Worship AVL March-April 2020

AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST

March–April 2020

IMMERSING DIGITAL AUDIENCES How to draw attention in the technological age

Singapore: MICA (P) 068/06/2019 PPS 1644/05/2013(022954)

CONTENTS

Issue 63

March–April 2020

NEWS

LEADER

YOUNG & FREE CONSISTENCY Adamson touring setup for Hillsong band in North America 4 BIG BARN FELLOWSHIP Symetrix audio network installed in Crystal Peaks’ new sanctuary 6 ORCHESTRAL CLARITY Klang and DiGiCo equipped at Willowbrook Baptist

8

ST STEPHEN’S SYMPHONY German cathedral bathed in light and sound

10

AMPLIFIED IN BROOKLYN Powersoft installed at the Basilica of Regina Pacis

11

ALCONS ENTERS THE TEMPLE Gospel choir and band reinforced in Music City

12

OUT OF SIGHT Discreet L-Acoustics setup equipped at Evergreen Ministries

14

LIVES CHANGED SOLUTION Clair provides sound at LCBC’s new satellite campus

15

MEDITATING AT YBAT New audio setup for Young Buddhists Association of Thailand

16

PROJECTS SHARJAH GRAND MOSQUE Sharjah’s largest mosque broadcasts to the masses

18

SHADES MOUNTAIN Renovation to inspire storytelling at Alabaman Baptist church

22

LOURDES FORANE CHURCH Ansata delivers a d&b solution perfect for prayer

26

TRINITY FELLOWSHIP Brandon Newburg discusses its bidirectional broadcast setup

28

BLACK ROCK How one church reconfigured its existing AVL inventory for Christmas

30

It’s safe to say that the vast majority of projects covered in this magazine concern the installation of newly purchased equipment.

After all, the very purpose of Worship AVL is to highlight the new and innovative ways in which houses of worship around the world are using audio, video and lighting technologies to engage with their followers. However, it’s not always absolutely necessary to invest in new gear to try something different, as highlighted by one particular case study in this issue. On p.30, you’ll find Black Rock Church’s Christmas services featured. The Connecticut church repurposed its existing lighting inventory to create a different look and feel for the special services it ran throughout December, highlighting what can be achieved with a little creativity.

That’s not to say that this issue is devoid of content showcasing the acquisition and use of new technologies. Quite the opposite; in fact, with my personal highlight in this magazine being our cover feature, Immersing Digital Audiences, in which Andrew Gordon from BlackTrax explores how some places of worship, including the pictured AURA installation at Montreal’s Notre-Dame Basilica, are implementing new technologies in some rather extraordinary ways to fully capture the attention of the smartphone generation. Check it out on p.46.

KNOWHOW GOING DIGITAL (PT.2) Gordon Moore discusses opportunities during a digital upgrade

32

IMPLEMENTING VIDEOWALLS Considering videowalls vs projection and installation

36

MOVING LIGHTS John Black explains how to incorporate moving fixtures

38

MAINTENANCE Frank Wells talks tripods, mics and music stands

42

James Cooke Editor

Telephone: +44 (0)1892 676280

Email: jcooke@worshipavl.com

TECHNOLOGY

MEET THE TEAM

SMPTE ST 2110 An expert look at AV-over-IP interoperability and standards

44

COVER: IMMERSIVE TECHNOLOGIES Andrew Gordon on immersing digital audiences

46

ATMOSPHERIC EFFECTS Bob Mentele sheds some light on a foggy subject

50

Richard Lawn:

Sue Gould:

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GENERAL MANAGER rlawn@worshipavl.com

BUYING GUIDE Factors to consider when looking for the right video processor

52

PRODUCTS Equipment launches and updates

54

THE TECH VIEW A Canterbury tale by Daniel Williams

70

ADVERTISING DIRECTOR sgould@worshipavl.com

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DIGITAL MEDIA MANAGER

COVER: AURA at Montreal’s Notre-Dame Basilica

30

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IN THIS ISSUE

CONTRIBUTING EDITOR

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VIDEO EDITOR

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NEWS

Young & Free consistency

Hillsong Young & Free perform in Oshawa, Canada Images courtesy of Jeremie Ngandu

NORTH AMERICA Hillsong Young & Free is an Australian contemporary worship music group that formed in Sydney at the Hillsong Church’s flagship Sydney campus. The band spent much of 2019 touring North America to promote their latest studio album, III. Soundbox Productions, a Canadian AV production company, supplied the technical equipment for the tour, which included a sound setup comprising Adamson S-Series loudspeakers.

‘The Canadian leg of the III tour was the second time we had deployed a complete Adamson S-Series system with the Soundbox crew,’ revealed Hillsong Young & Free’s front of house engineer, Nate Balderston. ‘And for the US run, we decided it was too

good not to use it again. The S10 is a fantastic product. The midrange and clarity really make creating space within the mix so easy.’

The tour included dates at a wide variety of venues, including churches and theatres of vastly different sizes.

Therefore, the sound setup changed depending on the venue, with different quantities of the 24 S10 two-way, full-range enclosures and 14 E119 subwoofers taken from the inventory on each date. The typical setup featured eight S10s per side for the main hangs, two more S10s for frontfill and a further three, ground-stacked S10s per side for out-fills.

‘Our biggest hurdle each day was obviously coverage,’ said Balderston.

‘Some days, we had 120° seating; other days, we had three-tier-balcony theatres. What we loved about using the S10s was we always had a solution.’

Many of the church venues didn’t have the rigging points needed for the sound system, so Soundbox provided Sumner Eventer 25 stage lifts to hold the speakers.

‘The Adamson S10 system is very easy to deploy thanks to the Slidelock rigging technology and S-Series Extended Beams,’ added Soundbox audio head and systems tech, Jamal Bleasdell. ‘Sonically, the proprietary drivers make the midrange sound so much warmer and respond to low end really nicely. Also, Adamson’s

Blueprint AV software has great tools like the Mirror Functions and Vertex/ Edge Link that allow me to build for each venue very quickly.’

‘The comments we received from audiences across both tours, and from many house audio techs we had the pleasure of working with, was fantastic,’ Balderston concluded.

‘The Adamson S-Series being so easy to deploy and configure, as well as its sonic consistency from venue to venue, really made for an amazing experience.’ www.adamsonsystems.com www.hillsong.com/youngandfree www.soundboxpro.com www.sumner.com

Christie celebrates Diwali and Remembrance Day AUSTRALIA To celebrate Diwali and Remembrance Day, the sails of the Sydney Opera House lit up as a digital canvas with the use of 14 Christie Crimson 3DLP laser projectors. Christie’s Australian partner, The Electric Canvas (TEC), designed and installed the projectors in four compact structures at the nearby Overseas Passenger Terminal. This was the sixth consecutive year that TEC was asked to project onto the Opera House for Diwali and the fourth time that it had created mapped projections for Remembrance Day.

4 WORSHIP AVL March–April 2020

‘It is always an honour when the NSW State Government entrusts us with creating projections onto the sails of the Sydney Opera House to commemorate many of our country’s

cultural events and anniversaries,’ said Peter Milne, managing and technical director of TEC. ‘We have relied on our trusted fleet of Christie Crimson laser projectors for these

significant occasions. Not only do they deliver big, bright and intensely colourful images for amazing visual experiences, we are also impressed with the reliability of their solid-state laser light source.’

Michael Bosworth, executive director and head of enterprises for Asia Pacific at Christie, added: ‘We are delighted that Peter and his team at TEC chose Christie’s Crimson projectors to illuminate the Sydney Opera House for Diwali and Remembrance Day.’ www.christiedigital.com www.theelectriccanvas.com.au

Talkback Communicate with camera operators and production staff.

USB Connection For updating switcher software and settings.

Program Mix Listen to the program audio mix.

Source Select Buttons Input buttons for PGM/PVW or cut-bus style switching.

Reference In Supports black burst or tri-sync reference for use with large broadcast systems.

Source and Control Downstream keyer, media players, fade to black and transition selection.

Source Inputs Connect up to 40 x 12G-SDI inputs for HD and Ultra HD or 10 Quad Link 12G-SDI inputs for 8K.

Spin Knob Control Scroll through on screen menus or adjust audio levels.

Independent Assignable Outputs 24 x 12G-SDI outputs for HD and Ultra HD or 6 x Quad Link 12G-SDI outputs for 8K.

Lock Button Locks front panel settings to protect against changes during production.

Multi View Outputs 4 multi view outputs for HD and Ultra HD or 1 Quad Link 12G-SDI multi view output when working in 8K.

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NEWS

Big Barn fellowship

USA Crystal Peaks Youth Ranch’s new Big Barn facility has been equipped with an AV system based on a Symetrix Prism 4x4 DSP, designed and installed by Tony Sprando and his team at AV systems integrator Audio Visual Bend, including project manager Jim Zick. Sprando was familiar with the ranch as his wife and children volunteer there. He had previously designed a sound system for its old Upper Barn venue.

Part of Central Oregon’s Ranch Fellowship, the Crystal Peaks Youth Ranch was originally developed from a nine-acre cinder pit as a refuge for abused horses by Troy and Kim Meeder. Over time, it also developed into a refuge for children and families, who wanted to help with the horses.

Popularity surged and Crystal Peaks’ ‘cowboy church-style Barn Fellowship’ and other ministry services eventually started attracting more people than could fit inside the Upper Barn facility that hosted them. The organisation therefore chose to remodel and repurpose a defunct dairy barn that sat unused on its land, christening it the Big Barn.

‘The Big Barn has a large main space, a living-room-sized foyer off of the main room and a community

room that’s about the same size as the foyer,’ explained Sprando. ‘The Symetrix audio network covers all three spaces and the bathrooms, so we set up four zones in the Prism for those areas. In addition, there’s a big lawn area outside that eventually may be used for a summer venue, so

analogue feeds to be sent to all loudspeakers throughout the venue.

The sound system in the main space consists of two QSC K12 twoway active loudspeakers and a QSC K8 centre speaker, as well as pairs of QSC KQ181 18-inch subwoofers on each side of the stage. QSC

www.crystalpeaksyouthranch.org www.symetrix.co

Jesus Reigns in Jabalpur we have a fifth zone set up to enable expansion there.’

The system features an Allen & Heath Qu-16 digital mixer, which resides alongside the Prism 4x4 DSP and sends stereo analogue audio to it. Meanwhile, a CatRack 12x12 digital audio snake and backstage floor boxes send digital audio from the Big Barn’s stage to the mixer. Equipped with a Symetrix xOut 12-channel analogue output expander, the Prism 4x4 enables

INDIA The Jesus Reigns Church in Jabalpur celebrated the festive season with its new Mackie Thump15A loudspeakers. These were supplied by Mackie’s Indian distributor, Sonotone, and installed by Manjeet Electronics.

‘We decided to opt for the Mackie Thump15A with great enthusiasm owing to its astounding audio pickup and delivery. It presented a feature set that no other model in its class matches up to,’ said Manjeet Electronics’ Harjot Singh. ‘The system is not only

6 WORSHIP AVL March–April 2020

AD-S8T 8-inch AcousticDesign and JBL Control 14C/T loudspeakers distribute audio across the venue.

The barn is also equipped with Avlex ACT-3B UHF wireless microphone systems and a TASCAM SSR250N digital recorder, and the Audio Visual Bend team installed a Symetrix ARC-2e wall panel in the AV booth, as well as a video system that included four 65-inch displays and an 85-inc display to act as a confidence monitor, managed using a Kramer VS-44HN video matrix.

‘The Ranch hired a paid AV person to ensure system quality and maintenance, and they did not want to open control of the system to the public, so that person has the main controls, including a computer, in the AV booth,’ added Sprando.

‘In addition, we set up a Symetrix ARC-WEB system so the zones can be controlled wirelessly from the foyer and community room using a smartphone or tablet.’

aesthetically pleasing but also offers unparalleled flexibility and efficiency with pristine quality audio performance. From what we hear, the management at Jesus Reigns Church is absolutely thrilled with the purchase. They shared with us that the audio experience at their services improved tremendously and the vibrancy of the sound brought together the crowd in the spirit of Christmas.’ www.sonotone.in

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Spread the Message Anywhere Expedition Rechargeable Systems are all-in-one portable powered speakers with integrated mixers. No AC power? No problem! Each system features an internal rechargeable battery offering professional sound reinforcement anywhere, including outdoor and community events. Built in mixers provide connections for microphones and line level devices as well as Bluetooth ® connectivity for streaming audio. All Expedition Rechargeable Portable PA systems are wireless ready and larger systems have provisions for up to three wireless microphones for a completely cable-free performance.

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NEWS

Willowbrook Baptist Church adds clarity to its orchestra USA In order to provide in-ear monitoring and clear sound for its 12-piece orchestra, the Willowbrook Baptist Church’s main campus in Alabama has upgraded its worship centre with a Klang in-ear monitor mixing system and a DiGiCo S21 FOH console. The products were supplied by DiGiCo’s American distributor Group One and installed by Redwire Audio Visual.

‘The new Klang system was par t of the first phase of the church’s update and it has proven to

be a critical component of it,’ said Tim Johnson, president, founder and general manager of Redwire. ‘Their worship orchestra had been frustrated by the lack of flexibility with their old IEM system, so we brought the Klang:fabrik in for a demo and they experienced a huge difference.’

The Klang:fabrik takes feeds via a Dante network and three DiGiCo A168 STAGE I/O expanders from the S21 console. ‘The S21 has made a huge difference in the church’s sound,’ Johnson added. ‘It’s even made the existing sound system per form better, with excellent clocking that dealt with

8 WORSHIP AVL March–April 2020

digital “smearing” issues they had with the previous console that muddied the sound. The operation is ver y volunteer friendly. The church has a fulltime media director who does a lot of the front of house mixing, but they rotate mixing duties for the three or more Sunday ser vices ever y week and they have all taken to it.’

Willowbrook’s minister of production, Chris Olson, commented that the church’s musicians were impressed with

the Klang:fabrik’s sound and ease of use. ‘They’re able to put their instruments exactly where they want in the soundfield and spread the entire image out nicely, which really makes them more comfor table onstage,’ he said. ‘Plus, it does help keep the stage looking neat and clean, so it’s all just “plug and play” for our tech team, with ever ything on just a single Cat-5 cable and eliminating all of the individual mixers onstage.’ www.digico.biz www.g1limited.com www.klang.com www.redwireav.com www.willowbrook.org

The Crossing goes live USA The Crossing, a multi-sited church with four different venues in Missouri, streams its services to its website, YouTube and Facebook. Due to the amount of people watching online, Stan Yoder, systems engineer at The Crossing, decided to upgrade the cameras with products from Sony.

Yoder chose to replace the church’s cameras as they were 10 years old and created challenges with low light sensitivity. ‘We were always struggling to balance the needs of the room to get the lights low enough to create the right atmosphere,’ said Yoder. ‘It still needed enough light so anyone outside of the room could tell what was going on.’

After working with Deron Yevoli from Summit Integrated Systems, Yoder decided to purchase six Sony HXC HD studio cameras. Five of these are manned and one is used as a handheld camera. ‘The low light performance and colour

reproduction are two of the top reasons we selected these cameras, but we’ve really come to love the MSU and the flexibility and ease it gives us to better shade the cameras,’ explained Yoder. ‘We were also able to tie it into our system so that selecting a camera button on the MSU also brings that camera up on the shading monitor. It’s been a great setup for our operators, who are all volunteers and not professional broadcast folks.’

As its videowall displays needed replacing, The Crossing also purchased four Sony Bravia FW55-BZ35F 55-inch 4K HDR professional displays from Modern Communications. ‘They are amazingly bright,’ said Yoder. ‘The quality of colour reproduction, as well as the consistency of video between each monitor, is so much better.’ pro.sony.com www.thecrossing.church

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NEWS

St Stephen’s celebrates with a Symphony of Light and Sound

GERMANY Located in Passau, a town in Bavaria, St Stephen’s Cathedral was constructed in the 17th century

by Italian Baroque masters and catches the eye along the local skyline to this day. The cathedral’s visuals were further boosted recently when GF Bühnenfabrik oversaw the

delivery of a multimedia spectacle, Symphony of Light and Sound, which celebrated the 350th anniversary of St Stephen’s.

A video mapping production beamed onto the building’s façade, Symphony of Light and Sound told the cathedral’s story, as well as that

of the documents and architecture within. The event also incorporated Christian music to help immerse viewers as they were transported through time, seeing the church as it stood at various points in its history.

‘We’ve been working with the cathedral for a while but this is the first time we have been commissioned on an outdoor projection of this magnitude and on a show with such a long run,’ explained Harry Pillmayer, project manager for GF Bühnenfabrik. ‘We were looking for a compact, high-performance projector with matching optics and turned to Digital Projection’s local event-distribution partner ETHA International, a specialist professional AV distributor here in Germany.’

ETHA International specified Digital Projection’s M-Vision Laser 18K for the project, with 18,000 lumens of output and a 10,000:1 contrast ratio. ‘Thanks to its high brightness output and performance, a single projector allowed us to map the entire

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cathedral to deliver a pristine show that exceeded the expectations from the event organiser,’ revealed Digital Projection’s VP of marketing, Mark Wadsworth. Content was delivered to the projector from a laptop and Blackmagic Studio Pro HD production switcher.

The show proved extremely popular, with an average of 1,500 people estimated to have arrived per week. ‘We were staggered by the number of people who have come to see the show,’ said Pillmayer.

‘The peak was Art Night in Passau, where we welcomed an incredible 5,000 spectators. According to local press, people came in droves to the cathedral square every Friday to experience the audiovisual spectacular. Numerous spectators even went to see the show several times.’ www.bistum-passau.de/dom-kultur/ dom-st-stephan-passau www.digitalprojection.com

The Basilica of Regina Pacis amplifies its sound USA acoustic rule in the book but we have to make the sound system work for the space and it has to work automatically. So, when it comes to amplification in these kinds of basilicas, we need a heavy lifter and the Powersoft Quattrocanali 1204 is a heavy lifter.’

Monte Bros was chosen to install the system due its partnership with the Basilica of Regina Pacis. It installed a sound system in 1989, which was upgraded in 2002. ‘Heat dispersion is another problem in big installs like this because they need a lot of amplifiers,’ Minozzi continued. ‘That was a main reason we upgraded the system using the Quattrocanali 1204. Inside the church, it’s a beautiful space. When you put in a new sound system, you obviously don’t want to desecrate the appearance in any way. One of the important features of the Powersoft Quattrocanali 1204 is that it senses changes in ohmage, because the amplifiers have to deal with changes due to capacitance and other anomalies. Since each bank of speakers is on its own Quattrocanali channel, if one speaker goes bad, the amp will automatically sense the change and reajust. That’s why we chose Powersoft.’

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www.basilicaofreginapacis.org www.montebros.com www.powersoft-audio.com

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Located in Brooklyn, New York, the Basilica of Regina Pacis is part of the Roman Catholic Diocese that is a ‘spiritual hub’ for members of the parish of St Rosalia-Regina Pacis. It once again turned to Monte Bros to upgrade its sound system recently, leading to the installation of three Powersoft Quattrocanali 1204 amplifier platforms.

‘Acoustically, it’s extremely difficult to design a sound system for a church like the Basilica of Regina Pacis,’ said Monte Bros’ Steve Minozzi, who designed the sound system. ‘It’s a long, rectangular space with a lot of hard surfaces, a concave ceiling and a concave sanctuary. That breaks every

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NEWS

Alcons Audio enters the Temple USA The Temple Church in Nashville, Tennessee features worship services heavily filled with music, including performances from its own gospel choir and full band that is usually accompanied by the congregation’s ‘enthusiastic participation’. To support this, the church invested in a sound reinforcement system with products from Alcons Audio.

‘The church has a lot of talented musicians and singers. The musical director has very high standards and quality bass was also really important,’ commented Eddy Hobby, the owner of Prosonic AVL, which manages the church’s AV systems.

‘They wanted great sound, but it was also important that there were no sightline issues between the congregation and the video screens.’

When looking for the right system, Hobby was introduced to Scott Hough from Griffith Sales, who represented Alcons Audio. This was followed by a discussion with its sales manager David Rahn, who

gave a demonstration in the church with a system of two Alcons Audio LR16s and RR12 compact line-array modules.

‘The room is around 160° wide, so getting the coverage right was crucial. At the same time, they still wanted a really big, immersive

sound,’ said Rahn. ‘Due to architectural and rigging challenges, the left and right arrays had to be flown close together, almost as a dual central cluster. Mitigating the interference between the two line arrays was also challenging.

However, due to the precise accuracy

of the cylindrical wavefront, along with a centrally deployed RR12 point source array module, the transitions were incredibly smooth, and the achieved coverage was optimal and precise.’

The church was impressed with the demo and decided to choose a system that was almost identical to it.

This consisted of six LR16 compact line array modules and an LR16B line array bass module on each side that were flown close together above the front centre of the stage but also angled outwards to cover the congregation. Between these, an RR12 point source array was flown and angled down for front-fill, while a BQ211 high-output subwoofer was placed on the floor on the sides of the stage. These are all powered and controlled by three Sentinel10 amplified loudspeaker controllers. www.alconsaudio.com www.griffithsales.com www.templechurch.org

Eastminster Church goes live

USA In order to provide for its growing congregation, Eastminster Church in Wichita, Kansas, has installed a mixing system by Allen & Heath for FOH and ME-1 mixers for onstage monitoring.

The setup consisted of a dLive C Class system with C3500 surface, CDM32 MixRack, a Dante Card and two DX168 expanders, as well as an Allen & Heath ME personal mixing system for monitoring with eight ME-1s and an ME-U Hub. ‘Our previous digital mixer didn’t give us the flexibility we needed or the ability to make quick changes between services, so we began to search for a replacement,’ said Nick Hofmeister, director of technology at Eastminster. ‘I personally

The C3500 at Eastminster Church own a Qu-16 and I love the workflow on that mixer so, for me, the first place to look was Allen & Heath. The dLive has the channel count the church

12 WORSHIP AVL March–April 2020

needed along with scene recall for quick changeover between services and it connects natively to the ME-1s for personal monitor mixing.

