Worship AVL March–April 2024

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Contents Issue 85

March–April 2024

Editor’s Letter I’m increasingly grateful every issue for the expertise of our regular contributors – to Robert Soo, Don Boomer, John Black and Casey Hawkins.

The knowledge that they collectively hold is invaluable and I appreciate the time they take out of their busy lives to write for us and share their experiences.

Robert’s latest instalment of his “Because Everyone Matters” series has been a real eye-opener – I always thought that a flown line array would be the best choice for larger, wider, more modern sanctuaries that don’t have to contend with pillars. But for those spaces that have balconies, a flown array can obstruct a worshipper’s line of sight to video screens behind the stage. The audio, video

COMMENT 4 Robert Soo 6 Don Boomer

16

PROJECTS

8 Jesus Culture 10 Fuente de Vida 12 Word of Faith Dominion Church 14 Christ Church of Short Hills 16 Gangnam Church 20 Trans4mation Church 22 Dalton Memorial Chapel 24 Songdo Ganaan Presbyterian Church 26 Mount Angel Abbey 28 First Assembly of God Panama

and lighting systems all need to work in unison with one another – there’s no point the audio system delivering quality sound to every seat in the sanctuary if congregants can’t see what’s being displayed onstage. You can read Robert’s article on p.4.

Don looks at how proper antenna polarisation is important for optimising signal reception and transmission on p.6; John continues on from his Lighting Terminology 101 article in the January–February issue and looks at the basics of how a lighting system works on p.34; and Casey looks at video resolutions and frame rates and some of the basic problems they can cause on p.38.

20

KNOWHOW

22

TECHNOLOGY

24

30 Choosing the right amplifier 32 Projector maintenance 34 Elements of a lighting system 36 Beam-steering speakers 38 Video resolutions and payload 40 The colour of LEDs

I hope you enjoy the issue.

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March–April 2024 WORSHIP AVL 3

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COMMENT

IMAG helps improve connection and communication

Because everyone matters So that all may see and hear

Robert Soo believes that what we hear in our worship services needs to be reinforced by what we see WELCOME BACK TO OUR NEW series titled Because everyone matters, the very same words behind the design philosophy of my consultancy company for the past 12 years. This series focuses on church audio, video and lighting setups and practices that aim to help every church attendee engage in weekly worship services. Having touched on the importance of delivering an equal sound experience, this article focuses on how and why delivering a good viewing experience to every seat in the house is so essential, as it brings greater depth to the message when what we hear gets reinforced by what we see.

The first aspect that comes to mind is usually about having a clear view of the video displays for hymns, sermon notes and other related content. The second aspect, and often overlooked, is having a clear view of the ministers onstage from every seat in the sanctuary, which is just as, and often more, important.

Whether it’s the stage or video displays, not everyone gets to enjoy unobstructed views, as blind spots or partial view obstructions can be common due to structural and interior design reasons such as the presence of large pillars, low ceiling beams, side hall extensions and obtrusive gallery barriers. Such obstructions can potentially disengage

Poor structural design and AV equipment placement can obstruct a worshipper’s view

affected worshippers from the service proceedings, with supplementary displays in the form of TV panels often implemented as fill-ins. Once they’re in position, the screen size of these TVs should at minimum look as large as the main video display when viewed from the affected seats, as this will make it easier for the video crew to maintain a consistent image and font sizing on different displays.

Solutions aside, ensuring that initial structural and interior designs avoid such issues in the first place should always take priority. In a number of my projects, I had the opportunity to work with the architects in determining the required height and incline angle of the sanctuary galleries so that every worshipper seated at the upper level will enjoy a good view of the entire stage. Another critical design requirement is having adequate ceiling height to allow proper elevation of video displays for line of sight. Unfortunately, there are also non-structural contributions, such as poorly planned AV installations that result in creating undesired obstructions. The image on the left is a classic example of how the gallery’s incline angle and the inappropriate loudspeaker installation affected the members’ view of the stage and the video screens.

Robert Soo Cogent Acoustics (Singapore) Principal Consultant and Trainer IMAG (image magnification) is very much a part of church video systems today, but is it really necessary, or is it merely a technology trend? Though opinions on this may vary, there are real benefits to IMAG. Studies have shown that human communication is only 45% words and voice, and the remaining is through body language and facial expressions. This implies that to truly communicate and connect with the congregation, they must be able to see the preacher clearly.

However, the ability to do so gets more difficult with increasing distance between both parties, say beyond 20m. That’s when IMAG becomes beneficial because it aids in delivering a more personal and more impactful communication from the stage and enables the preacher to connect with

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COMMENT the congregation. This also helps in ensuring there are no “bad seats” in the sanctuary.

An age-old question about display size – just how large does it need to be? Various guidelines recommend screen widths of between one-sixth to one-third of the distance from the screen to the last row, but it really depends on factors such as font size, preferred resolution, space limitations and, just as important, budget, because large displays can be really costly. However, there is one aspect that is often overlooked. Once I was at a church for a consultation visit, and when someone asked if their existing screen was big enough, they were surprised by my initial response – “Do your elderly members usually sit at the back?” Sometimes we would also need to consider the age demographic of the members and where they sit, as we need to consider that the more elderly and those with poorer eyesight need larger and brighter displays.

Some people assume that loudspeakers can be positioned wherever and in whichever direction and they’ll sound just the same for everyone. We know that couldn’t be more wrong. Similarly with any display screen, we need to understand that anyone seated to its far left or right will see a considerable reduction in

Understanding why a screen viewing angle is important image quality (especially with high gain and ALR projector screens). This is determined by the effective horizontal viewing angle which can range from 50° to 160° (or ±25° to ±80° LR), depending on the type of screen or display. Therefore, churches and AV contractors must always consider the seating layout before deciding on the type and location of the display to ensure that no worshipper gets disadvantaged in such cases.

As projector screens reflect not only the projected light but any light that falls on it, one common issue is washed-out images due to high levels of ambient light from either lighting fixtures or natural light streaming in through windows. This greatly reduces image quality and makes it difficult for worshippers to

see the projected image. There are various ways to mitigate this problem, with the most fundamental being to prevent unwanted light spillage in the first place. Further mitigation can be through the use of Ambient Light Rejecting (or ALR) screens which are designed to reflect mainly on-axis light signal (from a projector) and to reject ambient light sources. However, as mentioned, the use of such screens can reduce the effective viewing angle, so do review carefully if such screens are suitable for the particular worship space.

Let’s now turn our attention to the people onstage, the preacher and especially the members of the worship team. Having served in worship ministries for many years, one thing that I’ve found to be extremely helpful

to the team is a confidence monitor, which usually comes in the form of a projector screen system or large TV panels positioned in an elevated spot somewhere behind the congregation.

This enables the ministry team to maintain eye contact and engage with the congregation instead of having to constantly look down at song sheets or scripts.

Last but not least, let’s not forget the worshippers who participate remotely.

Having watched numerous online worship services over the past few years, a common observation is that the sermon slides often get left on the screen for extended durations; in fact, I regularly see the preacher appearing onscreen only at the beginning and the end of the sermon. As highlighted, to have an engaging and effective communication, it is important that members get to watch the preacher speak, which can be easily done via a Picture-In-Picture (PiP) function or simply by periodically switching between the slides and the preacher.

I hope this short article has shed good insights on the importance and key factors behind providing an engaging viewing experience for every worshipper. There’s more to what I would like to share, so do look out for my next article. Till then, take care and God Bless.

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March–April 2024 WORSHIP AVL 5

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COMMENT

Understanding antenna polarisation RF Venue’s senior applications engineer, Don Boomer, discusses the placement of both transmitting and receiving antennas to avoid signal loss PROPER ANTENNA POLARISATION is essential in optimising signal reception and transmission. When antennas are not properly polarised, signal loss rapidly occurs. Most readers will be familiar with polarised sunglasses that let light through from one direction while blocking glare from the other direction. A radio wave is composed of one electric and one magnetic field that oscillates in a repeating pattern.

Polarisation describes the way the electric field of the radio wave is oriented. Waves generated by a natural source may be random but, when waves are generated from, or passed through, an intentionally polarising device, such as an antenna, the fields are restricted in movement and are said to be “polarised” (see Figure 1).

the transmitting and receiving antennas must be in the same plane to avoid signal losses.

The more common antenna types are linearly polarised, like dipoles, whips and LPDAs (paddles). But you won’t hear the term linear polarisation thrown around at an equipment store. Instead, we get some antenna terms from the linearly polarised types: when the linear plane is perpendicular to the ground, it is said to be vertically polarised. When that plane is parallel with the ground, it is horizontally polarised. But really, these terms are arbitrarily based on the human perception of up or down in relation to the earth and gravity, not some physical constant.

In general, it’s better to keep the orientations of the two antennas

Figure 2

Figure 1

Wave polarisation is not a particularly easy concept to visualise. It takes place in three dimensions and across time.

Polarised waves have a fixed, constant orientation and create a path that is shaped like a flat plane as it travels through space, and have what we refer to today as linear polarisation. When using linearly polarised antennas, both

matched. Reception is best when the receiving antenna is not in a position that prevents the polarisation from being too far off from the transmitting antenna, though it rarely needs to be exact. There can also be circular polarisation, which, unlike in linearly polarised radio waves, the electric field also spins along an axis, sort of like a twisted ribbon (see Figure 2).

Helical antennas are the most frequently seen circularly polarised antennas in the pro sound world.

“Helicals” can produce a circularly polarised beam by using a carefully modelled spiral construction that produces either right-handed (clockwise spin) or left-handed (counter clockwise) polarisation to the signal. Helical antennas are the overwhelming choice of professionals

for their IEM transmitters. Shifts in orientation from a handheld or beltpack transmitter are less likely to cause the drop-outs and poor audio which very often happen when a performer moves or bends.

Even though polarisation is initiated predominately by the transmitting antenna, radio wave polarisation can change dramatically when reflecting off objects in the environment, such as walls and floors. The result is uncertainty about which orientation a particular radio wave will be when it reaches the receiver antenna, and there is always a chance that a condition called “polarisation cross fade” will occur. When that happens, a noise burst is briefly (but noticeably) heard. No one wants that.

To avoid crossed polarisation fades, you can use a technique known as polarisation diversity by orienting two antennas closely together, but oriented 90° from each other. This makes it very likely that a given radio wave will be picked up by at least one of the antennas at all times. Diversity class antennas automatically address the issue as they are both vertically and horizontally polarised at the same time. www.rfvenue.com

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PROJECTS

Flourishing ministry dBTechnologies’ VIO sound system elevates live sound for Jesus Culture HOUSE OF GOD PRODUCTIONS, A provider of audio, video and production services for houses of worship, recently partnered with dBTechnologies to elevate the live sound experience at Jesus Culture’s San Diego and Sacramento locations. Incepted more than 20 years ago as a youth movement, Jesus Culture has grown into a global worship phenomenon, establishing its church in Sacramento in 2014 and expanding to San Diego in 2021. As its ministry continued to flourish, so did its need for an audio solution at both campuses.

“I had been working with Jesus Culture for a number of years on various projects, and last year they asked for help in procuring live sound reinforcement for an outreach event in San Diego,” says Justin Lusignan, founder of House of God Productions.

“I suggested they work with a local VIO partner. A number of key people from Jesus Culture flew in for the demo and, suffice to say, they were blown away by the VIO system’s performance.”

“In San Diego, our existing audio system wasn’t suited for larger events – it was essentially portable PA speakers on stands,” adds Jesus Culture’s Daniel Blackman. “We were impressed with the dBTechnologies VIO system’s performance, especially the L210s. So, we decided to upgrade the audio system in San Diego. With Justin’s help, we landed on the L210s for the mains, the X205 for front fill, the X206 for side fill and S118 18-inch subwoofers. Since the installation,

I’ve been thrilled with dBTechnologies’ performance and it was the natural choice when we came to upgrade our system in Sacramento.”

The installation in Sacramento posed its own set of challenges.

Jesus Culture’s existing system was transferred from a previous location that had a theatre-style configuration.

Its new location had very different spatial dimensions, most notably much lower ceilings with only 2.7m of clearance. The former system overpowered attendees at the front of the room yet lacked the throw necessary to reach the back. In addition, the system’s subwoofer setup was resulting in complaints from the neighbourhood.

“For Sacramento, we needed a clean slate and configured a VIO system tailored to meet the specific needs of the room. We had two main flys of VIO X206 line source boxes, side flys

of the same X206 boxes, three-point source X205 front fill, three X205 delays and two groups of S118 subs in cardioid configuration,” continues Lusignan. “I was amazed with how well they could match the tonality of other VIO series speakers, allowing us to create a consistent sound throughout the space. This tonal consistency is crucial when working in worship environments where different artists and bands perform.”

“Transparency is vital to me when it comes to choosing a sound system. While I hadn’t worked with dBTechnologies before this installation, the transparency, balance and flat response of the VIO system really stood out,” adds Jesus Culture’s Nate Miller. “And considering the size of the smaller boxes we have installed, the VIO system delivers impressive low-frequency output. We’ve received numerous compliments.”

This approval has extended beyond the church itself. Miller adds: “Having the VIO subwoofers in cardioid configuration provides incredible rear rejection. We have neighbours nearby and when we were using subs in omnidirectional configuration, we faced complaints about noise. Now, we can push the bottom end without disrupting the neighbours. It’s been a significant improvement in our sound quality and our relationship with the neighbourhood. Everyone is happy.”

