours of continuous operation on a single battery or full charge. Some wireless mics can even provide up to 15 hours or more. Battery type is another important consideration. Common rechargeable battery types include Li-ion (Lithium-ion) and NiMH (Nickel-metal hydride). Li-ion batteries are generally lighter, longer lasting and offer more charging cycles than others.
Build quality and durability
When selecting a wireless microphone, look for models with rugged materials, high-quality construction, impact resistance and environmental protection to ensure they last and perform reliably under any conditions. Microphones with metal bodies, like aluminium or steel, tend to be more durable than those made entirely of plastic since they’re better at resisting physical damage such as dents or cracks. Some wireless microphones feature rubberised coatings or grips
that provide extra protection against impact while also improving comfort and control when holding the mic.
Ease of use and setup
An intuitive system will enhance your user experience – choosing a system with a clear, intuitive interface can reduce confusion. Look for a system with easy-to-use buttons or dials, simple indicators for battery life and settings, and a clear labelling system. Your wireless microphone should also be able to find available and interference-free frequencies easily. Automatic frequency scanning is a feature that can make this process much easier and faster, especially in environments with lots of wireless devices. The ideal wireless microphone system should be plug-and-play, so you can plug the receiver into your audio equipment (like a PA system or mixer), turn it on and start using it without needing to do anything too complex. Some systems even offer one-button pairing and auto-sync features. Ultimately, the best wireless mic system is the one that fits your unique needs, environment and budget. With the right choice, you’ll enjoy seamless sound quality and the freedom to focus on what truly matters
www.avixa.org
Shure offers a range of wireless systems, including the SLX-D
How to strengthen your church’s online ministry
Media Mentoring’s
YOU’VE DONE IT. YOU STEPPED out, took the plunge and built a digital presence for your church. Maybe it started with livestreams during lockdowns, or perhaps you’ve been diligently posting sermon clips, devotionals or podcast episodes ever since.
First, let me say this: well done. You’ve already crossed the most significant hurdle many churches are still stuck at: you showed up. But if you’re like many leaders I talk to, there’s a quiet question nagging at the edges now: “Is our online ministry connecting?” and “Are we just broadcasting… or are we building real relationships?” If that sounds familiar, you’re in good company. Because here’s the truth: having content online isn’t the same as having content that connects. It’s time to move beyond simply being present to being purposeful. Today, I want to share three foundational keys that will help your church move from “we’re online” to “we’re impacting lives”.
looks at three keys to creating content that connects
digital community shifted without me realising it?”
Here’s a real, practical tip for you –create a simple “Audience Snapshot” for your media team: a one-page profile that outlines who you’re reaching, what they’re facing and what language connects with them. Review it every few months. Keep it fresh. Keep it real. Because resonance beats reach every single time.
2. Make storytelling your secret weapon
1. Refocus your content around their story, not just yours When churches first step into digital
ministry, starting with what’s on your mind is natural. Things like: “Here’s our latest sermon series” or “Here’s our upcoming events calendar”. And don’t get me wrong –those things matter. But if your goal is truly connecting, you must flip the lens. It’s not about what you want to say. It’s about what they need to hear.
Ask yourself: who are we trying to reach today? What are they
walking through in their lives right now? What questions are keeping them up at night? When your content starts where their reality begins, you’re no longer just talking at people, you’re walking with them. Even if you’ve had an online ministry for years, pause and reassess your audience. Also consider: “Is the content I’m creating speaking into their current world?” and “Have the needs of my
Alright, full confession: I’m a little obsessed with the power of storytelling. But for good reason: storytelling is ministry “rocket fuel”. Facts inform. Stories transform. In your livestreams, reels or devotionals, you’re missing a massive opportunity to trigger transformation if you’re not weaving in story. I’m not talking about giant, dramatic, movie-trailer-worthy testimonies (although those are great when they happen). I’m talking about genuine, honest, everyday moments. For example, the small victory in someone’s marriage after prayer; the stranger who asked for prayer because they
Graeme Spencer
Having content online isn’t the same as having content that connects
Image courtesy of Samantha Borges
came across your livestream; or the volunteer who quietly shows up and works with your kids week after week. These aren’t throwaway moments. They have significance and resonance for people in similar situations and circumstances. Try reviewing your last 10 pieces of content, sermons, posts, podcasts, videos, etc. How many featured an actual, personal story? How many do you think helped people feel something, not just think something? If the answer is “not many”, it’s not too late. Start now. And here’s how to implement this: teach your whole ministry team (not just the senior pastor) to think in story beats: setup (the situation), struggle (the tension), solution (where prayer can help) and significance (why it matters to the listener). Practise this rhythm in team meetings, devotionals and planning sessions. Soon it’ll become second nature, and so will deeper engagement.
3. Show up authentically and consistently (because trust takes time)
Now, let’s tackle something less glamorous, but equally as vital: consistency. No hack, shortcut or
viral moment can replace the quiet faithfulness of simply showing up. Online ministry is a marathon, trust me on that one. When I say show up, I mean two things:
Show up authentically. People can spot the fakes a mile away. They’re not looking for “perfect pastor mode”. They’re looking for real humans living genuine faith. Share your struggles. Share the small wins. Share the behind-the-scenes. Authenticity breeds trust. Trust builds influence.
Show up consistently. I’m not talking about burning yourself out by posting 17 times weekly. I’m talking about setting a rhythm you can keep. Weekly? Fortnightly? Monthly? Fine. Just pick it and stick to it.
Your digital congregation, whether 20 people or 20,000, needs to know you’ll be there, not just when you have something “important” to announce but because they matter. Define and commit to a realistic publishing calendar for
weekly devotional, a monthly video update or a quarterly testimony feature – whatever works in your world. Simple, sustainable, strategic. Because in the digital world, consistency builds credibility. And credibility opens the door to genuine spiritual transformation.
Next steps
Listen to your audience – ask better questions and let your next sermon clip or social media post flow from that heart connection. Tell at least one real story every week – it doesn’t have to be earthshattering, it just has to be honest. Show up consistently with what you can sustainably offer – it’s better to post thoughtfully once a week than to burn out trying to post daily. Small, faithful steps is how online ministry moves from visible to vital. A final encouragement: your online presence is not an accident. Don’t give up on digital ministry because it’s complex or slow. Start where you are and use what you have. And trust in the seeds of ction, compassion and consistency you are sowing.
www.mediamentoring.net
Got Sauce?
Storytelling has significant resonance for people in similar situations
Image courtesy of Phil Hearing
How to match stage lighting with LED videowall content
purposeful design element of stage settings, effects and content delivery. Not surprisingly, LED walls are also commonly found in houses of worship. My own church is currently planning a renovation project this year, including the integration of an LED wall at the back of the worship platform. These vibrant, highresolution displays bring scripture, lyrics and imagery to life in stunning detail.
But as videowalls take centre stage (literally and metaphorically), a new challenge arises: how do you ensure that your stage lighting works in harmony with your video content –rather than clashing with or washing it out? The answer lies in thoughtful planning, technical coordination and a strong understanding of how lighting and LED visuals interact. In this article, we’ll look at some best practices, tools and creative techniques to help your lighting
Imagine that your LED wall is showing a soft sunrise over the Sea of Galilee while the stage lighting is set as a magenta and cyan stage wash from a previous cue. Or imagine that your worship leader is trying to create a quiet, reflective moment, reflected in the colour palette of the stage wash but backed by bright, energetic and fast-paced video content. Suddenly, the mood is confusing, and the congregation is pulled out of the moment. Misalignment like this is more than a visual issue – it’s a distraction from worship – the very opposite of our goal as worship technicians or designers. When lighting and video content are cohesive, you not only eliminate visual competition on the worship stage, but you reinforce the emotional and spiritual tone of the message that is being shared. Matching these elements elevates the message and helps to usher in an environment free
It’s important to begin by understanding the impact of an LED wall. This is where the worlds of video and lighting begin to intertwine. LED walls are in a sense a lighting instrument. Their brightness, colour temperature and motion all affect how the stage looks. Think of these elements in the same way that we discuss intensity, colour temperature, colour, movement and distribution (focus) of a lighting instrument. Let’s look at some of these characteristics more closely. Brightness: LED walls are often much brighter than the surrounding stage. This can overpower subtle lighting looks unless levels are balanced properly between the wall and the rest of the stage lighting. Colour temperature: LED panels usually emit cooler light (~6,500K+). Stage lighting must be calibrated
accordingly to avoid unnatural mixes.
of video, make sure your LED wall’s refresh rate matches your camera settings (if streaming) to avoid strobing or colour shifting in the video image, especially if the wall is at the same height as the people onstage and will be in the video frame. Reflections and spill: just like any other stage lighting, an LED wall at the back of your stage should be considered similar to backlighting. The brightness and colours used in the video content will reflect and spill onto your stage, instruments and people in a similar fashion to backlighting.
Steps to match stage lighting with LED videowall content
Step 1: before programming a single light or creating any video content, you need a cohesive visual direction for the service. Bring all the
Stage lighting must be calibrated with the LED wall to avoid unnatural mixes
individuals into the conversation that are a part of shaping the worship service. You should discuss:
• What’s the emotional tone of this week’s message? Hopeful? Reflective?
• Are we using motion backgrounds, abstract textures or literal imagery?
• What is the dominant colour palette on the LED wall?
• Do any video transitions or elements require lighting support?
Creating a visual mood board or palette for each service helps keep lighting and media teams on the same page as they start the process of designing their technical elements.
Step 2: once video content is determined for all parts of the service, calibrate the colour and intensity of the lighting to match the video content. For example, if the LED wall is showing warm abstract textures, use similar colours, such as amber, soft golds or dusty pinks in the stage lighting (colours that match the colour temperature and hue of the video content). If the LED wall shifts to deep blue for a worship song, echo it with
onstage. This is especially true for video as camera sensors are more sensitive to and less forgiving than the human eye.
• Use backlighting and side-fill to prevent those onstage from being silhouetted against a bright screen.
Step 3: once you have your stage lighting and video content matched for colour and intensity, you should then coordinate the service cues between the lighting and video teams. The movement and timing between lighting looks and changing visual content should be synchronised to prevent
lighting desks for real-time cue sharing or synchronised triggering.
Step 4: test, test and test again. And be sure to consider all the different methods that your congregation will experience with the integration of your LED wall and stage lighting. Some may experience it in the worship auditorium. Others may be watching from a lobby or cry-room monitor, while others may be watching on their computers from home or abroad. You want to make sure that the visuals look good both live and on video. To do this, make sure that you consider the “eye of a camera” and consider the following:
a blue overhead wash. As much as possible, avoid mismatched colour tones unless that is something you are specifically choosing to do to create a thematic contrast or tension. In terms of intensity, don’t let your lighting instruments fight the LED wall. If your LED wall is overpowering the stage lighting, there are certain things you can do.