‘Our sound booth is almost three storeys up and 30m from the band so it’s difficult to get a good mix. With the MixPad app, I can walk around anywhere and mix,’ he furthered.

‘That’s been a real game-changer for us. We’ve been very happy with the dLive’s internal effects which sound very natural and I’ve received tons of compliments from people about the sound. Also, the band really appreciates the dLive’s low latency in their monitor mixes and we’ve noticed a distinct improvement in the clarity of speakers’ voices as they preach.’ www.allen-heath.com www.eastminster.org

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NEWS

L-Acoustics keeps out of sight at Evergreen Ministries USA AV integrator Parkway Electric & Communications has designed and installed an L-Acoustics Syva sound system for Evergreen Ministries, a house of worship located in Hudsonville. With the church’s original audio installation prioritising the venue’s aesthetic appearance over intelligibility, leaders felt it was no longer suitable for purpose and sought a replacement.

‘All of the components in the old sound system were flown,’ said Todd Billin, design and sales engineer at Parkway Electric & Communications. ‘They had to hang them in such a way as to avoid creating sightline problems, but that wasn’t necessarily the best configuration for the sound. It was kind of disembodied and it wasn’t coming from the stage.’

To solve these issues, Parkway Electric & Communications set up a pair of Syva and Syva Low enclosures on either side of the stage, as well as four Syva subs that

were installed underneath the stage.

Additionally, an X12 short-throw loudspeaker has been flown above the centre of the stage together with four 5XTs for front-fill. The loudspeakers are powered by three LA4X amplified controllers.

‘The Syva system sounds fantastic and it looks just as good as it sounds,’ said Adam Locker, director of operations and worship

Tommy Hillegass, Gil Urick and Chad Zuchegno with All Pro Integrated Systems’ Charlie Anderson

DiGiCo springs into action USA After using the same audio system for almost 10 years, the First Presbyterian Church of Bonita Springs in Florida decided to upgrade with two DiGiCo SD9 mixing consoles, which were installed by All Pro Integrated Systems. The installation took place over two phases within a year and the consoles set up in the church’s main worship centre and its smaller, secondary venue called CenterPoint.

The setup also included a 32-input D-Rack for CenterPoint and two 32x8 D-Racks for the main worship centre. One was permanently fitted for FOH while the other rack was used for onstage I/O expansion. A Waves SoundGrid system, an array of choir mics by Earthworks and a setup of Danley loudspeakers were also included. ‘The portable D-Rack was an important addition, especially for some of the touring

‘The system we replaced was fine when we put it in nearly a decade ago but, as time went on, it seemed to get harder to do what we wanted to accomplish,’ said Tommy Hillegass, the First Presbyterian Church’s media manager. ‘I really wanted to incorporate more of the Waves stuff and that is just so smooth on the SD9. I often felt constrained on our previous console, but not anymore. As an example, we run five Earthworks FlexWand mics for our choir. I can now run three EQ and compression plug-ins on each mic channel to really shape the sound the way I want to and it’s never a problem. That was simply not the case with our former system.’

shows,’ added Mark Salamone, sales manager of All Pro. ‘Prior to having that, all input to the sound system was done via floor pockets. While those can be great for regular services in terms of keeping things neat and tidy, when it comes to the greater audio needs of a touring show, they were actually quite limiting and could even cause a trip hazard. Being able to place inputs where they were needed onstage and send everything back to the console via MADI was an important addition.’

at Evergreen Ministries. ‘In the beginning, I was concerned that after all this time of having a big, rock concert-type PA system up near the ceiling that people would wonder if something like the Syva could really deliver the same amount of sound but it does, and it delivers it with so much more quality and presence. We were all surprised that something so slim and sleek could give us this kind of coverage.’ www.egm.org www.l-acoustics.com www.parkwayelectric.com

A 5XT front-fill

14 WORSHIP AVL March–April 2020

www.allprosystems.com www.digico.biz www.fpcbonita.org

NEWS

Lives Changed by Christ find a solution USA After reaching capacity in its central location in 2006, the Lives Changed by Christ (LCBC) Church in Pennsylvania decided to branch out by launching satellite locations across the US. The church now has 15,000 attendees, making it one of the largest churches in the country and recently opened its 14th satellite location in Lebanon with AVL products installed by Clair Solutions.

Due to the structure of the service, the latest satellite location had to deliver the spoken word from live microphones and the central location’s video feed as well as

clear sound from the worship band.

The audio system consisted of four Clair Brothers kiTCurve-TrueFit loudspeakers and two CS218 subwoofers that were set up in a cardioid projection into the pews.

These are controlled with a 40-input Midas M32 digital console from the FOH position in the balcony and are powered by Lab.gruppen CB-Series amplifiers with integrated Lake DSP. The kids’ rooms are covered with JBL Eon-Series loudspeakers, while QSC’s Q-Sys DSP handles the overall system. Clair Solutions also installed a Roland V1 SDI video switcher, a Barco F90-W13 projector and a Da-Lite video screen. For the lighting, an ETC Echo lighting console inter faces with ETC fixtures installed on a single truss.

Outside the church, seven Acclaim lighting spotlights were installed to illuminate the bell tower and the stained glass with the help of Acclaim’s wireless DMX, which uses Wi-Fi broadcast from the bell tower to change scenes and sequences.

‘At LCBC Church, we have been very fortunate to have partnered

with Clair Solutions to provide worldclass AVL design and integration for over 20 years,’ commented Sean McDermott, production director with the LCBC. ‘Their ability to listen and adapt to our changing needs, and the continually changing technology landscape, has provided us with great results following every project.

I value knowing that their team’s goal is to help our team succeed.’ www.clairsolutions.com www.lcbcchurch.com

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NEWS

Mahajak meditates with YBAT THAILAND Founded in 1950, the Young Buddhists Association of Thailand (YBAT) is an organisation created to teach the principles of Buddhism to young individuals. It began as the Yuma Phuththika organisation, and has expanded to several venues across Thailand that host activities and events for practising Buddhists.

Following the success of a project to upgrade the sound system in the organisation’s Sirikarinchai Building, Mahajak Development was recently asked to renovate the audio system in YBAT’s Dharma practice room inside its Thamnawet Building in Bangkok.

The Dharma practice room is where individuals can practise the teachings of Buddha. The venue caused

reverberation due to the wooden floor, hard wall and smooth, plaster ceiling.

To solve this, the team at Mahajak designed an audio system so direct sound could be attained from the ceiling speakers. To make the sound more linear, JBL Control 18C/T speakers were installed in the ceiling throughout all rooms, powered by Crown CDi 1000 amplifiers. Alongside these, a BSS BLU-100 processor was set up to solve the frequency problems in the room. JBL Control 28-1 WH speakers were also installed beside the Dharma practice room’s pillar as stage monitor speakers for any guest speakers onstage.

The view from the front of the room

www.mahajak.com

Grace Church makes Earset mic for a a sound decision pastor on the move USA

USA Having recently joined as the interim pastor at The Well Baptist Church, a new ministr y that’s just star ting out, Dr Frank Teat is often described as a ‘pastor on the move’. He’s known for combining his passion for playing the guitar with preaching to his congregation and relies on an E6 Earset microphone from Countr yman Associates as he moves around the stage.

Teat has used an E6 for more than 20 years.

‘I’ve used my E6 in a

variety of settings,’ he revealed.

‘Both in church facilities as well as on the road while working at youth camps, retreats and revivals for other churches, and even seminars in both student ministr y and worship ministr y.

My ser vices are primarily contemporar y in nature, with the bulk of the audience that the E6 was used for mostly being teenagers and children, with their adult volunteers and staff.’

Dr Frank Teat wearing an E6 Earset mic

16 WORSHIP AVL March–April 2020

After deciding to replace its former wireless intercom system at the beginning of 2019, the leaders of Grace Church in Maryland Heights, Missouri and its technician David Banks invested in a control unit and a set of beltpacks from Pliant Technologies’ CrewCom range after seeing their easy set up at a sound event in Saint Louis.

create profiles for every person on staff. When they pick up their pack, they select their own profile, which is customised as far as mic level and listening level and they’re ready to go.

We really appreciate the flexibility and ease that comes with having these user presets.’

In addition to this installation, the church also invested in four Pliant

The system includes a CCU-22 control unit as well as four Pliant CRP-22-900 900MHz 2-Volume digital wireless beltpacks with a CRT-900 radio transceiver with antennas, allowing RF communication with the beltpacks. ‘We chose the 900MHz system to avoid interference issues, and that has proven to be a sound decision, as 900MHz is away from our other frequencies that are active onsite,’ said Banks. ‘With CrewCom, we immediately noticed the clarity of the beltpacks. Another standout feature of CrewCom is that we can

SmartBoom headsets. ‘The lightweight headsets have great sensitivity and reduce distortion,’ added Banks.

‘The headsets we previously used were much more cumbersome.

With SmartBoom, we definitely got something more comfortable with increased stability. Also, the noisecancelling feature helps keep users who are often operating in a live stage setting, with live drums or other instruments in the background.’

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PROJECTS

Seeing is believing The second biggest mosque in the UAE required a way of transmitting prayers and events to the wider population. Broadcast Solutions ME rose to the challenge, as Simon Luckhurst reports LOCATED AT THE JUNCTION OF THE Emirates Road and the road to Mleiha and officially opened in May 2019, Sharjah Grand Mosque is the long-awaited vision of the emirate’s ruler, Sheikh Dr Sultan bin Muhammad Al Qasimi. Drawing aesthetic inspiration from Ottoman architecture, the 300m DHS construction occupies an impressive 185,806m2 and is capable of accommodating more than 25,000 worshippers via its front hall, side lobbies and outdoor terrace areas, thereby making it the second biggest in the country after Abu Dhabi’s Sheikh Zayed Mosque. Such is the importance of the building to Sharjah that a commemorative coin was launched by the government to mark the construction when it opened.

Inside, the building’s main prayer hall features arched windows with stained glass, walls decorated with verses from the Quran, a large

The first-floor control room chandelier in the centre and a premium red carpet covering the floor. Outside, the building has a multitude of domes, minarets and columns designed to reflect Islam’s unique architectural style.

To call it impressive would be an understatement.

18 WORSHIP AVL March–April 2020

Unsurprisingly, the building will play host to several prominent Islamic events throughout the year.

As such, it required an audiovisual system capable of broadcasting these prayers and events to the masses with minimal human resources. Solutions needed to be

simple to operate and unobtrusive, yet still capable of providing broadcast quality. While the onsite audio reinforcement is handled by multiple Bose column array loudspeakers, the broadcast feeds, created by Broadcast Solutions ME, rely predominantly on equipment from Canadian manufacturer, Ross Video.

Broadcast Solutions ME had acquired Videlio Middle East as part of a strategy to increase business throughout the Middle East and Africa region and this was its first large integration project conducted under its new identity. While still firmly focused on the broadcast side of the signal chain, the integrator’s renewed local strategy is in part built upon with the ability to provide services into new niche markets including houses of worship, something that Videlio is more than accustomed to.

PROJECTS

The audio mixing position

‘The Sharjah Broadcast Authority [SBA] was appointed by the Sharjah Government Planning Depar tment as a consultant to recommend a systems integrator capable of building this broadcast infrastructure,’ explains project manager Salah Ayoub from Broadcast Solutions ME. ‘We were recommended to SBA by another systems integrator who we had worked with several times in the past and were ultimately handed responsibility for the entire broadcast systems integration at the mosque.

‘But one of the major challenges we had was the timeframe,’ he adds. ‘SBA would be broadcasting the opening ceremony from inside the prayer hall just two weeks after we began working on the project.

Ever ything had to be completed during that time: shipping, installation and configuration.’

The interior design of the mosque is without doubt its most impressive feature and was something that must be left untarnished by the kilometres of fibre cabling they would conceal. But without the ability to effectively and coherently transmit prayers to followers, such interior grandeur would serve little purpose.

To create the broadcast feeds, the SI opted to install a grid of 12

Broadcast Solutions designed the bespoke camera mount to minimise aesthetic interference

Immaculate attention to detail was paid by Broadcast Solutions, right down to the cabling

white Panasonic PTZ PIVOTCam-SE cameras throughout the mosque interior, six of which are located in the main prayer hall, that can be controlled centrally using Skarhooj PTZ PRO controllers over Nevion fibre channel links from the spacious first-floor, rear broadcast control room. However, the equipment that Broadcast Solutions has installed here is only being used when there is a programme being shot inside the mosque. This is backed up by the total lack of any kind of IMAG inside the prayer hall that could disrupt its immaculate interior design.

Ross Video is no stranger elsewhere along the signal chain.

A 36-input Ross Video Carbonite Black CBF-236PLUS switcher takes pride of place in the control

room alongside a Carbonite Black 2S control panel. A pair of large Carbonite multiviewers display the PTZ camera positions in front, while SHC-9642 SDI to HDMI conver ters from Ross feed into Blackmagic Design Smar tView4Ks used for audio monitoring. Ross Video ULTRIX-FR132x32 routers are used to connect different sources and destinations with each other. ‘This allows the staff to route different sources to the video switcher inputs, giving flexibility according to the shooting requirement,’ notes Ayoub.

‘It’s also used as a backup for the vision mixer in case of any problems.’

Content Generation also stays entirely within the RV domain and is handled by Xpression

Studio graphics engine software running on Ross’ XPN-2RU-M7 2U Xpression hardware rack.

Elsewhere, three Ross Video OpenGear racks provide modular signal processing and distribution.

In addition to the fixed PTZ camera positions, a camera crew can be brought into the mosque to augment the in-house setup for prominent events as required, and for which a patch-in panel installed in the prayer hall accepts video inputs.

‘Apar t from the PTZ cameras installed from Ross, we’ve also deployed four Grass Valley camera control units in the control room desk,’ says the project manager.

‘Inside the hall you can connect the cameras with our systems for control. Any broadcaster, let’s say Sharjah TV or Gusto 30, if they wanted to bring their cameras and just connect to that wall box, those cameras can still be controlled remotely from the control room.’

To assist communications between these teams, Broadcast Solutions has installed an RTS ODIN16NOCORD Odin16-por t intercom system for crew talkback which can be controlled via one of five KP 4016 keypanels. ‘The control room is totally out of sight, there’s not even a glass screen or anything that can see into the prayer hall,’ notes Ayoub. ‘So, it’s impor tant that the camera crew has a means of communication with engineers.’

Four G4 wireless microphone units from Sennheiser take care of the audio input for programme presenters and moderator applications and are mixed with the Imam’s microphone feed and any other local audio inputs by a Yamaha DM1000VCM 48-channel

March–April 2020 WORSHIP AVL 19

PROJECTS The remaining weeks have been spent integrating the final 30% of the systems while ironing out any kinks in the workflow. ‘We’re currently in the process of completing all of the documentation before we do the final handover to the client.

Additionally, we will conduct handover training sessions and some knowledge transfer sessions where we show them how ever ything works because the operators might be used to working with other video equipment and brands. We show them what features are present and how they can make the most of them.’

While, most impor tantly, the Broadcast Solutions systems ticked all of the impor tant boxes

Video signals travel over Nevion fibre channel links digital mixer fitted with an MY16-MD64 MADI I/O card in order to provide the audio mix for the broadcast feeds. Sennheiser IE 40 and G4 Pro in-ear monitoring systems have also been deployed.

‘Aside from the core equipment, we’ve got a selection of multiviewer displays, as well as six big NEC screens dotted around and several sets of Yamaha MSP5s for audio monitoring,’ explains Ayoub. Also joining the long list of equipment for the broadcast systems are Leader LV-5600 SDI and IP waveform monitors, several HP EliteDesk workstations, Ross SRG-2200 signal generators and NTP-2200 Network Time Protocol ser vers, Ross UDA-8705A analogue video distribution amplifiers, an ADDERView DDX30 30-por t KVM matrix, Atomos Shogun Studio 4K/HD recorders and a Datavideo HDR10-A Highlight replay recorder.

While the Grand Mosque control room surely houses an impressive collection of equipment, sometimes it’s the small details rather than the major aspects that make all the difference. As Ayoub opens the door to the large equipment racks at the rear of the control room and slides the access panel off the bespoke LundHalsey console furniture, he beams with pride as row after row of immaculately organised cabling emerges – all cable-tied neatly and colour-coded according to function.

‘For me, this is one of the most important aspects of our job,’ he describes. ‘Aesthetics were very important to the client, which is one of the reasons why we took the decision to manufacture our own discreet mounts for the PTZ cameras inside the prayer hall. We also

A PIVOTCam-SE PTZ camera located at the Imam position

The primary Ross Video Carbonite Black production switcher

The outdoor terrace area is covered by four PIVOTCam-SEs completely engineered the cabling before the integration started.

Everything was planned thoroughly from the outset and that is required in order to provide this level of attention to detail.’

All of this work had to be achieved in the two weeks before the opening ceremony would take place. The

20 WORSHIP AVL March–April 2020

12-strong Broadcast Solutions team together with a variety of contractors pulled out all of the stops to keep its promise. ‘There was still no intercom, but we managed to get 70% of the setup ready for that broadcast,’ says the project manager. ‘Easily enough to get the job done properly.’

for its client, SBA, the project also now ser ves as a showcase of how the company’s vast experience in broadcast can be leveraged for more diverse purposes than it is traditionally known for. www.broadcast-solutions.de www.rossvideo.com

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PROJECTS

Storytime on the mountainside

James Cooke tells the tale of the time InteRise assisted Shades Mountain Baptist Church by providing video and lighting solutions during a worship centre renovation STORYTELLING FORMS AN INTEGRAL part of the experience at Shades Mountain Baptist Church in Birmingham, Alabama, and video plays a big part in telling those stories. So, when the church’s worship centre underwent a complete renovation, taking place over the course of almost eight months, new video and lighting systems were high on the agenda.

InteRise, formerly known as Morris Integration, an AV integration firm based approximately 200 miles away in Nashville, Tennessee, was hired by Myrick Gurosky + Associates (MG+A), a managing design and construction company that specialises in church facilities, to design and install the new video and lighting systems for Shades Mountain. ‘We’ve worked on a couple of smaller projects with Shades Mountain over the last couple of years,’ reveals Wade Russell, assistant general manager at InteRise. ‘We’ve met a number of AVL needs around their campus. I’ve

Wade Russell and Paul Holst from InteRise with Shades Mountain director of technology, Rob Searcy (centre) actually known the church’s director of technology, Rob Searcy, for quite some time, as he used to be my boss at Bell Shoals Baptist Church in Brandon, Florida.’

While it was the worship centre’s turn to undergo refurbishment, it forms the final phase of a much larger, longerterm renovation process that MG+A

22 WORSHIP AVL March–April 2020

has managed for nearly 20 years.

Since completing the initial master plan in 2001, most of the campus has been renovated, one room at a time.

The final and most complex stage of the master plan was an extensive renovation of the sanctuary, which had remained largely untouched with the same original finishes and

systems from the 1980s. The worship centre was essentially stripped back to the original structure to allow for a completely new finish, including seating, flooring, ceiling and acoustic treatment, as well as the replacement of major mechanical, electrical and fire suppression systems.

‘The worship centre is large and rather unique,’ says Russell. ‘The building is kind of on a mountain, so the ground floor is on what should be the third floor and the lower part of the balcony is on the fourth, the upper part of the decking is on the fifth floor and then there’s a catwalk system that’s essentially on the sixth.

‘The idea behind the renovation was to remove the concrete choir loft and replace it with a portable solution, which adds some flexibility to their staging. So, now, their stage is flat but they can bring in risers for the choir when needed. Without the fixed choir loft, they could move the front of the stage back by about 25 feet and add

PROJECTS

The church’s new lobby area some extra seating up front, which meant they could then take out the under-balcony seats, building a wall at the face of the balcony and creating a lobby space behind it.’

The addition of a new wall at the rear of the sanctuary and further seating at the front are not the only immediately obvious changes congregants notice.

A pair of SquareV Vi3 28-foot x 16-foot 3.9mm pixel pitch LED videowalls dominate the wall at the rear of the stage. ‘They’re both on chain motors, so they can be moved in and out for maintenance,’ explains Russell. ‘They can also be lowered if the church wants a different look onstage.’

The large screens aren’t all that InteRise installed on CM Lodestar D8+ chain motors. ‘All of the upstage lightbars are on motors, which provides a little flexibility,’ Russell adds. ‘Flexibility was one of the main goals of the entire project, in addition to updating the look and feel of the worship centre, and was discussed with us during the design process.’

The added flexibility of the new systems should ensure that Shades Mountain gains extra mileage from its new setup. The chain motors are controlled using a system from Motion Labs. A range of Eurotruss and ModTruss trussing systems were also deployed.

Although arguably the primary function of the videowalls is to support IMAG during services, they are also used for video playback and displaying graphics. In addition, video feeds are streamed to other areas of the campus and to those watching at home or elsewhere online.

‘In their video suite, they have a pair of computers towards the back,’ recalls Russell. ‘One is for the live stream and the other is for a live response, which will have somebody sat at it to reply to comments that

might be made on YouTube or Facebook during a service. Then they have two more computers: Graphics One and Graphics Two. Graphics One is used for producing full-screen graphics and video playback, and Graphics Two is used for lower thirds.’

The backbone of the video setup, following the refurbishment, is a Ross Video Ultrix-FR5 routing and AV processing platform. ‘It’s a very highend router,’ notes Russell. ‘It allows a lot of flexibility as well as expandability.

We didn’t expect the church to be operating at 100% on day one. We wanted a system that they’d be able to add to over the years. As ministry and its needs change, Shades Mountain can shift with that and add to their system.’

The Ultrix router is accompanied in the video setup by a Carbonite Ultra 2ME production switcher, also from Ross Video. Russell adds: ‘We were able to reuse and repurpose some pre-existing cameras that they already had. In the next few years, though, when the church invests in newer cameras, they’ll be able to add those

to the system as the infrastructure is in place.’

With a future-proof setup in place, Shades Mountain’s video team includes two full-time members of staff. In the time between services, they’re kept busy producing a variety of edited video content, all with the purpose of telling stories.

A Ross Video Ultrix-FR5 routing and AV processing platform forms the backbone of the video setup

The master control room

‘They produce a lot of testimonial videos,’ confirms Russell. ‘These can take the form of video interviews with some of the people involved in the church or a testimony to inspire the rest of the congregation. One example was last year when the church produced a Christmas movie, which I believe was shown on local television.