“We used the VIO Series’ built-in processing and tuning capabilities for the installation, which simplified our setup. The fact that these are powered boxes, without a need for external amplification, also simplified things and saved Jesus Culture money,” concludes Lusignan. “The ease of saving system settings to the speakers was also a game-changer. In Sacramento, we ran all the data cables from the PA to a RDNet controller, which allowed for quick adjustments. In San Diego, we didn’t need the controller, so we unplugged all the data cables.

The system had already saved the necessary settings to the speakers themselves, simplifying the installation process. This feature offers flexibility and it’s another great cost-saving option.” www.dbtechnologies.com www.houseofgodav.com

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PROJECTS

From the first seat to the last

staring at the speakers for over two hours, taking in what we had just achieved, and he was very impressed by the clarity and smooth distribution throughout the entire venue,” he said. “The following day was the first Sunday service since the upgrade and the congregation was also able to tell the difference in quality right away. People were sitting in zones around the venue they’ve almost never sat in – including the balcony, which has been empty for years – due to audio cancellation issues or lack of speakers covering those seats until now. From the first seat to the very last, the church is now able to deliver a quality experience for its congregation.”

Being able to compare Fuente de Vida’s A10i system with his own church’s larger K2 rig, Muñoz reports that he’s duly impressed with the performance of the compact A Series

Fuente de Vida goes 360° with an L-Acoustics A Series setup ESTABLISHED BY DR HERÓN Mendoza and Pastor Lorely Medellín in 1988, Fuente de Vida, located in Tampico in Mexico and translating to fountain of life, has surged over the past 35 years to become one of Tamaulipas state’s most well-known evangelical churches. In 2011, its congregation moved into a newly constructed worship space, built on the former site of the coastal city’s Gaona bullring. Some 12 years later, the domed arena, which suffered from a lack of proper sound coverage and poor intelligibility, has been outfitted with an L-Acoustics A Series system, designed by Juárez-based IM Systems, working in tandem with L-Acoustics Certified Provider, Vari International.

“Fuente de Vida’s worship hall can seat 8,000 people, but their original sound system did not have the capacity to cover the entire seating area and it really wasn’t optimal for the shape and size of the venue, which is set up in the round,” explains IM Systems’ director, Cesar Muñoz.

“In addition to doing sound design, I’m also a touring audio engineer and work at my local church in Ciudad Juárez, Comunidad Olivo, where we installed a K2 system with Vari International back in 2016. I’ve been in love with their speakers ever

since, and I knew that an L-Acoustics solution would be a good fit for this project as well.”

Working closely with Vari’s system engineering team, Muñoz used Soundvision simulations in conjunction with acoustic measurements of the venue to come up with a five-array design that would deliver even distribution of sound pressure throughout the entire main floor, including the under-balcony sections. Three front and two rearfiring L-C-R hangs are each made up of two A10i Focus flown over two A10i down, with all five clusters hanging from the circular truss ring over the stage. Up in the balcony, 11 additional A10i Wide speakers have been mounted to the existing catwalk infrastructure to supply blanketed coverage of the entire upper seating area. A total of seven LA4X amplified controllers power and process all of the A Series enclosures.

Needing to preserve 360° sightlines of the church’s circular stage, the project’s subwoofer deployment presented an interesting challenge.

“There was no way to install subs underneath or to the sides of the stage as we would in a normal frontfacing venue,” Muñoz adds. “We had to use a KS21i stack in the middle

of what they call ‘el aro’ – or ‘the ring’ – which is a massive structure suspended by wires in the middle of the venue that provides support for lighting, LED screens and audio systems. We tried several iterations using different configurations of KS21i and KS28 subwoofers but, thanks to the excellent acoustic predictions provided by Soundvision, we were able to choose the perfect solution for the venue, which was a central hang of four KS21i driven by a single LA12X. Low end is definitely no longer an issue.”

Following Vari’s installation, which took less than a week, Muñoz critically listened to the results with Mendoza. “We walked around the whole auditorium just listening and

enclosures. “The sound pressure and consistency of these small A10i systems is incredible. I’ve been a touring audio engineer for over 13 years and have had the privilege of listening to many different PA systems in my career, but L-Acoustics keeps impressing me every time. The A Series is definitely a solid option for churches, especially if there’s any kind of space limitations. These small boxes sound so big. Regardless of whether I’m on a tour or an install project, if I see that gold and black logo, I know it’s going to be an awesome-sounding day.” www.fuentedevidaac.com www.l-acoustics.com www.varinter.mx

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PROJECTS

Exceeding expectations Audio Video Electronics has selected a Martin Audio TORUS solution to replace WOFD’s ageing sound system MARTIN AUDIO PARTNER Audio Video Electronics (AVE) has recently upgraded the technical infrastructure at the Word of Faith Dominion Church (WOFD) in Lake Mills, Iowa, with the integrator opting for a TORUS constant curvature array solution.

The church’s existing PA was unfortunately no longer delivering the coverage or clarity reflective of a 25-year-old house of worship.

Kerry Graffunder, AVE sales consultant, has increased intelligibility by hanging a pair of TORUS arrays, left and right of the stage, with a Blackline X218 subwoofer in the centre. Nearfield coverage is provided by a pair of Martin Audio’s differential dispersion DD6 under two angled scrims at the front of the stage.

Two TORUS arrays have been hung left and right of the stage The new setup is powered by a pair of iKON iK42 multichannel power amps.

AVE’s director of operations, Karl Selander, explains: “We’ve had several different HOW installations

using Martin Audio’s CDD point source under our belts, but this was our first time wetting our feet with TORUS. We’d not really had an opportunity to explore the TORUS line previously but, when we looked at the different options, it was clear that a CDD solution wasn’t the right fit for the room.”

Instead, by placing a T1215 atop a T1230, Selander knew he could get both the throw and width of coverage in an 80m x 80m square room. The technical upgrade was undertaken in two phases, with a new mixing desk and control up on the balcony forming the first phase, and the “racks and stacks” following in phase two.

Martin Audio has been on AVE’s list of specified brands for “as long as they can remember”. The O-Line

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technical support team assisted with the DISPLAY software modelling to ensure optimisation.

Selander reports that the installation itself brought very few challenges. “The rigging solution we came up with ensured we could securely mount the T12 grid. It was relatively simple to get the angles correct, using Unistrut [brackets] attached to the existing purlin to optimise the pan and tilt angles,” he explains. “It went up extremely quickly.”

Presets available in Martin Audio’s VU-NET software for selecting the installed TORUS configuration gave the team the head start they needed, along with the recommended FIR filters placed on the appropriate amp channel. “We then just needed to dial in any problem frequencies within the room,” continues Selander. “After that, it sounded great straight out of the box. The size of the cab was easy to work with, and the tech crew there had no problems moving anything around. The adjustments that were available with the waveguides were simple to understand and use, and the support from Martin Audio was spot on. We had all the information we needed right out of the gate.”

Graffunder adds his own praise to the setup: “Given the history of

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A Blackline X218 subwoofer has been flown in the centre micro-array became one of the company’s first forays into that market with the brand. “It was for a specific customer and seemed a really good fit,” Graffunder adds.

Enlisting design support from Martin Audio’s US office, Selander ensured the correct solution was delivered to the 200 congregants receiving scripture from the celebrants or rejoicing with the worship band. While WOFD was fairly forgiving when it came to reverberation, Martin Audio’s

Martin Audio, it was the correct decision. It’s given the ministry a tonne of extra benefits.”

Pastor Doug Domokos is pleased with the outcome: “The team went above and beyond. We had high expectations, and these have been exceeded. The ‘praise’ team is extremely pleased. They say the sound has a difference of night and day. It’s now just so clean.” www.martin-audio.com

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visual environment technologies etcconnect.com March–April 2024 WORSHIP AVL 13

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PROJECTS

Broadcasting from the hills

Christ Church of Short Hills has turned to JD Sound and Video to upgrade its livestreaming and broadcast setup WHEN NEW JERSEY-BASED Christ Church of Short Hills was looking to upgrade its livestreaming and broadcast capabilities, it enlisted the services of JD Sound and Video, a company specialising in solutions for houses of worship. JD Sound and Video’s principal and lead engineer, Joe DiSabatino, worked with church leaders to identify, select and install a camera system featuring four Marshall Electronics CV730-NDI UHD 4K60 IP PTZ cameras, plus a CV344 Compact HD camera.

“Christ Church of Short Hills is a beautiful house of worship that needed to upgrade its streaming capabilities,” explains DiSabatino.

“With the pandemic forcing people to watch remotely, it brought into focus the church’s need for a streaming upgrade. Even though they are not currently streaming in 4K, one of their requirements was a camera system with 4K capabilities. They also wanted to stay within a certain budget, without compromising on picture quality.

Choosing the Marshall CV730-NDI was a no-brainer. It’s an incredible

camera that met all the church’s requirements.”

The four CV730-NDIs have been placed at various locations within the sanctuary. “We placed one at the very back of the church under the organ pipes, one midway left to capture the procession, one in the front corner and one on the altar to capture the chorus,” adds DiSabatino. “We also have a

Marshall CV344 at the organ, so we really were able to provide full coverage of the room.”

In addition, JD Sound and Video specified a Marshall VS-PTC-IP large-format camera controller. “The VS-PTC-IP is designed to operate seamlessly across multiple camera protocols, on a single network, making it the ideal solution for Christ Church of Short Hills,”

continues the principal engineer. “It offers detailed operation through a high-quality PTZ joystick, professional zoom rocker and individual fine-tune adjustment knobs for iris, white balance, exposure, red/blue, shutter speed, focus, pan/tilt speed and zoom speed.”

The streaming upgrade also included a custom Dell PC that is being used for ISO recording of each camera to a separate network drive, vMix Live Production and Mixing software and two different Blackmagic DeckLink capture cards.

“With this new production workflow, Christ Church of Short Hills now has a flexibility they never had before when it comes to streaming,” concludes DiSabatino. “The technology and features of the Marshall CV730-NDI allows the church to capture and deliver high-quality HD livestreams and recorded broadcasts. The new Marshall cameras also deliver a more consistent look and feel that better captures the beauty of the sanctuary for those watching online.” www.marshall-usa.com

14 WORSHIP AVL March–April 2024

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YOUR MESSAGE.

SPIRITUAL.

MORE THAN JUST SPEECH

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

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PROJECTS

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When a tweak will not suffice

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Gangnam Church has carried out a system-wide technological upgrade on a limited budget to enhance the audio experience of the musicians, pastor and worshippers

L–R: Seong Wook Na with Kim Taek Jin

FURTHER TO GANGNAM Church’s relocation in 2007, most of the congregation continues to travel from the old neighbourhood to Kkachisan-Ro for their Sunday services. A choir, small orchestra and accomplished musicians both on and below the stage provide a polished musical backdrop to the sermons and prayers delivered by the pastor in the upper-level sanctuary. Assisted by two dedicated audiovisual engineers, Kim Taek Jin has been maintaining high technical standards at Gangnam Church since 2016.

Having previously gained experience working for a live production company, Kim promotes a systems approach philosophy within the five-storey building. Simply swapping out faulty equipment for new is not his approach.

“I convinced the church elders that we should upgrade the entire audio system when the mixing console became problematic following 13 years of faithful operation,” insists Kim. Suitably convinced by the advice, the

elders provided a budget. Adopting a staggered approach to the upgrade, disruption was minimised during the works.

Located in the centre balcony production area, a Midas Heritage HD96-24-CC-IP console now performs both FOH and monitor mixing roles.

The 144 input channels are ample for the current setup of eight singers, the choir, orchestra and musicians, including two keyboardists, two guitarists, a percussionist and a bass guitar player. “The Midas Heritage D requires more than 60 microphone audio inputs for certain services over an AES50 or analogue connection,” explains Kim. In addition to hosting 123 mix busses and a 96kHz sample rate, a 21-inch HD touchscreen and GUI promote intuitive mixing control.

Comprising 16 inputs and eight outputs per-unit, rackmounted Midas DL251, DL153 and DL154 I/O stageboxes interface the microphones onstage with the audio production area via a digital snake connection.

16 WORSHIP AVL March–April 2024

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s

PROJECTS Two AES50 network ports provide dual redundancy. Behind closed doors in the upper control room, a Behringer X32 Producer 32-channel console provides streaming services via Facebook and YouTube. “We can group mixes from the Heritage HD96 console for transmission from the X32 as a single input,” explains Kim. Having familiarised himself with JBL and Martin Audio loudspeaker systems during his live rental operations, Kim was impressed with the church’s choice of a Martin Audio WLM loudspeaker system. “Whether it’s the Blackline, MLA or CDD Series, Martin Audio continues to provide consistently high audio quality,” he adds. However,

L-R Martin Audio WPS speakers augmented by SX118 subwoofers provide full-range audio

A Midas Heritage HD96-24-CC-IP console is used for FOH and monitor mixing

he deemed that the well-maintained enclosures were nearing the end of their shelf life.

Martin Audio distributor for South Korea, Sama CDS Inc, was requested to conduct loudspeaker modelling using Display 3 design and prediction software. Interacting with DSP, the

accuracy provided by the intelligent software considerably reduces installation trial and error. Project sales team manager, Seong Wook Na, suggested that a Martin Audio WPS loudspeaker system offered the best price performance credentials in terms of the power, coverage and

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March–April 2024 WORSHIP AVL 17

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PROJECTS intelligibility parameters sought by the church.