• Dim the wall (if possible). You don’t want your congregation squinting because the LED wall is too bright.
• Increase key light brightness to balance out the faces of those
mismatching between service elements. This synchronisation can be achieved in a number of ways and the method used will be determined based on your lighting console installed and how you are controlling (feeding) your LED wall. This article won’t go into the details of each, but some common protocols include the use of MIDI, OSC or DMX to provide links between your lighting console and media server(s). Some common tools used for feeding video content include ProPresenter, Resolume, QLab or MadMapper among others, which can integrate with many
• Abstract textures flow across the screen → use gobos to add texture to the stage and “air” to mirror the texture on the screen.
This creates an immersive environment that, when done well, can draw the congregation deeper into the worship experience.
Common pitfalls
I say it in almost every article that I write, and I’ll say it again. Always keep in mind the purpose that we have as technicians and technical designers in a house of worship setting – the lighting (and video) should enhance the service message and help to establish and provide a distractionfree environment where the congregation can worship freely. As such, be sure to avoid some common pitfalls when it comes to LED walls and stage lighting:
• Too much brightness. If everything is at full intensity, nothing stands out and the congregation may experience eye strain or other unpleasantries. Use intensity and contrast strategically.
Set c amera white balance to match both the LED wall and front lighting (~5,600–6,500K is typical). As mentioned earlier, video images will look “off” if the white balance is mismatched. Use c onsistent backlighting to create subject separation, especially in front of video backgrounds.
Test colour matching on-camera, not just with the eye – LED colours may appear different on video. What looks great in person can look flat or blown on camera.
Step 5: as you become comfortable with these steps, you can then branch out and allow yourself and your team to get creative. Your stage lighting can actually expand the content on the LED wall into the entire room. In this sense, think of your LED wall as the “core” or “base” of your lighting rig and palette. For example:
• LED wall displays a starry night sky → use your overhead lights to slowly twinkle with soft blue/ white spots.
• LED wall shows waves rolling on a beach → use automated gobos to mimic wave patterns on the auditorium side walls.
• Ignoring the content palette. Establish a unified mood and atmosphere through a unified palette. And remember, sometimes less is more.
• Over-synchronisation. Just because you can sync to every beat of a song doesn’t mean you should. Leave space for stillness and simplicity, again matching the emotional and spiritual tone of the service element.
• Let ting lighting steal focus. Perhaps counterintuitive for the lighting technician, but the LED wall should remain the visual anchor. Lighting should support it – not compete. This is especially true and should be considered when the LED wall is used for lyric display or service elements calling for congregation participation.
Conclusion
At the end of the day, matching lighting and LED video content is not about the technology – it’s about the message being shared and the story you’re telling. When you unify stage lighting and LED walls, you create a space where the visual environment reflects the spiritual message. You eliminate distractions, draw the focus upward and help people feel –not just see – the presence of God.
A unified colour palette will set the correct mood or atmosphere
Lighting should support the LED wall – not compete with it
Image courtesy of Plum Creek Church
Image courtesy of ICF Zurich
Immersive audio
Is immersive audio becoming standard in houses of worship? We ask five experts from Adamson, CODA Audio, d&b audiotechik, Meyer Sound and Yamaha
WHILE IMMERSIVE AUDIO IS still perceived as a niche offering, houses of worship are increasingly curious about the concept but perhaps don’t yet have a clear idea of how to apply it practically in a worship setting. This can be challenging without proper education and system design; however, manufacturers are working hard to make these systems more intuitive and accessible.
How does your system support immersive audio formats?
Brian Fraser, head of product and technology at Adamson: the FletcherMachine is an immersive engine and control software platform, just like other proprietary immersive audio systems. Atmos is a format, and it’s possible to comply with that format while using the FletcherMachine, although in terms of supporting competitors’ formats, it’s not something we would ever attempt. Put simply, the experience using the FletcherMachine produces results that cannot be achieved elsewhere.
David Webster, director of global marketing at CODA Audio: Space Hub is our immersive processor that uses advanced 3D audio algorithms to position audio objects and move sound in real time through a three-dimensional soundstage. It incorporates up to 128 audio sources, rendered into 128 outputs, to create an evolving, immersive listening experience in any setting.
Nick Malgieri, director, immersive enablement at d&b audiotechnik: d&b Soundscape is natively supported by DiGiCo SD-Series and Quantum-Series mixers as well as Yamaha Rivage, Lawo and SSL Live mixers. This happens through Soundscape integration directly within the console surface. Network commands are sent to the Soundscape processor for real-time rendering to the speaker deployment.
Steve Ellison, director, spatial sound at Meyer Sound: Spacemap Go integrates seamlessly with many industry-leading consoles. We offer plugins for DiGiCo, Avid and SSL consoles, so engineers
can access spatial control directly within their existing mixing workflows. Spacemap Go and Compass are both free to download, so teams can explore spatial mixing without buying hardware. You can experiment with sound movement and snapshots and find out how easy it is to use before you ever take it into the worship space.
Dai Hashimoto, spatial audio marketing assistant manager at Yamaha Corporation: the UI for our AFC Image Controller software is simple and intuitive and we offer integration with many third parties for automation. We currently offer control of L-ISA using the OSC (Open Sound Control) protocol. Also, immersive audio solutions can already be deployed in conjunction with Yamaha’s flagship digital mixing consoles, such as the Rivage PM series and the DM7 series.
How does immersive audio change the workflow of a FOH engineer?
BF: The workflow is different in a lot of ways. The approach to trying to give each performer a “space” in your mix is vastly simpler in some ways. Rather than playing with pan and compression to sit the channel in your mono or stereo mix, the simple act of defining a physical location for the performer means that the FletcherMachine will directly translate that into the final produced sound field. The mix then becomes more natural, and simple things like bringing up the level of a certain channel has a more natural impact on the final mix.
What’s the learning curve like for volunteer-based teams?
DH: often, when we think of immersive audio, we assume that the systems are large and complicated. While they can be all-encompassing and offer a total 360° experience, it’s important to remember that object-based audio can be extremely effective in systems that are designed for localisation. Starting with zones for just the front speakers to familiarise yourself with the concepts of location awareness and expanded spatialisation is a good way to ease into immersive sound.
SE: Spacemap Go is incredibly intuitive – it takes just a few minutes to start building something. But understanding how to use immersive sound effectively in worship is a different educational curve, and one we try to support with design guidance and hands-on consultation. We don’t require a specific loudspeaker layout or workflow. Our system is flexible –you can use whatever speakers are appropriate for your space, and we provide design and layout guidance. That’s especially important in volunteer-run environments, where simplicity and adaptability are paramount.
What are some examples of venues using immersive audio?
NM: we’ve seen a growing number of houses of worship embracing immersive audio to deepen the connection between message and
Brian Fraser
Nick Malgieri
David Webster
Steve Ellison
Dai Hashimoto
d&b’s Soundscape has been deployed at Summit Church
congregation, and d&b Soundscape has played a key role in that transformation. Soundscape has been deployed in a variety of innovative ways across numerous venues, including Prestonwood Baptist Church, Passion City Church, the MxU headquarters and Summit Church, among others. One standout application is the use of a virtual orchestra shell deployed over the stage. This setup is designed to be operated entirely from intuitive touch panels, making it accessible even to non-technical volunteers. It allows for a seamless and immersive musical experience without requiring a full technical team.
Are there specific features designed to help manage architecturally complex venues?
SE: one of the big advantages of working with Meyer Sound is that we offer both spatial audio and acoustic solutions that can be integrated as needed. Our design team collaborates closely with consultants, integrators and end users to build systems that are architecturally appropriate and sonically powerful. Whether you’re retrofitting a traditional worship space or building a modern church from the ground up, we
can help you integrate the ideal sound and/or acoustic system.
What tools does your platform offer to simplify immersive mixing?
DH: NEXO’s NS-1 is equipped with a feature called AFC Design Assistant that supports immersive audio speaker system design. In addition, AFC Image has a function called Rendering Area Conversion, which can convert panning information (logical coordinates) of the space of a rectangular parallelepiped such as a DAW or mixer to an arbitrary shape (physical coordinates). This is useful for content created with 7.1.4
the venue. When a user places an object, every loudspeaker is individually time-aligned to every object. This ensures that every performer is perfectly delayed to every speaker, which reduces the number of arrival times hitting reflective surfaces. This also makes front-fills and out-fills sound more transparent. Since the Soundscape processor “knows” the speakers’ locations, this works in unusual and atypical speaker deployments. Soundscape does not require a specific number of speakers or specific mounting locations: it does the maths automatically.
BF: the software gives users a simple visual representation of the performers and audience that directly translates to what they see in reality. It also gives operators all the standard tools they would have on a mixing console. Finally, the reverb engine offered with the FletcherMachine has a intuitive and responsive interface that allows operators to maximise the localisation capabilities of the platform.
or Ambisonics in a shape that is not square.
NM: the value of Soundscape lies in its algorithm: it knows the location and orientation of every speaker within
www.adamson.ai
www.codaaudio.com
www.dbaudio.com
www.meyersound.com
www.yamaha.com/2/proaudio
Yamaha’s AFC Image controls the perceived positions of acoustic images within a space
Meyer Sound’s Spacemap Go integrates seamlessly with industry-leading consoles
Standard transmission
Thomas Bause Mason, director of standards development at SMPTE,
and engineers working in the digital entertainment industry. As an internationally recognised standards organisation, SMPTE provides a vital technical framework of engineering standards and guidelines that allow the creation, management and delivery of media.
The aim of the SMPTE ST 2110 professional media over managed IP networks suite of standards is to move the industry towards one common internet protocol (IP)-based mechanism for the professional media industries. The SMPTE ST 2110 standards suite specifies the carriage, synchronisation and description of separate elementary essence streams over IP for real-time production, playout and other professional media applications.
Why was the ST 2110 standard developed and what was the aim?
The standard was developed to facilitate the transport of uncompressed video, audio and data over IP conne ctions in TV production environments. The need arose because broadcasters started to build IP infrastructures using standards that weren’t necessarily suitable for these environments. SMPTE ST 2110 allows, among others, the transport of video, audio and data as separate streams which can then be individually routed for increased efficiency and bandwidth savings. For example, the video stream
audio mixer and the data routed to the closed captioning device/operator.
What have been the most significant advancements?