They shoot their content at such a high quality using Red cameras and they have an extremely professional setup including a dedicated editing room, so the quality of the image being portrayed onscreen is therefore highly important given the time and effort and investment put in. The SquareV

March–April 2020 WORSHIP AVL 23

PROJECTS LED walls have helped inside the worship centre as they look stunning and the church has been super excited about that.’

As much of the video content that Shades Mountain produces emanates from the worship centre, and because the church places such importance on how its video content looks, it was paramount that the venue look equally impressive in person, and lighting goes a long way in achieving that. To provide the church with added control over its lighting rig, InteRise installed a grandMA3 light console from MA Lighting. The ‘light’ model in the fairly new, flagship grandMA3 range, it provides 60 physical playbacks, 16 assignable x-keys and a dedicated master playback section. ‘Shades Mountain will occasionally rent supplemental lights for special events, such as at Christmas or Easter,’ reasons Russell. ‘So, they

A grandMA3 light console provides 60 physical playbacks

Q-Sys control is offered via touchscreens

Two SquareV LED videowalls were installed at the back of the stage

needed a console to handle a large lighting rig without maxing out.’

The InteRise team also repurposed the conventional lighting fixtures already in the church’s possession, although there are plans to upgrade these in the near future when budgets permit.

‘You only have so much money to spend on a renovation project of this magnitude,’ explains Russell.

‘We therefore tried to engineer our solutions so the church can easily add to the setup later without so much of a labour cost. The lighting is a good example of that, as it’s an easy swap, especially as they have a catwalk system, when it comes to replacing the fixtures down the line.

And when it comes to swapping out or upgrading the cameras, that will be just as easy because the infrastructure is already there – it’s plug and play.’

A significant amount of the overall budget was also used for reconfiguring the building to create the new lobby area. It was here

walls, and it was rather drab,’ says Russell. ‘So, walking into the space now, it feels like a place that’s well taken care of as it’s so aesthetically clean.’

Below the surface, the building’s infrastructure has had a complete uplift, ensuring it meets current standards, and, in terms of functionality, the space is now much more in line with how Shades Mountain currently conducts its services. ‘They couldn’t do what they wanted to with how the room was set up,’ Russell explains. ‘For example, they still have a large choir, but it’s not a part of every service anymore. Sometimes, they need the space onstage for other things during special events.’

Interestingly, church technical production director Searcy has heard plenty of comments picking out the video system as the most noticeable part of the renovation.

‘The most complimented feature of our new design is most definitely the two huge SquareV LED

that Russell and the team installed a 70V distributed audio system, as well as video displays. ‘The lobby is effectively three storeys and we installed a lot of QSC ceiling speakers to enhance those common spaces. We put all of those on a Q-Sys DSP system with a customised control interface that allows the church to control each zone individually. Then, we also put in a handful of Christie Access Series displays in the lobby and we connected those to the Q-Sys system too, which means nobody has to walk around each screen to turn them all on and off; instead, they can access them all via the touchscreens installed in various locations.’

After eight months, the worship centre renovation was complete, marking the final building to be refreshed under MG+A’s master plan.

The results are more than noticeable upon entering the facility.

‘When you walked into the old worship centre, you were greeted by green pews and big marble

24 WORSHIP AVL March–April 2020

walls,’ he says. ‘Congregants are constantly commenting on the improved sightlines in the room and how the LED walls bring a new life to video content and a more personal connection to the live elements onstage.’

And it’s not only members of the congregation who appreciate the upgrades to the video infrastructure. ‘For our production team,’ Searcy continues, ‘the routing and video infrastructure that was designed and installed with the Ross Ultrix router has been a gamechanger in how we can support the many areas of our campus with content from the master control room.’

With a strong backbone supporting video production, Shades Mountain Baptist Church can continue to tell stories in new and unique ways. www.interisesolutions.com www.mgandassociates.com www.rossvideo.com www.shades.org

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PROJECTS

One of the 27S subwoofers A d&b 24C-E extension column speaker

Perfect for prayer While column speakers were the better fit for Lourdes Forane Church in Kottayam, in terms of aesthetics, could they deliver enough sound reinforcement for up to 2,000 congregants?

HOSTING SERVICES FOR UP TO 2,000 worshippers, Lourdes Forane Church in Kottayam, south-west India, required enough sound reinforcement to ensure everyone could hear clearly. Construction of the sanctuary was first begun in 2011 by the Syro-Malabar Catholic church, which itself is headquartered in the same state of Kottayam. Covering an area of 1,208m2, the building was designed by MGS Architecture, led by the renowned architect Lalichan Zacharias, and combines elements of Roman, Gothic and Indian architecture with an array of sculptures and artwork covering the wall, recreating various scenes from the Bible. The church’s vicar, Archbishop Reverend Dr Joseph Manakalam, along with assistant vicar Joseph Alumkal, coordinated the entire project from the start.

Now, the newly consecrated Lourdes Forane Church serves as a beacon of spiritual guidance for the local Christian community. Vast services and prayer meetings are conducted for the masses to join together as they connect with God. As part of Archbishop Manakalam and Alumkal’s plans to create a space that was perfect for prayer with a large congregation, a suitable loudspeaker system was required to ensure that every member could clearly hear God’s message, no matter where they were sat. To meet this requirement, the church sought an audio company that could cater to the specific needs of the sanctuary, designing solutions with products that not only offered

the necessary sound quality for reproducing the spoken word with clarity, but that were easy to operate and maintain while also blending in with the sanctuary’s décor.

Matthew Carter, a reputable acoustic consultant based in Dubai, was brought in to explore the options. He organised a demonstration to compare solutions from various manufacturers offered by several systems integrators.

A number of leading brands went head-to-head in the demo, but it was a d&b audiotechnik system, presented by Ansata, that won the battle.

Ansata’s owner, Leslie Lean, examined the site and drew up a comprehensive plan for the pro audio system, keeping in mind the church committee’s requirements for performance, ease of use and visual aesthetics, as well as value for money; the church was on a budget after all.

26 WORSHIP AVL March–April 2020

‘The d&b system as demonstrated in the head-to-head with other speaker manufacturers met the budget, aesthetic and audio requirements,’ says Carter. ‘A blind listening test was conducted with the church decisionmakers and other experts present.

The professionalism of Ansata was clear and the performance of d&b against the requirements was unmatched.’

The sound system design was based on d&b audiotechnik’s xC-Series column speakers. A pair of 24C-E column extension speakers was installed to complement four 24C column loudspeakers, which have a white finish so as to blend in with their surroundings. Low-end reinforcement is provided by two 27S subwoofers.

Power for the loudspeaker setup is also courtesy of d&b, thanks to a single 10D power amplifier. The Ansata team also installed DPA d:sign 4098 supercardioid microphones with goosenecks to capture the

spoken word from the altars, as well as a Furman CN-3600S E 16A SmartSequencing power conditioner for AC protection and noise filtration, and a Yamaha TouchFlow TF5 32-channel digital mixer at front of house. The entire setup is connected via Van-Damme cables.

‘I was apprehensive about the performance of the column speakers and whether they could deliver the church’s requirements,’ reveals Archbishop Manakalam.

‘However, after the completion of the installation, I was ecstatic upon hearing the powerful sound they created and the way they covered the whole church. The system is so easy to use, and the best part is that it delivers crystal-clear sound all across the church. The d&b audiotechnik speakers provide a nice and even dispersion.’

‘The church as the end user were critical listeners for their audio requirements and the d&b system and the Ansata installation exceeded their expectations,’ confirms Carter.

Not only did the system impress the church committee when tested after the installation, but it performed well during its first proper use, as Lourdes Forane finally had its inauguration.

‘I want to thank Ansata for their efforts and wonderful tech support in getting the installation done at such short notice and for all the help they provided during the inauguration,’ concludes Archbishop Manakalam. www.ansata.net www.dbaudio.com www.lourdesforanechurch.com

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PROJECTS

Bidirectional messages Trinity Fellowship looked to Open Broadcast Systems, Cerberus Tech and Stream Monkey to deliver live, broadcast-quality video between campuses, says video engineer Brandon Newburg

Trinity Fellowship’s Hollywood Road campus in Amarillo TRINITY FELLOWSHIP CHURCH IN Texas has utilised video for quite some time. In the mid-1990s, the senior pastor and elders came together to create the vision for MarriageToday, the church’s televised marriage and family outreach. That was the first time its video content had reach beyond the building. When Trinity moved into its expanded facility, the church also began to stream services live through its website, as well as offering the ability to watch on-demand.

In 2009, Trinity Fellowship opened a new 4,000-person auditorium with a broadcast-quality video infrastructure.

A few years later, the church began adding remote campuses. It now has eight remote campuses, two outreach centres and 10 prison campuses.

With the addition of remote campuses, there was an increasing need for a bidirectional feed. This would enable churchgoers in its remote locations to view the live feed from the broadcast campus, Hollywood Road, but also made it possible to supply ‘quality of experience’ streams back to Hollywood Road. These streams allow Trinity to troubleshoot video and production issues at campuses and assist in maintaining a consistent experience across all of its locations.

The church initially implemented bidirectional feeds a number of years ago; however, the setup used different equipment and required constant management. Therefore, a simpler setup that would need minimal manpower to run was needed. Live video streaming solutions provider

Brandon Newburg, video engineer at Trinity Fellowship Church Stream Monkey was tasked with delivering the live streams to and from Hollywood Road and, with a proven track record delivering video content anywhere across the globe and developing bespoke hardware solutions for video distribution, Cerberus Tech was brought in to determine the best setup. Having worked with Stream Monkey and Trinity to specify how the workflow should work, Cerberus developed bespoke units to be housed on Hollywood Road and at the remote churches, testing these units extensively beforehand and continuing to supply ongoing support.

The unit at the broadcast site consists of an OBE C-100 encoder and decoder from Open Broadcast Systems and a Zixi video streaming platform. Because both of these solutions are software based, Cerberus was able to house them all within the same hardware unit.

The C-100 encoder and decoder

28 WORSHIP AVL March–April 2020

Worship inside the broadcast campus supports high-quality, low-latency video transport and allows flexible deployment of contribution services.

Meanwhile, Zixi’s video streaming platform provides low end-to-end latency, removes jitter, recovers and re-orders packets, smooths video delivery and regenerates video to its original form in real time and with minimum overhead to the physical bandwidth.

As services are recorded, the content is fed into the unit, encoded by the OBE C-100 encoder and then passed to the Zixi platform for packaging and distribution to the remote churches via the Stream Monkey live streaming service. At the remote sites, the live stream is fed into a Zixi receiver, decoded using an OBE C-100 decoder and presented to the church.

‘Having worked with both Open Broadcast Systems and Zixi for a number of years, we were confident that those solutions would deliver the right workflow needed for this implementation at a reasonable price point,’ explains Chris Clarke, CEO of Cerberus. ‘We were also confident that once set up and thoroughly tested, the solutions would run smoothly and need very little input onsite.’

As well as the cameras set up at the broadcast location, each remote site

has a fixed camera mounted in the back of the auditorium that captures the entire stage and projection screen. This is then embedded with the main audio feed, fed into an OBE C-100 encoder and sent back to the broadcast site to ensure a consistent quality of experience across all sites.

For years, Trinity Fellowship’s campuses were receiving a previously recorded version of its services.

However, being at one of the campuses and watching the same content at the same time as the rest of the sites helps create a stronger sense of unity and engagement.

In addition, the bidirectional feeds mean that staff at Hollywood Road are able to quickly identify issues at the various sites and help the crews at each location to resolve them.

The live streams have proven very popular with our congregations and have helped to enhance the sense of community among the entire congregation. The fact that the live streams simply work is extremely important to us, meaning we don’t need an entire team on hand to manage them during broadcast.

Always striving to add value from its video and production systems, we at Trinity Fellowship continue to seek new ways to maximise our setup. This includes having pastors travel to the various campuses to speak live from those locations, broadcasting back via the bidirectional feed. www.cerberus.tech www.obe.tv www.streammonkey.com www.tfc.org

PROJECTS

Jingle bell rock Black Rock Church made use of its existing AVL inventory to completely alter its environment for its Christmas services. James Cooke reports FAIRFIELD, CONNECTICUT’S BLACK Rock Church, goes all out to celebrate Christmas throughout the month of December. In addition to hosting special Christmas Eve services, a highlight on the church’s calendar is its This is Christmas musical service, which took place on Sunday 15 December 2019, during each of the three morning services and was attended by more than 2,400 worshippers.

Pastor Steve Treash

This special presentation was staged using only the church’s existing inventory of audio, video and lighting equipment.

‘Typically, we don’t hire any equipment,’ explains Black Rock’s associate technical director, Chris Palazini. ‘As a church that relies solely on the tithes and offerings of its attendees and church members for its annual budget, we take our jobs as stewards of these financial gifts seriously in how those funds are spent. At times, when we have special services or events, we will look into purchasing what we need as opposed to renting. The cost of renting for the short term versus a purchase just doesn’t make sense for us – especially as we are not charging a fee for our events like a touring performance where the rental of the equipment is built into the cost of production and covered by the sale of tickets. The only thing we will rent would be effects equipment, like a ground fog system or snow machine.

‘With that said, we did purchase a snow machine this year as it is the second time in recent years that it has been a part of our December services – always keeping the ROI in mind. We then used the snow machine during services on 22 December, which featured a local ballet troupe from the D’Valda & Sirico Dance and Music Centre.’

30 WORSHIP AVL March–April 2020

Images courtesy of Matt Divine – www.mattdivine.com

Each This is Christmas service included a performance of Silent Night as the stage was filled with slowly rotating white star field gobo patterns produced by eight Chauvet Professional Maverick MK1 Hybrid fixtures from the Black Rock lighting rig. As the song lifted, so did the stars, as the Mavericks tilted up and across the sanctuary, creating the effect of a starry night. Later, during an a cappella rendition of Little Drummer Boy, the same fixtures were used to produce a crown of light around the singers.

‘I know that gobos are often used in contemporary church settings as aerial atmospheric effects with haze, not unlike in a concert environment,’ says Palazini. ‘We often go that route

as well, particularly at our Sunday evening young adult services – known as Sanctuary – but coming from a long career as a commercial, animation and visual effects editor, I will often choose to use gobos to create texture on the stage that work in concert with the lyric backgrounds on the screen.’

Colour was also used to great effect during This is Christmas. For example, Palazini covered the stage with deeply saturated blues and purples for much of the event to evoke a sense of peace, which gave way to seasonal greens and reds as the band played Jingle Bells to end the service. ‘This was two weeks before Christmas Day, so we wanted to send people off in a festive holiday spirit,’ notes Palazini.

PROJECTS The lighting setup also included 10 Rogue R2 Wash and six Rogue R2 Spot fixtures from Chauvet, as well as two Colorado Zoom WW Tour PARstyle luminaires, and four Chauvet DJ Colorband T3 lights from Chauvet DJ. These were all flown alternately on a trapezoidal grid hung above the stage for the event. The lighting rig was programmed and controlled from Black Rock’s dot2 XL-F lighting console from MA Lighting, which is connected via Art-Net to a Chauvet NetX adapter with up to nine DMX universes. ‘We are currently using five universes to their maximum capacity and one additional for a few fixtures with less than five channels of control,’ Palazini reveals.

‘For atmospheric effects, we own an MDG ATMe oil-based hazer and the snow machine we purchased this year was an Antari S-500-XL. Again, these are items that we might have rented, but decided it just wasn’t worth the rental fee as it would be better to just find a good deal and buy it.’

Static fixtures were also employed to help create the lighting effects needed. ‘The theatrical front lighting was provided by 68 ETC Source Fours with lenses varying from 19–35°, and 10 ETC Selador Desire D40s that are used to add wash colour to the house. For this December’s services, we also used six of our ETC

A week after This is Christmas, a local ballet troupe performed for the church Lustr 11 static washes to wash the upstage wall below our projection screen. Additionally, I used four of our Chauvet Colordash Batten-Hex 8 fixtures to wash the stage left and right walls, as well as adding colour wash to Christmas trees, which were hung along both walls. We also used four Chauvet DJ Colorband T3 LED static lights around the perimeter of the circular stage, which we had built for the Christmas season, as added up and accent lighting to complement vocal and dramatic performances.’

The Christmas trees weren’t the only decorations adorning the set.

‘We also hung a 52-inch, 75-pound glass and metal Moravian star from the rafters,’ adds Palazini. ‘Then,

there’s all the added wiring of power and DMX control for the lights on the star and trees. Once the rigging and electric were done, we painted the stage white for the month of December. Every year, we change up the staging for the December services.

Our preparations begin on the Monday after Thanksgiving. We start by clearing the stage of all the lighting, electrical and band gear from the previous Sunday. Then, this year, we built the additional 12-foot, circular stage off the downstage centre edge of our main stage. Once that was done, we assembled and decorated the trees.’

Lighting effects were coordinated with the sermons, music and a 40-foot JKP Affinity projection screen,

which received its content from a pair of Digital Projection HighLite laser projectors with blending and correction handled by Scalable IPS software and hardware. Content was stored on a Renewed Vision ProVideoPlayer V3 media server.

The main sound system was a Bose RoomMatch Progressive Directivity Array setup along with RoomMatch RM218 subwoofers and RM208 front-fills, both located beneath the downstage edge. Managing the mix was the church’s Allen & Heath dLive S7000 console with a Waves3 audio networking card and MultiRack Soundgrid plug-ins, Tracks Live for recording, DM64 StageRack with 64 XLR inputs and 32 XLR outputs and three I/O ports for Dante and AES. A pair of DX168 expanders with 16 XLR inputs and eight XLR outputs each are also installed at Black Rock – one at front of house, the other backstage.

This is Christmas included 10 songs, several short dramatic pieces and a sermon by senior pastor, Dr Stephen Treash. While the AVL technology in use was the same used throughout the rest of the year, they were employed effectively to reflect the spirit of Christmas. www.blackrock.org www.chauvetprofessional.com

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Ones and zeros – going fully digital (part two) Gordon Moore discusses the opportunities presented during a fully digital upgrade LAST ISSUE, WE DISCUSSED THE process for making a complete upgrade to a digital platform.

Documenting and analysing the existing system, designing the replacement system, comparing the old and new designs, teardown and installation are necessary steps in such a conversion.

In part two, we will discuss the factors to consider in your system design (particularly on the networking side) and the commissioning/training phase.

Digital systems give you new opportunities for signal routing and cable management. The first question to ask is: standalone or shared network?

Shared networking IP-based digital AV networking systems are capable (in most cases) of allowing more than just your AV data on the same network. It is possible to have a single network carry not only your audio and video data but also your phone system and office data network. Sharing an existing network can be a big cost-saver, particularly if your system is simple and you don’t have a big data load.

There are a few ‘danger’ factors to consider. Will there be public access to this network? In our church, we allow members to wirelessly access our public data network for internet access for their phones. They are secured from tapping into the church computers, so our data is secure.

If we also placed our AV signals on the same network, we run the risk of overwhelming the system with excess data. All we need is several members to be secretly streaming the FIFA playoffs during services and suddenly we could see interruption of audio and video signals as the system slows down to handle the excess unplanned data.

If you plan to share your network, take some steps to assure uninterrupted services. Use managed switches and make certain that the

MEET THE AUTHOR Audio expert and industry veteran Gordon Moore is the director of technical ministries at Rio Rancho United Methodist Church in Rio Rancho, New Mexico; president of Lectrosonics, Inc; former senior faculty member for the InfoComm Academy; was named Educator of the Year for InfoComm in 2000; and received the Fred Dixon Service in Education Award by AVIXA for his outstanding contributions to education in the AV industry in 2019.

Gordon Moore

AV streams have priority in the QoS (Quality of Service) settings. With a managed switch you can build a VPN (Virtual Private Network) which isolates the AV signals from the public signals. Within the managed switch, the VPN creates logical internal separation of signals, acting as if it was multiple switches just sharing a common cable. Use the fastest managed switches your budget can afford. Don’t try to hang on to old 10/100 switches – make sure you have a minimum of 1Gb switches in your network.

Consider keeping the public out.

Don’t allow access to the network for congregants to put their phones on the internet. Either stay completely hard wired (no wireless router) or hide the SSID of the wireless router so it does not appear on your congregation’s cell phones. Then keep the password and SSID a secret – don’t put a big sticky note up in the booth with the network name and password for all to see.

Dedicated or standalone networks Building separate networks for your digital system gives you a very secure IP network immune to hacking, overload and simplifying your system design. Surprisingly, it also takes

32 WORSHIP AVL March–April 2020

less networking knowledge – you don’t have to become familiar with managing switches, QoS, etc.

A separate network tends to be quite simple. You need a router to handle IP addressing and perhaps switches, depending on the complexity of your system. In our church, the Dante network is contained on a very simple serial network – the cabling moves from one Dante unit to another starting with the audio computer (Ethernet card), then Aviom head end>Yamaha mixer>SPNDNT>amplifiers>Duet IEM>DSQD wireless receiver>DSQD wireless receiver>venue receiver via Dante breakout box. The cabling simply goes from one device to the next and the network is closed off from all other data.

We have another, separate network for control which does include a wireless router so we can utilise the remote capability of the mixer with an iPad and adjust routings, gain and other functions in our Aspen DSP units.

The church data is a third, separate network with wireless access for the congregation. By separating these functions and having discreet networks, we reduce the liability of a failed switch literally crippling the entire church operation.

This configuration has run 24/7 since July 2012, surviving two lightning strikes and several power outages. One of the lightning strikes took out a large switch on the church operations network but had no effect on the Dante portion of the AV control network.

Redundancy Are two networks for the same function better than one?

For the Dante system we installed, we had the choice of building redundant networks or creating a simpler network. Because this is a beta test site, we decided to install a non-redundant network so failures could be analysed and documented.

The Dante system in redundant mode has a flawless switchover in case one side fails. If a switch goes down or a cable is unplugged, Dante will switch over without any audible artefacts. We would never know if one side failed unless we were testing for such a failure. So, we opted out on redundancy. In your case, however, a redundant network may make very good sense.