The newly installed FOH system comprises six per-side Martin Audio WPS three-way passive line array enclosures operating within a frequency range of 70Hz–18kHz (±3dB). Within its compact 650mm x 261mm x 400mm footprint, each WPS consists of dual 8-inch LF drivers, four 4-inch midrange drivers and four 1-inch HF compression drivers. Spanning the full width of the 27kg enclosure, a moulded HF horn defines the 100° horizontal constant directivity coverage pattern of both the HF and midrange sections.

The WPS arrays are augmented by dual L-R arrays of SX118 subwoofers.

With a walkway located at the rear of the main arrays, the cabling to the two iK42 four-channel DSP amplifiers powering the 12 WPS cabinets and four cardioid subwoofers is minimised.

The user-friendly front panel interface of Martin Audio’s VU-NET software provides remote monitoring and control over key loudspeaker parameters.

Dante digital audio inputs are available should they be required during a future network upgrade. The addition of a Leem NS-85 sequential power supply to the equipment rack provides insurance against lightning strikes as well as simplified powering on and off for volunteers.

Powered by a Martin Audio VIA5004 four-channel amplifier, the balcony

future building works commence.

However, four Sony PTZ cameras operated by an RM-IP500 controller have been installed into the main sanctuary as the main visual inputs.

The inputs, including Pro Presenter lyrics and PC images, are transmitted to the Lumantek ez-Pro VS10 switcher with internal scalers in the input ports.

Featuring 16 input and 16 output ports for SD/HD/3G-SDI, a Lumantek ez-LINE VM16 16x16 matrix router is controlled using a communication protocol. The inclusion of a Blackmagic Design HyperDeck Studio SSD 4K records video files directly onto SD cards and SSD media.

Most originally specified microphone systems were deemed to be in excellent working condition. The

A Behringer X32 Producer console streams services to the internet

The sanctuary is equipped with four Sony PTZ cameras seats are adequately covered by eight ceiling-fixed Martin Audio X8 Blackline 8-inch loudspeaker cabinets. A further two X8 enclosures provide underbalcony fill and two Kling & Freitag cabinets built into the stairs onstage act as front-fill reinforcement. “Rather than simply replace equipment for the sake of it, we decided to utilise the existing components as much as possible,” adds Kim, referring to the wedge monitors that were specified in 2007.

Powered by Martin Audio MA1.35 and MA1.65 two-channel amplifiers, eight Martin Audio F12 Blackline speakers are used for monitoring the pianist, conductor and other performers.

Stage monitoring, however, was identified as a source of reverberation and excessive SPLs, exclaims Kim. “The wedges were emitting higher SPLs than the FOH loudspeaker system for the worshippers in the front rows. The situation was stressful for both the pastor and the worshippers, so we decided to introduce a Midas HUB4 in-ear monitor system. Additionally, the drum shield has now been replaced by a drum booth.”

Two Midas HUB4 monitor systems stream eight individual DP48 personal monitor mixers over PoE. Each HUB4 collects 48 channels of audio and forwards it to the Midas Heritage HD96

console from the DL251 stageboxes connected to the AES50-B port. Making additional DP48 ports available, the HUB4 is daisy-chained for orchestral and choir performances. Bypassing the requirement to run additional lines from personal mixers to the transmitters, setup time is reduced and reliability enhanced.

In addition to the audio, Star LV System was commissioned to install new fixtures into the sanctuary on lighting bars above the stage. With a bright screen, increased processing power and a faster graphics engine, the combination of LED washes, spots and Fresnels is controlled by an Avolites Tiger Touch II Titan console. “Although we have eight youth volunteers at the church’s disposal, there are only two dedicated engineers for operating the audio and video control surfaces,” furthers Kim. “The lighting parameters, therefore, need to be quite simple and, as such, they are automated with presets and simple on/off operation. I can invite experienced lighting engineers from my previous rental contacts to assist the church whenever necessary.”

An SDI-to-HDMI and 4K video upgrade is being considered but remains stubbornly out of budget until

A Shure QLX-D wireless system is boosted by distribution antennas current 12 channels of Shure QLX-D and eight channels of Sennheiser ew G4 IEM wireless are sufficient for the church’s services. Lowered on winches in the ceiling, AKG C414 hanging condensers continue to serve the choir.

Seemingly consumed by the overall good taste in audio, the pastor’s main lectern has been upgraded with dual Meyer Sound MM4-XP 4-inch speakers in addition to dual DPA Microphones’ 4890 condensers.

Having fulfilled a system-wide technological upgrade on a limited budget, Kim has significantly enhanced the audio experience of the musicians, pastor and worshippers. The church is located up to an hour’s drive from Gangnam, but the loyal congregants are made to feel very much at home within the acoustically treated walls of their Kkachisan-Ro church. www.samacds.com

18 WORSHIP AVL March–April 2024

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THE NEXT BIG THING IP Control and Monitoring through ALMATM NFC technology for self-positioning within ALMATM System optimization with FIR filters through DASaimTM Internal system processing at 96kHz 3-way Self-powered Compact Line Array 4-Channel, Class D amplifier 3000W RMS Balanced Horizontal Dispersion Max SPL of 138 dB Find out more at www.dasaudio.com

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PROJECTS

Time for a Trans4mation A2B Media has replaced house lighting and house lighting control at Trans4mation Church in Altoona, Pennsylvania cool white but they also include every colour diode in them as well, so they’ve given the church the ability to create colour waves in the sanctuary for a completely encompassing atmosphere.”

The installation included 44 Spatial Flat 50W RGBWW DMXcontrolled recessed LED fixtures, two DMX1800 24V DMX-controlled power supplies, one SM-8 DMX control station and one SS-8 wall station. The 44 Spatial Flats have been spaced out based on information provided by the manufacturer, with the church requesting that some areas be intentionally avoided to create

ESTABLISHED IN 1909 AS Eighth Street Union Sunday School, a name change took place in 1937 to Pleasant Valley Full Gospel Church of the Assemblies of God, with the church officially becoming a member of the Assemblies of God in 1941.

Then, in 1970, it refined its name again to Pleasant Valley Assembly of God. Over the years, the ministry has also changed buildings several times, from a small white church in the early 1900s to a more modern building on Eighth Street in the 1950s with a much larger building added on the property in 1968. Now settled in a modern sanctuary a mile up the road from the original building, the HOW made one final name change in 2017 to Trans4mation Church.

Following a recommendation from another church in the area, Tran4mation Church contacted AVL production, integration and support specialist A2B Media to upgrade its lighting setup. “Previously the lighting had been quite harsh – there was nothing warm or welcoming in the sanctuary,” explains A2B Media founder, Alex Beitzel. “Despite the fact that the church also needs a new PA system, they felt that addressing the atmosphere within the sanctuary was a priority. As part of that, the church also wanted to have the ability

The upgrade also included an Epson Pro L projector

44 Springtree Spatial Flats have been recessed into the ceiling

to control and dim the sanctuary space to help create that warm and welcoming atmosphere that they were lacking.”

Beitzel turned to Springtree Media Group, a relative newcomer to the lighting market, and its Spatial Flat range of DMX-controllable recessed LED fixtures that are powered and controlled by a power driver. “On the control side of things, we’ve been using Springtree products for a couple of years now,” continues Beitzel. “When they released their Spatial line, we ordered a couple of fixtures and were really

impressed with the quality. When the Trans4mation Church project came up, it was the ideal time to put them to the test. They’re a little different because they’re 100% low voltage – with everything being LED at this point, they all become low voltage anyway. It’s cut our labour by at least a half – rather than having electric and data to every single house light location, you just need one lowvoltage line.

“What’s really great about the Springtree Spatial Flats is that they’re an RGBWW fixture that provides a nice warm white to

lighter and darker areas inside the sanctuary. Beitzel also specified a new Epson EB-PU1008W projector to merge with the church’s existing LED screen as part of the upgrade.

“It was an incredible pleasure working with Alex and his team through this entire process,” adds Troy Ferguson, senior associate at Trans4mation Church. “From the initial consultation through the training process of using and programming, every element of the journey was very professional and well-informed. As a technical person myself, I greatly appreciated frequent communication if we had to wait for certain parts to arrive – I was never left wondering what was happening with the installation.”

With plans to return in the future to upgrade the church’s PA system and platform lighting when budget becomes available, there’s clearly no end in sight for change at Trans4mation Church. www.a2bpro.media www.trans4mationchurch.org

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3000 Series Network systems are compatible with A-T Wireless Manager

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PROJECTS

Looking to the future

Saint Ignatius’ College Riverview is benefitting from a long-overdue AV upgrade to its Dalton Memorial Chapel LOCATED ON THE LOWER North Shore of Sydney, Saint Ignatius’ College Riverview may have been established as an independent boarding school for boys in 1880, but its AV technology is operating in the present and beyond. Prior to the pandemic, the singing of hymns during Mass, assemblies, parent association meetings and theatrical school productions required basic audio setups and a minimal use of video. Assessing future trends and AV requirements for an overdue AV upgrade, Saint Ignatius’ College’s AV engineer Kevin Kwan was in a position to take on this project during one of Sydney’s lockdown periods.

The initial scope for the upgrade hit an obstacle for Kwan as the first company engaged to conduct works for the school was unable to facilitate a full installation to the level required. “Fortunately, that same company had approached Technical Audio Group [TAG] to create a design, and this was passed on to me,” comments Kwan. “TAG’s engineers visited me onsite and we agreed on what the requirements would be going forward before engaging a contractor for the installation based on their design.”

Kevin Kwan Built in 1909, the Dalton Memorial Chapel required intelligible speech for the boarder students attending Mass services and other external church functions. “The reinforcement of speech at the front was the focus, where we are switching between Audio-Technica U853A microphones with an adapter mount installed on microphone stands and a Crown boundary mic at the altar,” attests Kwan. “Some parts of the chapel, including the wings on either side and the area behind the altar, also required extra reinforcement in the form of eight Martin Audio CDD5s.”

Following simulations by TAG’s SES team, a Martin Audio O-Line array system was specified. “The previous speaker system required equalisation prior to audio output, which compromised the audio quality. With its onboard digital amplification, the O-Line speaker management is straightforward.”

During the past 15 years, particularly in Australian houses of worship, O-Line has become something of a tried-and-trusted array. “Owing to its aesthetically slim dimensions and acoustically scalable nature, we opted for this speaker system for the Dalton Chapel setting,” comments TAG’s consultant liaison, Bryan Davidson.

“Each element is driven by its own amplifier channel to produce a flat frequency response from the front to rear seats. For me, that’s the holy grail of any audio system. The 10 O-Line cabinets fixed to each wall produce even sound pressure levels throughout the chapel. With a reverb time of 3s, O-Line achieves a very high speech intelligibility of approximately 0.6 STI.” The addition of the Q-SYS Core Nano provides audio distribution together with video control

functionality from a single 5-inch touchpanel. Its inclusion transforms the device into a fully capable Q-SYS processor with local HDMI switching capabilities. “The combination of Q-SYS and Dante enhances the futureproofing features, including the adoption of lighting control,” explains Davidson. “With its scalable architecture and ease of programming, the school has almost limitless possibilities going forward. Via Dante, other spaces in the school can now be networked with the Dalton Chapel, and this can be increased to streaming across the entire site by enabling network connectivity to new spaces.”

When combined with the Q-SYS processing, an Allen & Heath ecosystem and Martin Audio outputs, the possibilities for expanding the Dante network to other halls and faculties on the campus are almost limitless. A masterclass in AV installation may not yet be on the curriculum at the school, but its application will subliminally advance academic studies at Saint Ignatius’ College Riverview. www.riverview.nsw.edu.au www.tag.com.au

22 WORSHIP AVL March–April 2024

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INTELLIGIBILITY ?

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

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PROJECTS

L-R hangs of JBL VTX A12 three-way cabinets

Clair Brothers 1AM monitors assist the pastor

The power and the glory Songdo Ganaan Presbyterian Church has turned to JBL to provide even coverage for its new sanctuary ESTABLISHED IN 2000, worshippers of Songdo Ganaan Presbyterian Church have at last settled into their newly constructed sanctuary in Songdo, Incheon.

Following 18 months of construction, in-person services were delayed until early 2023 owing to the restrictions imposed by the pandemic. However, the wait was worth it if the power of the sermons and the accompanying music are to be judged. Many genres of music are performed by a band or a full orchestra with a choir, so a powerful loudspeaker system would need to cater for this diversity and provide even coverage throughout the 2,000-capacity church consisting of

two upper balconies in a horseshoe configuration.

Before loudspeaker modelling and analysis could be conducted, both the aesthetics and the architectural acoustics of the building’s interior needed to be considered. Neither the central crucifix above the rear of the stage or the full-width 729-inch 4K LED screen fixed to the rear wall below could be obstructed.

Following numerous meetings between the interior designer, broadcast contractor and church officials, a consensus was reached that would ensure that the audio quality would lead to a powerful, immersive experience.

To fulfil the many varied styles of music and speech intelligibility, TechDataPS was commissioned to design a loudspeaker system for the sanctuary. A JBL VTX A-Series line array was proposed and ultimately installed. “Before the VTX A-Series was demonstrated, the church would not have chosen JBL,” admits Songdo Ganaan sound engineer, Jong-Hyuk Kim. “The V-Series of VTX line arrays has always been more appealing for rock music and festival music, and I think that’s where JBL’s identity has been built.

However, with the A-Series, JBL has created quite a unique speaker that adds warmer colouration, while

maintaining the JBL identity. Upon listening to speech and various live and pre-recorded music, we knew that the VTX A-Series was what we required.”