Some of the most recent advancements in SMPTE ST 2110 have been the ability to transport compressed video, to allow the spread of very high-resolution video (UHD) over multiple video streams and multiple network connections for bandwith-restricted infrastructure and the transport of metadata in a separate stream which can either stand on its own or can be associated to a video, audio or data stream. This so-called fast metadata can be used to quickly identify what’s contained in a stream or it can be used for metadata guided audio. A public register allows implementers to learn how to identify what’s in a metadata stream.
Where is the standard heading?
The standards suite was revised last year. A few documents still need to be completed but the feature set for the standards suite is more or less complete. There will be ongoing maintenance of the standards to fix bugs and keep the documents up-todate. There will only be occasional new features, in which case the standard will be extended.
How is it applicable for houses of worship?
SMPTE ST 2110 applies to TV productions in houses of worship
IP infrastructure can use SMPTE ST 2110 to deliver audio streams from the microphones to the audio mixer and video stream from the cameras to the video mixer and then back to a monitor for monitoring. There are now SMPTE ST 2110-native devices available which can plug right into an ST 2110 IP infrastructure without a gateway device. Legacy devices can use gateway devices to translate to ST 2110 transport.
Are there too many different standards currently available and what is the solution?
Unfortunately, that is true but most of these standards are not actually standards but proprietary formats or specifications which were more or less opened up to the industry. SMPTE ST 2110 is a true standard (de jure standard) developed by SMPTE, which is an accredited standards developing organisation. Vendors are more likely to adopt these kind of standards.
What
will the adoption of the SMPTE ST 2110 suite of standards mean for the industry?
The impact goes beyond just replacing serial digital interface (SDI) with IP to the concept of having the flexibility to come up with a whole new set of applications based on, and
Analog Way has recently developed SMPTE ST 2110 input and output cards for its LivePremier Series
leveraged off, information technology (IT) protocols and infrastructure. The advantages of shifting to IP are comparable to those achieved when the industry moved from physical tapes to virtual files for content storage. Files were not treated as if they were just virtual tapes; instead, all the benefits of software and virtualised access have come to be realised with new workflows and functionality offered. Another advantage is that intra-facility traffic can now be all-IP. Rather than requiring two separate sets of switches – SDI switches for professional media and IP/Ethernet switches for general data – facilities can rely on one common data centre infrastructure. Most operators will continue to separate traffic by priority; however, the newer switches do have the intelligence to prioritise real-time media streams.
www.smpte.org
Matrox Video’s ST 2110 NIC cards
LARA is a very different animal... Sounds great and the bands love it!
Rod Rodriguez CEO of RDZ Productions
Understanding DMX
ENTTEC founder Nicolas Moreau looks at the DMX protocol and provides some tips to follow for effective use in your lighting control
DMX (DIGITAL MULTIPLEX) IS A protocol used to control devices such as lights or fog machines. Electrical pulses travel along the data line, linking a series of fixtures in a “daisy-chain” configuration. The signal is unidirectional, meaning that it only travels in one direction. DMX512 is the protocol that digitally manages up to 512 channels via a single data cable. A group of 512 channels is referred to as a universe. This concept provides a structured framework for managing the vast array of control information required to operate your lighting fixtures effectively.
In the DMX512 framework, each channel comprises a range of 256 steps (0–255), which are allocated to various attributes in lighting fixtures. These attributes encompass a broad spectrum, including colours like red, green and blue, as well as attributes such as intensity and pan/tilt positioning. Your lighting fixtures will need to be addressed to a channel or group of channels. There are some limitations when it comes to using DMX, though some of these can be overcome by using DMX splitters. There are some helpful rules you can follow while using DMX.
1. Up to 32 devices may be connected in a single daisy-chain, with a terminator on the last device. Using a DMX splitter/repeater can extend both cable distance (as the signal is regenerated and retransmitted) and the number of devices (up to 32 per branch). We recommend adhering to a more conservative limit of around 16 fixtures per cable run.
2. DMX cable should be run to a maximum of 300m between the DMX source (controller) and the last fixture – past this, the signal can degrade. A splitter or booster can extend this run.
3. Cabling should be either DMX cable (not microphone/audio cables due to a lower signal rate) or Cat6. DMX can be terminated to either 5-pin XLR, 3-pin XLR, RJ45 connector or screw terminals ensuring the correct pin-out is followed.
4. DMX data should never be Y-Split to stop data bounce back or clashes –always use a DMX buffer or splitter.
5. If you have set up your devices in a daisy-chain, the final device in the daisy-chain must be terminated.
The terminator absorbs signal power which would otherwise be reflected into the cable and degrade the data. A terminator simply places a 110–120Ω/0.5W resistor across the two transmission wires.
6. Connect all intelligent lighting fixtures to a separate mains power source where possible that is fully isolated from the dimmer racks or computer or the audio power amps. Unexpected events might occur if
the mains electricity gets too much electrical “noise” on it that might affect your DMX control gear.
7. Use an optoisolated splitter to protect your DMX control gear from any unwanted voltage spikes that could potentially make their way into the DMX line. Non-isolated DMX control devices must always be protected, otherwise they run the risk of being subject to damage caused by sudden voltage spikes.
DMX can be used to control lighting or fog machines
Up to 32 devices can be connected in a single daisy-chain
Image courtesy of Bridgeman Downs Baptist Church
Image courtesy of Daystar Family Church
Universes
As you work with your lighting console, it’s essential to grasp the concept of universes. The initial universe encompasses channels 1 through 512. Once you’ve maximised the potential of this universe, you seamlessly transition to the next one, which begins again at address 1. This system ensures a logical and organised distribution of control channels for your fixtures.
Various consoles employ different numbering schemes for additional universes. Some consoles maintain a continuous numbering sequence, with the second universe extending from channels 513 to 1,024. Conversely, many consoles adopt a more intuitive labelling convention, often denoted by a combination of a letter or number followed by the address. For instance, you might encounter designations such as “1.214” or “a.214”, signifying a fixture located at address 214 within the first universe.
Addressing your DMX fixtures involves designating the location within the 512-channel universe where a specific DMX device resides. This location is commonly referred to as the “start address”, as it marks the first address
For straightforward devices with just one channel, like a basic single-coloured light that can be toggled on and off, the addressing process is relatively straightforward. These fixtures can be consecutively addressed, assigning address 1 to the first, address 2 to the second and so on. This simplicity makes the process intuitive and easy to grasp. However, the procedure becomes more intricate when dealing with multichannel fixtures, such as LEDs or moving lights. With these devices, it’s imperative to ensure that an adequate number of channels are left vacant before proceeding to patch the next
Consider a scenario where you have a 3-channel fixture commencing at channel 28. To avoid conflicts and unexpected behaviour, the next available address after this fixture would be address 31. Neglecting this crucial step might result in unintended consequences. You might find yourself attempting to control one light while another light responds in an unforeseen manner.
8- or 16-bit DMX lighting control
In the realm of DMX lighting control,
resolution plays a pivotal role in determining the level of precision, smoothness and creative potential your lighting setup can achieve.
In the context of DMX, an 8-bit control offers a resolution of 256 steps for each channel. This granularity might suffice for basic fixtures that require straightforward adjustments such as turning lights on/off, adjusting basic colour parameters or implementing simple effects. While 8-bit resolution is suitable for many applications, it can lead to noticeable steps in transitions and gradients, limiting the smoothness and subtlety achievable in more nuanced lighting effects.
16-bit DMX control elevates the precision significantly by offering 65,536 distinct steps. This finer control proves essential for achieving smoother transitions, seamless gradients and precise positioning in complex lighting effects. Fixtures utilising 16-bit control are commonly found in applications that demand a high degree of precision and finesse, such as moving lights, intricate colour mixing and detailed pan/tilt positioning. These extra steps are created by using two DMX channels instead of one per attribute.
Lighting consoles can employ different numbering schemes for additional universes
NEWPRODUCTS
Size matters
Elation has taken its KL Profile FC fixture and developed a compact version in the form of the KL Profile Compact
THE KL Profile Compact’s advanced optical engineering is combined with integrated manual zoom and focus to provide projections that are free from colour shifts or aberrations, regardless of the zoom, focus or framing position. Features include variable 16-bit dimming curve modes and a 94.9 CRI engine (TLCI of 95) that uses a 225W five-colour homogenised LED array of red, green, blue, mint and amber sources. The RGBMA engine, calibrated at a native colour temperature of 6,000K, emits diffused saturates and softfield pastels, including tuneable white light. The carefully tuned LEDs are said to provide an accurate colour reproduction while delivering an output of 5,880 lumens.
The unit can adjust for light that shifts away from pure white towards green or magenta through a green/magenta shift adjustment and a virtual gel library. It comes with a fully variable 16-bit colour temperature adjustment (2,400–8,500K), along with dim-to-warm and red shift emulation. The fixture has an integrated manual zoom range of 25–50°, while the manual, full blackout, 4-blade framing system lets users refine the beam shape as needed and frame around objects to be highlighted. For custom imaging, the fixture accepts size “M” gobos (metal gobo holder included) and also includes a 6.25-inch gel frame. The fixture also comes with Elation’s Mute Mode, which disables the internal cooling fan. With its touch bar encoder for straightforward standalone operation, Aria x2 wireless management integration and NFC configuration,
setup and control have been simplified for lighting designers working in diverse settings.
The Proteus Brutus FS is an IP66-rated LED followspot fixture said to offer high intensity and colour quality at long distances. Operated manually with removeable handles or remotely through any automated remote tracking system, the fixture is suitable for indoor and outdoor
applications that require flexible colour control in medium to long-throw followspot applications. It also comes with a removeable IP-rated camera housing to attach all commonly used PoE or SDI cameras.
Finally, the Fuze PFX is an LED framing effects fixture capable of projecting tight beams, precise framing and wide washes. It provides over 15,000 lumens of output from its 400W white LED engine. Housing 19 carefully designed gobos and a 3–53° zoom, the unit can create mid-air effects as well as precise image projections. The PFX creates even stage washes using its variable frost filter, while a wide array of colours is possible from a seamless CMY colour mixing system plus colour wheel. Full blackout framing blades allow shaping of the beam to highlight precise areas on the stage, and function as a creative mid-air effect as well. Dual independent rotating and overlaying prisms plus a fast iris complete the feature set.