The benefit of having a completely separate fallback system will give you peace of mind, especially during key worship seasons when the system is being used to the highest levels. The only disadvantage of a redundant network is the doubling of network costs. You will pull twice as many cables and duplicate all switches and routers to assure a truly separate system. Some facilities go one step further and make certain that each network is on a different electrical service in case of a blown circuit breaker.

Signal routing The actual signal routing in a digital system is all done in software. You have the firmware equivalent of a patchbay in the digital realm and, unless you plan carefully, the possibilities can be mind boggling.

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KnowHOW are plugged into, the mixer in the back is always the same.

The benefit of selecting the Aspen system to ser ve as the control layer/patchbay is that the Dante, the Aviom and the Yamaha matrices can be set permanently and we do not have to worr y about making changes at multiple levels. This is the key for your digital system setup. Decide early in the process which software and equipment

Next, set amplifier levels for the required system loudness. Don’t worry if your amplifier levels are only at three on a scale of 0–10. If it is loudness you want, then your gain is set properly. Don’t turn down inputs so you can turn up amplifiers as that will negatively impact your signal-tonoise ratio.

Then, equalise your speakers and adjust the amplifiers to compensate for any changes in level. After

Figure 1 – The Aspen matrix. Only about half the system is visible on this screen. Green represents automix, pink the phantom automix mode and white is direct (no automixing) In the RRUMC installation, we have three different matrices for routing signals in the systems. At the stage, seven floor pockets feed 56 audio cables into an Aspen stack front end. There are also 32 channels of incoming Dante. This stack has 48 channels for possible mixes that can be fed to 32 channels of outgoing Dante. So, that’s 88 inputs to 48 mixes that can be routed to 32 Dante outputs.

We had to reconcile the routing in such a manner that we would be able to easily reroute the system without any wiring changes. We opted to do so in the Aspen side of the system. All Dante sources would be brought into the Aspen system and mixed/routed with the analogue signals from the floor pockets. The Dante output channels were permanently assigned to the first 32 mixes representing

Figure 3 – A closer shot of the Aspen matrix where routing changes are made. Note along the top labels, these are the assigned mixes sent via Dante to the Yamaha TF3 channels platform will be used for making system changes. Tr y ver y hard to make certain that the software can easily support your routing change requirements. But work to keep the adjustments on only one layer of the many that might be available.

Commissioning the new system

Figure 2 – A small part of a very large Dante matrix The Dante network itself has 104 sources feeding 132 destinations.

The selected 32 mixes that are placed on the Dante network are assigned to the Dante inputs on the Yamaha mixer. The Yamaha TF3 can route any of these inputs to any of its 64 channels of output Additionally, the Aviom head end can pick up 16 channels of direct feeds from any of the Dante channels for the hardwired Aviom IEM.

the channels we desired to show up on the Yamaha mixer. We can change which floor pocket input will be assigned to the channel one mix (Kick). So, if the worship leader decides to move the drum kit to another part of the stage, we can simply assign the input for the pocket into which the Kick is plugged to the same channel one mix. No matter where the band is onstage, no matter which XLR they

34 WORSHIP AVL March–April 2020

Once your system is installed and successfully configured, it is time to commission. First, set your gain structure. In most digital systems, this means getting your microphone and line level preamps properly set with as strong a signal as possible – somewhere between –10dbU and 0dBu for analogue signals and –30dBfs to –20dBFs for digital inputs. This will give you a safe 20dB of headroom for your music.

For many digital systems, this is the only stage at which you will be making gain adjustments. The resulting line level signal will pass, untouched through the Dante or AES67 system direct to the amplifiers (if equipped with Dante or other digital inputs). This is one of the great benefits of a digital signal chain – the integrity of signal strength.

you have set system EQ, you can proceed with a full sound check and make individual adjustments to each input according to the capabilities of the mixer. For the Yamaha, we can set individual gain, four-band EQ, compression and limiting. Schedule a full tech session with all your music team at this time so you can dial in the system (don’t try to do so during a regular rehearsal). Keep an hour for yourself and the system.

Finally, train your volunteers.

Make sure they have access to the manuals for everything and then spend some special time, one-onone, to let them get familiar with the new system. We had the sound techs come together for a barbeque and training session prior to the first use.

A major conversion from analogue to digital is a big step for any house of worship. Spend plenty of time planning in advance, think it through thoroughly and challenge the ‘old ways’ you did things in the past.

Learn TCPIP networking skills (if you don’t already have them).

Welcome to the digital age. Once you go down this path, you will never turn back.

Mix well and be blessed.

KnowHOW

Implementing videowalls Christ Place Church’s new sanctuary is equipped with 99.5m2 of Unilumin UpadIII screens

Every house of worship will have different requirements for their visual solutions, but videowalls can often prove to be the most cost-effective and flexible solutions that can still deliver a ‘wow’ factor THE VISUAL ENVIRONMENT IN houses of worship has come on a long way over the last few years. In the not-too-distant past, the idea of adding different media into a service would either be cost-prohibitive or just technically unthinkable for many venues. But, as the technology has become more accessible, it is no longer just the prevail of megachurches. Visual solutions are now being used to enhance the worship experience for congregations of any size, all over the world.

Connecting with your congregation is the best way to get your message across, and visual solutions are an increasingly compelling way to do this. While big, projector-based systems have been a popular option in large houses of worship for some time, LED videowalls are now becoming a real possibility too.

It feels that this move has pushed us towards a new generation of visual worship solutions. This means that houses of worship now need to weigh up the competing arguments of different technical solutions to find the right choice for their facility.

CRC Church in Johannesburg is equipped with an Absen DWP3.9mm screen comprising 336 panels

Projectors vs videowalls The first thought when selecting the right visual solution for your house of worship has to be its purpose. Are you looking for a simple way to allow your congregation to see more of the service? Or are you thinking about something a little more advanced where you can add a variety of media into the praise to create a completely

36 WORSHIP AVL March–April 2020

new experience? The decision you make here will have an influence on the right kind of solution for your sanctuary.

There are many reasons for selecting a videowall over projection or distributed screens. Budget will always be the first concern for many houses of worship, and this is one area where LED videowalls really do allow you to generate more bang for your buck. The rise of digital signage

has made these panels a fixture everywhere you go. As such, there are now multiple providers offering a highquality solution at every price point.

A similar budget theme comes from the brightness you can expect from your solution. The aim for any technical leader will be to have a solution that enhances the experience for everyone in the room and, with visuals, that often means one that is bright enough for the

KnowHOW entire congregation to see. While you can get high brightness from projectors, this will always come at a cost. Premium professional projection systems will undoubtedly do the job you require from your visual system, but the comparative cost of purchasing and maintaining these may take funds from other areas of your tech budget.

On top of this, there is also the environment you are creating that needs to be considered. An LED wall will be a silent solution, free from the fan noise you get from projectors.

This will mean one less obstacle for your sound team to overcome as they ensure the whole congregation can hear the service clearly. There is also the factor of the heat generated.

LEDs run a lot cooler than projectors (hence the lack of fan noise) so you will not be pumping out more heat into your sanctuary.

Installing a videowall The installation process for videowalls is something that should definitely be handled by experienced professionals. Using a trusted partner may cost more than the DIY approach, but the results will be a faster installation and a better end product.

There are various factors that you need to consider but the most obvious one is positioning.

Whether it is for a main backdrop or side IMAG screens, there are certain aspects to give some thought to.

If you are looking to add a videowall to your house of worship, it is safe to assume that you either already have a camera setup or you will be adding one at the same time. If this is for your main backdrop, you will need to consider whether a preacher will be in front of it. If so, the screen content will likely be captured by your cameras and this means you will need to ensure your LED wall has a high refresh rate to avoid the appearance of rolling lines on your IMAG screens or streamed broadcast.

Further thought should be given to greyscale. In some of the cheaper LED products available, the darker portions of the screen can appear bandy. To overcome this, you will need a higher brightness from the screen. While this can be a good

Removing one of the four LED arrays from a front-serviceable Chauvet F4 video display fix, it will also affect how you need to light the preacher onstage. If you are going for high brightness, you will also need punchy front lights to ensure that the person onstage can be seen easily and looks good to

the audience in the room and to the camera. A higher-quality panel with a greyscale that performs well in lower brightness could be a better option for the long term.

There are multiple mounting frames available to create the size and shape of wall that you are looking for, whether that is wall mounted or flown. Most manufacturers will have a recommended frame for the product you are choosing, but there are also dedicated frame manufacturers who can supply the right mounts for your needs.

One of the important factors to consider is the ability to service your wall when it is in place. You can buy front-serviceable panels which make access to the electronics simple. If you don’t take this option, you need to ensure the wall is installed with space to either move it out to gain access to the rear, or for someone to get behind the screens in their permanent position.

There has never been a better time to purchase LED videowalls. The high resolution and image quality that is available at prices that suit every budget means that you will be able to provide a solution that enhances the experience and benefits the services at your house of worship.

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PROJECTS KnowHOW

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The result is that both sides of the you can addsuch additional sources equipment as thelight Midas PRO2 numerous in mainstream up towards the face to fill in the ‘The limitedexamples room height ensured that A Yamaha Rivage PM10 console IF YOU’VE TAKEN THE TIME TO at FOHstrong shadows. This will take some face are evenly lit and shadows or experiment alternative console in thewith chapel continues to media photography use of split the subwoofers had of to the be positioned look at lighting positions in a ontocreated thethe stage,’ comments Robert. are just under the nose, arrangements of these elements to serve the church’s requirements until received an L-Acoustics lighting, suchtoasthe headshots music experimentation with theupgrade angle to almost flush ceiling soofthat variety ofsometimes facilities, you mayWhen have The 480mm x 480mm tiles have chin and brow. come up budget with other creative lighting the next is approved. courtesythe of L-R ARCS Wide (inner) and artists for advertising materials. achieve correct balance. they would not block the sightlinesSplit of noticed several despite been arranged eightcorrectly, units the light sourceinsimilarities isan placed techniques for your projects.

ARCS providing lighting not aForeign technique thatinyou JohnFocus Black(outer) servesspeakers as the theatre manager for is Seoul School the venues looking completely (3.84m) high xproduces 14 units (6.72m) wide this technique the fewest Finally, these techniques can also 45° and 15° horizontal dispersion, would use of a guest speaker making Seoul, South Korea.

Holding a degree in Theatre Design, he provides Technique 3: split technical production support and design in three state-of-the-art different architecturally.

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The original inputs shadows. be used as basic techniques for facial respectively.

Rear delays have been a presentation at your house of performance venues oncoaxials. campus 40 major and but it may lighting for your video projects. If you third andform final technique we for over because lighting including Panasonic PTZpositions HE130 Butterflythese lighting is also referred to as The added in the of X12 worship on aconcerts serious topic, productions a year facial in height the lighting areas of sound, video andwhen staging. will looktoatthe regarding were first have considered in relation cameras beenasretained, butused the ‘glamour style’ it is often are shooting on location or don’t have ‘Owing restricted of the be alighting, technique used promoting John especially enjoys sharing his passion for entertainment technology is split lighting.

As theare to thehas stage andKramer lightingreceivers, design CST added in glamour photography.

The downside techniques access to a full lighting rig, these ceiling, the point source cabinets a special music or drama event, for withalludes high school students each year through his student production team, term to, atosituation theories as toand how effectively transmitters converters to ensure of this technique is to that it doesn’t techniques will help you consider the fixed horizontally maximiseusing theirsplit example.

Crusader Live!, students the opportunity to finding learn and with lighting divides thegiving subject’s face illuminate presenters or scenery on compatibility of theupHD/SDI and HDMI allow you to cover any blemishes balancing of shadows and highlights energy on the congregation and away If you are thatwork the shadowed professional-level technologies in a demanding production environment. into halves, one that is it.

Depending on the architecture of signals along the single mode,though fibreor unflattering facial features, to helpBlack, createtheatre depth and prevent your fromtwo the equal hard surfaces.’ half of the face is too dark for what John manager well lit to (orthe highlighted) andthe one that is you are looking for, you can use a the finalcare lighting opticauditorium, transport. these can be taken of inpositions the subjects appearing flat and twoPrior AV upgrade, church for Seoulfrom Foreign School shadowed. thistoisthe relatively may beand determined by process. ‘best fit Above the retouching sanctuary, the Love editing dimensional. opted to addAchieving full glazing lateral reflector opposite the light source to simple just make the surechapel that the light Room, Room, Hall about One ofPraise the things to Agape be careful I hope that this brief overview has wall that– separates from reflect light back onto the subject’s source positioned at approximately possible’some to lighting design theories, and Shalom arebutterfly used fortechnique smaller when using the provided helpful tips for you as Shalom.is‘While the windows can be face. The shadowed half will still be 90° to the choosing positions that workAsasI always best ceremonies, weddings, is to make sure that therehearsals light source you approach facial lighting. opened up subject. providing the audience darker than the highlighted side, but The Agape Hall has been upgraded with a Norton coaxial speaker system You Shalom may be next wondering whyaI view use of as possible given the constraints or and practices. is notchoir positioned tooThe highcommon or too low. say, lighting is a creative endeavour, from door with this can help the camera capture the term ‘approximately’.

It goes limitations of itself. of these rooms placedSchool’s Having opted forroom a partial If4m-high the lightceiling source too so feel free to the experiment toAV getupgrade the stage, the addition of glass has some features but at lower the L-Rfacial Panasonic PT-VW590 video A moving light rigis inpositioned Seoul Foreign Mainstage Theatre without that there is a wide youyou are approaching an restrictions on whatcreated AV technology ofPerhaps the church’s infrastructure, high, the shadows will be specific look are seeking. the created saying an acoustic problem,’ adds intensity the highlighted side. projectionthan screens,’ says Robert. auditorium renovation, conversion or could be applied. The chapel has resultant transformation reflects well Robert. At his insistence, the church Monitoring is provided by Norton new build and you havecreated been tasked on the original designs by Audio NF8 speakers, while Dynacord with afterand theAcviron lightingAcoustic rig, Laudlooking Architects L3600FD amplifiers power the whole including the It placement of fashion, lighting Consultants. mayinto not your be system. provide a lot of flexibility. created, IT ISN’T OFTEN YOU ATTEND AN incorporating them rig, designers to take advantage of positions and what shouldhow be included but the changes highlight AV Controlled by an ETC the SmartFade Within a single event, fixtures event where moving lights are not a however, there are several important whatever the project needs are. in the house Thisit’s article lays technology – plot. whether networking, controller, a combination of 12number can be focused on an infinite part of the lighting rig and many midfactors to consider.

In this article, I’m going to discuss out of the basic design loudspeaker design or lighting HD video Martin Rushonstage, PAR 1 washes and of locations be recoloured to large-sized worship venues also Thesome two main technical considerations before incorporating theories, as well aspower providing transmission – are rapidly progresses PARneeded, 2 Fresnels werea included as part as project number of incorporate these fixtures. When the considerations and some moving lights, how to select a fixture tips approaching such power. aofproject overwhen a relatively short period time. of the CST makeover. the different patterns and‘Again, more. What moving light market was in its infancy, and what you need to be aware of control.

First, let’s consider so thatconventional an effective and basic Projection, line arrayfixtures andflexible digital limitedotherwise open ceiling space created would involve large these fixtures were accessible only to after you incorporate these fixtures Unlike powered lighting can be circuit, achieved. consolegrid has indeed come a headache CST in terms of for quantities offor conventional fixtures those with deep pockets and where through atechnology dimming automated into your rig. a long way. theremay are few locations aplacement particularas design be possible their size and noise weren’t a factor. fixtures – whether LED or tungsten without ducting.’

Dante of connectivity First things first with a smaller quantity moving Now, the market is saturated with sourced – need a constant Zoning your stagepower www.cogentacoustics.com to the sanctuary light fixtures that has can been meetcreated a variety options to meet large- and smallsource.

This is because of the www.concept-systems.com.sg Before beginning to think about the with the addition of a Rio3224-D2 Moving lights, aside from the coolof needs.

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John Black discusses some of the basic lighting design theories for creating a flexible lighting grid MEET THE AUTHOR

Incorporating moving lights

If you are looking to incorporate moving lights into your lighting rig, it may be a bit overwhelming to know where to begin. John Black discusses what to consider to get started

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40 WORSHIP AVL AV March–April 2020 2019 38

January–February 2019 2020 WORSHIP AVL 41 25 September–October

What’s Next.

A beam-type fixture of the fixture. Therefore, you need to consider how it is that you will power your moving lights. When I began adding moving lights and LEDs into my rig, I had a simple solution to this.

All of my venues had extensive power distribution systems installed running to a machine room with dimmer racks made by ETC. All I needed to do was replace the rack modules for the locations I wanted to plug in my moving lights with modules that were non-dimmable and allowed a constant electrical current to pass through the system. This meant no new infrastructure was needed and, when wanting to reposition fixtures for different events, I could simply move the non-dimming modules throughout the racks according to the specific circuits I wanted to use. This also meant I didn’t need to run temporary power extensions to the fixtures.

The second consideration is control.

Conventional fixtures have a single control parameter – intensity. The lamp is either off, full on or dimmed somewhere in-between. Control data is actually routed to the dimmer racks with only a power line running to the fixtures. This is not the case

with moving lights. In addition to power for the fixture, moving lights require a direct data line to control all of the fixture’s controllable parameters. Prior to purchasing moving lights, make sure that your control console has the capabilities to control the fixtures you are looking at and that you can run or connect data cabling to where you want to place the fixtures. Control data can be daisy-chained from fixture to fixture, so having data distributed to each lighting position is a great way to ensure you have built-in flexibility. In addition to the physical infrastructure of data, be sure to consider the capabilities of your control console – will it support the quantity of control channels needed for moving lights? How user-friendly is it to program moving lights (especially if your technical staff is made up of volunteers)?

There are many more things to consider but these are, in my opinion, the two most important considerations. I discuss in more detail the power and data needs for moving lights in the January–February 2016 issue of Worship AVL.

See how ETC is revolutionizing the studio market. studio.etcconnect.com

visual environment technologies etcconnect.com

KnowHOW Know what you’re looking for The next step is to sort through all of the available options on the market.

There are three main considerations that I keep at the forefront of my decision process: fixture class, features and serviceability.

When I think about fixture class, I am really considering the brightness of the fixture, or the amount of light that it puts out. I don’t want a fixture that will be underpowered compared with the rest of my lighting rig because I won’t be able to achieve the lighting looks desired. I also don’t want a fixture that is overpowered because there are negatives to running the fixture at less than its intended output simply to balance the output with the rest of the rig. This can especially be a problem with any video work being done. I first consider the venue that the fixture will be used in, particularly the throw distance(s) that the fixture may be used for, as well as the lamps used in the rest of the rig and the light level at which the stage is typically lit. This helps me consider if I should be looking at a 700W or a 1,200W source fixture as an example. The brighter the light source, the more power the fixture will also draw, which causes me to consider the power capabilities of my system. Also, the brighter the fixture, typically the larger the unit will be, which causes me to consider where the unit will fit into the rig. All of these factors are how I would define fixture class.

Fixture features refers to the specific ways in which the fixture can manipulate or produce the light beam. The simplest feature to decide on at first is whether you want an LED source or tungsten. LED moving

reading this article. And in that lies the beauty of working with these fixtures – the design possibilities are endless.

Instead, I want to focus on the responsibilities that come with having these tools at your disposal. After all, they aren’t going to take care of themselves and keep running forever. Moving lights are sensitive instruments often put under a lot of stress. It takes frequent, diligent preventative maintenance to ensure that your return on your investment is maximised, especially in a house of worship setting where budgets are often tight and technical systems are run by volunteers. Here is a quick list of easy preventative tips to keep your fixtures running: Sample beam effects during load-in lights are newer and have quickly gained momentum in increasing their brightness to compete with tungsten options. The next feature decision pertains to the shape of the beam that is produced. Most moving lights are generally categorised as profile/ spot, wash or beam fixtures. Profile/ spot units produce a focusable beam that excels in the projection of gobos and aerial effects, and now often feature framing shutters. Wash units produce a wide, soft beam that excels at projecting large pools of light. Beam fixtures project very narrow and focused shafts of light often used for aerial effects. A more recent consideration is whether you need framing shutters or if an iris will suffice. What colour mixing system do you prefer – CMY mixing, colour wheel or a multi-colour LED source for additive mixing? Do you need colour correction filtering to adjust the colour temperature or, on the LED side of the market, what colour temperature

Scheduled cleaning

40 WORSHIP AVL March–April 2020

lamp source do you prefer? If you aren’t sure of what features are important to you and your workflow, I suggest you set up some demo sessions with some local suppliers, or even look at renting some fixtures to test out before making a purchase.

Answers to the first two questions will really help narrow down the fixtures on the market to a handful of options. The third question that always plays an important role in my decision-making process is serviceability. Moving lights have lots of, well, moving parts. They require more servicing than conventional fixtures. Is that servicing something that you and/or others on your technical staff are qualified to undertake, or will you be needing a service contract with a local distributor to help you ensure that the fixtures are operating as they should be? If something happens to a fixture, how quickly can you get replacement parts or the unit repaired so that there is minimal downtime? Moving lights are a significant investment and so careful consideration should be made regarding the upkeep of those investments to maximise their useful life.

1. Ensure that the fixtures are powered correctly. If moving light fixtures are powered mistakenly through a dimming circuit, the processing boards can be damaged.

2. Ensure that the fixtures are powered down correctly.

Especially with tungsten-source fixtures, be sure to turn off the lamp and allow the fixture to stay powered ‘on’ (meaning fans running) to bring the internal temperature of the fixture down.

It will prolong the life of your lamp and internal components that are subject to the buildup of heat.

3. Regularly open the fixture and blow out any dust that has built up on the fans or other components.

4. Regularly clean the lens(es) and lamp with alcohol pads (never touch these with your fingers as oil from your skin will be transferred).

We’ve got them … now what?

5. Power off the fixtures when not in use. Even if the lamp is ‘off’, if the fixture is powered on, the processing boards will be running.