Systems integrator SaegyeroIn-Sound installed the cabling infrastructure and audio components within the sanctuary. Suspended from the 20m-high ceiling, L-R hangs each comprising 12 A12 threeway cabinets are fixed to VTX-A frames. Designed for larger-size fixed installations, the VTX A12 incorporates dual 12-inch LF and quad 5.5-inch MF differential drivers together with triple 2-inch annular compression drivers coupled to a high-frequency waveguide.

Weighing 60.8kg, each cabinet operates within a frequency range of 46Hz–19kHz and offers 90° of nominal 250Hz–18kHz horizontal coverage. Extending the lower frequencies down to 25Hz (–10dB), four JBL VTX B28 dual 18-inch subwoofers are suspended in a cardioid configuration immediately behind the A-Series arrays in cardioid mode. Eight Crown I-Tech 4x3500HDS amplifiers power the main A12 speakers and four higherpower Crown I-Tech 12000HDs supply ample headroom to the B28 subwoofers.

Further to modelling, 36 JBL AC18/95 bracket-fixed speakers serve as front, under-balcony and side fill. Powered by Crown DriveCore two- and four-channel amplifiers, the compact 8-inch models operate within a frequency range of 63Hz–20kHz (–3dB) with a 90° x 50° dispersion courtesy of the PT waveguide attached to the 1-inch compression driver. Powered by two Lab Gruppen D 80:4L DSP amplifiers, eight Clair Brothers 1AM monitors can be patched in flexibly for some of the musicians and the pastor onstage. Beyond the

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PROJECTS

serve as the main FOH system

sanctuary, JBL enclosures including 305P MkII, 308P MkII, EON712 and EON715 models provide consistent voicing in the youth hall and broadcast centre.

Like the rest of the world, broadcasting and streaming has become indispensable for Korean churches following the onset of the pandemic. The broadcasting system combines live broadcast and recorded services on the church’s YouTube channel. “Audio signals are transmitted to the internet from the console to the distributor in a stereo Tessen Line Array AD.pdf 1 14/06/2023 11:31 The 729-inch 4K LED screen fixed to the rear wall could not be obstructed two-track,” explains Kim. “For both

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internal and external broadcasting, Auto Gain control integrated into the V-Mix minimises the differences in levels for worshippers when listening to a live broadcast. A Midas Heritage D console has been specified as a live broadcast console and we will adopt a Klark Teknik DN9680 AES50 extender to connect the mixing ecosystem over the AES50 network.”

Minimising audio spillage from the stage to the front rows, a personal monitor system was deemed paramount. “We were presented with two choices,” furthers Kim. “The Behringer P16 with Ultranet and the Midas DP48 with AES50

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models attracted us most. On the one hand, the P16 has fewer channels than the DP48, but the intuitive interface attracted us as it makes it easy to operate. We were faced with a dilemma. Rather than assign the P16 as a direct channel, we took advantage of the Heritage D’s many aux outputs and assigned all sources as aux, making the P16 the choice for our musicians. This would address all their input requirements and provide them with an intuitive interface.

“Like most churches in South Korea, all our sound engineers are volunteers. Having gained basic acoustic knowledge, our volunteers are required to learn two skills.

As a church sound engineer, I feel that worship can sometimes take a backseat to a service, so we need people who are trained in worship, the Bible and prayer, and are willing to study and work to make the service better. Secondly, they need to remember that the audio signal is mixed for the entire church and not the individual. In music and acoustics, there are standards, but it is a subjective science. Crucially, an audio engineer needs to follow the demands of the pastor.” www.techdata-ps.com

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PROJECTS

Simplicity in stereo

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Alpha Sound has provided a long-overdue audio upgrade to the beautiful Mount Angel Abbey and Seminary in Oregon

NEXO ID84 column speakers have increased clarity and intelligibility

MOUNT ANGEL ABBEY AND Seminary are built on top of a hill overlooking the Willamette Valley in Oregon with mountains just beyond.

In the monastery, the monks form a Benedictine community founded in 1882 from the Abbey of Engelberg in Switzerland and maintain a monastic tradition that has been a vital part of the Roman Catholic Church for more than 1,500 years.

Five times a day, every day, the monks gather in the church for various functions. Guests are always welcome and are encouraged to join with the monks in prayer.

Mass and the Liturgy of the Hours are also livestreamed to YouTube from the abbey church.

Since 1889, the seminary has sent thousands of priests to serve more than 11 million Catholics in nearly 100 dioceses and religious communities around the world. As the oldest seminary in the western United States, Mount Angel is the only seminary in the west that

offers a College of Liberal Arts, a Graduate School of Theology and a Doctor of Ministry degree programme.

When both the abbey and seminary requested an audio upgrade, live concert and permanent installation specialist Alpha Sound knew that aesthetics would be as important as sonic quality. “They needed new everything,” explains Alpha Sound’s lead engineer, Devin Sheets.

“They hadn’t done any audio upgrades in the abbey since the late 1950s or early 1960s – the sound system they were using was barely functional. There was only one microphone in the balcony area that was routed to the livestream.”

One of the main challenges was that the space is so aesthetically beautiful and simple that the speakers needed to blend in and not look out of place. Sheets specified NEXO’s ID84 speakers for the job, citing the column

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PROJECTS

Two pairs of cross-firing DPA 2011Cs are hidden up in the triforium speaker’s low profile and ability to distribute sound in a reverberant space evenly from front to back with minimal spillage on adjacent surfaces, increasing overall clarity and intelligibility. In addition to the ID84 units, Sheets has also installed 17 ID14 speakers tucked away throughout the venue for choir loft monitoring, transept and triforium fill, and the organist’s waiting area. “Luckily, around that time, NEXO had released the ID84 column speaker. Combined with the small ID14 cube speakers, the whole audio setup is aesthetically pleasing. It all needed to be consistent – it’s a long, reverberant space and wherever you are in the room, the audio needs to have not only the same SPL but the same tonality to it, that it has the same sonic signature, especially when it comes to the spoken word.”

As a dedicated DPA Microphones fan, Sheets knew the brand would be a suitable fit for the church.

He specified two standard and three custom 4018 Supercardioid Goosenecks to provide a warm, natural sound for speech and singing at the ambo and lectern.

“We spent some time with them trying out different DPA mics but they chose the 4018s because of their sonic quality. But it was the first time that we had developed a custom 4018 capsule on a wireless stand – we made three for this project and they all worked so well,” explains Sheets.

“It’s a custom element to our installations that we now offer – we order a certain part from DPA

Alpha Sound custom-made three mounts for the DPA 4018 mics

NEXO ID14 speakers provide distributed audio throughout the venue and then make our modifications, send it back for them to do their modifications, they send it back to us, we make further changes and so on until it’s ready. They’ve then been fitted to a Shure wireless bodypack mounted to each stand.”

In addition to the five 4018s, Sheets supplemented the setup with two pairs of cross-firing 2011Cs hidden up in the triforium (closed to the public), while two 6060s further back in the nave pick up the rear organ in the right proportion to the rest of the audio and have been positioned behind a pillar that provides an acoustic shadow from the main speakers.

“This job really stands out for me because the quality of the audio on the livestream is amazing. People have told me that they’ll often go to YouTube and listen to the

livestream of the monks chanting because it sounds so real and smooth – it’s a really nice stereo field with the core of the sound coming from the stereo pair of the 2011Cs.” All audio processing is handled by a Yamaha MRX7-D processor, with an Audinate Dante connection to the livestream computer. The customisable Provisionaire Touch app for iPad allows for simple and intuitive control over a limited and functional range of audio elements. The system is powered by four DTD processors and two DTD amps. “There is no audio engineer or large mixing console here – the setup needed to be as simple as possible so that the monks can press a single button and everything works,” explains Sheets. “All there is is a wall panel

with a mute button and an iPad for basic control during special events.

Everything runs on its own – all the audio processing necessary to achieve a balanced sound both in the venue and for the livestream is self-managed.”

Having built a solid relationship with the customer, Alpha Sound was called back to the abbey to upgrade the microphone system in the library, which houses a vast collection of historic and modern literature and is open to guests, visiting scholars and the general public. “We installed two NEXO ID24 speakers in there, along with some DPA microphones,” explains Sheets. “They have conferences and lectures as well as regular staff meetings, and the old system was nearly non-functional. It’s a simple setup – a 4018 for the podium and the 2012 is used as a multipurpose instrument microphone.”

Sheets doesn’t need any excuse to travel the 20 minutes it takes him to get from his workshop to the abbey and check everything is running as it should be. “It’s a lovely drive up there,” he smiles.

“I haven’t had any calls from them since the installation was completed so I know there’s no problems, but I’ll sometimes head up there, walk around the space and see how everything is sounding. There’s never any issues but it’s a stunning location and always a pleasure to visit.” www.alphasound.tech www.mountangelabbey.org

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PROJECTS

High praise

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First Assembly of God has upgraded its AVL setup following damage to the church caused by Hurricane Michael in 2018 FIRST ASSEMBLY OF GOD IN Panama City Beach, Florida, has recently collaborated with sound, lighting, video and projection specialist MABE to facilitate the design and integration of a new AVL system in its facility. Unfortunately, in 2018, the church felt the full force of Hurricane Michael, resulting in significant damage to the building and its infrastructure.

Following five years of cleaning up, repairs and renovations, the church was finally ready to take delivery of its new audio, video and lighting equipment. MABE selected a nineper-side RCF HDL6-A line array for the main PA system on account of its sound projection capabilities, customisable design options and rugged construction, with the easy setup process and integrated rigging hardware also helping to make the sale. Supplementing the HDL6-A arrays is an Allen & Heath Avantis console at front of house.

Youth pastor Brandon McGowin is pleased to report that the new audio setup has provided the church with intelligible audio throughout the sanctuary. “The system we received from MABE and what we had previously is a night and day difference. There has been an adjustment period for the congregation. However, the church has seemed to settle in and is loving the experience. The sound has received the most praise. Having a system that works properly and quality equipment has made it much more enjoyable for them.”

As part of the upgrade, First Assembly of God also opted to replace its front lobby audio system, with a specific emphasis on broadcasting audio from the main sanctuary. For this purpose, MABE implemented QSC’s AD-P6TBK pendant loudspeakers to provide seamless control over the distributed lobby audio, sanctuary audio, house

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PROJECTS lighting and video power, supported by a Q-SYS Core 110f processor.

“The solution has provided us with effortless management of various aspects of the audio, video and lighting systems,” adds McGowin.

In terms of the video infrastructure, MABE selected a large centre-stage

advanced features and easy-touse interface, alongside Chauvet Rogue R2X Spot and Wash fixtures, to enhance the overall worship experience for the congregation.

The ChamQuickQ30 console gives the HOW complete control over all its lighting elements and enables the staff and volunteers to create dynamic visuals during its services.

Furthermore, by including the Chauvet Rogue R2X Spot and Wash lighting fixtures, First Assembly of God has full creative control to also create various moods and atmospheres.

McGowin is full of praise for MABE and the work that it has carried out screen with a 16,000-lumen Epson projector as the main video display. In addition, the integrator has installed two Panasonic AG-CX350PJ5 4K handheld cameras to enhance the church’s online and on-campus broadcasts.

As part of the design process, First Assembly of God also requested that MABE help to improve the broadcast system.

As a result, a Blackmagic Design ATEM Television Studio Pro video switcher has been incorporated into the setup and is being used to enhance the worship services by

The solution has provided us with effortless management of various aspects of the audio, video and lighting systems providing advanced video production capabilities.

Lighting also plays a significant role in creating a captivating and spiritually uplifting atmosphere at First Assembly of God. Recognising the importance of this, MABE specified a ChamSys ChamQuickQ30 console due to its

at First Assembly of God. “What made MABE stand out above the others was multi-faceted. The cost and customer service to help get us up and running was top notch and unbeatable. We couldn’t be more pleased with the entire experience.” www.mabepro.com

Looking for a professional audio visual solution?

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

We also offer professional installation services.

Stage and Touring • Theatre and TV Studios • Events and Leisure Discotheques and Clubs • Architectural Lighting • Worship • Schools DWR Distribution, Block C, Unit 1, Kimbult Industrial Park, 9 Zeiss Road, Laserpark, Honeydew, 2170, Johannesburg, South Africa • Tel: +27 11 794 5023 • Fax: +27 11 794 5702 • www.dwrdistribution.co.za March–April 2024 WORSHIP AVL 29

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KnowHOW

Choosing the right audio amplifier LEA Professional’s Jeremy A Smith discusses the various considerations when it comes to specifying the right amplifier

Jeremy A Smith

the most significant benefit of remote monitoring is the peace of mind it provides to end customers.

Since many houses of worship use volunteer-based AV operators, having expertly trained technicians working behind the scenes can help tremendously.

Technical support

THERE IS A MULTITUDE OF amplifiers on the market, varying widely in wattage rating, size, channel count and more. Wading through all of the specifications can be time-intensive. You can’t compare products from different manufacturers easily because they often measure their specs using varying attributes (idle vs. ⅛ power vs. 1⁄3 power, etc.).

Choosing the right amplifier for each installation is a key aspect of every system design. An improper choice can lead to signal clipping, loudspeaker damage, overheating or simply an unsatisfactory audio experience. Here are some criteria to consider when choosing an amplifier for your next job.

Hi-Z and Lo-Z support Hi-Z and Lo-Z are designed for different applications. Hi-Z is for distributed applications requiring many loudspeakers for adequate coverage but without the need for a concert-level experience.

In contrast, Lo-Z applications are primarily about higher-fidelity requirements for when you need to reproduce the rumble of the dinosaur’s foot hitting the ground or the bass guitar or kick drum in a performance.