In brief, the manufacturer has also added a Profile LT version to its Paragon series which produces up to 50,000 lumens with a 200mm lens for narrow, long-throw beams and comes with a 3.9–45° zoom and a variable CRI
KL Profile Compact
Proteus Brutus FS
Fuze PFX
The source of colour
ETC HAS added two fixtures to its ColorSource catalogue. The ColorSource PAR V Zoom includes the standard features of every V fixture – a five-colour array, NFC configuration, wireless DMX/RDM –and adds a manual zoom. The manufacturer reports that it is 50% brighter than the ColorSource PAR at just over 5,000 lumens. The 17–41° manual zoom reportedly eliminates the need for additional diffusion and lets users change between spot and wash with a twist of the wrist. The fixture has a balanced mix of red, green, blue, indigo and lime LEDs, and a lower power consumption which results in increased luminaires per circuit, lower heat and quieter fans.
The ColorSource Fresnel V Max brings the same feature set as the existing ColorSource Fresnel V, but nearly doubles the lumen
output. The unit features the same five-colour RGBIL mixing and motorised zoom control, and can be used to create soft pastels and bold saturated colours. Users can control the motorised 13–44° zoom using DMX or manually from the rear of the fixture. It also features wireless DMX/RDM control using Multiverse technology and NFC configuration from a mobile device.
In brief, the Desire Fresnel is now available in a 5-inch version. Identical to the already available 7-inch version, the latest addition to the family comes with a smaller aperture.
ETC’s Prodigy Balance rigging has been designed to bring safety and accessibility to working backstage. It features a self-contained weight stack located at the stage level which eliminates the need to load and unload the arbour like with
Wash up not wash out
DESIGNED TO perform in all conditions including coastal environments, the Veloce Wash is the fourth luminaire in Ayrton’s Ultimate family. An ultra-compact fixture, the Veloce Wash is a sealed 850W LED module that is calibrated at 6,500K and delivers a 40,000-lumen output, while its optimal black body positioning is said to provide perfect light neutrality.
Weighing just 39kg and constructed with lightweight aluminium components to reduce weight, Ayrton says the Veloce Wash is the lightest luminaire in its category. It features continuous, unlimited pan and tilt rotation and is equipped with a 190mm front lens, while its proprietary 12-lens optical system delivers a 14:1 zoom ratio, covering a range from 4–57°.
company’s new ultra-compact 1 Series. Following in Rivale’s footsteps with a 15% reduction in visual footprint, every detail of the Stradale Profile’s design has reportedly been optimised to streamline the structure, refine effects modules and minimise component size.
The new format has led to the development of a high-efficiency 330W LED module, calibrated at 6,500K and
Line sets are now balanced using a series of pins that engage and disengage weight to match what is on the pipe. According to the manufacturer, there is no longer a need to climb narrow staircases or lean over railings multiple storeys in the air to load and unload heavy bricks.
Finally, the manufacturer has launched SiteLink, a cloud-based
and rigging control systems. Users can check the status and receive up-to-the-minute alerts. SiteLink also allows customers to monitor their ETC rigging, networking devices, consoles, power controls, RDM devices and architectural lighting from anywhere in the world.
www.etcconnect.com
Martin unveils the Exterior Projection Pro Compact
DESIGNED FOR use in architectural, façade and landscape applications, the Martin Professional Exterior Projection Pro Compact is an outdoor image projector with 11 configurable options and up to four layers of effects. Featuring a modular design and lightweight housing, the fixture can be polemounted and integrated into various setups.
The Exterior Projection Pro Compact includes a built-in zoom system, enabling adjustment of the projection angle from 15–45°, supported by an optical system that delivers 4,400 lumens
For energy efficiency, the fixture includes a dedicated hibernation power mode, activated through the DMX control channel, reducing power consumption when not in use. It offers users control over multiple effects, including zoom, focus, colours, gobos and animations. Using the optional framing module, the projected image can be framed to match the façade. Smart controls feature a magnetic switch, DMX, RDM and standalone programming via Martin Companion, providing straightforward configuration and
Described as the most compact, lightweight and versatile luminaire in the Ultimate range, the Stradale Profile is the first fixture in the
indoor and outdoor use in any environment, even salt-laden conditions, the Stradale Profile is said to have a distinctive visual signature. Lightweight construction also plays a role in the profile’s performance, tipping the scales at 23.5kg.
www.ayrton.eu
Engineered to meet stringent standards, the fixture reduces its carbon footprint through its optical system, FSCcertified packaging and full repairability.
permanent outdoor
conditions and is backed by the manufacturer’s full, five-year
ColorSource PAR V Zoom
Veloce Wash
Wash Twist Flash!
ROBE HAS unveiled the WTF!, said to deliver “turbocharged” strobe, wash and blinder effects. Built for all environments, the Wash Twist Flash! comes with three rapid motorised zooms: a 98 x 14° to 125 x 97° linear zoom for the central white LED strobe and a 13–95° zoom for the two RGBW sections.
The unit comes with 72 20W linear white LEDs and 16 60W RGBW LEDs. A High Intensity Blinder feature adds 1,000W of warm white and amber LEDs, generating effects in the 1,800–3,200K range with tungsten emulation of lamps from 750–2,500W. Pan and tilt offer 360° continuous rotation control with EMS (Electronic Motion Stabilizer) technology for instant stop capabilities. Zonal control enables mapping across 12 white strobe zones plus 16 RGBW zones with macros for faster programming. Additional features include flash durations of 13–860ms and a variable rate of between 0.3–30Hz. The fixture also incorporates Robe’s RAINS, POLAR+ and parCOAT IP65 active protection technologies.
The LedPointe is the manufacturer’s next-generation LED fixture in the Pointe family. It has an advanced TE 280W HP (High Performance) White LED Transferable Engine, delivering 200,000 lux at 5m. The fixture comes with an L70 rating of 50,000 hours, a 155mm front lens, a 2:1 beam hot-spot ratio, a flexible 1.8–44° zoom range and EMS software. Colour control is via a CMY colour mixing system that allows users to blend hues from delicate pastels to deep saturates. The colour wheel contains 13 dichroic colours, while the onboard DataSwatch library provides instant access to favourite colours and the most popular calibrated whites, with 2,700K, 3,200K, 4,200K, 5,600K and 8,000K all included for faster programming and adaptability. In brief, the T31 Cyc Slim and T32 Cyc Slim have joined the T31 Cyc and T32 Cyc. The half-size luminaires have been designed to make lighting smaller cycs and set pieces in compact venues more flexible and adaptable.
www.robe.cz
Features, features, features
BOASTING MORE than 100 additional features, Blackmagic Design’s DaVinci Resolve 20 introduces AI tools such as AI IntelliScript, AI Animated Subtitles, AI Multicam SmartSwitch and AI Audio Assistant. Blackmagic says
Aquilon expands with SMPTE ST 2110 I/O cards
ENABLING THE Aquilon LivePremier processors to expand into more applications and integrate into ST 2110 workflows, Analog Way has developed SMPTE ST 2110 input and output cards. Fully supporting all broadcast formats up to UHD60 10-bit, HDR compatibility, the cards cater for up to eight audio channels per ST 2110 stream and are compatible with NMOS and PTP standards. Incorporating the redundancy and long-distance capabilities of the ST 2110 standard, the SMPTE ST 2110 input and output cards enable secure video and audio streaming over the network. The ST 2110 input card supports up to four UHD60 or eight FHD60 ST 2110 input streams, while the output card handles up to four UHD60 ST 2110 output streams. Multiple ST 2110 I/O boards can be
installed, achieving several hundred GbE of ST 2110 bandwidth.
Enhancing the LivePremier series with user-friendly improvements, the French brand has upgraded the virtual RC400T in the Web RCS as a streamlined GUI for show management. Including features such as Dante audio support, Analog Way has developed firmware 1.1 for the 4K@60Hz CorePlay Solo media player. Designed for driving displays or complementing Analog Way presentation switchers, the update includes an intuitive interface with program and preview panels, playlists and professional playback controls, and now allows real-time adjustments during events.
www.analogway.com
with camera angles based on speaker detection.
its range of AI tools are designed to assist customers with all stages of their workflow: AI IntelliScript creates timelines based on a text script; AI Animated Subtitles animates words as they are spoken; and AI Multicam SmartSwitch assembles a timeline
Meanwhile, cut and edit pages introduce a dedicated keyframe editor and voiceover palettes, multilayer compositing tools, optical flow vector tools and major updates to Magic Mask and depth map. An AI Audio Assistant analyses the timeline audio and intelligently creates an audio mix. Additional features in Blackmagic Cloud include Cloud folders, which let customers share extra clips, images or graphics for a project with other collaborators. All cloud content appears as virtual clips and folders until used in a project, after which it is synced locally.
Talking of the cloud, the company has also announced Cloud Backup 8, a 1U rack-mountable, 8-bay, hard disk dock with media status indicators and four built-in 10G Ethernet ports that enable
customers to use inexpensive computer hard drives to back up large media files. Cloud Backup 8 syncs to Blackmagic Cloud for backing up collaborative projects in DaVinci Resolve and features an HDMI monitor output that shows live storage status.
Blackmagic says its internal processing has been engineered to fully utilise the theoretical maximum speed of the 10G Ethernet port, ensuring optimal performance from modern high-capacity hard drives, while creative teams can share a single local cache of media synced to Blackmagic Cloud to enable global workflows. Blackmagic Cloud handles all sync, duplicating media to multiple sites for robust data safety, and zero latency access since everyone works from local copies.
www.blackmagicdesign.com
DaVinci Resolve 20
SMPTE ST 2110 input and output cards for its LivePremier Series
PRODUCTS
One direction
MAGEWELL’S DIRECTOR Mini solution has been joined by a new big brother, with the company unveiling the second model in its all-in-one production system portfolio. The Director One builds on the feature set and flexibility of the Director Mini with a larger, brighter touchscreen, integrated 4G cellular modem and direct HDMI output.
Like the Director Mini, the Director One is a production and streaming
modems for internet connectivity, the Director One offers an integrated 4G modem (SIM card not included). Both models support wired Ethernet and Wi-Fi connectivity, with dedicated 4G and Wi-Fi antennas on the Director One.
The new model shares the same input capabilities as its predecessor, including two HDMI inputs, two USB AV inputs, HTML web pages, file-based media assets, three mobile cameras and three simultaneous live IP
Viz is the One 8
One offers all the proven benefits of its older but smaller sibling, including AV and IP input flexibility, extensive production tools and output capabilities, and a wide range of control choices, including the integrated touchscreen, the Director Utility mobile app, a browser-based web interface and optional third-party controllers.
The solution features a 7-inch AMOLED touchscreen, over 25% larger than the Director Mini’s interface. The Director One’s screen delivers 800-nit brightness and a 100,000:1 contrast ratio, enhancing visibility in bright sunlight. While the Director Mini supports third-party USB cellular
support NDI HX, SRT and RTMP streams as well as a USB-C interface that is configurable for UVC output. The Director Mini’s USB-C interface can alternatively be connected to a DisplayPort monitor (including HDMI monitors with an optional adapter), while the Director One adds a dedicated HDMI output.