Perhaps the most obvious direction to take this last section is how to use the fixtures. The challenge lies in the fact that answering ‘how moving light fixtures are incorporated’ has as many answers as there are stars in the sky. Each situation is unique: the combination of fixtures used, the lighting positions they are hung in, the venue you are operating in, and the style of your services and events are all as unique as each person

There is more to the maintenance of moving light fixtures, but following these five basic preventative steps will help you maximise the lifespan of your fixtures.

I hope that this has provided some tips if you are considering or already incorporating moving lights into your lighting rig. They are workhorses in my venues, and I hope that you can experience the increased flexibility and design possibilities in your own work.

VSA II

DIGITALLY STEERABLE COLUMN SPEAKERS

The VSA II is designed to provide precise directivity of audio targeted specifically to the critical audience listening area.

DSP algorithms allow for the control of the vertical acoustic dispersion with the capability of “steering” and “beaming” the sound to intended area. This process eliminates the acoustic anomalies of highly reverberant spaces and eliminates unwanted reflections. The VSA II series is compatible for easy networked management and monitoring and comes in three sizes: 8, 12, and 20 transducers for multiple architectural specifications. The result – improved clarity and increased intelligibility.

VSA 2050 II

VSA 1250 II

VSA 850 II

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MAINTENANCE

Maintaining mic stands, music stands and tripods A drooping music stand, a hard-to-adjust mic stand or a balky camera tripod can break the flow of a worship service just as with failing electronics. Frank Wells share tips to keep such hardware in good condition WE HAVE ALL SEEN IT HAPPEN: a tall singer steps up to a solo mic, adjusts it to their height and, halfway through the song, the boom arm starts drifting downward; a music stand tilts, spilling sheet music onto the stage; a tripod head slumps under a camera’s weight and the IMAG shot of a worship leader is now showing their feet. Any of these types of issues can break the flow of performance and detract from the worship experience.

loosen), raising or lowering the stand and retightening the clutch to the tension you’d expect the performers to apply. Then, push down on the pole to ensure it holds fast. If a mic clip is screwed directly to the top of the stand, insert the mic and make sure it is secure when pivoted on its vertical axis to set the mic angle (the

Test your mics and your stands As part of rehearsal or worship set up and sound check, test your stands and tripods for integrity. Vertically adjustable (telescoping) mic stands typically have two hollow steel rods – a larger main shaft with a smaller pole that slides up and down inside the main shaft. A twist-tighten clutch assembly provides a compression grip on the inside pole to fix it into position. To test, adjust a mic stand’s height by loosening the clutch assembly (some are squeeze-to-

A music stand from Manhasset

A mic boom arm from Triad-Orbit that features their ball joint clutch assembly pivot on some clips can be tightened with a screwdriver), and that the clips secure tight enough on the stand threads to prevent the mic from pivoting horizontally (left and right) when the mic is touched, or, in the case of a wired mic, when the mic cable is moved.

Vertical main shafts will be screwed into a weighted base or have three or four short legs either in a tripod arrangement or that sit flat on the ground. Ensure that the stands are tight to the base and don’t wobble.

Boom arms are frequently set atop a mic stand, screwed on to the same threads that accommodate a mic clip. Booms arms commonly adjust by spinning a short rod or wing attached to a nut to tighten a compression fitting to set the pivot angle. Boom arms are also frequently telescoping with a clutch assembly to adjust their reach. With the mic in place on the arm, ensure that moderate tightening will let the arm support the mic in the desired position, even when extra pressure is asserted to the arm above the mic clip connection. Also ensure that mic clips are secure to the boom and hold the mic firmly in position with no spin or droop from their own

42 WORSHIP AVL March–April 2020

weight. Performance flow aside, this protects mics from damage.

Made for controlled movement Video camera tripod legs are often set to length with a lever or twist-tolock clamp assembly. The nested shafts on a leg can move in and out of the larger leg shafts to the desired height, then be locked in place by a compression mechanism.

Clutch assemblies like those on mic stands are also often used on the legs of primarily less-expensive and lighter-duty tripods. Whatever the mechanism, with its camera mounted, make sure a camera tripod’s legs maintain their height setting if you apply a downward force on the camera. Final height adjustment is sometimes made by a gear drive elevator mechanism or, preferably, pneumatically. Height should also be securely fixed when

An Atlas Sound replacement clutch kit set, and easy to adjust when not.

Manual, non-motorised, camera tripods also have pan/tilt assemblies that work on similar principles but are not tightened to the point that the camera can’t be easily panned or tilted; they are set for ‘drag’ where they somewhat resist movement without impeding it completely nor requiring undue effort to position.

Once in place, the camera should stay secure with no operator intervention or minimal intervention if under active operator control.

Stand firm Commonly used music stands have a telescoping vertical shaft and a tilting top, typically without adjustable clutches or clamps. Rather, they are built with enough resistance to movement to be adjustable under moderate force, and to stay positioned once adjusted and a song book and stack of music are placed on them. Ensure that they function in this manner during set up.

Repair or replace?

A Gravity MS 4322 B mic stand with folding tripod base

Cheap mic stands should be discarded when they fail, unless parts can be resused. The same goes for music stands. You don’t want to trust your cameras to cheap tripods.

When their bushings, rubber and plastic washers fail from wear, midto high-end stands and tripods will usually have replaceable compression assemblies. Purchase units that have readily available replacement parts – a sign of serviceability and value.

A little attention can prevent mid-service crisis situations from happening.

TECHNOLOGY

SMPTE ST 2110 AV-over-IP flexibility and standards

Jed Deame is CEO of Nextera Video

Antoine Hermans is CTO of Adeas

Rob Green is pro AV senior manager at Xilinx

For several years, audio and video signals have been transitioning to IP networks.

Jed Deame, Antoine Hermans and Rob Green examine the flexibility added with an AV-over-IP network and the ST 2110 standards WHEN IT COMES TO AV, BE IT AT a house of worship or elsewhere, there is an ever-present demand for better quality and connectivity. As camera and display technologies improve, the images they capture and present get closer to ‘real-life’ viewing. Pro AV is spearheading much of this demand, as user interaction with displays from shor t distances, such as the magnification of video images provided by large format displays in digital signage and LED walls, becomes more common.

As video frame sizes and frame rates increase from HD to 4K and 8K and from 60fps to 120fps, connectivity bandwidth between video sources and displays needs to keep up. For example, uncompressed 4Kp60 video over HDMI 2.0 uses an aggregate bitrate of up to 18Gbps, severely limiting cable distances.

In the past, and depending on the protocol used, suppor ting higher resolutions and frame rates would require either the use of compression, multiple video links, or a new standard and cabling specification altogether. However, AV-over-IP is emerging as the preferred way to suppor t higher bandwidths, extend the reach of point-to-point connections, reduce infrastructure costs and enable more flexibility in using equipment on the network.

Technology

ADVoE

Dante

SMPTE ST 2110

Ethernet interfaces

1G/10G

1G

1G/10/25G/100G...

Max Compressed

4Kp60

4Kp60

Any

Max Uncompressed

4Kp30

1080p30

Any

Codec

Proprietary

JPEG2000/Any

Any

Security/ Content Protection

HDCP

HDCP

Any (Not specified)

Hardware

Semtech BlueRiver

Audinate Module

COTS IT Equipment, Multiple Vendors, Use Your Own FPGA

Control System

Proprietary Vendor specific

Proprietary Vendor specific

NMOS – Tested Interoperable

Table 1 – Examples of AV-over-IP technologies for pro AV As with any emerging technology, early suppliers will look to standardise their proprietary techniques. This can essentially impose limitations and compromises on the rest of the industry and, while it can be very successful when the technology works well and interoperability is less of a concern, professional AV systems really need something that’s scalable, that works independently of resolution and network speed, and that isn’t tied to a single vendor’s product. As an example, Table 1 compares the scalability of the Society of Motion Picture and Television Engineers’ open SMPTE ST 2110 with the proprietary SDVoE and Dante AV.

44 WORSHIP AVL March–April 2020

SMPTE ST 2110 The SMPTE ST 2110 suite of standards was developed by a group of key figures in the pro AV industry to ensure system flexibility and scalability for years to come. As a result of its collaborative formation, there are many sub-standards as part of ST 2110, including ST 2110-10, which covers system timing, -20 for uncompressed video and -22 for compressed video.

There are also sub-standards for traffic shaping, splitting one stream over multiple Ethernet links, uncompressed audio, AES audio and ancillary data.

These sub-standards are mixed and matched to meet the needs of particular applications. While television broadcasters may be

content with uncompressed video, for example, a house of worship might have more of a need for compressed video (ST 2110-22), which enables the use of more cost-effective solutions, such as a 1Gbps Cat-5 cable. In addition, multiple links can be aggregated using RP 2110-23 (single video essence transport over multiple ST 2110-20 streams).

Another important factor is timing and latency. Synchronisation of network nodes is necessary to realise low latency and ST 2110-10 specifies that nodes need to be synchronised according to the ST 2059 standard, which consists of two sub-standards: ST 2059-1 (generation and alignment of interface signals) and ST 2059-2

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TECHNOLOGY

Immersing digital audiences

Andrew Gordon from BlackTrax asks, how do we capture the often-distracted audiences of the technological world, making sure that they walk away feeling inspired and fully content?

THE LANDSCAPE OF WORSHIP culture is quickly changing. In a world where new technologies are introduced daily, worship services have to work to match the speed and quality of emerging technologies all around us.

Having worked with the Trinity Fellowship Church in Amarillo, Texas, I’ve found that creating meaningful experiences in the modern age begins with immersion. With the help of automation and AV technologies, it has become easier than ever to create environments that can capture the audience’s attention and engage their participation by immersing them fully with their surroundings.

With immersive technologies, spatial limits can be eliminated to pave the way for closeness and unity. While smaller spaces are intimate enough that a few simple AV solutions would add to a more meaningful experience, in larger spaces, immersive technologies can help augment the sense of intimacy and bring the audience members closer to worship and their community. Immersion can

bring about an audience interactivity that is both engaging and inspiring, as these technologies can improve on every aspect of the worship experience.

Enhancing existing architecture The architecture of any house of worship is unique and always worthy of appreciation. In today’s constant hustle and bustle, it sometimes takes a little motivation to remind visitors that they are in a sacred and truly special place.

AURA, a multimedia installation by Moment Factory inside Montreal’s Notre-Dame Basilica, is a great example of how AV installations can change a visitor’s experience inside a church. The transformation delivers a combination of sound, lighting and projection across the church interior, resulting in a renewed appreciation for the 19th-century structure.

Moment Factory describes AURA as ‘a time to slow down, to disconnect from the outside world, to connect

46 WORSHIP AVL March–April 2020

with the space and let the basilica take over the senses. We call this active spectatorship.’ This active spectatorship takes the visitor away from their world and places them in the centre of immersion, interaction and engagement with the building and with themselves.

Using 21 projectors, 140 lights and 20 mirrors to create beautiful lighting and effects, AURA connects with each visitor by walking them under starry-skied ceilings. With an original soundtrack featuring 30 musicians, 20 chorists and the church’s organ, Marc Bell and Gabriel Thibaudeau’s compositions seep into the backdrop of this experience and transport visitors to another world. While not intended for live performances and services, AURA is a very spiritual immersive experience that encourages us to look inwards by preserving and renewing the novelty of things already around us in order to appreciate the past. Made accessible to everyone through an innovative use of technologies, it highlights all the existing features of the basilica’s

original architecture and transforms it to communicate a renewed sense of wonder and inspiration.

Immersive installations that involve a number of technologies can be highly impressionistic and can create exceptionally memorable experiences for visitors. However, for those spaces that are looking to stay truer to basics, simple adjustments in lighting, audio, media and broadcast equipment can still make all the difference.

Building atmosphere with lighting From something as basic as keeping the spotlight on a speaker, to creating massive light shows, there is simply no end to what a lighting designer can do given the space to innovate. For worship, however, the objective is very clear: we want the lighting to inspire reflection and connection without any distractions.

Across five continents, the Hillsong churches draw over 80,000 people every Sunday. The Bali Hillsong church, the first campus in Asia, is

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TECHNOLOGY housed in a simple structure, but engages its visitors with immersive lighting installed by ASIIS. Musical performances hosted by the church play a big role in uniting its audience. Playing with options in colour temperatures, natural skin tones can be perfectly recreated, making it easy for recordings that can then be distributed and made available to those who couldn’t be there. Onstage, a range of colours bathe the venue with soft pastels and vivid saturates, depending on the dynamic of each song. Matching the visual with the audile, every concert at Hillsong immerses the listener in the performance, creating the perfect atmosphere to lose yourself in the music and celebrate with the community.

Effective and innovative use of lighting can contribute a great deal to the vibrancy of the worship atmosphere. With the addition of projection mapping and IMAG to create intimacy and environmental effects, the visual aspect can transform into a full experience.

Closing the gap with IMAG and projections For spaces where the audience is more spread out, those who sit further away from the stage may not be able to see the expressions and gestures of the worship leader, creating a sense of distance and disconnect. In those cases, implementing IMAG to show tight shots can retrieve that intimacy often lost in larger venues. Closing the gap with IMAG is a great way to preserve the immediacy of a service and, with the help of environmental projections, we can create atmospheric wonders in any space.

At the Irving Bible Church in Texas, low-cost environmental projections were introduced by Camron Ware, a member of the staff media team and owner of Visual Worshipper.

Moving images of trees, distant landscapes and other elements of natural environments are projected to help increase the virtual space of the stage and inspire a proximity to nature while remaining in the presence of the church community.

For Ware, environmental projection is a way to retrace the ‘history of the ancient church that included stained glass, tile mosaics and artwork. Today’s church is looking back in order to look forward and I think this technology helps with the architectural significance of a space and to create different moods, vibes and expressions.’

troubleshooting of systems in order to ensure impactful immersive worship.

The dawn of worshiptainment

The integration of AURA at Montreal’s Notre-Dame Basilica

Spatial audio: a ‘sweet-spot’ for all Having fulfilled the visual aspects, we turn to audio to complete the immersion. At the First Assembly Church in Calgary, Alberta, an immersive sound system surrounds the audience and places every single member in the ‘sweet-spot’ of the sound image, something that, according to technical director Justin Wells, could ‘reach those sat at the periphery of our 240° fan-shaped room and give them that inclusive experience’.

Music plays a central role in worship as a way of evoking unification and encourages expression and participation. With a spatial sound system, every member of the audience can experience the same level of immersion and feel wholly included and surrounded by the music.

sanctuary is seamlessly transformed from a traditional church into a conference space or concert venue.

The biggest challenge during the integration was remembering to keep everything simple to maximise the impact of the technologies on the emotion of the experience.

While it is a thrill to be able to play around with all the possibilities of an immersive setup, it’s important to remain focused on the experience of the worshippers to ensure that the technologies are used in ways that best serve the interests of the audience.

At the end of the day, what we want is to immerse the audience without

While the utility and purpose of ‘worshiptainment’ are still being debated, there is no denying that the innovative use of AV can enhance the worship experience to leave a lasting impact and meaningful message.

Whether with lighting, environmental projection, IMAG, spatial audio or all of the above, using immersive technologies in a house of worship can augment the sense of community in any space, providing the type of immediacy and intimacy that might otherwise be impossible to replicate.

Communication in the modern age requires capturing the attention of the audience, which can be done most effectively when all or most of our senses are engaged at once. For instance, while music will always play a major role, today’s worshippers don’t feel as though they must sing in order to engage; instead, they desire feelings of intimacy and unity with those in the room, and they want to be a part of something that can inspire reflection as much as participation.

Bringing it all together At the height of immersive worship, the Celebration Church in Jacksonville, Florida, combines architecture, sound, lighting and projection technology.

Treating the church as a canvas, Live Design Group and WAVE Group designed and integrated modern technologies to fully immerse guests in worship, including an ever-changing environment of digitally projected material on walls, ceilings and floors, which are regularly displayed in the sanctuary and throughout the campus, creating an atmospheric surrounding and enabling different stage settings to suit particular themes.

This 4D emergent worship technology takes into account the impact of technology on the energy and spiritual unity of a space, as well as its ability to help worshippers feel immersed and to fully engage with their surroundings. Using a combination of lighting, projectors, media servers, cameras for IMAG and a surround sound system, the

48 WORSHIP AVL March–April 2020

Laser setup for AURA All Images courtesy of Moment Factory

creating too many distractions, and to build unity by providing the same experience to every member. ‘No matter where someone sits – whether they are in the back, at the top of the stadium seating or in the very front row – they will always have a great experience,’ says Celebration Church’s Tarik Stewart.

As new immersive technologies start to gain traction in the worship sector, there aren’t many examples to look to for guidance and inspiration.

For anyone looking to implement immersive technologies, Stewart suggests that time must be allocated to the careful learning, testing and

Used in moderation and in keeping with the goals of worship, immersive technologies can not only offset the labour and workload inherent in traditional setups, but also encourage innovation and propel our creative drive. By introducing countless possibilities through which life and its miracles can be celebrated and experienced, immersive technologies and automation bring us closer to our inner selves and lead us boldly to the dawn of a great technological age. www.automtd.co blacktrax.cast-soft.com

FUZE SERIES

The Ideal Fusion of Performance, Features and Value.

F UZE SP OT

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FUZE PROFILE

• F UZE PROFIL E C W

www.ElationLighting.com

• F UZE WA SH F R

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TECHNOLOGY

Atmospheric effects Elation Professional’s Bob Mentele sheds some light on a foggy subject WE’VE BECOME ACCUSTOMED TO the use of atmospheric effects in various types of entertainment.

Think of those big, sudden bursts of fog that quickly envelope everything around it, enhanced by the creeping blanket of smoke that makes its way leisurely across a stage, accented by a fine, smoky haze that fills a room and highlights every single beam of light.

The use of fog, smoke and haze effects has become so common, and the technology has been made so affordable, that any amateur hobbyist can purchase an inexpensive machine at their local big-box retailer. It takes many different pieces of equipment to achieve the overall effect.

Types of atmospheric effect Let us first investigate the different types of atmospheric effects and what types of machines we can use to create them. We often use the various names of atmospheric effects interchangeably but there are distinct differences between them. First, smoke is the byproduct of the combustion process and is

composed of solid particles that are released into the air during a combustion reaction. We can only create this effect with the use of fire, combustion through a pyrotechnic material or prefabricated smoke cartridge. Because this effect requires fire or combustion to be involved in its creation, we will rarely see it in live performance situations due to the additional hazards it poses. When it is used, a certified pyrotechnician is required. Luckily, we have safer methods available to create the same effect.

Fog is a similar effect to smoke, but much safer to produce, quickly creating a thick cloud of white smoke.

Some allow for variable output, so if a small amount is required over a long period of time, that can be produced as well. The effect is typically meant to be more defined and apparent than others. There are two methods commonly used to create fog, and the method used is dependent on what liquid is used in the machine.

The first involves the use of a glycol or glycol and water mixture. The liquid is pushed into a heat exchanger by either a pump or a pressurised inert gas and travels through the heat

50 WORSHIP AVL March–April 2020

The Therma Tour 600 is an oil-based hazer designed to give enduring haze effects

TECHNOLOGY exchanger until it gets hot enough to vaporise, but not burn. That vaporised fluid is expelled out of the heat exchanger, mixes with the cooler air and the vapour condenses in the atmosphere, causing a cloud or fog to be produced.

The second method is very similar to the first. The glycol-based fluid is replaced with a food grade oil, which is pushed through a heat exchanger, but, instead of becoming vapour, it is simply warmed. Through the use of pressure and heat, the oil is broken down into small droplets, which are

of ice as soon as it’s created. The melting ice does create water as a byproduct and our reliance on ice limits the duration of the effect.

To get a longer-lasting output, we can use a chilling device that works similarly to an air conditioning unit.

While we don’t have to worry about the ice running out, and having to drain a container of water, the unit does cause the fog to condensate inside of it, so some liquid is created.

These devices also tend to be fairly loud because they rely on a fan to force air into the unit. In a similar

Magma Prime is a water-based hazer providing a high-volume dry haze effect expelled from the machine to create a cloud. One method is not better or safer than the other, they are just ‘different’. Typically, oil-based effects do have a longer ‘hang time’ and most use less fluid to create the same amount of fog than their waterbased alternatives. Various effects can be obtained with the selection of different fog fluid mixtures. Some are made to hang in the air for a long period of time, while others are intended to dissipate almost immediately.

What if we don’t want to have a heated cloud of fog. How do we create a ‘low fog’ effect? There are a few methods. The first, and safest, is to use a fog cooling device. As its name suggests, it simply cools the fog. Fog rises because it is a hot vapour, which is less dense than the air around it, so is naturally lighter. If we contain the fog, and rapidly cool it before it dissipates, it becomes denser, or heavier, and is unable to rise, therefore staying low to the ground until it warms or is agitated by movement. The colder we can get the vapour, the lower it will hang to the ground and the longer it will last.

The easiest method of cooling the fog is by pushing it through a container

device, instead of relying solely on air movement to cool the vapour, CO2 is used instead. This method creates a cooler environment to chill the fog and can create a longer-lasting effect.

All of these cooling methods can be effective, but the pros and cons of each are something to consider.

Another common method of creating low fog doesn’t rely on a fog machine, but on water and CO2 in the form of dry ice. Dry ice fog takes advantage of the process of ‘sublimation’ or the changing of the solid dry ice directly into a CO2 gas when brought into a warm environment. In this process, the air around the piece of dry ice experiences a sudden drop in temperature, causing water vapour in the air to condense and form fog. We can accelerate the process and amplify the effect by heating a large amount of water and either submerging the dry ice into the water, or by using a pump to bring water into the ice chamber and pouring it over the dry ice. Either way, this process produces a large amount of water vapour fog which will cover an area in a very low cloud of fog. This method is more effective than using cooled fog because the water vapour gets much colder and heavier. You also

do not get any visible dissipation like you will with a fog machine, although it can be dangerous. Dry ice must be handled properly or it can cause serious harm. Additionally, CO2 gas is released into the air and if too much accumulates in a room, it can cause suffocation. In most large performance areas, this is not much of a concern for a temporary effect, but care should be taken in small spaces or if continuous output is required. Dry ice can also be expensive and hard to obtain in large quantities.