While the system design typically calls out the type of loudspeaker (Hi-Z or Lo-Z) in advance of buying system components, being able to select Hi-Z or Lo-Z output on a perchannel basis provides integrators with a lot of flexibility should something change in the design mid-stream. Additionally, there are several scenarios where an end user may have a higher-fidelity requirement in a space adjacent to one requiring a distributed speaker solution, so having an amplifier that can support both requirements can be very advantageous.

Wattage, wattage, wattage There are several ways for loudspeaker manufacturers to specify wattage – programme, RMS and peak, to name a few. Plus, the test attributes for achieving the stated ratings vary as well, so check the footnotes on data sheets to ensure you’re comparing apples-to-apples between different manufacturer’s loudspeakers.

That said, the continuous or RMS and peak values are of primary interest when selecting an amplifier.

You should always match the continuous rating to the amplifier rating. For example, if you specify a 300W continuous speaker, you

want to specify at least a 300W per-channel amplifier. That doesn’t provide any headroom for peak signals, though. Typically, having 20% headroom in additional wattage is good practice because it allows for better dynamic range.

For Lo-Z applications where audio fidelity is paramount, you’ll want to hit both the continuous and the peak or maximum ratings of that loudspeaker.

System monitoring Once the system is installed and commissioned, uptime becomes the priority. Monitoring the system to prevent issues from occurring or handling them quickly is a priority for the support team, whether onsite or remote. By monitoring AV equipment remotely, organisations can potentially reduce the need for onsite technician visits and service calls, which leads to cost savings in travel expenses, labour and time.

Remote monitoring – especially cloud-based services – is scalable, making it suitable for organisations with multiple locations or a widespread AV infrastructure. It allows technicians to oversee and manage numerous AV setups from a centralised location, ensuring consistency and control. Perhaps

Not all manufacturers are created equal – the adage “you get what you pay for” applies to purchasing amplifiers. Too often, amplifiers are value-engineered because “it’s just an amp”. But they aren’t – they’re equally important to the audio system as other components.

Whether during commissioning or post-installation, if something goes wrong with the system in general or one of the amps in particular, you may need to lean on the manufacturer’s technical support teams to help troubleshoot the problem. It’s worth investigating the manufacturer’s stance on technical support to see if you’ll be set up for success should something go wrong.

Final thoughts Many people in the pro AV industry consider amplifiers to be commoditised products with few differentiators. Often the first component “value engineered” in the audio system, the problem with this is that it only considers present cost/investment and not the total cost of ownership over the life of the installation. Amplifiers play an important role in speech intelligibility and music clarity, and a wide gamut of products that span cost and ability are available. Choosing the right amplifier, which a manufacturer backs with a solid post-sales support infrastructure, will lead to fewer problems and truly engaging worship experiences. www.leaprofessional.com

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UNLEASH YOUR FUTURE

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KnowHOW

Projector maintenance

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Clwyd Jones, technical services manager at CineAV, discusses the importance of projector maintenance and what houses of worship can do to extend the lifetime of their equipment conditions, influence the maintenance needs. We also advocate for specifying projectors with sealed light engines as they provide protection from the often dusty and dirty environment, further enhancing the projector’s longevity.

We highlight these considerations to ensure clients understand the specific maintenance requirements based on their installation environment, helping them make informed decisions and optimise the longevity of their projector investment.

Why is it important that projectors are serviced regularly?

Regular servicing is crucial to maintaining their optimal operational condition. Drawing an analogy to vehicles, consistent maintenance ensures the longevity and peak performance of the unit. By addressing potential issues proactively and conducting routine checks, we aim to prevent major failures, enhance reliability and extend the overall lifespan of the projectors. This approach not only safeguards the investment made in the equipment but also minimises disruptions during events or services held in houses of worship, contributing to a seamless and uninterrupted audiovisual experience.

Clywd Jones at CineAV’s warehouse in Johannesburg CINEAV IS A TECHNICAL SUPPORT provider for the audiovisual, unified communications and cinema industry.

Based in Johannesburg, the company has built up extensive knowledge of the African marketplace, offering a specialised range of services and support and giving its customers the opportunity to deliver an unparalleled experience to their audiences.

How did CineAV come to work in the house of worship sector?

Our venture into house of worship projector maintenance stemmed from our realisation that many clients lacked the resources and expertise to service their projectors independently.

We identified an opportunity to bridge this gap and tailor our services to address the specific challenges faced by houses of worship.

At what point would a house of worship client request your services?

House of worship clients typically engage our projector maintenance services either proactively, with annual maintenance recommendations for optimal performance, or more commonly reactively, contacting us at the point of failure for immediate assistance.

Whether through scheduled maintenance or addressing urgent

concerns, our goal remains to provide timely and effective solutions tailored to the specific requirements of each house of worship client.

Do you only service your own projectors?

Within houses of worship, most of our maintenance business, around 80–90%, comes from clients who initially had their projectors installed by other companies.

How important is it for houses of worship to perform maintenance regularly rather than waiting for them to fail?

Regular servicing of projectors for houses of worship is crucial for several reasons. Firstly, preventative maintenance is more cost-effective and less complex than dealing with a failure. Waiting for a failure often results in higher repair costs and potential disruptions during events or services. Additionally, the environmental conditions and location of the house of worship can influence the frequency of maintenance needed to ensure optimal projector performance.

Taking a proactive approach to servicing helps avoid unexpected issues and ensures a seamless projection experience.

What specific issues do you commonly find during maintenance?

Cleaning the optical assembly of a projector

How much emphasis do you place on maintenance when you are selling a projector?

When specifying projectors in houses of worship, we place significant emphasis on the importance of maintenance, tailoring our approach based on various environmental factors. Newly built or renovated locations typically require less maintenance. However, ongoing renovations can pose challenges due to increased dust from painting or building activities. The location’s characteristics, whether in an outlying area, and environmental factors like dry or humid

Common issues we frequently encounter include dust buildup and discolouration of optics, often caused by dust accumulation.

In stable environments where projectors are set up and left undisturbed, issues are generally minimal. Occasionally, calibration settings may require adjustment, a task that can easily be performed onsite by an AV technician in some cases. However, challenges arise when dealing with certain optics that are coated with organic substances.

Cleaning or wiping these surfaces can lead to damage and, if badly soiled, replacement becomes necessary. This process can be both costly and subject to availability constraints, adding complexity to the maintenance process.

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KnowHOW How can these be prevented?

Regular maintenance is the key to preventing common problems.

Neglected projectors may face reduced lifespan, which emphasises the importance of proactive measures, such as annual maintenance to sustain continuous and optimal performance.

For projectors utilising lamps as their light source, preventing dirty optics is crucial. Accumulated dirt can force the light output to increase, leading to a shortened lamp life. Implementing regular maintenance practices is essential to extend the lamp’s lifespan, resulting in reduced operating costs.

In new installations, we focus on laserbased illumination technology as the light source for projectors, minimising issues associated with dirty optics and ensuring optimal performance.

As technology evolves, does the need for maintenance decrease?

Advancements in technology, especially the transition to laser phosphor, reduce maintenance needs. Newer units eliminate lamp replacements, with a focus on managing lamp hours to maintain optimal brightness.

the environment remains a constant factor, making the cost of the projector unrelated to its maintenance needs.

Are there specific brands of projectors that require less maintenance?

While laser phosphor technology tends to require less maintenance, it’s essential to note that all projectors, regardless of brand, have cooling systems that draw in dust. Therefore, maintenance needs are generally unavoidable in any environment.

A convergence adjustment involves aligning the three primary colours in order to produce white

Can maintenance work be conducted remotely?

It can, depending on the unit and what type of maintenance needs to be carried out. While basic maintenance can be conducted remotely, more intricate tasks, such as working on the optics, require a controlled environment.

We perform these services in our workshop, ensuring a clean, dust-free

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and professional setting with the necessary equipment.

Is there a correlation between how much a projector costs and the amount of maintenance it requires?

Regardless of the projector’s technology (LCD, DLP, lamp or laser), the presence of dirt and pollution in

What can houses of worship do themselves to keep their projectors working effectively?

Encouraging a clean environment is crucial. At CineAV, we emphasise regular filter checks and offer educational support to clients.

Simple tasks like filter checks and observing brightness/colour changes can empower clients to take preventive measures and identify when a unit needs servicing. www.cineavs.com

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24/01/2024 10:42

KnowHOW

Elements of a lighting system

Putting it all together

The elements of a lighting system John Black delves into the different parts of a lighting system and how they all work together MOVING ON FROM THE Lighting Terminology 101 article in the January–February issue, let’s put it all together and lay the foundation for how the lighting system works. All lighting systems, whether you work in a venue with just a few instruments or in a large venue with hundreds of instruments, share many of the same elements.

And though the difference primarily lies in the scale of the system, all lighting systems share the same purpose – to illuminate, provide focus and affect the mood or atmosphere for the event.

As a lighting technician or volunteer, understanding the individual elements of the lighting system and how they work together is highly beneficial in being able to effectively set up, operate and troubleshoot the system. Let’s explore the parts that make up a lighting system and how they work together to allow you to create the visual magic onstage.

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

The basics

An ETC Sensor3 dimmer rack

In its simplest form, a lighting system will consist of some instruments, a controller, perhaps a dimmer rack or other power distribution system, and cabling to connect these components together. Well, actually it could be

simpler. You could just connect instruments to a wall outlet and point them towards the area you want lit, but then you would lose the ability to control the fixture. So, for our simple system, we are going to include a controller and power pack as is present in the simplest entertainment lighting package.

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KnowHOW In our basic system, all of the instruments will be conventional units (non-automated, non-LED) and use incandescent lamps, such as the ETC Source 4 Ellipsoidal, an Altman 65Q Fresnel or a ProCan Par Can unit. Another distinction of these instruments is that they are single-parameter units – they only have one controllable parameter by the lighting controller, which is the lamp intensity. These all offer different means of affecting the projected beam – such as shutters, patterns or colour filters – but are otherwise similar in that they use a dimmable lamp.

These instruments are the main workhorses of many facilities and are used to achieve almost every lighting goal.

As with any light source, power is needed. In an entertainment lighting system, a central power source called a dimmer rack is employed. As opposed to simply plugging an instrument into a wall outlet with control from a basic on/off switch, a dimmer increases or decreases the voltage being sent to the instruments, enabling the intensity (or brightness) of the lamp to be adjusted. The dimmer rack itself may house a large number of individual dimmers – all with the ability to be individually controlled. For example, the ETC Sensor dimmer rack can be configured according to the number of dimmers needed in your facility.

Each dimmer in the dimmer rack is hard-wired to a connector circuit somewhere in your facility where an instrument can be plugged in.

In addition to power, there needs to be a way to communicate with the dimmers to tell them how much voltage to send to each circuit. This controller is the lighting console, a computer that communicates with the lighting system and is the “messenger” between the lighting technician and the lighting system. There is a large variety of consoles on the market and the user interface and operational methods vary between brands and models. As such, personal preference and comfort with the way a particular console operates typically factors heavily when considering a console purchase.

Expanding the system The system just described in brief details the basic elements of an entertainment lighting system. As systems expand

locations in the rig. In an installation, you may have a DMX splitter installed in a rack and connected to DMX receptacles installed around your facility in the various lighting positions. If your rig changes frequently, you may have a DMX splitter mounted in a portable rack sitting onstage,

A ThruPower Module for use with ETC Sensor dimming racks due to increasing rig sizes, as well as using automated and/or LED instruments with more controllable parameters, additional system elements are required – both as additions to basic systems or as retrofits to existing system infrastructure.

One of the most obvious additions seen in almost every lighting rig now is multiparameter instruments. These units, whether using a discharge lamp or LED lamp source, have many mechanical parts that are controllable from the lighting console, such as the units’ pan, tilt, iris, pattern wheel(s), colour wheel(s) and more. Whereas a conventional instrument is

ETC’s Source4 Ellipsoidal a single parameter unit, many automated instruments operate in excess of 20 controllable parameters per instrument.

Not only are they useful in producing effects and movement of the light beam, but they can allow you to achieve a number of lighting looks from a single unit that would otherwise have needed many conventional instruments to achieve. For instance, in a single service, a single automated instrument could play the part of wash light, spot light and effect.

Along with the larger quantities of instruments comes the increased need to power all of them. Unlike conventionals, the electronics in automated instruments require a constant, non-dimming power source. In

many facilities, this has led to the installation of a secondary power system – either permanently installed or temporarily set up for each lighting rigs’ needs. This power system typically involves a power distribution rack to a company switch (main power supply). From the distribution rack, multi-cables are run to positions in the rig where power is needed.

An alternative to using a power distribution rack is to use the cabling infrastructure in your lighting system that already exists. Many manufacturers of dimming systems produce alternative modules that can be inserted into existing dimmer racks. For instance, ETC produces ThruPower Modules for use in its Sensor dimming racks.

This unit features a number of operational modes, including switched power, constant-circuit power and dimming. By using this module, you can safely power automated lanterns, effects machines or other equipment requiring constant voltage through the existing system infrastructure.

In addition to expanded power needs, you also should consider the additional cabling needed to communicate and control each instrument. A number of products are available that expand the data communication network so that you don’t have to use long cable runs to daisy-chain every element requiring a data connection. At the most basic, a simple DMX splitter may be employed, which distributes a DMX universe over a number of cables running to different

An ETC Source 4WRD LED emitter replacement from which data cables are run to rigging positions on an event-byevent basis.