All of the Director Mini’s production toolset is available with the Director One, including graphics capabilities, telestration, instant replay, built-in scoreboard functionality, HTML graphics overlays, chroma keying and PTZ camera control.
www.magewell.com
VIZRT HAS released Viz One 8, said to be the biggest update to its Enterprise Media Asset Management system in over a decade with a rebuilt containerised architecture backend. Through “containerisation”, Viz One becomes a collection of small “containers” rather than one big system. Each container is responsible for its specific service and can function, scale, self-heal and be updated independently. This reportedly makes the platform more flexible, scalable, resilient and upgradable for mission-critical workflows, reduces operational costs and improves performance during content ingest, editing and distribution.
According to the manufacturer, a containerised architecture also provides more IT choice and flexibility by making it easier to deploy in an on-premises, cloud or hybrid technology stack, simplifying integrations across different technology environments and making MAM workflows more adaptable to diverse operational needs.
Upgrading MAM systems is traditionally a complex process and often sidelines broadcasters from benefitting from new features and innovations. Viz One 8 reportedly
HK Audio releases Concert Sound 2.0
CONCERT SOUND 2.0 filter sets have been added to HK Audio’s Concert Sound portfolio, which features the Contour X, Cosmo and C-SUB families. The filter sets are said to deliver a revised sound signature, optimised user-friendliness and perfected system coherence. This reportedly helps engineers to create an extended sound signature, so that HK Audio systems sound “fuller, bigger and more confident”. The new filters have been tested under live conditions and are now
eliminates these roadblocks through its rebuilt container-based backend, helping broadcasters and content owners stay current and competitive by making future upgrades easy. Viz One 8 is also said to make MAM more adaptable by reducing downtime, complexity and additional costs, meeting the asset management and archiving needs of today – and tomorrow. The platform can be used for deploying the tools for HDR, AI workflow integrations or new global content standards. It is also said to give broadcasters and content owners the tools they need to innovate and quickly bring new features and workflows to life, keeping pace with the changing media landscape.
The manufacturer has also released its first dedicated NDI audio connection solution. Viz Connect Audio provides users with the ability to manage any and all NDI sources on a network, both visually and aurally. It can be used to connect analogue audio sources, configure and convert them to NDI, enabling their use in a local or remote NDI ecosystem. At the same time, Viz Connect Audio allows visibility of all NDI audio sources on the NDI network.
www.vizrt.com
available for Lake and Armonía processors. Existing systems can be updated to Concert Sound 2.0 to take advantage of the new features. Updated EASE files are also available to further facilitate planning and implementation. The optimised FIR filters with a uniform phase response have been designed to provide the ideal combination of all components in the Concert Sound portfolio.
www.hkaudio.com
Get closer whatever the environment
CLAIMING TO be the first of its kind, Shure’s MoveMic 88+ wireless stereo microphone is a versatile direct-tophone stereo microphone with four selectable polar patterns. Building on the success of the company’s MV88 digital stereo condenser microphone and MV88+ video kit, the MoveMic 88+ enables creators and videographers to record audio and video separately to ensure optimum microphone placement without sacrificing the shot.
With selectable stereo, cardioid, bidirectional and raw mid-side polar patterns, users can customise the direction of audio capture and can place it up to 30m away to get closer to the action. It offers flexible mounting
options with 5⁄8 -inch or cold shoe mic clips, and can also function as a handheld microphone. For lightweight portability, the device pairs directly with a mobile phone via the Shure MOTIV apps; it can also be paired to the MoveMic receiver and connect via USB-C or 3.5mm to cameras, computers and mobile phones to support third-party mobile apps. Featuring eight hours of battery life, built-in headphone monitoring and USB-C charging, users can also fine-tune audio recordings with gain, EQ, presets, high pass filter, mute and noise reduction controls via the Shure MOTIV apps or receiver.
www.shure.com
Mipro unveils cardioid vocal mic
MIPRO ELECTRONICS has announced the MM-58 cardioid vocal microphone as the newest addition to its professional
manufacturer’s patented composite anti-shock suspension system improves shock absorption and effectively isolates handling noise.
every word is delivered clearly and precisely. The optimised frequency response and high dynamic range are said to accurately capture vocal details, preserving the natural tonal quality of the speaker or singer. For live events, the MM-58 has been designed to provide a reliable and stable performance. The
The microphone is equipped with an independent switch, enabling quick and convenient operation of different pickup patterns, allowing the microphone to adapt seamlessly to a variety of performance and presentation needs.
www.mipro.com.tw
PRODUCTS
All the world’s a stage
WITH THE ATM355VF, Audio-Technica has engineered a compact cardioid condenser to capture the nuanced sounds of violins, violas, flutes and other woodwind instruments. Capable of handling SPLs up to 148.5dB, the clip-on model features a high-sensitivity microphone that delivers clear and balanced audio reproduction. Designed for both solo and ensemble performances in demanding environments, its cardioid polar pattern ensures frontal sensitivity for feedback control while isolating unwanted ambient noise.
The ATM355VF includes the AT8543 power module, which provides a switchable 80Hz low-cut filter to minimise low-frequency noise. The module connects via a locking 4-pin cW-type connector in wired applications and features a 3-pin XLRM output. The microphone also supports wireless configurations with multiple models with terminations compatible with cW- and cH-style
wireless bodypack transmitters.
Fitted with a windscreen to isolate noise, the flexible gooseneck design can be precisely positioned to reduce strain on the 1.8m-long cable. To tailor specific pickup characteristics, the clip-on can adopt interchangeable elements, including the UE-O omnidirectional and UE-H hyper cardioid elements. The ATM355VF also includes dedicated mounts to ensure secure attachment to a variety of instruments. Providing one-handed attachment and minimal contact, the AT8491V violin mount is designed for instruments with a body depth of 30–55mm. The AT8491F flute mount accommodates diameters ranging from 12–30mm, making it suitable for other wind instruments, and cylindrical objects including microphone stands. A wireless compatible version, the ATM355VFcH, is also available for use
products featuring the cH connector.
The manufacturer has also released its R-Series open-back range of headphones. The former ATH-R70x has been upgraded to the ATH-R70xa and is joined by the ATH-R50x. While the ATH-R70x utilised damping and its acoustic design for added low-frequency emphasis, the fully open-back sound of the ATH-R70xa relies solely on the performance of the driver – each diaphragm movement
translates directly into sound without reliance on acoustic cavities or resonance for frequency enhancement and minimising distortion. The drivers in the ATH-R50x have been modelled after those used in the original ATH-R70x. The headphones come with two detachable cables, each with a 2.5mm twist-lock connector at the left earcup and a 3.5mm gold-plated stereo mini-plug.
In brief, a white version of the ATHM20x headphones is now available.
www.audio-technica.com
Allen & Heath brings wall control to non-technical users
DESIGNED TO provide remote control over AHM, dLive or Avantis systems, Allen & Heath’s IP4 is a 4-button simple programmable wallplate controller. It has been designed with the non-technical user in mind, and can control zone level, source selection, mutes, level adjustment and scene/preset recall. Multiple IP controllers can be connected to an AHM, dLive or
Avantis system to provide control exactly where needed. The controller interfaces with the mixing system via standard TCP/IP network connections and can be networked with other controllers, computers and third-party devices using a standard Ethernet infrastructure. The IP4’s controls and functions are configured using AHM System Manager, Avantis Director or dLive Director software
DESIGNED TO
band, AEQ has launched the Xplorer MAX wireless intercom terminal. Based on WM-DEC (Wireless Multimedia – Docsis Enhanced Communication) technology, the Xplorer MAX provides protection against interference and can operate up to 600m in an open field with a single antenna. Ideal for temporary deployments and large-scale environments, the Xplorer MAX minimises the need for multiple access points. Each access point can manage dozens of terminals simultaneously. Combining functionality and ergonomics in a compact beltpack format, the Xplorer MAX integrates
(PC or Mac), or via an Avantis mixer or dLive Surface.
Available in two form factors for the US and EU/UK markets, the IP4 is compatible with Decora and MK Elements faceplates. The device also automatically matches firmware with connected devices for easy installation and system maintenance.
www.allen-heath.com
for the operator and precise control of all console functions with its touch&touch button. With 10 faders and 16-channel Dante connectivity as a base, expandable to 32 channels, the Capitol IP Plus has a routing capacity of 96x96 and is available in a silver or black finish. Its programmable keys reportedly allow hundreds of configurations via paging.
In addition, the console comes with Bluetooth connectivity on the surface, three amplified headphone circuits, four AES/EBU digital inputs and outputs, and up to 17 analogue inputs and 16 analogue outputs, including five microphones, in a basic configuration that can be expanded via Dante.
www.aeq.es
As easy as 3-2-1
EXPANDING ITS Evolve family of column loudspeakers in response to customer demand, Electro-Voice has introduced the Evolve 70 and Evolve 90 loudspeaker systems. Aiming to cater to audience sizes of up to 500 people, the large-format additions to the range feature 15and 18-inch subwoofer options, larger mid/high drivers, large voice coils and a subwoofer laminar vent design that the company says provides “more output and the deepest bass on the market”. Meanwhile, neodymium column drivers, an aluminium distance pole and lightweight materials throughout deliver “fast 3-2-1” assembly. The Evolve 70 delivers a maximum SPL of 133dB and the Evolve 90 offers 134dB. The Evolve 70 features a 15-inch subwoofer which takes lowfrequency extension down to 35Hz; the Evolve 90 offers the only 18-inch subwoofer in its class, taking its lowfrequency extension down to 28Hz. Both offer eight 4.7-inch neodymium drivers for 120°-wide consistent coverage via propriety waveguides, with array-formed asymmetrical 25° vertical coverage. Both also include connectivity for microphones, line level, Bluetooth and digital signals. These include XLR/TRS combo mic/ line inputs, XLR and RCA line level inputs, and digital AES/EBU. Both the Evolve 70 and Evolve 90 are also integrated into the recently updated QuickSmart Mobile App ecosystem, which allows the user to control it as part of a system with
other Bluetooth-enabled EV portable speakers.