The last type of effect that we commonly see is haze. Haze differs from fog because it is intended as a thin, even layer of ‘atmosphere’ that fills an entire room. It’s not meant to obscure an audience’s vision but to enhance the look of the lighting or to make the room more gritty. Hazers are not typically used for short-term effect but are left running for long periods to provide a continuous level of coverage during an entire event.

Haze can be produced similarly to fog but a haze machine will use a fluid specifically designed to hang in the air for hours on end. Haze machines come in both water- and oil-based variations and the process they use to create the haze is the same as with fog, only the fluid or oil usage is much less. To help the effect disperse, there is either a fan built into the machine or compressed gas is used to give the haze more momentum as it exits the nozzle. As for the differences between oil- and water-based machines? There isn’t much. Oil-based machines can be louder due to their reliance on a compressor to push the fluid through, but they typically produce a more uniform, longer-lasting effect. Waterbased haze is much easier to clean up and oil-based haze can leave a lot of residual ‘gunk’ on equipment and surfaces when used in a space continuously. However, oil-based machines typically use less fluid than water-based. So again, there are pros and cons to each.

Considerations One consideration is the effect that the HVAC system in a room can have.

Too much air circulation and you can have a hard time maintaining an even level of haze coverage; not enough and you can inadvertently fill the room too much. Low-lying fog is notorious for being affected by air circulation systems. Each room is different, and it can change as the room fills with people, or as the seasons change and you switch from using heat to

air conditioning. When using fog, attention should be taken as to where air supplies and returns are located and if they blow the fog around.

Another system to be concerned with when introducing atmospheric effects into a space is the fire detection system. Every building is required to have a fire detection system of some type but the method that system uses to monitor the building can vary greatly. In any case, when an atmospheric effect is desired, you will want to find out what type of detection is in use. If there are particular sensors present, your effect may cause a false alarm.

Water-based effects have a higher chance of tripping the detector, due to the size of the particles they produce, but even oil-based machines can cause issues with some detectors.

If you have beam-type detectors in the room, any effect will almost certainly cause an issue. In any case, a system should never be disabled for a simple atmospheric effect. Work with your alarm company and local administration to find a solution.

One last area of concern that comes up is if the effects are safe to breathe. We discussed issues that can arise with CO2-based effects but what about oil- and water-based fluids? There have been numerous groups that have had this researched – when atmospheric effects are produced in accordance to a machine manufacturer’s instructions, using a quality fluid, no significant health concerns exist. Even the fluid themselves are quite safe to handle.

Adding an atmospheric effect into a system can greatly enhance the mood and feel of a service. And it can be easy to implement. The biggest job you have is to decide, based on your unique space and requirements, what machine is the right one for you. Remember to check the power rating of a fogger, which is typically expressed by the wattage of its heat exchanger. For a haze machine, you will want to know the size of the room you want to fill; the maximum output for a machine is typically measured in cubic feet per minute.

How do you want the new device to be controlled? Entry-level models are either ‘on’ or ‘off’ with no remote control or variability. Some models have a wired or wireless remote control. Most professional models have integrated DMX control that allows control from the comfort of your lighting console.

Hopefully with this extra information, you can now make an informed choice and cut through the fog that may have clouded your judgement before.

March–April 2020 WORSHIP AVL 51

BUYING GUIDE

The VE805R from Aten

AJA’s flagship FS4

Video processors Becky Abel discusses the factors to consider before buying a video processor and planning for the future A VIDEO PROCESSOR HAS MANY features, goes by many names – video controller and video server are two examples – and is essential in any video signal chain. Its main feature is to process a video file from a source such as a tablet or computer so that it appears on video displays, including LED screens and projectors. With any large investment, it’s important to conduct some thorough research before you make a decision. Here are some factors to consider when looking for the right video processor for your HOW.

Inputs and outputs The first thing to take into account is how many inputs and outputs you need. Most hardware processors are built to order, giving you the flexibility to choose the amount of I/Os on your unit. However, if you buy a processor with just enough I/Os for your current

David Chua, regional technical manager for Kramer

Bruce Button, director of product marketing at AJA

Kim Coblentz, pro AV sales engineer at Aten

David Chua, regional technical manager at Kramer, states: ‘A processor can also achieve various functions such as the ability to control the aspect ratio, upscale or downscale resolution, frame rate conversion, brightness/contrast/ sharpness/saturation adjustment, videowall processing and multiwindow processing.’

for SD, HD, 4K or multichannel HD or SD processing within a single unit.’

your sources and destinations, as well as the conversions that will be critical for your workflow, to help you make the best decision possible.’

‘With regards to existing video infrastructure, in many cases the existing video system may be completely analogue and, while melding the two systems may be possible, it may not be feasible,’ adds Kim Coblentz, pro AV sales engineer at Aten Technology. ‘Or the combination of the two systems may require many additional parts, which can create additional failure and cost issues.’

Sources and displays When researching video processors, consideration into both ends of the signal chain is also important.

Most processors will need to be connected to both the displays and

A look at the inputs and outputs on the rear of the AJA FS-HDR workflow and you want to expand in the future, you could run out of ports and be forced into buying another one. If you can, buy a processor that not only has the I/Os to support your existing video system, but with spares to cover your future requirements.

Functionality Some video processors will offer additional features such as the ability to embed or de-embed audio, colour correct signals and scale.

‘A video processor is required in a range of production scenarios, including converting signals with the least latency possible,’ says Bruce Button, director of product marketing at AJA Video Systems. ‘One example of this would be running an SDI camera feed to a video converter and outputting HDMI signals for video screens or monitors. Buyers should seek a reliable and capable video converter or frame synchroniser that can handle a wide range of production scenarios, whether it be

52 WORSHIP AVL March–April 2020

sources, so remember to think about what the video processor will be linked to in your setup. Make sure that the processor is compatible with both and be aware of how the system and the display units are controlled. Before purchasing and installing a video processor, keep in mind how and where it will be used.

Ask questions such as ‘How many sources and displays am I using?’ and ‘Where will they all be set up?’

Button recommends: ‘As a starting point, it’s best to draw up a list of

Types of video processor There are three types of video processors: a black-box, video-card and over-IP. A black-box processor has a fixed number of inputs and outputs and is suitable for a simple video system that occasionally needs changing. A video-card processor contains video cards equipped to a PC/server frame and is more suited for systems requiring added flexibility as they usually provide more power

BUYING GUIDE TECHNOLOGY

NEWS

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Roberts. ‘The 6066 is completely hidden from close-up HD camera shots and its non-reflective boom further improves the aesthetic, as it does not catch undesirable stage light.’

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1/2PAGE 1/2PAGE HORIZONTAL HORIZONTAL

12 WORSHIP AVL January–February 2020

September–October July–August 2019 WORSHIP AVL 47 November–December 55

NEWPRODUCTS

PRODUCTS

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

A–ZCONTENTS

Electro-Voice steps up

Evolve 30M Sub 2400

Electo-Voice has launched the Evolve 30M compact column loudspeaker system with on-board mixer, DSP and effects THE EVOLVE 30M compact column loudspeaker system from ElectroVoice has been designed as a step up in all-round performance compared to other column speakers in the same size and price categories. It includes an eightchannel digital mixer, studio-quality on-board effects, and remote control of all audio, effects and mix functions via the next-generation Electro-Voice QuickSmart Mobile application (available via the Apple Store and on Google Play). The system comprises a speaker array, a two-piece pole connector, an array and pole backpack carry case, and a powered subwoofer, making it an ideal choice for solo musicians/performers and smaller musical groups and venues.

The full-range column array comprises six lightweight 2.8-inch neodymium drivers to provide 120° coverage via proprietary waveguides, while array-formed 40° asymmetrical vertical coverage means that acoustic output is directed towards both sitting and standing audience members. The array enclosure is constructed from a durable composite material and

ADJ

Vizi Wash Z37

68

AJA

OG-12GDA-2x4

62

AKG

Lyra

58

Alcons Audio

BF121

56

Amate Audio

N12PR/N15PR/N18WPR

56

Astera

AsteraApp V11/PixelBar

65

Avolites

Synergy

64

Bittree

Patch32A

61

CAST Software

wysiwyg update

65

Chauvet

F2 and F5 IP

66

Christie

Extreme Series

60

Claypaky

Sharpy Plus Aqua

66

Datapath

Image4K/Wall Designer v2.2.0

62

dnp denmark

ClearSign/Supernova XL

60

Elation

Fuze Pendant

68

ELC Lighting

dmXLAN nodeGBx

65

Electro-Voice

Evolve 30M

54

ETC

Augment3d/Eos v3.0

64

HH Electronics

TNA-2051/TNA-1200S

57

High End Systems

SolaFrame 1000

66

JBL

EON One Compact

56

Klotz AIS

AOC HDMI Link

61

Lectrosonics

Venue 2-941

57

Mackie

ProFXv3/SRM-Flex

59

Marshall Electronics CV420-30X-IP

62

Martin

ERA Performance Series

69

NewTek

TriCaster Mini

61

Painting with Light

Realites

65

Peerless-AV

KIPICT2555/HPF650/DvLED

60

QSC

KS118

56

Robe

T1/iParFect

69

RTS

RVON+/PAP-5032

58

Sony

UWP-D21/UWP-D22/UWP-D26

57

Switchcraft

Ultra VideoPatch

61

Telefunken

DC7 Drum Pack

58

Telestream

ScreenFlow 9/iQ ABR update

64

Tendzone

Solon M Series A Type

58

Vivitek

DK10000Z/DU8195Z

62

incorporates an ergonomic aluminium handle. It is acoustically optimised using four tuning ports hidden out of sight on the rear of the enclosure.

The 10-inch subwoofer is housed in a 15mm wooden enclosure with a highefficiency laminar-flow vent design. The array and sub are connected via a twopiece symmetrical aluminium pole with

internal wiring and magnetically assisted latching.

A Class-D amplifier provides up to 1,000W of output power: 500W to the subwoofer and 500W to the column array. The speakers are protected by a black powder-coated, 16-gauge steel grille. A white version will be available in spring 2020.

54 WORSHIP AVL March–April 2020

The Evolve 30M’s control panel features EV’s QuickSmart DSP, which allows navigation of system parameters via an LCD with singleknob control or via the app, as well as multiple options for signal routing and inputs. Functions include four presets (music, live, speech and club), three-band system EQ (low, mid and high), seven-band graphic EQ (in mixer mode), five user-programmable presets (store and recall settings),

phantom power, visual monitoring of limiter status, input level control and meters, and a master volume control to optimise gain structure.

The digital mixer has multiple inputs (four XLR/TRS combo mic/line inputs, one XLR/TRS combo stereo line input, one RCA, one 3.5mm stereo and one high-Z instrument input) with professional-grade preamps and mix functions. Independent channel aux sends, high-Z and foot switch inputs are also included, along with a range of effects (30 presets, including chorus, delay, flange and reverb) via two FX channels. All of the above are said to help reduce setup time by minimising the need for external equipment such as a mixer and effects pedals. The mixer and on-board effects can be controlled via the QuickSmart mobile app or via the single-knob/LCD interface. www.electrovoice.com

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PRODUCTS

Amate launches Nítid PR series FOR USERS looking for lower power specifications and cost savings in small- and mid-sized venues, Amate has released the Nítid PR series of loudspeakers. The three models – the N12PR, N15PR and N18WPR – all feature the same low form factor, design and polyurea-finished, birch-ply construction as their higher powerrated siblings. They also include Amate’s proprietary 2mm thick speaker grilles.

The asymmetrical trapezoidal form factor of the N12PR and N15PR enables the cabinets to be deployed (stacked or pole-mounted) as point source main PA or horizontally in floor

The N12PR, N15PR and N18WPR monitor mode. The N12PR comprises a 50–100° x 55° asymmetrical rotational horn, while the N15PR has a 50–60° x 50° horn. The N12PR and N15PR two-way, full-range systems boast programme power ratings of 400W and 800W, and high continuous maximum SPL outputs of

123dB and 128dB, respectively. The N12PR includes a 2-inch voice coil, 12-inch MF/LF driver and a 1.4-inch PETP diaphragm compression driver coupled with the asymmetrical horn; the N15PR has a 3-inch voice coil, 15-inch MF/LF driver and a 1.75-inch PM4 diaphragm compression driver.

Compact one

Size is no measure of strength

THE EON One Compact is the latest addition to the JBL EON One range of portable PA systems. It is an all-in-one system featuring Bluetooth connectivity, designed to deliver high-quality audio with a rechargeable battery that reportedly lasts up to 12 hours.

ALCONS AUDIO has developed its smallest subwoofer system to date for delivering accurate bass response with low distortion. The BF121 incorporates a single 12-inch long-excursion woofer with a double-spider suspension and a 4-inch voice coil in a bass-reflex configuration.

The direct-radiating woofer is mounted in a vented chamber, with a large bass-reflex port designed for increasing overall output while minimising port compression.

Operating within a frequency range of 40–300Hz (–3dB response), the BF121 is powered and controlled by the ALC amplified loudspeaker controller. Integrated factory presets provide gain, phase and filtering matching with all Alcons systems, including cardioid projection control presets.

The additional front-positioned NL4 connector caters for a reverse

Weighing approximately 8kg, the 8-inch EON One Compact speaker features a built-in carry handle and a range of inputs for microphones, instruments and other sources, as well as a four-channel mixer with on-board dbx EQ and Lexicon effects.

The EON One Compact produces up to 112dB of output from 37.5Hz to 20kHz. A standard IEC cable reportedly charges the unit in less than 2.5 hours or six hours during use.

An integrated pole mount allows the unit to be elevated in PA applications.

Two combination XLR/TRS inputs with professional-grade preamps and +48V phantom power can be used for microphones, while a dedicated ¼-inch high-impedance input is ideal for guitars, bass and acoustic instruments with pickups.

Weighing just 18.2kg (N12PR) and 27.8kg (N15PR), both systems come with M8 rigging points for flying, 35mm diameter pole-mount sockets mounted for a standard tripod and protective rubber profiles.

The N18WPR is a lightweight and compact 18-inch sub. The bass-reflex, tuned laminar ported cabinet is said to optimise the performance of the 4-inch voice coil and 18-inch driver.

Maximum power handling is rated at 2,000W programme and 1,000W RMS. Continuous maximum SPL is rated at 130dB and the enclosure weighs under 50kg. Dedicated loudspeaker management presets for all three models are available on the LMS206 processor and TPD processor amp. www.amateaudio.com

connection in cardioid arrays, which can be simulated in the Alcons Ribbon Calculator. The BF121 is pre-wired with Signal Integrity Sensing ALC circuitry, while the cable length and connector resistance between the BF121 and ALC is dynamically compensated to reportedly reduce distortion, yet increase response accuracy.

Like the 15-inch BF151 and 18-inch BF181, the BF121 features a 4Ω system impedance, enabling maximum output from a single transducer configuration. The BF121 is available in road and installation (i) versions, without handles, wheel dolly board and M20 threaded stand mount flange. Finished in Durotect scratch-resistant coating, the BF121 can be manufactured in any RAL colour from the Architect Colour Option programme.

The BF121 with the VR5

www.alconsaudio.com

QSC extends low frequencies SUCCEEDING THE KW181, QSC has introduced the KS118 active subwoofer as the latest member of the KS subwoofer family. Featuring a long-excursion, 18-inch, direct-radiating driver powered by a 3,600W Class-D amplifier, QSC describes the KS118 as delivering ‘high sound pressure levels with dynamic and musical sound reproduction of very low frequencies’. On-board DSP optimises and protects system performance, while promoting

www.jbl.com

56 WORSHIP AVL March–April 2020

advanced capabilities such as the ability to array two units in a cardioid arrangement or maximising LF output in front and minimising unwanted energy around the sides and rear. DEEP mode provides additional LF extension and driver excursion processing.

Housed in a birch enclosure, portability is provided by aluminium handles and four rear-mounted, low-noise casters.

Flexibility is extended with the

addition of a top-mounted M20 threaded pole receptacle. www.qsc.com

PRODUCTS

HH caters for all needs DESIGNED AS either a long-throw system or as a standalone, full-range point source system, the TNA line array series from HH Electronics is suited for fixed installations and mobile FOH applications.

The TNA-2051 passive line array speaker features dual 5-inch LF drivers and a 1.33-inch Celestion HF compression driver. The outer

integrated rigging hardware. It offers a maximum SPL of 125dB and a frequency response as low as 35Hz. When combined with the TNA-2051, the TNA-1200S is said to offer an ideal installation or point source solution for a wide variety of applications, including HOWs. For venues where the mounting area is limited, HH has developed

provide secure mounting. The TNi-C4 is finished in a white ABS surround with a mesh steel grille. The 6.5-inch TNi-C6 and 8-inch TNi-C8 are also available.

The 4-inch TNi-W4 is a satellite wall speaker that features four power taps from 1.5–30W and connects

to 70V/100V/8Ω lines. Equipped with Euroblock and M4 screw input/ output terminals, the TNi-W4 comes with a solid steel, multi-angle bracket and its lightweight ABS enclosure reportedly allows manageable handling during installation. It has a frequency response of 80Hz to 20kHz and a 60W RMS power rating.

The 6.5-inch TNi-W6 has a frequency response of 65Hz to 20kHz and an 80W RMS power rating, while the 8-inch TNi-W8 has a frequency response of 55Hz to 20kHz and an 80W RMS power rating.

Finally, the TRE-1201 forms part of the Tensor series of portable PAs. The 12-inch active loudspeaker enclosure offers 1,400W of Class-D power output and an SPL of 130dB. Featuring dual ¼-inch and XLR mic/line input channels with individual gain controls, on-board DSP with four audio modes, master volume control, mix output and ground switch, the TRE-1201 has a frequency response of 45Hz to 20kHz. The TRE-1501, meanwhile, is a 15-inch version of the TRE-1201 with an SPL of 131dB.

A ground-stacked TNA line array

www.hhelectronics.com

TNA-2051 enclosure comprises integrated rigging hardware to reportedly allow the TNA-2051 to be installed by a single engineer. It has a 65Hz to 20kHz frequency response, a sensitivity of 96dB and a maximum SPL of 124dB. The TNA-1200S passive line array subwoofer features a 12-inch LF woofer and is equipped with

the 4-inch TNi-C4 ceiling installation loudspeaker with a 70V/100V/8Ω front-facing power tap selector so that output can be adjusted once mounted. The coaxial driver provides a wide frequency response. The spring-loaded connection terminals are said to ensure that cables are tight prior to installing, while the locking dog ear brackets reportedly

The MI shoe fits for UWP-D wireless FEATURING NFC Sync functionality to simplify frequency setting, Sony’s new UWP-D series wireless microphones – the UWP-D21, UWP-D22 and UWP-D26 – are now available. They offer support for Multi-Interface Shoe and a new digital audio interface.

The UWP-D series is designed to deliver high sound quality with low noise by skipping the D/A and A/D process when used with the new SMAD-P5 MI shoe adaptor and compatible camcorders, such as Sony’s PXW-Z280 and PXW-Z190 XDCAM as well as the a7R IV (ILCE-7RM4) 35mm full-frame camera.

The NFC Sync feature automatically scans for the appropriate frequency and allows this channel to be sent to the transmitter via Near Field Communication. The systems have been built with a ‘reduced size and weight’ to allow for the mobility required in a wide range of applications.

The UWP-D21 system features the UWP-D21 bodypack wireless microphone, UTX-B40 bodypack transmitter, URX-P40 portable receiver, ECM-V1BMP omnidirectional

The UWP-D21 system

Back to the Venue LECTROSONICS HAS developed the new Venue 2-941 modular, Digital Hybrid Wireless multichannel receiver system to fit within the 941–960MHz frequency band in keeping with updated regulations in the US. Comprising the VRM2-941 host frame assembly and the VRT2-941 receiver modules, the Venue 2-941 is identical to the wideband UHF versions Lectrosonics first released in 2016.

Occupying 1U, the Venue 2-941 hosts up to six channels and allows for an Ethernet connection for programming and monitoring via Wireless Designer software running

on a PC or Mac. It is compatible with existing transmitters in the 941–960MHz band including the SMV-941 and SMQV-941 miniature beltpacks, the HMa-941 plug-on and the HHa-941 handheld transmitters.

All transmitter models in this band offer 50mW and 100mW RF power settings.

In addition, the PCA900 semidirectional antenna is also available to cover the 900–1,100MHz range, making it suitable for use with any Lectrosonics wireless products in the 941MHz band. www.lectrosonics.com

lavalier microphone and accessories.

The UWP-D22 bodypack wireless microphone package comes with the UTX-M40 handheld microphone, URX-P40 receiver and accessories.

The UWP-D26 package includes the UTX-B40 bodypack transmitter, UTX-P40 XLR plug-on transmitter and URX-P40 receiver, as well as the related accessories. pro.sony.com

March–April 2020 WORSHIP AVL 57

PRODUCTS

AKG creates multi-mode microphone AKG HAS announced the release of its Lyra multi-mode USB microphone with acoustically transparent, 4K-compatible, Ultra HD-grade 24-bit/192kHz audio resolution.

It offers plug-and-play operation alongside an internal self-adjusting shockmount to minimise contact noise, while a built-in sound diffuser and AKG’s internal element overload prevention reportedly reduces noise and improves signal

levels. Lyra is equipped with a zero-latency headphone jack and volume knob which is said to eliminate the short delay between speaking into a microphone and hearing the signal in the headphones.

Ableton Live 10 Lite recording software is included and the mic can reportedly work with any audio and video production

software as well as online platforms.

Lyra comes with the AKG Adaptive Capsule Array that provides four capture modes for any form of performance to deliver ‘professional sound for any application’.

The manufacturer states that the front mode isolates target sounds from background noise by

rejecting unwanted sounds at the microphone back and sides, while the front and back mode is said to capture and blend sound together equally on all sides. Tight stereo mode captures audio in true stereo with discreet left and right audio, and wide stereo mode captures audio with greater stereo separation, room ambience and depth.

Lyra is compatible with Windows, Mac, iOS and Android devices and can be mounted to a traditional mic stand or microphone boom arm. www.akg.com

Telefunken hits a beat

A voice for Adam

TELEFUNKEN ELEKTROAKUSTIK has packaged together three of its Dynamic Series microphones and two matched small-diaphragm FET condensers to create the seven-microphone DC7 Drum Pack for drum recording and live performance applications. Each microphone set consists of the M82 handling kick drum duties, the M80-SH

RTS HAS developed the RVON+ card to provide its Adam and Adam-M digital matrices with voice-over-IP communications.