In conclusion Of course, this is only a brief overview of lighting system elements that you probably will find in your facility. There are always new products coming onto the market that increase the flexibility and capabilities of lighting systems, many of which also address the ongoing goal of improving energy efficiency. An example of such a product that I have integrated into my lighting rig is ETC’s Source 4WRD LED lamp source, which provides an LEDsource retrofit for existing Source 4 incandescent instruments. It can be installed in existing instruments and is available both in multicolour or white options. There are lots of products on the market, all of which fit more or less into the system elements covered here. My hope is that those who are less experienced with lighting systems will now be able to identify the elements and know their general purpose in the system.

Understanding how these systems work together is important if your house of worship is mobile, if you are planning a system upgrade or replacement, if you change your lighting rig throughout the year or if you find yourself needing to troubleshoot the rig.

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TECHNOLOGY

How beam-steering can improve your audio Brandon Heinz, Renkus-Heinz product manager, considers how beam-steering speakers are the ideal choice for any house of worship, no matter the size or shape of the sanctuary HOUSE OF WORSHIP ENVIRONMENTS often face unique acoustic challenges due to the design considerations of the buildings themselves. Because worship services usually contain both the spoken word and musical worship, the sound system needs to deliver both intelligible speech and clear music for the congregation to fully engage in a service. However, achieving this clarity can be a significant challenge due to worship spaces’ unique construction and atmosphere.

Houses of worship are often vast, architecturally impressive spaces built to show humanity’s reverence for the divine. Beautiful architecture with stone, stained-glass windows and high ceilings can create a dynamic worship environment and work well to amplify choral music, but speech intelligibility often becomes a major issue. Even smaller worship spaces often have to deal with muffled or inconsistent audio due to higher reverberant levels and additional reflections. Modern contemporary houses of worship, like large rock-and-roll churches, still need clear, intelligible speech and music to reach everyone in the congregation.

Ensuring the sound system has enough power and directivity – without visually distracting the worshippers – is crucial.

Many traditional sound systems are visually intrusive, with loudspeakers, cables or acoustic treatments compromising the architecture or sightlines. So, an aesthetically pleasing

audio system that can deliver great performance while blending into the background is often the ideal solution.

These challenges with reflective surfaces, size and aesthetics are often the largest considerations integrators face when approaching a system design for a house of worship.

One proven solution to address these challenges is beam-steerable loudspeaker technology. Beamsteerable loudspeakers combine intelligible, highly directed sound with a discreet and unobtrusive form factor, making them an ideal choice for any house of worship, no matter the size or shape of the congregation.

Put simply, beam steering allows the user to steer the sound at the intended audience area without having to physically aim the loudspeaker. This ability to steer the sound does not involve moving the drivers themselves; the steering is done entirely through unique digital signal processing (DSP) applied to each driver. Each driver in a digitally steered loudspeaker gets a unique set of delay, frequency response and amplitude adjustments to steer the sound where the user desires.

Think of the targeted beam of a flashlight. Now imagine that beam of light as a beam of sound. Essentially, beam-steering loudspeakers can create tightly controlled sound beams and direct them right where they’re needed – on the congregation. By keeping sound away from other

surfaces that may cause reflections, steerable loudspeakers can provide clearer sound, delivering intelligible speech and natural music reproduction so everyone can engage with the service.

Eliminating the need to physically aim the loudspeakers means that beam-steered loudspeakers can often be mounted directly onto the wall, hung plum or even hidden flush inside the wall. The benefit of wall mounting is twofold: the lack of visual distractions for worshippers and the reduced installation cost, with no need for expensive rigging points or additional cabling infrastructure in the ceiling.

The goal for any house of worship sound system is consistent front-toback coverage, meaning that people in the front of the room hear the same sound as the people in the back of the room. And beam-steerable loudspeakers achieve the coverage they’re known for by steering individual beams at separate audience locations.

To revisit the flashlight metaphor, if a single tight flashlight was aimed at the back of the room, it might miss the front or middle of the room, leaving those portions of the audience in the dark. Additional flashlights would need to be aimed at the front and middle of the room for everybody to see clearly.

Creating beamed-steered coverage with a loudspeaker has traditionally been a very similar process. Multiple beams often need to be superimposed with the correct aiming, gain and filter

settings to deliver the optimal coverage for a space, so good results can often take some time and knowhow with this method.

Advancements in beam-steering software are changing the narrative that steerable solutions are only for complex spaces. With intuitive, easy-to-use workflows that generate custom coverage in seconds, the latest generation of software makes the benefits of steerable technology more accessible than ever before – something any worship community can enjoy.

Ultimately, beam-steering loudspeakers offer the best of both worlds for house of worship audio: they direct tightly controlled sound where it’s needed – on the congregation – and their discreet form factor allows them to blend in with the sanctuary architecture. Software pairs these benefits with a simple, intuitive workflow that aims to make steerable loudspeakers faster to set up than traditional point source or line array systems, helping users save time and money. Clear audio is crucial for worship communities to connect with the message, and congregations shouldn’t have to settle for less-thanideal audio. Beam-steering arrays now allow any house of worship – no matter the size, shape or budget – to enjoy custom-tailored sound for a truly engaging worship experience. www.renkus-heinz.com

Speech intelligibility issues have been resolved at Zürich’s Liebfrauenkirche with digitally steerable loudspeakers

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Make Your Message

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TECHNOLOGY

Video resolutions and payload

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Casey Hawkins looks at video resolutions and frame rates and some of the problems these can create

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IF YOU ARE RESPONSIBLE FOR video systems and infrastructure in your place of worship, then you probably know about video payload because it has most likely affected you at some point. I am going to discuss some facts about different video resolutions and frame rates and some basic problems they can cause when you are working with different types of video gear.

Resolution Since the video industry went digital in the late 1990s and early 2000s, there have been many different resolutions available, whereas in the analogue world, there was only one (per region). If you had a video device with a video input or output, that was the standard resolution of the era. But today, you can have all kinds of resolutions and frame rates that ultimately affect cable distance and resolution capabilities and maximums of the equipment on either end of your cable.

I have been in the professional video and broadcast industry for 34 years and I have seen and lived the analogue-to-digital transition and let me tell you, it was a mess.

And it still is. At first, there was something called SD-SDI, a digital version of the analogue resolution and frame rate. That was basically a way of getting into the digital spectrum without a full highdefinition upgrade. The payload (uncompressed bitrate) of that format was 270Mbps. If you were upgrading completely to HD, your options then were 1280x720/60p and 1920x1080/30i (plus dropframe modes). Both of those

Digital Forecast Trouble Shooter

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

resolutions have a payload of 1.5Gbps. When they added 1920x1080p, that doubled the payload to 3Gbps. 4K is anywhere from 12Gbps and up, depending on variations.

P stands for “progressive” and i stands for “interlaced”. Progressive means all lines of resolution are present all the time and interlaced means there are half of the lines (540) for each field (upper and lower) of video, which is half a frame, which then equals 1080 lines per frame. In 1080i, the human eye is tricked into thinking it is seeing all lines all the time because a field is 1/60th of a second and is too fast to notice for most people. 1080/30p has 1080 lines of resolution all the time, like 720/60p does. That is why 1080p is superior to the original 720p or 1080i.

But what has been happening over the past decade is the popularity of higher-resolution video signals, like 4K, and when these devices are added to a traditional infrastructure, then problems will arise. For example, if you have a video infrastructure designed for 1080i, then your equipment and infrastructure gear will only tolerate 1.5Gbps of payload. It will not pass 1080p or 4K signals because that is too much data for it. You will have to upgrade all your infrastructure to Full HD (1080p) or 4K to get your signal to pass. On the other hand, you can also reduce the payload to 1080i or even 720p with a converter or frame sync, which I will discuss later. Additionally, if your backbone is set for 1080i, then a 720p will not work and vice versa, without conversion. Most equipment will only handle whatever resolution

and frame rate you assign it unless you have a converter or frame sync to change it. Blackmagic Design switchers have a setting in the menus where you must indicate your desired frame rate for the system and then all inputs and outputs must be at that frame rate.

It will not convert for you.

But for now, think back to when you tried to plug a late model MacBook into an HDMI wall plate in a classroom or even your worship centre or fellowship hall, and the signal would not show up on your switcher or your screen, but other computers will. Late model MacBooks especially have high default resolution settings and unless you change the resolution of your external display within the MacBook settings to be lower, use a converter or frame sync, or you upgrade your video infrastructure to be able to handle the extra resolution payload, it won’t work.

What do I mean by “infrastructure”?

I mean the devices you are using to convert HDMI to SDI or especially HDMI to Ethernet and back for the long cable run between the wall plate and your system/projector, as well as your video switchers and routers, even monitors, etc. If you are just using an HDMI cable from your laptop to a projector direct, or especially a late model TV, you most likely will avoid the infrastructure issues but the projector might still hamper your efforts by not supporting a higher resolution.

The consumer tech world has progressed much faster than most professional organisations can adapt to because of cost. People are running around with portable

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TECHNOLOGY presentation devices like laptops and tablets that are outputting larger resolutions than most organisations have the capability of handling. To make things worse and to add to people’s frustrations, when they connect their new devices to their TV at home, it works. Why? Because there is not a video system “infrastructure” to conform to at their house. Home TVs have long been compatible with 4K and other higher resolutions, so they can display these images without conversion.

Conversion

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So, how do you get around this issue? After all, you probably can’t afford to upgrade all your equipment just to handle all these higherresolution devices every time they come around, so a converter can be the best bet. I am going to tell you a story of something that happened to me recently and, hopefully, that will clarify what I have been saying and even offer up some great advice to get you through a similar problem.

One of our campuses wanted to add a big screen TV on the wall in

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Decimator MD-HX

Blackmagic Design Micro Converter

their greeting area that would display content on Sundays. They had a TV in that same location until a few years ago, when they asked us to remove it for a special wall decoration they wanted. I was excited when I remembered that there used to be a TV exactly there because that meant there was already power and even an Ethernet cable in place that connected the TV to the main infrastructure equipment racks across the campus. But that excitement was cut short when I took a pair of HDMI to Ethernet adapters (capable of up to 1080/60p) to the site and there was no signal on the TV. I grabbed my Digital Forecast test set (which

I love) and I generated 1080i/59.94 bars and tone and the TV lit up like a champ. I remembered that the systems integrators, who installed that system before I worked for this church, had the video standard set at 1080/59.94p. On a short 1.8m cable run, that resolution passed a test in my office using the same Ethernet converters.

But the Ethernet run from the lobby to the rack was too long for that payload. I had two options: change the infrastructure from Ethernet to SDI RG-6 cable, which would require a new cable pull, or convert the signal at the source (the equipment rack across campus) from 1080/59.94p to 1080/59.94i with a converter.

Remember, that small letter “p” doubles the payload and reduces the cable distance for transmission, not to mention possible compatibility with the equipment.

That worked and the TV lit up with the IMAG loop in play.

If I did not understand all this stuff, then I would likely never have

got that TV to work. So how did it work years ago when the old TV was there? I imagine the source was converted, or the HDMI-to-Ethernet converters were capable of higher payloads, or maybe there was a signal booster in line somewhere.

But something was removed when that TV was taken down because the Ethernet cable in the main equipment rack was not terminated to anything. It was just dangling there.

What converters do I recommend?

I currently use the AVMATRIX SC2030 and the Decimator

AVMATRIX SC2030 MD-HX converters. Within their own specs, these will convert whatever you give it to whatever format you tell it to. The Decimator also has the 12G-CROSS that is the 4K upgrade to the MD-HX. I also highly recommend, if you have room for it in your budget, purchasing the Digital Forecast Bridge X-TS video test set. It will generate test signals as well as analyse video signals to help troubleshoot your video issues.

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TECHNOLOGY

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The colour of LEDs and what they mean for streaming ETC takes a look at LED fixtures and how they can be used to enhance livestreaming

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OVER THE PAST SEVERAL years, more houses of worship have started paying attention to the quality of their livestreaming videos.

While there are many components that make up a quality livestream, lighting is arguably one of the most impactful. The technology behind LED fixtures continues to advance at an exceptional rate. Let’s take a closer look at the technology within an LED fixture and how it relates to livestreaming worship services.

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Bonus benefits to LEDs Investing in high-quality LED fixtures brings many benefits. LED fixtures typically use less energy than their incandescent counterparts. They generate less heat which in turn means a smaller air handling system requirement, leading to further reductions in electricity use, and reputable products require less maintenance. The design flexibility and benefits colour-mixing LEDs offer is incredible and cannot be ignored – particularly for high-quality fixtures.

And it’s the “high quality” part that is key – especially when a camera is involved. Incandescent light sources provide a full-spectrum of warm white light that enhances skin tones, fabrics and scenery in a beautiful, flicker-free, familiar way, both in the room and on camera.

High-quality LED fixtures can now do this, too. In addition to making sure everyone and everything looks right, today’s worship services often incorporate dynamic use of coloured light beams and effects. To do this well on camera, an LED fixture must be adjustable to suit the camera’s sensor – which is very different from our vision. When considering new LED fixtures, first look at the makeup of the LED array.

gaps in the spectrum as shown below, indicate where no light is emitted. This is not necessarily an issue on a plain white or neutral surface. But we project light onto people, clothing, altars, furniture

and scenic backdrops, where a fullspectrum light is important to ensure the people and objects look right.

In the RGB chart below, you’ll see red, green and blue emitters mapped onto the chromaticity diagram, their

What goes into an array?