Available in black and white finishes, both are designed for rapid deployment, featuring the Evolve 3-2-1 approach for assembly, providing three pieces that fit together in two clicks to form one system. An aluminium distance pole separates the tops from the subs, while the neodymium drivers and advanced materials keep the weight low.
www.electrovoice.com
A sequence of events
KLING & FREITAG has released its Sequenza 8 line array system designed for both touring and fixed installations. With a frequency range of 57Hz–22kHz (–10dB) and 68Hz–19kHz (–3dB) as well as a maximum SPL of 143dB, the system can be paired with PLM and D-Series system amplifiers. Patented TrueShape technology enables tool-free adjustment of the horizontal dispersion in three modes – N (60°), W (90°) and XW
result in a compact enclosure design. With the redesigned AutoLock rigging system, the front rigging structure eliminates traditional ball lock pins, allowing for a fast setup and teardown with minimal crew requirements.
The Sequenza 8B single 18-inch subwoofer complements the system and comes with a frequency range of 33–143Hz (–10dB), power handling of 750W nominal, up to 3,000W peak and a
(120°) – with even asymmetric configurations available. Unlike conventional systems that adjust only part of the horn, TrueShape modifies the entire horn contour to provide even sound distribution across the entire working range of the high-frequency drivers.
The mid- and low-frequency sections are equally optimised with four 4-inch midrange drivers in bass-reflex enclosures that are said to provide precise directivity, while outward-angled 8-inch woofers
CODA launches APS-Pro Series
CODA AUDIO has announced the launch of the APS-Pro Series comprising two models: the APSPro-D with a 10° cabinet angle for long throw and high granularity of control, and the APS-Pro-S with a 30° cabinet angle for short throw and wide nearfield coverage.
Developed from the manufacturer’s APS series, the APS-Pro-S and APS-Pro-D are compact, 3-way, arrayable point source loudspeakers, designed for small and medium-sized venues where a powerful and scalable solution is required. Both models deploy new versions of CODA’s Dual Diaphragm Coaxial Curved Wave Driver (DDC) for mid/high frequency. These new drivers are built to
generate the appropriate 10° and 30° wavefronts at source, without having to rely on waveguides or flares. The dual 10-inch lowfrequency drivers are mounted on an aluminium baffle – CODA’s Dynamic Airflow Cooling (DAC). DAC allows for higher power handling and more headroom at low frequencies, giving higher sound pressure levels for longer, without power compression. Each cabinet has an AES power rating of 1,400W and a peak SPL of 144dB (A weighted) per cabinet. Low frequency extends to 50Hz at –6dB, all from an enclosure that weighs 27kg.
The APS-Pro’s output directivity is controlled by a magnetic Instafit APS-Coupler which combines all the
max SPL of 138dB. The enclosure is made from durable multiplex with a high-resistance polyurea coating.
Finally, the German manufacturer has developed a Touring Amp Rack that offers 12 fully powered amplifier channels in a compact format, integrated power distributor and complete wiring, and a newly designed K&F CP³ connector panel for maximum flexibility.
www.kling-freitag.de
elements of the loudspeaker into a single, pattern-controlled wavefront. With quick release grilles that require no tools, the new couplers allow quick and easy changes to coverage angles, enabling the flexibility to adapt to different venue layouts and requirements. Both models can be flown singly or with additional APS-Pro cabinets in vertical arrays to match a system’s output to any requirement. Horizontal coverage can be changed between 60°, 90° and 120°, and asymmetrical configurations of 75°, 90°, 100° and 105° can be achieved by using different Instafit coupler configurations.
www.codaaudio.com
Sequenza 8
Evolve 70
PRODUCTS
DAS Audio adds MARA to ARA
WITH THE introduction of the MARA self-powered line array system, DAS Audio has extended the ARA series. Positioning itself between the LARA and SARA systems for medium and large-scale events, MARA produces a continuous power of 4,200W RMS and a maximum SPL of 148dB.
Dual 10-, 8- and 6-inch drivers combine in a cardioid setup to produce the lower and midrange frequencies. The high frequencies are managed by two M-78N compression drivers with 3-inch voice coils. The system also offers 80° and 100° horizontal coverage options to enhance its use across a wide variety of acoustic environments and event requirements.
Promoting efficiencies under varying voltage conditions, a 6-channel Class-D amplifier with DSP is incorporated with a switched-mode power supply and Power Factor Correction (PFC). Enabling precise sound control and minimal unwanted onstage emissions, the cardioid design provides rear attenuation of up to –12dB in the 80–200Hz range. Complementing MARA, the self-powered MARA-SUB cardioid subwoofer incorporates a 21-inch frontfacing speaker and an 18-inch rear-facing speaker. Delivering low-
frequency control, the design achieves rear attenuation of –14dB in the 32–125Hz range. Housed in birch plywood with an ISO-flex coating, the rigging system integrates both the MARA-SUB with MARA arrays.
With the addition of MARA and MARA-SUB, the ARA series represents a comprehensive solution for the professional audio sector. All ARA series solutions are supported by the manufacturer’s ALMA control and monitoring platform. ALMA integrates advanced tools including DASaim, which uses FIR filters to optimise directivity and sound coverage, and Health Check, to evaluate system conditions through NFC technology.
www.dasaudio.com
The start of a new era
Expansion and innovation
ITALY’S TT+ Audio has expanded its GTX portfolio with the addition of the GT 8 point source speaker and the GTS 19G subwoofer. Featuring dual 8-inch neodymium woofers in a symmetrical configuration and a central 3-inch titanium-dome neodymium compression driver, the GT 8 is equipped with a rotatable
control. The cardioid solution is further optimised with FiRPHASE linear 0º phase response and Bass Motion Control processing, extending cardioid performance across a broader frequency range compared to conventional cardioid systems.
AIMED AT
operation for production events, EAW’s NT206L is the first in the company’s NT Series of next-generation speaker products. According to the company, the compact NT206L self-powered line array loudspeaker differs from conventional compact line arrays. In addition to a patented EAW waveguide that leverages the manufacturer’s Focusing technology, the NT206L debuts an EAW Core Technology called Adjustable Horizontal Directivity (AHD), enabling users to quickly choose between four horizontal coverage profiles through simple hand-operated adjustments in the field. It has two 6.5-inch low-frequency drivers with 2-inch voice coils, a 1.75-inch high-
frequency driver and boasts 1,500W of onboard power.
Designed for production companies seeking fast, flexible deployment of loudspeakers, the NT206L weighs under 14.5kg which EAW says is lighter than most passive, plastic enclosures in its class. It plays up to 139dB, goes low (65Hz–20kHz) and features familiar analogue inputs and controls without the need for complex audio networking. Housed in a Baltic birch, steel and aluminium enclosure, the loudspeaker includes a comprehensive assortment of accessories for transport, stacking, pole mounting and rigging.
www.eaw.com
combines a single 19-inch transducer with a compact enclosure for smalland medium-sized configurations alongside the GT 8 or GTX 10. In addition, the company has previewed its GTX 7C active cardioid line array and GTS 16C flyable cardioid subwoofer. Utilising separate amplification channels and advanced DSP for the front and rear transducers, TT+ says both systems achieve unmatched directivity and rear sound attenuation. The GTX 7C’s digitally controlled directivity provides an average rear attenuation of 22dB up to 600Hz, with a maximum SPL of 140dB. The GTS 16C features a dual-woofer design with a 16-inch neodymium front woofer and a
The manufacturer has also added three installation-specific GTX 10 modules – the GTX 10i, GTX 10Pi and GTX 10Wi – to its portfolio, with each unit individually designed to address diverse acoustic requirements. Featuring 1.4-inch neodymium compression drivers and dual 10-inch neodymium woofers, these modules achieve up to 143dB max SPL and
14-inch rear woofer. Optimised with FiRPHASE linear 0° phase response and Bass Motion Control processing, the company says the development extends cardioid performance across a broader frequency range compared to conventional cardioid systems. Finally, the GTS 16C features a dualwoofer design – a 16-inch neodymium front woofer and a 14-inch rear woofer – for precise low-frequency
are suited for medium and largescale installations. To accommodate different venue geometries and dispersion needs, the GTX 10 offers three distinct coverage patterns: 70° x 15° for focused projection, 110° x 15° for broader horizontal coverage and 110° x 30° for widearea applications.
www.ttaudio.com
MARA array
GT 8
GTS 16C
GTX 10Pi
JBL promotes enhanced ceiling coverage
AS THE successor to its Control 20 Series of ceiling speakers, JBL Professional’s Control 400 Enhanced Coverage Series aims to deliver superior performance, improved conical coverage, enhanced installation features and a more modern aesthetic. With six models to choose from, the series introduces JBL’s latest iteration of Radiation Boundary Integrator (RBI) technology: the Coplanar RBI (CRBI). The company says this technology enhances coverage with more consistent levels and can lead to fewer required speakers and amplifier channels.
The series includes a variety of mounting enhancements. Terminal covers provide top and side cable entry ports and can be secured without tools using captive hand screws. The captive dogear design works with a range of ceiling thicknesses and all models include transformers to support both 70V/100V and low-impedance applications. Meanwhile, all six models include a redesigned magnetic grille to blend in with modern décors; grilles can be painted to match any décor, and optional
black and square grilles are also available.
Core models are the Control 426C/T and the Control 424C/T 2-way coaxial ceiling loudspeakers with 6.5- and 4-inch woofers, respectively. For applications where ceiling plenum space is limited, the Control 426LP and Control 424LP are low-profile units. The Control 426C/T-LS has been certified to the UL1480 standard, expanding application possibilities into life-safety designs. Finally, the Control 419CS/T is a high-power, low-distortion 8-inch in-ceiling subwoofer that augments designs requiring extended low-end performance.
Meanwhile, the manufacturer has added two flyable subwoofers to its SRX900 Series of powered loudspeakers. Included are the SRX915SF 15-inch and SRX918SF 18-inch single woofer models that can be flown and configured with existing SRX900 line arrays and rigging accessories. The subwoofers are said to expand versatility and are ideal for where floor space may be limited.
Both units feature dual voice coil, Differential Drive woofers that reportedly deliver better heat dissipation, lower power compression and wider dynamic range. A large
low-frequency port design improves airflow and reduces audible turbulence. A reinforced 18mm birch plywood cabinet provides enhanced strength and durability. Both subs feature the same amplifier module as the existing SRX900 subwoofers, offering a plug-and-play experience. In addition, a new range of accessories has been introduced, compatible with both the existing and new SRX900 products. Alongside the new hardware offerings, a series of firmware and software updates have expanded the system further.
pro.harman.com
PRODUCTS
HH Audio expands its catalogue
HH AUDIO has designed the Aptur range for a wide choice of audio settings and includes ceiling, pendant, column array and subwoofer loudspeakers. The APT-CL column array loudspeakers have been created with an emphasis on pronounced audio directivity, while the APT-C 2-way ceiling-mounted speakers are available in three sizes (4-, 6.5- and 8-inch). The APT-CS 8-inch ceiling-mounted subwoofer extends the low-end frequency response of the overall system. The APT-P 2-way 6.5-inch
pendant loudspeaker extends the potential applications of the range to environments with cavernous high ceilings or spaces without a cavity space beyond the ceiling to mount a traditional ceiling speaker. The 8-inch APT-WS subwoofer echoes the low-frequency acoustic benefits of the APT-CS and provides low-end frequency extension with its direct radiating design.