M80-SH on snare, three M81-SHs for toms and two M60 FET Cardioids for cymbals or overheads. The DC7 ships in the heavy-duty hard shell HC87 flight case and includes multiple drum mounts (M782, M784 and M785) and an SGMC-5R 5m XLR cable with a right-angle female connector for each microphone in the set.

RVON+

www.telefunken-elektroakustik.com

Tendzone launches Solon DSPs THE SOLON M Series A Type are digital signal processors that integrate various algorithms and can be applied in houses of worship. The processors include two separate AEC modules and built-in ANC to eliminate echo during a conversation. To suppress noise during an event, four separate AFC

There are six units available that support 8–16 balanced microphone/ line inputs with 48V phantom, and 8–16 balanced line outputs.

The maximum input and output levels are 20dBu (balanced). The power supply is 100–240VAC and the measurements are 44mm x 484mm x 280mm (HxWxL).

PAP-5032

Solon M1616E modules and up to 16 feedback suppression points support fixed, manual and dynamic modes.

Two-channel RTP audio supports a VoIP system. The processors provide a 24-bit/48kHz sample rate and a frequency response of 20Hz to 20kHz. The dynamic range is >110dB, the input impendence (balanced) is 2KΩ and the output impendence (balanced) is 200Ω.

standard IP networks and Ethernet connections. As audio and data can be transmitted over the internet via a trio of audio codecs – the G.711, G.722 and G.729 – there is no limitation to the distance. It also supports two SFP fibre connections and gives the option of using two virtual serial connections via an IP connection.

When used with trunking, it eliminates the need for multiple IP resources.

IPedit software can be used to configure RVON+ to set Ethernet auto-negotiation parameters and view multiple RVON devices simultaneously. All RVON devices can be seen independently of the frame in which they are located. If required, a software licence expansion option expands the RVON+ card from 16 to 32 channels.

Also new is the PAP-5032, which combines the features of a programme assign panel, an audio monitor and a level control panel in one. Users can assign multiple

The Solon M Series E Type, meanwhile, are digital signal processors that include most of the features of their A Type counterparts, minus the two separate AEC modules and built-in ANC. Four models are available offering 8–16 balanced mic/line inputs and 8–16 balanced line outputs. www.en.tendzone.com

58 WORSHIP AVL March–April 2020

The RVON+ is hot swappable and supports up to 32 bidirectional audio channels, data and RTS Intelligent Trunking-over-IP. It also reportedly consumes less power while offering a higher channel capacity.

RVON stands for RTS Voice Over Network. It facilitates sending and receiving of keypanel audio and data over long distances via

programme sources in real time to more than 16 IFB destinations.

The panel also offers up to 64 programme sources and 64 IFB destinations using standard EKP expansion panels. Real-time routing, audio monitoring and gain adjustment of programme inputs or IFB outputs are also possible. www.rtsintercoms.com

NEWS

BUYING GUIDE PROJECTS NEWS PRODUCTS KnowHOW TECHNOLOGY

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wavl-2017.indd 1

MADI Interfaces & Preamps

MADI Reinvented

MADIface XT

1/2PAGE 1/2PAGE HORIZONTAL

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www.rme-audio.com 10 WORSHIP AVL November–December 2019

OctaMic XTC

Digitally controlled Mic Preamp with Multi-Format I/O · 8 x Mic/Line Preamps (4 x PAD, 4 x Hi-Z switchable) · 2 x Stereo Analog Outputs · 4 x AES/EBU I/O · 1 x ADAT I/O (2 x out S/MUX)

· · · · ·

1 x MADI I/O optical MIDI I/O over DIN, USB and MADI Remote controllable over MADI Word Clock I/O with SteadyClock USB compliant audio (24 channels)

Corporate Headquarters Asia / Australia: RME Trading Ltd. office@rme-trading.hk January–February 2019 WORSHIP July–August March–April 2018 September–October May–June July-August 2017 WORSHIPAVL AVL

39 45 43 25 September–October 2017 WORSHIP AVL 59 13

PRODUCTS

Peerless kiosk PEERLESS-AV HAS unveiled the KIPICT2555 all-in-one portrait kiosk, which is powered by BrightSign digital signage technology. The KIPICT2555 has been designed to be aesthetically ‘sleek’ so that it won’t be out of place in indoor settings. It offers Full HD 1080p60 single video decoding, HTML support, networked content playback and a wide range of features, such as interactivity thanks to its GPIO port, remote snapshot, live text, media feeds and multi-zoning.

Also new from Peerless-AV is the HPF650 pull-out pivot wall mount.

This has been designed for on-wall or recessed/in-furniture applications and for 32- to 65-inch displays. It can support flat panels weighing up to 2.7kg and is VESA-compliant.

Swivel functionality ensures

HPF650

KIPICT2555

everyone in the room can see the display.

Finally, the Direct View LED (DvLED) videowall solutions include a curved, floor-to-ceiling LED wall and an in-window LED wall on a floor track system. The 5x5 curved, floor-toceiling videowall uses InfiLED DB Series deep black, high-definition LED displays on a Peerless-AV DvLED mount custom designed to

a specific angle that positions each tile at 4°, curving to a 16° angle at the top. The videowall will show partner content and link to a themed selfie station to engage with visitors.

The 3x5 in-window videowall uses an Absen Acclaim A27 Series LED on a custom DvLED mount from Peerless-AV, which moves backwards and forwards on a floor track system.

The DvLED mounts not only support curved (concave and convex) and moveable (trolleys, pivots, floor and ceiling track) configurations, but adapt to a wide range of potentials, including recessed, front and rear serviceable, floor standing, floor to wall, floor to ceiling and ceiling suspended. www.brightsign.biz www.peerless-av.com

dnp offers transparency

Christie goes to the extreme

THE DNP ClearSign is an 80-inch transparent display designed for digital signage applications. The Danish manufacturer describes it as a ‘crystal-clear’ optical projection screen with ‘no blurring of objects behind the screen’, allowing the background behind the display to

CHRISTIE HAS added two 55-inch flat panel displays to its Extreme series. The FHD554-XZ-H and FHD554-XZ-HR are equipped with HDMI 2.0 and HDCP 2.2 connectivity and an OPS slot to accept a range of processing modules including Phoenix EP. The models come with a 0.44mm/ combined 0.88mm narrow bezel, a 4K at 60Hz delivery and are TAAcompliant. The FHD554-XZ-H/HR feature Christie’s tiled LCD technology that includes the latest developments in combined bezel and improvements to the optical properties and mechanical robustness. The FHD554-XZ-HR is a remote power model that is said to provide improved reliability and redundancy capabilities. Both units can be combined with Christie’s

screen available as a single screen solution’. It features true optical lens technology for high-contrast images, reportedly without the need to dim the lights or pull curtains. The extra-large image area is obtained by joining together two sheets of optical film to provide a viewing area that

ML25 mount to deliver a total depth of less than 4 inches.

In other news, Christie has welcomed the SUHD983-P flat panel to the Secure series. This 98-inch, 10-bit LCD flat panel can be installed in either portrait or landscape mode and is equipped with advanced input connectivity supporting up to 8K. Four separate content-filled windows can be displayed simultaneously, making it ideal for installations where multiview visuals are necessary. Built into the SUHD983-P is multi-source viewing and scaling, reportedly eliminating the need for an external processor in most cases. The panel includes HDMI 2.0b and Display Port 1.4 input connectivity, an OPS slot compatible with Phoenix EP and provides 500 nits brightness. www.christiedigital.com

remain visible while also displaying content. dnp ClearSign relies on ultra-short-throw projectors that fire from steep angles and have a small footprint. The screen is 8.3mm thick and can be suspended from ceilings, positioned on a floor stand or be integrated into a wall. It has been designed to be easy to clean and is available with or without a frame, or as a complete plug-and-play solution with screen, frame, wire suspension kit and a dnp laser projector.

In other news, dnp describes its Supernova XL as ‘the world’s largest optical front projection

is said to appear virtually seamless in use. The screen is designed to maintain a geometrically flat and uniform image. The framing system reportedly keeps the optical screen material tensioned, while vertical and corner reinforcement bars, out of sight at the back, are said to prevent frame sagging and twisting. The screen is available in any aspect ratio and image size up to 230 inches in 16:9. It is supplied as standard with an 80mm wide black frame. Frame options include four different colours. www.dnp-screens.com

60 WORSHIP AVL March–April 2020

FHD554-XZ-H

PRODUCTS

Bridging tradition with IP THE PATCH32A Dante audio patchbay from Bittree is built to bridge traditional analogue with networked IP audio. It is designed to streamline integration and transport 16 analogue audio channels into and from Dante networks.

Compatible with a variety of legacy audio equipment and IPbased systems that make use of Audinate’s Dante media networking technology, including AES67 and SMPTE ST 2110, Patch32A comes in a 1.5U desktop form factor. It possesses TT patching connections for 16x16 analogue I/O, redundant

DC power inputs, an external word clock I/O and network status indicators, as well as LED audio VU metering.

The Patch32A is capable of 24-bit audio sampling at rates from 44.1–192kHz. It can interface with the Dante Virtual Soundcard, in addition to more than a reported 1,600 third-party, Dante-enabled devices and ‘almost any’ analogue systems, including audio distribution equipment and recorders, DAWs, DSPs and mixing consoles.

Switchcraft expands patch panel lineup HAVING DESIGNED the first video patch panel to offer 12G+ performance with full-normal capabilities, Switchcraft has updated the Ultra VideoPatch.

Eliminating the need for a looping plug, the Ultra VideoPatch is available in both mid-sized 2x32 and micro-size 2x48 formats with a variety of DIN and BNC termination options on the rear panel.

With the 2x48 micro-size format, the US manufacturer has expanded its portfolio of non-normal, single 12G+ UHD jacks. Providing superior

www.bittree.com

TriCaster goes Mini NEWTEK HAS launched its nextgeneration TriCaster Mini, a compact system that allows users to take it with them anywhere, set up and get started in a matter of minutes, as well as stream to social media outlets.

The plug-and-play setup of the new video production system allows newcomers to video production to work their way towards creating more sophisticated programmes and offers resolutions up to 4K.

crosstalk elimination versus dual jacks, single-style jacks require a looping plug to connect the top and bottom jacks. Meeting SMPTE ST208-1 and ST 2082-1 protocols, the integration of 12G+ high-bit video provides video resolutions of 4K, 8K and beyond. Lighter in weight than traditional HD video patchbays, the Ultra VideoPatch is an all-metal construction that is rated for a minimum of 20,000 insertion/withdrawal cycles. www.switchcraft.com

animated transition effects, replay for sporting events, streaming, recording, projecting and one-touch social media publishing.

Also available to the new TriCaster Mini is the NDI | HX Camera application for mobile devices, which can be downloaded from the Apple store. This feature allows video, up to 4K UHD from an iOS device, to be transmitted over Wi-Fi as an NDI source and connect with TriCaster Mini systems on the network.

TriCaster Mini’s eight external video inputs will support any combination of compatible sources in resolutions up to 4K UHD. Its four NDI connections with PoE simplify video, audio, tally, power and control. Also, two input modules with PoE directly connect to existing HDMI devices, upgrading them to NDI-compatible sources.

The package comes with both entry-level and advanced production tools, including built-in virtual sets,

www.newtek.com

Solid connections with flexibility CAPABLE OF transmitting highresolution 4:4:4 HDMI video format signals in UHD/4K at 60fps over distances of up to 100m together with Dolby Digital or DTS audio, Klotz AIS has developed the AOC HDMI Link.

Available either with dual HDMI-A connectors (FOAH) or as an HDMI-A to HDMI-AD (FOAHD) with one detachable adapter, the plug-andplay AOC HDMI Link can be ordered in lengths of 50m and over as an armoured model on a rugged cable drum with protective connector caps (FOAHW). With converters built

into the connector, no external power supply is required. Offering high EMI and RFI immunity, video formats include 3D, Full HD, Blu-ray, HDR and uncompressed Apple ProRes or Blackmagic RAW highresolution images.

The German manufacturer has also developed the RamCAT6A RC6A-SB1X for data transmission in mobile operations.

Suitable for transmission rates of up to 10Gbit/s with a 100m link, the RC6A-SB1X has been designed to operate at a frequency of 500MHz. As the ‘big brother’ of the universal RC5-SB1X, the cable

is equipped with four stranded pairs with AWG 23/1 solid conductors. The cross-shaped PE stranding element, stabilising intermediate sheath and PUR outer sheath add to its mobile credentials. The matched lay lengths of the individual pairs and overall stranding incorporate a PE stranding element to ensure low NEXT (near-end) and FEXT (far-end) crosstalk values. It is available both as a bulk cable and as a premade cable with and without a cable drum.

The LPA5FNS SPUTNIK adapter has been designed for use with the L-Acoustics LA4X system amplifier.

Equipped with speakON outputs as standard, the LA4X can be used with the Klotz PA-COM speaker multicore cable when adapting to a PA-COM eight-pin connection. Incorporating a 4mm² speaker cable, the LPA5FNS adapts the four channels of the LA4X to the PA-COM. www.klotz-ais.com

LPA5FNS

March–April 2020 WORSHIP AVL 61

PRODUCTS

AJA supports HDR video DESIGNED FOR live event production environments, AJA has unveiled the OG-12GDA-2x4, an openGear 12G-SDI distribution amplifier featuring support for HDR video and Ross DashBoard software for remote monitoring. It includes dual-channel inputs for incoming 12G-SDI signals, with reclocking of the distributed

signals to dual 4x 12G-SDI outputs.

In an AJA OG-X-FR openGear frame, this reportedly allows for up to 20 12G-SDI inputs distributed to a total of 80 12G-SDI outputs when fully loaded with 10 cards. The OG-12GDA2x4 is compatibile with OGX, OG3 and DFR-8321 openGear frames, and DashBoard software support on

OG-12GDA-2x4

Windows, macOS and Linux for local network or remote monitoring.

AJA has also announced a series of updates. First, 8K support has been added to its HDR Image Analyzer 12G. The free software release will feature up to 8K/UHD2 HDR monitoring and analysis for high raster content with 12G-SDI for higher bandwidth workflows.

Second, a v1.5 firmware update for Ki Pro Go adds timecode recording and playback, expanded primary and backup recording to all USB ports and new clip naming and segment recording. Ki Pro Ultra Plus v5.0, meanwhile, introduces a new Infinite Recording feature that allows the unit to act as an always running backup recorder. Infinite Record mode includes automatic formatting

Ki Pro Ultra Plus and rollover to both AJA Pak Media slots for uninterrupted recording, so there is no downtime when one drive fills up.

Finally, the manufacturer has released Desktop Software v15.5 for KONA, Io and T-TAP products, featuring additional functionality for both HDR and 8K workflows, plus new performance upgrades to reportedly enhance creative freedom across Windows, Linux and macOS. www.aja.com

The Datapath to 4K graphics DATAPATH’S IMAGE4K graphics card is pegged as the company’s new flagship product for providing 4K content on up to four displays. Up to six cards can be used in the same system to output full 4K60 4:4:4 content to up to 24 displays via HDMI 2.0, or up to 96 HD screens, making for a total output of 199 megapixels.

The Image4K card is fully compliant with the manufacturer’s Display Configuration Tool, Diagnostic Suite and

WallControl 10 videowall management software. Support is offered for HDCP 2.2 when using Datapath capture cards.

Datapath has also updated its Wall Designer software, with v2.2.0 offering a ‘complete solution’ for project integrators designing multi-segment LED videowalls. When used with Fx4 controllers, the software allows users to tile, replicate and refit content for displays of all sizes.

Vivitek brightens up VIVITEK HAS introduced the DK10000Z and DU8195Z, suited to 24/7 operation and 360° installations in large venues, and boasting maintenance-free durability, flexibility and simplicity. The compact DK10000Z weighs 29kg and offers 4K-UHD resolution and 10,000 ANSI lumens brightness, while the DU8195Z offers a mix of features and connectivity, with picture clarity

of lenses, 3G-SDI, HDBaseT and a 360° free tilting angle. There are eight optional lenses ranging from a 0.38 to 8.26:1 throw ratio alongside a motorised zoom, lens shift and lens position memory capacity.

Projection image alignment is installed in the products as well as multiscreen edge blending, warping and keystone correction features.

A built-in light sensor inside the

‘With the new borders update, the Fx4 can be used to scale any selected content region to suit an almost infinite arrangement of videowall displays, display types and orientations, so that content can be viewed natively and without unwanted image distortion or warping,’ explained product manager, Mark Rogers.

Image4K graphics card

Marshall zooms in MARSHALL ELECTRONICS has introduced a new line of 8.5 megapixel IP cameras with 30x optical zoom and triple-stream H.265/H.264/MJPEG capabilities.

The CV420-30X-IP model provides up to UHD (3840 x 2160p) resolution at 60fps through instantaneous HDMI and IP streams, whereas the CV355-30X-IP produces up to HD (1920 x 1080p) resolution at 60fps through 3G/HD-SDI (BNC), IP and HDMI. Both models incorporate a Sony 8.5 megapixel 1/2.5-inch sensor and 30x optical zoom blocks to create flexible integration in networked HD and UHD

DU8195Z in WUXGA and 13,500 ANSI lumens brightness. Both models use a longlasting laser light source to reportedly ensure a constant brightness level and colour performance and 20,000 hours of maintenance-free operation.

The projectors come with a range of features, including a wide choice

projector monitors the level of light so that when a reduction in light is detected, the projector will adjust the power to increase the light output back to the pre-defined brightness level. www.vivitek.eu

62 WORSHIP AVL March–April 2020

www.datapath.co.uk

CV420-30X-IP

CV355-30X-IP workflows. The 30x optical zoom range has a 4.6–135mm focal length range, providing 68° horizontal angle of view at its widest through 3° when fully extended.

The IP Ethernet I/O port supports triple stream H.265/H.264/MJPEG video with MPEG-TS support, common IP control protocols and power (PoE) over a single Ethernet cable with stereo audio embedding through a 3.5mm input on the back panel. Both models use control protocols such as Visca over IP, Onvif and Pelco and are compatible with the Marshall VS-PTC-IP IP camera controller. www.marshall-usa.com

PRODUCTS

Avolites finds its Synergy

ScreenFlow 9

Telestream goes with the flow SCREENFLOW 9 is the latest version of Telestream’s Mac-based video editing and screen recording software, offering new features such as multiscreen recording, added editing tools and clip editor. The software is designed to be easy to use for the creation of professional videos.

The new multiscreen recording functionality provides additional space for laying out multiple applications, helping viewers to follow processes and examples. Clip editor, meanwhile, enables media clips to be previewed and cut to size before they are dropped into a timeline, reportedly reducing the number of adjustments needed to timeline sizing and viewing parameters, and streamlining the editing process.

Other new editing tools include the timeline tools palette, which offers Hand, Zoom, Blade and Track Select functions. Cursor functions can be switched via hotkeys, simplifying timeline navigation and allowing users to create quick track splits and select entire layers in the timeline.

Proxy resolution editing is said to reduce the demands on the CPU when editing high-resolution images,

so that users can edit content without their hardware slowing down. New click effects are also available, with updated radar click effects facilitating further customisation of cursor looks.

Telestream has also announced post-origin content monitoring capabilities for ABR stream media within its iQ ABR monitoring solutions. According to the manufacturer, OTT streaming providers face two challenges: managing the customer experience and capitalising on advertisement revenue. Whether managing content preparation on premises, leveraging cloud infrastructure or using technology partners, the new capabilities allow users to track key performance indicators and alert them of impairments that would affect the customer experience.

In terms of advertisements, the updated iQ solutions are said to enhance visibility of ad avails from ingest to post-origin with consolidated SCTE-35 reporting that identifies when ad opportunities are accurately delivered in the streaming domain.

AVOLITES HAS announced the worldwide release of its new software control system. Synergy is a free V12 software upgrade for its lighting console and media server ranges which allows lighting designers visibility and control of the lighting and video elements of a multimedia performance.

Synergy allows users to pull control of pre-created screen surfaces and layers into a Titanbased lighting console. It can also create surfaces in an Ai media

mixing fixture group, integrating them into a larger video canvas.

Both high-res LED screens and LED fixture groups can be controlled from a single intuitive user interface without having to create and arrange fixtures in the media server or create Art-Net merges.

Synergy allows for live video previews of up to six simultaneous streams from the media server, inside the Titan interface, to give users control over servers

server from within the console interface. All operations occur using Avolites’ proprietary Titan Net protocol and take place on whatever hardware the user is running, from Titan USB interfaces to the Sapphire Touch console and from Ai software licences to the Q4 media server.

The Lightmap feature reportedly allows users to stream Ai video colour data through any colour-

located at FOH or elsewhere.

Synergy’s media browser allows content to be selected and uploaded to specific locations on connected servers from the console interface. This content then appears on the bank with a thumbnail that can be played as soon as it’s uploaded or converted to AiM.

common fixtures with calibrated profiles. Fixtures without calibrated profiles are still able to adopt a generic Augment3d profile and ETC pledges to add further fixture profiles in the future.

As for conventional fixtures, they are reportedly supported, but to a lesser degree than automated fixtures. Although once again, ETC notes that further enhancements are planned.

Among Augment3d’s features is Fixture Position Estimation, which allows users to calculate fixture positioning automatically; Blind Preview for viewing blind data in an Augment3d space; and Focus Wand, which interacts with fixtures using augmented reality on a mobile device and allows users to select pictures through the device’s camera.

www.avolites.com

www.telestream.net

Augmented environments AUGMENT3D, A 3D programming environment that offers previsualisation, live interaction and augmented reality functionality, is available as part of ETC’s Eos v3.0 software. It can be installed on any Eos console with a DisplayPort on the back that runs Windows 7 or later, or on a PC or Mac connected to a console network.

Augment3d has been developed to support the majority of 3D file

types, including .3DS, .DXF, .OBJ and .FBX. It also supports options for 3D position, rotation and scale for positioning and resizing objects.