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The majority of colour-mixing LED fixture arrays you’ll find on the market start with red, green and blue (or indigo) emitters. If we were only ever projecting light onto a white surface, an RGB mix might be enough. The

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RGB chart

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TECHNOLOGY relative positions to each other forming a triangle. By increasing or decreasing the intensity of each of those colours, a designer can reach any colour within that triangle.

Mixing to any of the colours shown outside of the triangle, however, is not possible. Notice that rich ambers – which are often wanted when lighting people or creating a warm, inviting atmosphere – are not possible. Moreover, the ambers that are reachable are made up of almost entirely red and green – which doesn’t enhance anyone’s skin tone. A wide range of blues are also inaccessible in a simple three-colour RGB fixture. Those are all outside the blue-to-green boundary. For these reasons, today’s high-quality arrays typically include additional colours. As we add additional coloured LEDs to the fixture array, you’ll start to see your options

some colours pop but others not, and change the appearance in various ways – that may be desirable or not. Either way, understanding how spectral output can change appearance this dramatically is really important.

What does this mean for the camera and viewer perception?

Eight-point diagram

Hales Corners Lutheran Church in Wisconsin increase. The eight-point diagram above shows the increased colour options with eight different LEDs in the array. Additional possible emitters include blue, amber, lime, deep red, cyan and mint.

In situations where white light is really all that is used, a high-quality spectrum is just as important as applications that use coloured light, if not more so. At Hales Corners Lutheran Church in Wisconsin, a high-quality white light makes all the wood look warm and inviting, the green banners crisp and sunny, and the worship community look great, too. A lacklustre LED array could turn skin tones and wood ashen or cartoony and the green banners muddy.

Mixing to white light We are probably all familiar with Newton’s experiment where sunlight was shone through a prism and it diffracted into the colours of the rainbow. With an LED fixture, you are essentially starting with

only one possible combination, or “recipe”, of RGB values that will achieve that colour. The introduction of another emitter changes this.

As soon as a fourth colour is introduced, the number of possible ways to mix to that same colour point increases. The more colours you add, the greater the number of “recipes” there are. These colour recipes are also known as “metamers” and each new metamer will have an impact on the way an object is rendered and perceived by both the eye and the camera.

When you capture an image, you want it to contain a comprehensive range of colour, contrast and brightness data. With livestreamed video, you don’t have the chance to correct colours in postproduction like they do for film and television.

There is only time to make slight global adjustments if the tech crew has the equipment and ability to do so. This means it’s even more important for your lighting fixtures to provide the right colour content at the time of camera capture.

It’s also about control Light quality is one factor. Being able to control it precisely is another. In addition to your choice of fixture and array, it is also important to consider the ability of a lighting console to control a fixture at its full potential. Most consoles on the market these days offer libraries of built-in colours. However, most consoles will have based these library models on simple RGB

Figure 1 nothing and adding in the portions of the rainbow (spectrum) you want, to arrive at the colour of your choosing, including when that “colour” is white. The more of the spectrum available in your array, the more spectral content available for your mixes. If that content is controllable and adjustable, then that will also enable greater ability to ensure everything being lit appears as intended, both in the room and to those watching the camera stream.

As we have already mentioned, when working in an RGB colour space, you can mix to any colour within the triangle created between those three points, but there is

Figure 1 shows a white light on a piece of white fabric. The next six images show different combinations of LED emitters mixed to the same white but projected onto a piece of coloured fabric (in order from the left they are eight-colour mix; red, indigo, green; red, blue, green; indigo, lime; red, blue, cyan, green; and finally on the far right blue, amber, cyan).

As you can see, the differences in how the mixes were “constructed” become meaningful when lighting coloured objects. The eight-colour mix appears brightest and allows us to see each colour within the fabric well.

That’s because of the completeness of the spectral content within the array. The other combinations make

colour maths. If you are using fixtures that have more than three different coloured emitters, there is a chance that these emitters will not be part of the colour you select, which will result in reduced intensity and poor colour rendering. Or, the console may use all emitters but not provide the option to adjust the “recipe” to finesse object appearance. Knowing how each of the different emitters contributes to the output helps you make an informed choice of fixture when planning your next project.

Depending on your requirements, you may choose to favour one array over another. www.etcconnect.com

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PRODUCT SPOTLIGHT

SPONSORED BY

EditShare FLOW media management

Storing and managing content for HOWs

EditShare storage systems can help houses of worship keep their video content safe and secure FOR MANY HOUSES OF WORSHIP, video production and delivery has become a significant part of their mission. As their plans develop, they need to adopt more sophisticated content management. There are two distinct elements in their use of media.

First, as a part of the service, using video inserts to add engagement and information. Second, as a means of reaching out to members of the community who cannot attend services in person. This could see complete meetings broadcast – online or even into a television channel – or clips and excerpts used in social media.

A house of worship might even make content specially for video distribution.

These videos could include detailed information about the charity and humanitarian work supported by the institution, or it could reflect activities within the community, such as projects by a youth group.

The result is that houses of worship that use video as part of their work are becoming increasingly involved in creating and distributing professionalquality material. This is remarkable as much of the effort is from amateurs who give up their time, to ensure that the organisation’s funds are best focused on good works. So, systems have to be as simple and intuitive to operate as possible.

Asset management and storage While it is tempting to use informal content storage, with projects kept

on a specific computer or disk drive, this quickly becomes unmanageable.

It also becomes impractical when multiple people need access to the same content: preparing a service for broadcast, editing it for later video on demand and creating social media stories from it.

Because of its scalability, EditShare EFS storage is ideal for this application.

You can start with a small capacity, and add more disks and storage nodes as required. What is vital is recognising the need for accurate and comprehensive cataloguing of the material. With many people involved, everyone must be able to find the content they need.

As well as improving productivity and making the best use of limited resources, being able to search the archive enhances future output. By researching what was said in previous sermons on a particular topic, for example, worship leaders can build on the messages and add further weight to the services.

The use of AI means that a lot of the cataloguing of content can be

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automated. A speech-to-text tool can be added, which means that every word of everything ever said becomes searchable. Better catalogue information – metadata – makes for more detailed and nuanced researching, and more varied and interesting results.

Simple user interface The EditShare storage system comes with a powerful asset management system, called FLOW. This is open software which can accept add-ons like speech-to-text transcriptions. Other AI services could potentially be added, like facial recognition, to track not only what was said in every act of worship and video production, but who said it.

FLOW also allows other systems to plug straight into the storage.

Video editors like Adobe Premiere Pro, Avid Media Composer and DaVinci Resolve can run on the same hardware as the storage network, and editors can access the

asset management database from their familiar software. You can even prepare edits in FLOW, selecting the content you are likely to need, then passing it over to the edit workstation to complete the project. That greatly reduces the load on the editor, so the material can be delivered to worshippers faster.

All of this is available through a simple user interface, which is tuned to the needs of each user. No one gets bogged down with too much information, so there is no possibility of confusion or overload. Working with FLOW to prepare material for edits or for research is as simple as a Google search and drag-and-drop.

Conclusion Houses of worship are introducing video production and delivery because it makes the message more powerful, more engaging and more accessible. That is the mission that must be supported. As the volume of content grows, and as more material is required, it is the backend technology that becomes critical.

Users must be sure that the material is securely stored and cannot be lost or damaged. It must be easy to find and use in new outputs. And it must be fast to ensure the message is delivered when it is needed. A storage and asset management platform like EditShare EFS and FLOW is a wise investment, empowering its users to create and deliver the best content to deliver the message.

www.editshare.com

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PROFESSIONAL

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

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

With horizontal directivities of 100°, 80° and 60°, this formidable family of ultra flexible systems provides the bandwidth needed to cover the most diverse live scenarios.

C 10 60˚ C10

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NEWPRODUCTS

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

A–ZCONTENTS

Meyer Sound introduces the NADIA platform Designed to power future installations of Constellation, Meyer Sound has developed the NADIA integrated network-based digital audio processing and distribution platform IN ADDITION to the processing power and inputs reserved for active acoustics, NADIA provides separate inputs, processing and matrixing to enable Spacemap Go spatial sound “without performance compromises”. Consisting of three hardware modules, the NADIA platform supports up to 96 inputs for Constellation acoustic processing in addition to 128 independent programme audio inputs. All NADIAbased systems require at least one NADIA-CP core processor that supports 128 outputs. Additional NADIA-CP modules can be added to increase the number of outputs in the extended system by 128 for each module. All communication to and from the NADIA-CP module is via a Milan-compatible AVB network and all the processing is at 96kHz/64-bit floating point resolution. For analogue input, the NADIA platform

offers the NADIA-AI12 input module, providing 12 channels of analogue input with a preamp on each channel to accommodate Constellation microphones.

For analogue outputs, the NADIA-AO16 provides 16 channels of analogue line level output.

NADIA outputs can be routed directly via the network to Milan endpoint loudspeakers such as Ultra-X20 series speakers and USW-112P subwoofers. In an active acoustic system, which requires discrete output channels for many loudspeakers, this eliminates separate output modules to reduce rack space requirements.

Each NADIA-CP module hosts up to 12 VRAS (Variable Room Acoustic System) processors, enabling the configuration of up to 12 discrete acoustical zones in a single unit. A standard licence is available for all

Adamson Systems

ArrayIntelligence V1.1

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ADJ

Jolt Bar FXIP

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AJA

DRM2

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Allen & Heath

Avantis Solo

50

Astera

White Remote

56

Blackmagic Design

Videohub 80x80 12G

52

Bose

AudioPack Pro

46

CODA Audio

CiRAY

47

DirectOut

ASM

46

Earthworks Audio

SR5117

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EAW

SM12

47

Elation

Proteus Hybrid MAX

55

elektraLite

Paint Can IP65

55

Eliminator Lighting

Mega Hex L Par

54

Equipson

LightShark v1.5.25

57

ETC

Eos v3.2.4

57

HK Audio

FINEO

49

JBL

IRX One

47

L-Acoustics

LC16D

51

Lawo

crystal

52

LD Systems

TICA Series

48

Lumens

VC-TR30

53

Marshall Electronics

CV630-NDIW

54

Martin Professional

ERA 700 Performance IP

57

Matrox

Maevex 7100 Series

54

Meyer Sound

NADIA

45

PreSonus

Studio One 6.5

50

Q-SYS

AD-C4T-ZB

48

RCF

NX 932-A

48

RF Venue

RF Explorer Pro

51

Robe

HolyPATT

56

RØDE

White Collection

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Sommer Cable

HICON BNC0.8/3.7-6G-SM 51

Tascam

Sonicview v1.5

12 VRAS processors, and a lower cost lite version can be applied for three processors. In comparison to the D-Mitri processor solution, Constellation systems based on NADIA benefit from reductions in both rack space and overall costs.

The processing power of NADIA allows for a separate partition dedicated to integrating sound reinforcement systems alongside Constellation. Many inputs are reserved exclusively for Constellation, with additional inputs available for multichannel spatial audio processing backed up by a new signal path featuring two matrix sections. Along with an input matrix addressed by Spacemap Go, new levels of granularity and control are available with a separate output matrix. NADIA can also connect to Galileo Galaxy 816 and 408 processors, mixing consoles

50

equipped with direct Milan outputs, multichannel computer playback from AVB-compatible Apple or Windows computers and Avnucertified format converters for other digital audio networks.

Backed up by the power of CueStation 8 as a calibration and programming tool, an updated control interface enhances how users work with Constellation’s active acoustics in their venue.

When implemented, Spacemap Go NADIA provides a separate user interface for controlling dynamic spatial sound in integrated PA systems. NADIA systems also can be controlled by OSC commands to enable integration with third-party protocols when incorporating NADIAbased systems into wider AV and building control systems. www.meyersound.com

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PRODUCTS

Bose Professional creates AudioPack Pro PRODIGY.MX

DirectOut gets creative REDEFINING THE way audio solutions are designed to emphasise flexibility for engineers, DirectOut has unveiled the Audio Solution Model (ASM). Providing modularity in both hardware and software, while ensuring both adaptability and longevity, ASM evolves with customers’ needs using a five-layer structure built on hardware platforms.

As an example, the “Skin” layer customises the device performance, providing users with the required tools. Control protocols together with a software GUI further enhance flexibility, and templates simplify complex solutions, prioritising creativity over technical complexity. The top

layer promotes an open approach by integrating hardware components from any manufacturer. Add-ons are said to enrich and extend the audio solution as required.

DirectOut’s PRODIGY.MP currently embodies the ASM philosophy with modular hardware, scalable DSP, adaptable control and comprehensive software. As a logical consequence, the latest PRODIGY.MX inherits core features from PRODIGY.MP and ASM’s DNA. With six network slots and extensive I/O, it is designed to remain open and expandable, regardless of the digital multichannel format or control system it is working with. www.directout.eu

FORMED FROM a combination of inceiling and surface-mount FreeSpace loudspeakers and a FreeSpace amplifier, Bose Professional has unveiled its AudioPack Pro systems as a ready-to-install pre-designed package. Depending on the AudioPack

Pro system selected, the package includes either four or six FreeSpace loudspeakers and an IZA 190-HZ integrated zone amplifier, specifically matched and optimised for the solution.

The systems are said to eliminate guesswork and combine durability, a

SR5117 wireless capsule completes the 117 family FOLLOWING THE introduction of its SR117 handheld vocal microphone, Earthworks Audio has expanded the 117 family with the introduction of the SR5117 wireless capsule. The SR5117 is a supercardiod condenser wireless

microphone that is compatible with all Sennheiser wireless systems.