The CL Series speakers are available in multiple configurations of high-quality 4-inch mid-frequency and ¾-inch high-frequency drivers.
The CL16J (4x 4-inch) and CL32J (8x 4-inch) both use asymmetrical projection to reduce the requirement for tilting the speaker on installation and optimise the coverage angle when installed at a static height. The CL32 (8x 4-inch) can be combined with either the CL32J or CL16J when a larger column system is required. CL Series column array speakers are all housed in a robust plywood enclosure and finished with scratch/ wear-resistant paint.
www.hhaudio.com
ICOA Pro gets right down to business
LD SYSTEMS’ ICOA PRO series has been further developed to include two new active full-range coaxial speakers for bands and musicians, or for dry-hire customers, and a new active 21-inch bass-reflex PA subwoofer. The ICOA PRO series is characterised by its use of modern connection and control options via Bluetooth 5.1 in tandem with the specially developed smartphone and tablet ICOA PRO app.
The ICOA PRO 12 A and ICOA PRO 15 A full-range PA systems are based on a coaxial speaker design featuring a 12- or 15-inch woofer and a 3-inch HF driver. A BEM-optimised, rotatable CD horn ensures precise dispersion of 90°
x 50°. Additional bass-reflex ports enable the speakers to reproduce a full range down to 50Hz. The integrated Class-D power amplifier delivers 2,000W for the ICOA PRO 12 A or 3,000W for the ICOA
PRO 15 A and a maximum level of 133dB or 135dB SPL, respectively. The ICOA PRO series has almost the same dimensions as the ICOA series, but features a new design based on a robust ABS housing with various
rigging and mounting options. The PRO models have a newly designed control panel on the back, with a 2.4-inch colour display and a single controller for intuitive menu navigation.
The ICOA PRO SUB 21 A is a highperformance bass-reflex subwoofer with integrated Class-D amplifier, outputting 3,000W peak power and 136dB SPL maximum level. It’s capable of reproducing frequencies down to 29Hz with its combination of 21-inch woofer, 4.5-inch voice coil and neodymium magnet. Despite its power, it remains compact (a 21-inch sub in an 18-inch format), combining maximum power with a handy size.
www.ldsystems.com
RCF heralds the KX Flagship and SUB 9000 Series
WITH THE unveiling of the KX Series, RCF has advanced its self-powered speaker technology credentials. Currently consisting of eight 2-way models, the flagship line features RCF Precision transducers and Class-D power amplification. The three dual 10-inch models vary with the KXP 4 - A with a narrow directivity, the KXL 4-A serves as an array and the KXW 4-A offers a wide directivity. Like the three dual 10-inch KX speakers, the KX 45-A, KX 32-A, KX 10-A, KX 08-A and KX 515-A cabinets feature onboard digital signal processing, including proprietary FiRPHASE and Bass Motion Control.
Seamlessly integrated with the RDNet networked management system, the KX Series speakers can be monitored, measured, controlled and fine-tuned. The eight
speakers match all RCF SUB Series subwoofers, and can be paired using factory-tuned Advanced
Crossover Engine (ACE) presets. This transforms sub-top systems into fully optimised 3-way setups, ensuring tight bass performance and extended linearity across any environment. Housed in marinegrade Baltic birch plywood, the enclosures are treated with a weatherproof scratch-resistant polyurea coating and are further equipped with ergonomic handles and steel rigging components. Fulfilling the low frequencies, the SUB 9000 Series of selfpowered subwoofers incorporate proprietary ACE presets and an RDTap contactless solution for system configuration. Heralded as the Italian manufacturer’s most powerful self-powered subwoofer line to date, the SUB 9000 Series consists of the single 19-inch SUB 9019-AS, the double 19-inch SUB 9029-AS and the single 16-inch
SUB 9016-AS. The latest Precision transducers, paired with Class-D power amplifiers, combine to produce up to 8,000W (peak) with a max SPL of 142dB. Extending the lowest audible frequencies without affecting the woofer stability, all models are equipped with BMC processing. RDTap technology simplifies setup by allowing contactless configuration, even when the unit is unpowered, including advanced options such as cardioid configurations. With RDNet integration providing real-time monitoring and control, the SUB 9000 Series features weatherproof plywood cabinets with durable polyurea finishes, magnetic rain covers for connection panel protection and powerCON TRUE1 TOP AC connectors.
www.rcf.it
KX 08-A
CL Series
ICOA PRO Series
Dynacord unveils IX Series power amplifiers
THE IX Series from Dynacord consists of five models tailored to industrystandard power specifications of 1,500W, 3,000W and 6,000W across two 8-channel and three 4-channel configurations in a compact 1U form factor. The series has been designed for AV systems integrators, installers and consultants, and offers the same functionalities as the manufacturer’s IPX flagship series.
The units have been created for sound system installations that require comparatively less output power. They can also be specified for complementary amplification duties in larger installations. Furthermore, the IX Series allows for integration with thirdparty platforms such as Crestron and Q-SYS via software plugins. Each IX model comes with eight (8-channel models) or four (4-channel models) mic/line inputs with switchable phantom power. The Dante input/output channels include direct,
mix and amplifier outputs, providing extensive routing options. The onboard DSP features high-resolution processing at 96kHz, advanced DSP capabilities with input processing, a 16x16/12x12 channel matrix mixer along with FIR-Drive and Dynacord’s studio-quality effects. Additionally, the IX Series integrates taskENGINE for system logic derived from the MXE5-64 open architecture DSP to facilitate system automation, scheduling and third-party integration.
Dynacord’s ghostPOWER via PoE (Power over Ethernet) is an extension of ghostPOWER technology implemented in the IPX and TXG series. It ensures that the DSP, Dante/ control network and all analogue mic/line signal inputs and mixes remain alive in the absence of mains power. Additionally, overall power consumption is significantly reduced with ecoRAIL, conserving energy and lowering ownership costs, while
DirectOut expands PRODIGY and MAVEN
A SERIES of dual network audio modules for PRODIGY and MAVEN have been released by DirectOut. Designed to enhance the flexibility and interoperability of the host device, the modules offer expanded audio network and sample rate conversion options and fit into the audio network slot (A slot) of all PRODIGY and MAVEN devices. They also feature bidirectional sample rate conversion (HD SRC) as a standard, allowing them to link to different audio networks independently of different clock masters.
Devices equipped with a single A slot, such as MAVEN.A or PRODIGY.MC, particularly benefit from the dual functionality of these modules. Users can either double the channel capacity
providing a versatile and cost-efficient solution. The DANTE.DANTE.SRC.IO module offers two interfaces with 64 channels each and individual SRC for each Dante network.
There are currently seven available modules in the range of options including the DANTE.MILAN.SRC.IO, DANTE.RAV.SRC.IO and DANTE.SG.SRC.IO. These focus on Dante conversions, enabling fully redundant, effortless conversions between Dante, Ravenna, Milan and SoundGrid network protocols.
In addition to the Dante solutions, the RAV.MILAN.SRC.IO and RAV.SG.SRC.IO, alongside the MILAN.SG.SRC.IO, can facilitate any conversion between all these popular audio network protocols.
powerTANK provides flexible power allocation by acting as a power reservoir. With direct access to the total amp capacity, powerTANK can dynamically deliver power of up to 1,000W or even 1,800W (IX 60:4) per channel as needed. For maximum installation flexibility, the IX Series can individually drive both high- and lowimpedance loads.
The IX Series integrates into the SONICUE sound system software and is compatible with the IPX, TGX, L and
C Series amplifier lines, as well as the MXE5-64 matrix mix engine. The series also works with all peripherals within the SONICUE ecosystem, including the TPC-1 touchpanel controller and the WPN1 wall panel controller, and any device using SONICUE Control panels (Windows or iOS). The upcoming 1.5 software release of SONICUE will fully support the IX Series.
www.dynacord.com
A Sommer forecast of flexibility
SPECIFICALLY DESIGNED for demanding environments, Sommer Cable has developed an Ethernet cable for stable and powerful connections for transferring data over Cat.5e, Cat.6 and Cat.6A together with a Cat.7 PUR version for highfrequency Cat.7 transmissions. Common to the three variants, an SC-Mercator is available in different versions depending on the environment. For industrial use and outdoor events in addition to mobile OB van applications, the Ethernet connection cable KATE consists of the
SC-Mercator Cat.6a armoured with a Neutrik NE8MX-B-Top connection housing. Protected by a PVC jacket and stainless steel, the cable remains flexible for laying. Certified to True Outdoor Protection (TOP) standards, the connector comes with an IP65 rating. Combining flexibility and durability, the X6TE combines the Neutrik NE8MXB-Top housing with a flexible
or P7RE versions with the SC-Mercator Cat.7 PUR bulk ware cable provide a transmission frequency of 600MHz. The P7RE is also available with the latest Neutrik NE8MXR-B-TOP housing, which can be completely retracted allowing the connector to be mated to RJ45 sockets.
www.sommercable.com
IX Series Rack
Clear-Com adds to FreeSpeak family
CLEAR-COM HAS added the FreeSpeak Icon beltpack to its FreeSpeak family of wireless intercom systems. Designed to meet the needs of technical teams across broadcast, live performance and worship markets, the beltpack combines the RF capabilities of the 1.9GHz (DECT) frequency with an array of userfocused innovations, including nine configurable buttons, four individual channel volume controls and support for the latest Bluetooth 5.3 technology. The beltpack’s nine configurable buttons, including eight dedicated channel buttons and a reply key, are said to rival the functionality of a traditional intercom panel. Four dedicated channel volume controls and a main volume control allow users to fine-tune audio levels for each
channel, reducing listening fatigue and enhancing overall comfort. With Bluetooth 5.3 compatibility, users can connect the beltpack to modern wireless headsets and earbuds.
Optimised for compatibility with the manufacturer’s Arcadia Central Station and Eclipse HX digital matrix, the
Yamaha is planning ahead
PROVISIONAIRE PLAN from
Yamaha is a browser-based audio system planning tool that extends Yamaha’s ProVisionaire suite of software applications for the design, operation and management of the company’s audio systems. ProVisionaire Plan enables users to automatically select and arrange components such as microphones and speakers to create a system simply by entering information such as the dimensions of the room. By automatically selecting and arranging equipment with simple, intuitive actions, it aims to automate both the step-by-step design and onsite acoustic tuning phases of any project, from system configuration to calibration.