Fixtures can be added to the solution thanks to new fields for X, Y and Z positions and rotation provided for the Eos patch engine.

ETC states that ‘all automated fixtures will work’, although Augment3d will initially be compatible with 60 of the more

64 WORSHIP AVL March–April 2020

www.etcconnect.com

PRODUCTS

Cast Software updates its architecture

Layer effects is a V11 feature

AsteraApp updated to V11 LED LIGHTING manufacturer Astera has unveiled V11 of its AsteraApp with new features and effects. The first of these is layer effects, which gives users full control over all the pixels in the Astera fixtures that can be used to create fluid and kinetic effects. This works on rows or bars of pixels whereby the size and position of the bar can be adjusted and then assigned colours and effects. Each bar can move along at different, pre-defined speeds, while a variable post-delay can be applied to produce complex, process-style effects. Up to eight bars can be layered on top of one another, each with a different size, speed, position or effect. A further

update of V11 is optional new targets which displays the targets as a list so users can see the previous effect sent to each target and edit it directly. Parameters such as brightness can also be changed directly in the targets list.

The manufacturer has also debuted its PixelBar wall wash fixture with an integral battery pack and wireless control options.

Available in two lengths – 50cm with 54W LED power and eight pixels and 1m with 180W LED power and 16 pixels – the fixture has a high CRI and five colour LED chips (red, green, blue, amber and mint). The beam angle is 20°. www.astera-led.com

CAST SOFTWARE has announced that the wysiwyg R43, a 64-bit application, can now be downloaded

by Cast members. With this update, stability and performance can be ‘noticed across all modes’ and there are reportedly less delays and more responsiveness when switching between modes and tabs. Although the custom tabs were previously introduced in CAD mode, they are now available in design and live modes and can be used to define a customised tab view layout that can be tailored to an individual’s working preferences.

New features for VR have been added, including a companion mode where users can control VR features on behalf of the person using it.

Recording the shaded view is now

possible within wysiwyg using the native capture feature and setting preferences through the new shaded view output tool. Videos can be recorded in high-, medium- or lowquality settings and saved as a .MP4 file. According to the manufacturer, any shaded view can be output as an NDI stream. The update also removes any limitations related to the 32-bit software, specifically the amount of memory available to the application.

Over 230 new fixtures have been added to the R43 library alongside new accessories, gels and gobos, truss and library objects. Thanks to the 64-bit architecture, 2017, 2018 and 2019 versions of the Sketchup files are compatible with R43. www.cast-soft.com

ELC Lighting finds the missing link RECOGNISING THAT fully redundant DMX networks can be built all the way until an Ethernet-to-DMX node, leaving the final link in the chain – the DMX cable – vulnerable, ELC Lighting has developed the dmXLAN nodeGBx system. Its redundant DMX

configured as a DMX backup using the dmXLAN software interface.

In the instance that a DMX cable is broken or disconnected, the backup port is designed to take over the DMX output within 50ms. During a partial network failure, takeover will

PWL keeps it real REALITES IS a real-time vir tual lighting design tool that has been developed by Painting with Light to balance and fine-tune the lighting of people and 3D objects in relation to the digital scener y that is appearing on LED video screens in the background and foreground of the same scene.

It allows lighting designers and programmers to light both the video content – which will already have a pre-determined ambience – and the actors or set around it, using the lighting console, and without the video content needing to be re-rendered.

In addition, lighting on both the actors and digital backgrounds can be matched or contrasted to achieve the desired effect. The fast production process reportedly offers users the flexibility over video and scenic content right up until the show/event goes live. The ‘virtual lights’ are additional lights to those on the actual physical lighting rig in the performance space. They are built into a 3D model that is loaded in the video server being used on the show and can be accessed via the lighting desk. www.paintingwithlight.com

The redundant DMX feature can be used to create failsafe DMX networks feature ensures automatic takeover of the DMX cable in the event of damage, disconnection or partial network failure.

Users of the dmXLAN nodeGBx system will need to connect the final fixture in the DMX run back into a nodeGBx unit. That port will then be

take place straight after a set DMX hold time. When the fault is fixed, the recovery time will reportedly be less than one DMX frame. The system also provides early detection of failures along with the dmXLAN software. www.elclighting.com

March–April 2020 WORSHIP AVL 65

PRODUCTS

Grand SolaFrame

Chauvet hits F5

The F2 CHAUVET PROFESSIONAL has added to its F Series LED panels with two new products: the F2 2.9mm pixel pitch panel and F5 IP, an outdoor-rated 5.9mm pixel pitch panel.

Chauvet reports that the F2 is its highest resolution panel and has been designed for applications where clarity is needed at any viewing angle, even at distances as close as 2.3m. It has highquality, black-bodied LEDs,

can reproduce video at 14-bit grayscale and can operate on an A5 or 18-bit Novastar card. Digital LED drivers in the F2 can deliver a 3.84kHz refresh rate for flickerfree images and the unit comes with a maximum illuminance of just under 1,500 nits. The panel also includes a contrast ratio of 8,500:1 and a pixel density of 112,896/m2.

The F5 panel is IP65 rated and works with the VIP Drive 43 Nova using the Novastar control protocol. Its black-bodied LEDs reproduce video at 14-bit grayscale, operating on the Novastar A5 receiving card. The F5 has a 1.92kHz refresh rate, maximum 6,000 nits illuminance and a 12,000:1 contrast.

Both panels also feature optimised heat distribution across the entire panel to improve colour quality. They also have lots in common with other products in the F Series, including a specialised frame design that allows them to be hung overhead, stacked on the ground or mounted on the wall.

They can be serviced in the field from the front with the included service tool or from the rear using the built-in handles.

HIGH END Systems has released what it calls a ‘go-to workhorse’ in the form of the SolaFrame 1000.

Ultra-bright and high CRI versions of the automated framing fixture are available. The SolaFrame 1000 reportedly offers a 20,000-lumen output, full framing shutters, rotating

SolaFrame 1000

control using Art-Net or sACN, with simultaneous DMX control, and the manufacturer’s HaloGraphic Pixel Definition technology.

Another addition to High End Systems’ catalogue is the Pro One-Cell luminaire for short- and medium-throw applications. With a CRI over 90 and a variety of colour-temperature and beam-spread options, the Pro One-Cell fixtures reportedly provide convection cooling, noiseless operation and stepless dimming, and come in both fixed and adjustable recessed options. The Pro One-Cell comes in 18°, 30° and 50° beam angles with the additional option of fade to warm technology.

It uses the D1 ArcMesh Driver and fits in a 170mm ceiling cutout. The Pro One-Cell Small produces 19°, 24°, 37° and 60° beam angles, uses the D1 ArcMesh Driver and fits in a 95mm ceiling cutout, while the Pro One-Cell Micro comes in 19°, 24°,

and fixed gobo wheels, multiple colour systems, a 12–40° zoom and a range of animation effects.

The fixture comes bundled with a TM30 filter designed to elevate the ultra-bright engine to 85+ CRI. Other features include iris and light frost, a rotating prism and High End Systems’ Lens Defogger System.

www.chauvetprofessional.com

Claypaky resists the weather DESIGNED TO extend the capabilities of the Sharpy Plus range, the Sharpy Plus Aqua luminaire is an IP65-rated moving head fixture suitable for both indoor and outdoor installations.

It maintains the same performance features of its predecessor, the Sharpy Plus luminaire, but benefits from a redesigned cooling system for the Osram Sirius HRI 330W

X8 arc lamp currently used in the Sharpy Plus fixture. The Aqua fixture offers two operating modes: beam or spot.

The 3–36° zoom covers the entire range linearly with a beam that is reportedly sharp and uniform in either mode. The Sharpy Plus Aqua offers the same set of prisms, rotating and fixed gobos, colour wheels and CMY colour mixing as its predecessor.

66 WORSHIP AVL March–April 2020

www.claypaky.com

SolaHyBeam 3000

SolaPix 19 A further new arrival is the SolaPix family of pixel wash fixtures, created to envelop environments in saturated colour via an additive LED, RGBW, colour mixing system, as well as tuneable whites. The family has two members initially: SolaPix 7 and SolaPix 19. The SolaPix models also feature a narrow zoom and a macroand pixel-controlled face that enables a wide variety of effects, in addition to completely washing an area. Both SolaPix 7 and SolaPix 19 also provide a 4.5–60° zoom, a FleX Effects Engine for customising macros, pixel-mapping capabilities, modular

37° and 60° beam angles, uses the D2 ArcMesh Driver and fits in a 79mm ceiling cutout. A high-output version of the Pro One-Cell provides more than 8,000 lumens and comes with 2,700K and 3,000K colour options.

Finally, the SolaHyBeam 3000 automated fixture has been designed for beam control and aerial effects.

It is powered by a white light LED engine and features a large front aperture and optimised long-throw optics. The 750W Ultra-Brite engine produces 37,000 field lumens, while the 210mm glass front lens comes with a patented lens defogger. The zoom ranges from 3.1–55° and a 16 blade iris reportedly provides extremely tight beam effects. www.highend.com

PRODUCTS

Elation ‘packs the pews’ LIGHTING MANUFACTURER Elation is continuing to partner with HOWs large and small to ‘develop creative lighting solutions that engage the worshippers and help pack the pews’.

The first of several new products is the Fuze Pendant, a full-colourspectrum house lighting solution with high CRI, smooth dimming and up to 11,000 lumens of power that has been designed for large area illumination and high-ceiling applications but compact enough to

Artiste Rembrandt is an LED wash fixture with ‘endless’ framing that offers an optimised wash field and a wide colour-mixing gamut through its variable SpectraColor engine.

Providing up to 51,000 lumens from a 950W LED engine, Artiste Rembrandt has been designed for applications requiring superior wash output, bright and powerful beams, and quiet operation.

Artiste Mondrian

fixture with a 92 CRI engine that uses a homogenised, fullspectrum RGBMA LED array. The LEDs are said to produce accurate colour reproduction and deliver a 14,000-lumen output at 6,500K. The wash delivers variable whites from 2,400–8,500K, a wide zoom range and framing beam control.

Fuze SFX is a new concept LED Spot FX fixture designed for applications requiring a compact, multipurpose luminaire. The optical design is reportedly capable of projecting tight beams to wide washes, while the unit provides over 12,000 lumens of output from its 300W white LED engine. Users have access to a variety of effect options, including CMY colour mixing plus colour wheel, variable frost, gobos and zoom. www.elationlighting.com

Proteus Lucius Fuze Pendant fit in smaller spaces. The unit comes with a variety of lens accessories as well as pendant, yoke or recessed ceiling hardware, while DMX, 0–10V and emergency battery connection are said to support any connectivity requirements.

Next are two Artiste units: Artiste Mondrian and Artiste Rembrandt.

Artiste Mondrian is said to be the brightest LED Profile FX fixture Elation has produced to date. It offers high

Artiste Rembrandt centre intensity and narrow beam angles, a full FX package and a wide colour-mixing gamut through the variable SpectraColor colour mixing system. Artiste Mondrian features a large 226mm front lens and provides over 50,000 lumens from a 950W LED engine.

Proteus Lucius is a compact, IP65rated LED profile fixture with framing that reportedly offers ‘outstanding projection qualities to cut through any environment’. The unit provides 31,000 lumens from its customdesigned hotspot 580W LED engine and features fast zoom optics and a full FX package.

To finish, there are two Fuze products: Fuze Wash FR and Fuze SFX. Fuze Wash FR is an automated LED Fresnel wash

Fuze Wash FR

ADJ stays versatile DESIGNED TO saturate large areas of a stage with colour washes or spotlight specific performers, ADJ has expanded its range of moving head luminaires with the Vizi Z37.

The LED-powered wash fixture features a variable motorised zoom, allowing for a beam angle of 10–60°. At its narrowest beam angle, the luminaire can also be used to create sharp mid-air beams.

It has a variable speed strobe and pulse effects (1–40Hz) and 37 separate 20W four-in-one RGBW Osram LEDs. It measures 15,000 lux at 4m when the beam angle is set to 10° and 1,100 lux when the beam angle is zoomed out to 60°.

Each LED reportedly offers an average lifespan of 20,000 hours of

68 WORSHIP AVL March–April 2020

operation. The LEDs are positioned behind a precision-engineered lens array that generates a uniform wash and removes colour shadows.

The 37 LEDs are arranged into four concentric circles with the outer ring split into four separate sections, while the middle two rings are each split into two sections, making nine independently controllable zones for the creation of split colours and animated effects. With 16-bit fine motor control, the fixture is said to be capable of both rapid motion and smooth, slow movement. It features a wide tilt range of 270° and pan range of 540°, while target modes

can be used to limit the head’s motion on one or both axes for applications where the fixture’s output needs to be restricted to within a certain area.

The unit offers both three- and five-pin data input and output connections for integration into an existing DMX control system. It features locking Seetronic power input and output sockets, which allow the power supply for multiple units to be daisy-chained together.

The rear panel features an on-board USB port that can be used for future firmware updates. www.adj.com

PRODUCTS

Top performance from Martin

Robe finds the one THE T1 Profile from Robe incorporates the manufacturer’s Multi-Spectral Light LED light source reaching 10,075 lumens, CMY colour control and DataSwatch filters that contain a selection of preprogrammed colours via the Robe Colour Calibration algorithm. CCT control ranges from 2,700–8,000K and dimming is catered for with Robe’s 18-bit dimming system.

The high CRI of 90+ is said to provide the natural skin tones that RIEDEL HAS developed new API are fundamental to livea events. based onfeatures the open NMOSastandards Other include ±green forchannel its 1200and Series SmartPanel to Cpulse flicker-free allow the use of for theuse SmartPanel as a management with multiple user interface for control, vision systems such asmonitoring HD and UHD andcameras. automation solutions.

Dubbed Accurate framing shutters, thea1200 Series SmartPanel Control dynamic focus tracking zoom, Panel App, frosts, it enables the system to variable bespoke breakup take onaerial additional responsibilities and gobos, an animation within broadcast workflows. wheel and a six-facet rotating prism The can trigger in fineareapp all said to allowactions users to control/automation systems setups. and tune the most demanding provide feedback the status The visual iParFect 150 FWon RGBW andcomes any configuration changes on with a wide zoom of 3.8–60° theand panel using colours, labels and is completely silent due to symbols.

NMOSsays underpinnings passive‘Its cooling, Robe. The allow a third-party system to

IP65-rated unit incorporates CMY and RGBW colour control, 18-bit dimming and tungsten emulation with both selectable and variable colour temperatures. The beam is combined with a Fresnel-style beam edge to result in a ‘smooth, beautifully homogenised shaft of light’.

Riedel launches smart app for 1200 Series www.robe.cz

automatically discover all of the panel’s control elements and assign any desired functionality,’ explained Riedel’s Marco Muckenhaupt.

Another new app is the MediorNet Processing App, which delivers decentralised signal processing capabilities to MediorNet networks.

It is built on the MicroN 80Gb media distribution hardware and includes two channels of up/down/cross-conversion, four channels of colour correction in the RGB and YCbCr spectrums and two multiviewer screens. It supports 4K and IP workflows.

T1 Profile www.riedel.net

DESIGNED FOR everything from the smallest stages to the largest live productions and events, Martin’s ERA Performance Series comprises the 400, 600 and 800 fixtures, along with an outdoor-rated moving head, the ERA 500 Hybrid IP. The products feature full CMY colour mixing and separate colour wheels, fixed and rotating gobo wheels, plus an iris for beam adjustment and a full curtain L-ACOUSTICS framing system. HAS launched the Avnu-certified LS10venues, AVB switch Most suited to large the as800 an out-of-the-box for ERA Performance solution is reportedly providing ‘simplemoving and reliable’ Martin’s brightest head toAVB networking.

As alumens, founding member date with 34,000 800W ofathe workgroup, and 1:8Milan zoom.

The 550WL-Acoustics ERA 600 has made aiscommitment to AVB for Performance for medium-sized real-time media and, as events, putting out transport 19,000 lumens a result, the new LS10 is feature based on with a 1:8 zoom.

Both units Milan CTO openfor standards. variable colour temperature ‘We knowThe ourERA users don’t have adjustment.

400 Performance the bandwidth bemedium-sized IT experts, is ideal for small- to and spending all time configuring productions andtheir is available in CLD networks,’ explained and WRM variants, bothGenio with a 1:3 Kronauer, director of electronics zoom range. The 10,000-lumen CLD at L-Acoustics member of the version features aand 6,500K colour Milan workgroup since its founding. temperature, while the 5,000-lumen, ‘With the LS10, youemulates get a rugged 3,200K WRM version the AVB switch works effortlessly. warmer colourthat temperature of tungsten fixtures.

Avnu-certified network switch unveiled by L-Acoustics All you have to do is plug in the LS10 and you are ready to send audio through your entire network in seconds.’

ERA 400 According to the manufacturer, two unitsHybrid can be TheLS10 ERA 500 IPmounted fixture side-by-side in a 1UPhilips rack space comprises a 370W lamp with redundancy.

With front afor reported 6,000-hour lampand life. The rear connectivity, the LS10 can a 1:20 all-in-one optics design features also be the LA-RAK II, zoom andmounted multipleinprojection modes, distributing audio including beam for and tightcontrol or wide to other amplified controllersoforgobos coverage, spot for projection other LA-RAK II units through eightThe or wash for a softened light effect.

EtherCON connectors twomixing SFP ERA 500 features CMYand colour cages for fibre-optic and a separate colourtransceivers. wheel, including The LS10 also silencewith CTO, ½ CTO andoperates ¼ CTO. in It comes with rotating no needgobos, for internal ventilation. nine 15 static gobos and two prisms. www.l-acoustics.com www.martin.com

1/2PAGE HORIZONTAL

November–December 2019 WORSHIP AVL 67

THE TECH VIEW

A Canterbury tale Daniel Williams is a member of Canterbury Baptist Church’s band and a volunteer sound engineer Dan Williams

just the one channel rather than two.

We use DI boxes for the acoustic guitar and bass.

Most services have two singers – lead and backing vocals – drum kit and, occasionally, an electric guitar.

Monitor mixes are done by the sound engineer through the mixing desk and we also play music from Spotify before the service through an auxiliary channel on the desk as well as any other audio taken from the computer.

One thing I like to do with most channels, if not all of them, is to add EQ. I am predominantly in the ‘subtractive EQ camp’, where I take

I MAY BE FAIRLY YOUNG IN THE realm of church sound; however, I have a degree in commercial music and have done a lot of research and gained plenty of experience in concert sound systems for churches and schools (the latter due to my day job as a secondary school teacher).

The Allen & Heath GLD-80 At Canterbury Baptist Church, we have an Allen & Heath GLD-80 digital mixing system for managing the sound setup, with an AR2412 AudioRack stagebox that is connected via a Cat-5e cable. The GLD-80 has more than enough power for our standard church setting. The stagebox is situated in a rack in the front right corner of the church, where there is also a small stage. The rack is located there so that all musical instruments can easily be plugged in and it also features three stereo power amplifiers for the

six mono passive monitors we use and two power distribution units.

Underneath the rack is a subwoofer that runs mono on a matrix from the main stereo mix, giving us full control of the sub, with a crossover at 80Hz. The crossover is the point at which sound crosses over from the loudspeakers to the subwoofer on the lower end of the spectrum. This makes both speaker types more efficient, louder and less muddy. We’ve also placed three wireless receivers on top of the rack: two for lapel mics and one for a handheld.

The GLD-80 is placed at the back of the hall and to the left – not an ideal location as it is impossible to hear the stereo mix well from there. You need to walk out into the centre of the church to hear it properly. So, we occasionally use an iPad to control the desk wirelessly, allowing us to mix accurately from within the congregation and hear the mix from their perspective, which is essential as the mixing desk’s location, beneath the rear part of what’s left of an old balcony, has a different EQ than the main part of the hall.

We recently had the balcony removed from the hall. This, in turn, removed a lot of sound dampening and, as a result, the room is now a lot more ‘boomy’ than it was before, creating

70 WORSHIP AVL March–April 2020

HK Audio PRO speakers serve as monitors for the band more bass end and reverb. This has been tough to combat but, with careful graphic EQ changes, such as reducing some of the specific standout bass frequencies, the bass end in the hall is a lot more manageable.

To work out which frequencies are standing out, we can use a frequency analyser on our smartphones or a reference mic and play white/pink noise through the sound system to see what frequencies need to be reduced or, rarely, boosted. We used to mic up the drum kit but, since the balcony removal, we stopped doing it as it added too much bass end in the hall from the kick. The drums are acoustically loud enough!

We usually have music from a keyboard or guitar leading the worship.

Even though I would love to run the keyboard in stereo, we run it in mono as it is easier for others to mix with

away frequencies instead of adding them. I find this works for me as it cleans up the mix and reduces feedback. I add high and low cuts to pretty much every channel, bringing the low cut up until I hear a difference in the headphones. I then bring it back a little and do the same with the high cut. As soon as I move the cut frequency, it changes the sound straightaway. I do low cuts and high cuts to remove any unwanted bleed that the mic/instrument picks up. If I have a kick drum, then the high cut is brought down as I don’t need much in the way of high-end frequencies – otherwise I would be hearing cymbals and all the other drums through this mic too. Doing this cleans up the mix a huge amount and is essential in creating a good, clean mix. www.canterburybaptistchurch.org.uk

WS-400 Series Wireless Microphone System TOA wireless microphone system, the ideal choice for professional audio, broadcast, theatre, schools and conference room applications. The TOA WS-400 series promises a powerful set of features combined with exceptional performance and cost efficiency. Available in Dual channel and Single channel models. What’s more the handheld microphone and beltpack provides up to 10 hours continuous usage with the use of only 1 x AA battery.

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

TOAasiapacific

THE DAWN OF A NEW KARA

KARA II: THE NEWEST MEMBER OF THE K SERIES Thanks to a winning design and powerful output coupled with light weight and diminutive form factor, Kara is a perennial bestseller. With the addition of Panflex, Kara II inaugurates a new era of added flexibility and directivity control. Kara II is a powerhouse with four-in-one directivity: one box meets the needs of any audience geometry. Kara II morphs to fit any design, offering consistent coverage and SPL distribution where you want it – and only where you want it. www.l-acoustics.com