Breaking down barriers for nonaudio experts, results are presented visually, with the coverage area of the automatically placed microphones and speakers illustrated to justify the proposal. In addition, a 3D view allows investors to clearly envisage the system they are investing in. Initially addressing Yamaha’s ADECIA system, the manufacturer plans to add more products to ProVisionaire Plan in the future, expanding the range of systems it can be used to design. Meanwhile, Sound xR has been designed to bring the Yamaha Group Companies together with a collective vision to bring immersive experiences to everyone. The Sound xR vision is to connect real with virtual environments, for example
Virtually Professional
platform to deliver higher channel capacity, integration into virtualised environments and more versatile installation options. Aiming to empower audio professionals across
beltpack includes Dante and MADI for Eclipse users.
With the EHX v14 software update, Clear-Com has advanced its Eclipse HX digital matrix intercom system for mainstream production intercom solutions. Said to add “unmatched”
HX systems, EHX v14 includes SIP integration via the IPA card. By providing connectivity with a range of SIP-enabled devices, communication networks can be expanded across SIP and intercom platforms.
The v14 update also introduces redundancy with the SMPTE 2022-7 protocol for integration with third-party AoIP devices. This feature ensures continuous operation by providing redundancy on critical audio pathways, even when interfacing with nonClear-Com AoIP systems. Minimising the risk of downtime and ensuring reliability, this addition underscores the US manufacturer’s support to interoperable communication for complex productions.
join from other platforms such as VR devices or smartphones and experience immersive audio via headphones. Or the reverse – users can reproduce virtual content at
live sound, recording and broadcast applications, the DVS Pro supports up to 128x128 channels at 96kHz and seamlessly connects with a broader array of Dante-enabled devices with up to 64 flows to deliver the flexibility to easily scale their systems. Compatibility with virtual environments enables users to expand deployment possibilities, while clock leader and unicast clocking support enable Dante audio to operate entirely in software-based environments.
Meanwhile, the DVS Pro’s integration with the Dante platform also enables it to leverage the Dante control and management plane for easy audio routing and system
Field Control) delivers immersive experiences to audiences and event visitors in the real world.
www.yamaha.com/2/proaudio
management, as well as pair with Dante Domain Manager or Dante Director for advanced features like enhanced monitoring, user access control and cross-subnet routing. Available for both Mac and Windows, it transforms any PC or Mac into a Dante-enabled device. By utilising the computer’s standard wired network connection, the software eliminates the need for additional hardware. Audinate says this makes it ideal for a range of applications, from multitrack recording directly into DAWs like Pro Tools or Logic Pro, to media playback and collaborative production.
www.audinate.com
AS THE audio industry shifts towards networked, software-based solutions, Audinate’s Dante Virtual Soundcard Pro (DVS Pro) builds on the foundation of its Dante
ProVisionaire Plan
d&b makes En-Space for Custom Rooms
ENGINEERED TO enable organisations, creatives and artists to recreate their specific signature acoustics in any environment, d&b audiotechnik has introduced En-Space Custom Rooms. The new customisation service is an extension of the En-Space virtual acoustics engine for the Soundscape immersive audio ecosystem.
Engineered with flexibility and customisation in mind, Custom Rooms allows for the creation of bespoke acoustic signatures for individual clients, using the En-Space measurement method. To expand the creative possibilities, three additional En-Space room slots are available on every DS100 Signal Engine. For ease of use, installation of custom signatures is available through web remote and controllability via OSC. In addition, Custom Rooms can be transferred to any environment,
Further enhancing the offerings of the En-Space module, d&b has introduced the d&b En-Space Control plugin, designed to integrate into a Digital Audio Workstation (DAW) or other plugin host environment. The tool enables sound engineers and designers to control all En-Space parameters on the DS100 platform via the AES70 (OCA) protocol. The plugin allows DAWs to record En-Space parameters as automation envelopes or snapshots.
Meanwhile, ArrayCalc V12 is the latest version of d&b’s system planning and simulation software and introduces new features including the manufacturer’s virtual Patch Plan, an enhanced visualisation tool designed to streamline workflows and improve the accuracy of infrastructural planning. These enhancements are said to enable users to plan and deploy sound systems with increased
NEXO HAS launched its DME10 256x256 Dante-equipped immersive audio processor featuring up to 128-in/64-out AFC Image objectbased mixing with three-dimensional reverberation. The unit ships with 32 object inputs/16 speaker outputs included as standard, expandable in blocks of 32x16, 64x32 and 128x64 via a flexible licensing structure. The DME10 features 96kHz processing and is equipped with a wide range of DSP components that can be freely selected, connected and configured, allowing for flexible system construction. A separate speaker system and immersive processors are no longer required as it’s all inside the DME10. The processor combines with the company’s powered TD Controllers and point source and line array loudspeaker systems to create solutions for applications of any scale.
Patch Plan simplifies system design by providing a comprehensive visual representation of the system infrastructure. The visualisation of the system architecture and the ability to plan the system racks within ArrayCalc reportedly reduce the need for third-party tools. Users can now visualise system infrastructure, understand device connections and quickly map out signal flow using smart patching options. A streamlined system rack design has been created to simplify the process of designing and
connecting system racks, supporting both standard and custom configurations. Soundscape design support provides dedicated tools for Soundscape patch planning, while Milan integration means that users can visualise Milan streams and their associated channels, providing a better overview of signal distribution. d&b’s new CCL (Compact Cardioid Line Array) System can also be planned and simulated within ArrayCalc V12.
www.dbaudio.com
A model of collaboration
AIMING TO deliver greater workflow efficiencies to sound designers, L-Acoustics and AFMG have collaborated to allow the transfer of L-Acoustics system designs created in Soundvision directly into AFMG’s EASE 5.
Soundvision is L-Acoustics’ 3D acoustic modelling software and AFMG’s EASE is a brand-agnostic standard for acoustic simulation. The collaboration enables designers
while maintaining accurate acoustic modelling capabilities. L-Acoustics says that acoustic results in Soundvision and EASE 5 remain within a 0.5dB tolerance of each other, so predictions remain reliable on both platforms. Moreover, it pays particular attention to safety – designers can ensure the mechanical safety of all sources directly in Soundvision before exporting to EASE, maintaining
The ProVisionaire suite enhances the DME workflow by providing a comprehensive set of software tools designed for accessible use, supporting system design, operation and licence management.
The manufacturer has also updated its NS-1 system configuration and simulation software which now includes AFC Design Assistant for defining the quantity, density and placement of speakers, before predicting their performance and audience coverage. The speaker configuration can then be exported directly to AFC Image Controller for object-based mixing of the sources in a 3D space. Third-party integrations via OSC protocols are also supported to enhance versatility and adaptability across different platforms and setups.
www.nexo-sa.com
to transition from Soundvision to EASE 5 seamlessly, with no manual recreations and ensuring consistency between both platforms. It supports all L-Acoustics line sources, colinear sources and coaxial loudspeakers, including the L Series, to deliver comprehensive coverage of main speaker systems
safety parameters throughout the process. The company says the solution enables the export of the physical deployment of all sources within the system design, preserving positioning, aiming and array configurations.
www.l-acoustics.com
En-Space Custom Rooms
Making an impact
Sermon Shots’ CEO and founder, Corey Alderin, discusses how the company can help churches extend their message by making their sermons more impactful
THE WAY IN WHICH WE WORSHIP is continuing to evolve. Heightened by the pandemic, churches nowadays are looking beyond the four walls of the sanctuary to connect with their congregation. While some are beginning to recognise the benefits of posting sermon clips on social media, not every church has the manpower, time or the means to do so. Sermon Shots provides the technology to upload sermon clips and recaps within minutes.
Sermon Shots’ CEO and founder Corey Alderin established the company in 2021 off the back of a previous software business he’d created. “The earlier software was a design platform for authors but then we wondered if we could adjust it somehow for churches,” explains Alderin. “There was a video technology component to the book platform and so we were able to take that technology and apply it to making sermon clips for churches.”
An active member of his local church for the last 15 years, Alderin quickly recognised a gap in the market that he could tap into. “In the process of talking to pastors about how the book platform could be
transformed, there was a reoccurring theme – pastors wanted to create clips of their sermons to share on social media. So, we took a couple of months to repurpose the code and develop it specifically for the church market.”
For the first 12–18 months, the company focused entirely on creating sermon shots for its customers, but then Alderin recognised the potential for transitioning to a platform where churches can repurpose content in a variety of ways, such as transforming each sermon into a five-day devotional series or receiving a first draft of a sermon as an SEOoptimised blog post. “We’re adding to the platform all the time,” explains Alderin. “I have a lead developer and six other developers who are working full time on new content, for example we’ve recently launched the ability to create carousels from a sermon for Facebook and Instagram, and we’re also looking at different ways to deliver content, such as Sermon Send, which takes all the repurposed content and puts it on a web page that the congregation can look at.”
As the number of churches livestreaming their services continues
to increase, so does the number of churches recognising that they can take video content from the livestream to increase their reach.
“Sermon Shots, Sermon Live and Sermon Send are all individual products but they integrate together.
Sermon Live’s first process is live translation which is automatically saved into your Sermon Shots account, it’s then repurposed and transferred to your Sermon Send account, so we’re trying to make the platform flow so customers don’t need to worry about sending everything to the right place.”
However, most new customers are first and foremost looking to create the sermon clips. “As churches realise that other houses of worship in the area are posting on social media, they’re beginning to wonder if they’re being left behind,” explains Alderin. “There’s a huge audience that churches are potentially missing out on if they’re not doing reels. And then when they start, it opens their eyes to the other types of online content that they can be producing. We’re seeing an increased number
of customers coming to us from referrals as they realise how the platform can benefit them.”
Constantly adapting the technology is one of Alderin’s main priorities so that the company can offer services to churches of all sizes. “Every church’s wishes can be different so it’s important that we offer a range of ideas so that each customer can pick and choose depending on what they’re looking for. The company has grown really quickly over the last 18 months and we now have 25 full-time staff. Creating a platform that has been designed specifically for the house of worship market has kept us ahead of the competition. Having been actively involved in my church in various roles has helped me understand how the technology can be used to increase visibility and engagement within the congregation. Churches are increasingly looking to add value to their services so we’re constantly looking to create new ways to deliver that content to a wider audience.”