Earthworks says it has a fast, clean and responsive frequency response that is voiced with rich, clear lows, smooth vibrant mids and open highs.

Although built for touring, the rugged

SR5117 is suitable for a range of environments. The company says it provides both the

clean design and ease of installation with consistent tonality. With either the in-ceiling or surface-mount option, clear voice reproduction and rich music are promised, while the speakers will reportedly blend into any environment.

The packages are available in several configurations. The AudioPack Pro C4W comprises four white in-ceiling FreeSpace FS2C loudspeakers and a FreeSpace IZA 190-HZ amplifier; the AudioPack Pro S4W includes four white surface-mount FreeSpace FS2SE loudspeakers and an IZA 190-HZ amplifier; and the AudioPack Pro S4B includes four black surface-mount FreeSpace FS2SE loudspeakers and an IZA 190-HZ amplifier. www.boseprofessional.com

power and quality of a condenser microphone, but with the safety and familiarity of a dynamic mic.

Meanwhile, its pattern control across all frequencies offers maximum feedback rejection. The variant comes on the back of the Shure SR3117 wireless capsule version released last year. www.earthworksaudio.com

RØDE unveils the White Collection AUSTRALIAN MICROPHONE manufacturer RØDE has launched a limited-edition range of white products featuring the RØDECaster Duo, PodMic, PSA1+ and NTH-100. Called the White Collection, the launch marks the first time these products have been released in custom colours.

The centrepiece of the collection is the RØDECaster Duo, the company’s all-in-one audio production solution for creators. Released last year, the RØDECaster Duo boasts all of the same features as the RØDECaster Pro II – the company’s flagship audio console – in a more portable form factor. Also available in the White Collection is the PodMic dynamic broadcast microphone, which features a new black grille. The PSA1+ professional studio arm and NTH-100 headphones round out the collection,

offering creators the chance to build a complete audio setup all in white.

These are available in two bundles, a solo creator bundle featuring the RØDECaster Duo and one mic, arm and headphones, and a podcaster bundle featuring two of each accessory alongside the console. Both bundles come with premium XLR cables to complete the setup.

Following the launch of the NT1 5th Generation, RØDE has released a new edition of its NT1 studio condenser microphone with the original pure-analogue design of previous generations. The NT1 Signature Series provides the same specifications as the NT1 5th Generation, but with the original XLR-only design of previous generations. It features a RØDE HF6 large-diaphragm (1-inch) condenser

capsule engineered to sub-micron tolerances, and has a tight cardioid polar pattern for background noise rejection. With the same classic NT1 sound signature, the NT1 Signature Series also has self-noise of just

4dBA, which RØDE claims makes it the world’s quietest studio condenser microphone.

With a rugged aluminium body and high-grade finish, the mic is available in a range of limited-edition colours, including red, green, purple, pink and blue. Each microphone comes with a studio-grade shock mount and pop filter and a premium XLR cable. www.rode.com

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PRODUCTS

JBL IRX One Column is a pillar of society FEATURING A three-channel mixer and Bluetooth 5.0 audio streaming, JBL has designed the IRX One as a portable, plug-and-play, all-inone column loudspeaker system.

Equipped with six 2-inch highfrequency drivers and an 8-inch bassreflex woofer providing low-frequency response down to 40Hz (±10dB), the IRX One incorporates directivity control, resulting in a C-shaped array.

In addition to dbx automatic feedback suppression (AFS), five EQ presets and audio ducking, the three-channel mixer supports most connections, including ¼-inch and XLR inputs with included 48V phantom power and ¼-inch balanced mix-out. Weighing 15.5kg, the IRX One incorporates an optimised carry handle, while ease of setup is extended with column spacers and an array cabinet designed to fit into the rear of the base unit. With its Bluetooth 5.0 audio streaming chipset, the IRX One is capable of delivering long-distance streaming.

Optimising frequency and phase response, JBL has also introduced FIR tunings for select Control Contractor Series loudspeakers.

The FIR filters were designed to meet JBL Pro’s latest V6 FIR tuning standard. Features include equalisation to a neutral frequency response, matched gain together with improved signal coherence and linearised phase response above 300Hz. Users can adopt a known flat voicing for further equalisation to

SM12 stage monitor flexes its muscles IRX One

the needs of the application to allow for smooth system tuning and subwoofer integration.

The V6 FIR tunings are for the COL600 and COL800, SLP12/T and SLP14/T, GSF6 and GSF8 and Control 68HL models. The posted tunings are for use with Crown DCI-N and DCI-DA power amplifiers. Additional tuning files are expected to be released shortly for Crown CDI DriveCore amplifiers.

INSPIRED BY the Microwedge acoustic design, EAW’s SM12 Stage Monitor is a two-way passive loudspeaker for a variety of applications, including houses of worship.

Designed to be used as both a stage monitor or fill speaker, the SM12 has a concentric driver attached to a CSA waveguide which EAW says provides even coverage throughout the 90° x 60° pattern. Meanwhile, a large ground-coupled port extends low-frequency response down to 60Hz from its 12-inch woofer.

Designed to be deployed in multiple orientations and wiring configurations, the SM12 has two cabinet orientations for use on a flat surface and can also be mounted on a pole.

An integrated kickstand offers additional positioning options when used as a stage or floor monitor.

The monitor also offers multiple input options, reportedly resulting in easy

cable concealment and fewer cable runs. Integrating with EAW’s UXA4403 amplifier, the loudspeaker features two input

the manufacturer’s patented Dual Diaphragm Planar Wave Driver (DDP), Coupler technology and FS-FIR Filters, with the CiRAY also benefitting from the addition of CODA’s latest Dynamic Airflow Cooling (DAC).

A hang of 12 loudspeakers (2x6) can reportedly be set up in minutes by a single operator, with all cabinets set for their relative angles to drop into place once lifted. Three cabinets can be powered from one channel of CODA’s LINUS14 DSP amplifier, meaning that only one amplifier is required for a full hang of 12 using an industry-standard power amp cable.

The CiRAY uses the same unique Coupler technology as the rest of the VCA family, giving horizontal dispersion control down to 200Hz with coverage options of 60°, 90°

and 120°. The speaker comes with CODA’s Quick Release grille and the ability to change horizontal dispersion by means of the manufacturer’s proprietary Instafit Magnetic Couplers.

Compatible with the VCA family, the SC2-F dual 15-inch sensor-controlled, low-frequency extension overlaps the VCA line arrays in the 35–200Hz range. It can be strategically deployed either to increase the low-frequency impact and headroom of the system in a long-throw configuration or to provide an accurate cardioid dispersion pattern over the entire frequency range when flown behind the line array. Additionally, the SC2-F can be used in a beam split configuration.

connectors concealed in the low-frequency port. The low-frequency port also houses an input selection switch that selects the first or second set of NL4 pins as the crossover input to reduce the number of speaker wires onstage. In addition, a second set of input connectors are located on the bottom of the loudspeaker to accommodate wiring when used in the fill orientation, wallmounted or on a pole. www.eaw.com

www.jblpro.com

CODA adds to its VCA family

CODA AUDIO has announced the launch of its CiRAY compact full-range, dual 10-inch line array system. As the third element of CODA’s VCA family, alongside the ViRAY (dual 8-inch) and the flagship AiRAY (dual 12-inch), the CiRAY has been developed by CODA to deliver “ultimate flexibility” for rental companies and provide a full

spectrum of line array products for installation.

The CiRAY is an ultra-light, ultracompact standalone system that can also be paired with its siblings to provide an optimum mix-andmatch configuration and obtain “the best sonic and logistical outcomes” for a host of live and installed applications. All VCA units include

www.codaaudio.com

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RCF is tour-ready

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THE NX 932-A and NX 945-A have been designed by RCF for sound providers, small bands and DJs. The combination of a respective 3- or 4-inch titanium/neodymium compression driver, a 12- or 15-inch woofer, a two-channel 2,100W amplifier and the constant directivity True Resistive Waveguide produces coherent 100° x 70° coverage for the listening area with up to 132dB or 135dB SPL. The speaker can be used on its own for a FOH system, as a satellite (with subwoofer) or stage monitor, or it can be flown. Merging RCF proprietary FiRPHASE and Bass Motion Control DSP processing, the NX 932-A and NX 945-A are described as tour-ready, rugged all-wood cabinets that are easy to carry and secure to install on a pole-, flown-, wall- or truss-mount using the dedicated rigging points available.

The SUB 905-AS MK3 and SUB 8003-AS MK3 are self-powered, extended, low-frequency subwoofers with internal DSP. The compact cabinets house a 15-inch (18-inch for the SUB 8003-AS MK3) transducer featuring ceramic magnets and a 3-inch (4-inch) voice coil. The internal amplifier manages up to 2,200W power output, delivering SPLs up to

W pa pa FI m va in T FO co an its 10 12 m fe 15 po ex ho M co ve S1 an lo sy ve ve a H su

SUB 8003-AS MK3

AD-C4T-ZB, AD-C4T-LPZB, AD-C6T-ZB and AD-C6T-LPZB

Q-SYS releases zero-bezel models of AcousticDesign speakers NX 932-A 133dB (135dB). Proprietary Bass Motion Control processing provides extended linearity, while rear panel controls include presets, crossover frequency, polarity selection, cardioid and output delay settings. The tourready, rugged all-wood cabinets with a scratch-resistant polyurea coating are stackable and lightweight and have been built for demanding applications.

Finally, the S 15 is a high-power, compact subwoofer system suitable for installations where the physical small size and impact of a 12-inch driver are desired. Extending the frequency response below 35Hz, the S 15 is reportedly capable of providing output levels normally associated with larger enclosures. It has been developed for music playback in applications ranging from clubs, bars and cafés, as well as theatres and corporate applications. The low-frequency transducer is a 15-inch woofer with a 2.5-inch voice coil.

Q-SYS HAS released a “zerobezel” refresh of the 4- and 6-inch AcousticDesign (AD) Series ceiling loudspeakers. The new models, including the AD-C4T-ZB, AD-C4TLPZB, AD-C6T-ZB and AD-C6TLPZB, feature a white grille without a bezel, designed to meet the architectural needs of modern applications while preserving the acoustics of the existing AD models. Retrofit accessories are available to add the new grille to recent Q-SYS loudspeakers (NL-C4, AD-C6T-HC and AD-C6T-HP) and black grilles are also available separately for all models.

The QIO-AES8x8 and QIO-TEL2 have been added to the manufacturer’s QIO Series I/O peripheral portfolio. The modular devices expand Q-SYS system capabilities to enable streamlined interoperability with non-networked

audio and analogue telephony systems. By decoupling local I/O from processing hardware, QIO Series devices allow users to place the I/O exactly where it is needed to support the desired topology.

The QIO-AES8x8 features eight AES3 digital inputs and eight AES3 digital outputs, allowing users to integrate a wide range of digital sources into their systems, including media servers, mixing consoles, DAWs or other digital recording and playback devices.

The QIO-TEL2 integrates two PSTN (POTS) phone lines on standard RJ11 connectors to integrate analogue telephony systems into Q-SYS. The QIO-TEL2 is designed to handle PSTN subscriber lines, PBX phone and paging systems, and retrofit applications. www.qsys.com

www.rcf.it

LD Systems launches TICA Series

A PRODUCT range specifically for the installation market has been unveiled by German manufacturer LD Systems. The TICA Series offers compact solutions for any size project that are said to be flexible, easy to install and with features that deliver better sound and control. The series includes everything from media streaming

and mixing preamplifiers to a range of amps with different channel and power outputs. There are also Dante networked audio interfaces, transformers, headphone amplifiers and control interfaces. Installers can build entire systems using workhorse products from the series or, alternatively, the TICA Series can be integrated into an existing

installation providing additional connections or zones.

The AMP 205 is a two-channel mini amplifier that combines compact size with passive cooling and efficiency.

It’s powered by a 2x 50W Class-D amplifier, features 4Ω outputs and has a user-friendly front panel. The AMP 106 T is a single-channel 60W Class-D amplifier that can drive

low impedance or 70V/100V line loudspeaker systems. Its small form is suitable for installers that are working on projects with limited space or where aesthetics are important.

All the products are compact – integrators can install them under tables, behind screens and in ceilings, or can use the 1U TICA rack tray to put four devices next to each other.

The TICA Series gives integrators the ability to build a system that fits the exact project requirements with minimal rack space. www.ld-systems.com

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HK Audio introduces its extended family WITH THE introduction of five passive mid/high units and five passive subwoofers, HK Audio’s FINEO product family aims to maximise flexibility across a variety of professional indoor fixed installations.

The FINEO range consists of the FO 5, an ultra-compact 5-inch/1-inch coaxial speaker suitable for both wall and ceiling installation; the FO 8 with its 8-inch woofer; the FO 10 with a 10-inch woofer; and the FO 12 with a 12-inch woofer. As the most powerful mid/high unit in the range, the FO 15 features additional low end and a 15-inch woofer. For dispersion in all positions, every FINEO mid/high unit except the FO 5 has a rotatable HF horn.

Meanwhile, the FO S112 is a compact 12-inch subwoofer; a flyable version is also available in the FO S112 F. Similarly, the FO S118 has an 18-inch subwoofer to extend the low-frequency output of any FINEO system, and also has a flyable version in the FO S112 F. Both flyable versions can be installed either with a U-bracket or four standard M8s.

HK Audio’s most powerful subwoofer of the series is the FO S218, with double 18-inch drivers and the lowest

FINEO cut-off frequency of 33Hz. The speaker specialist says the large-format, bass-reflex channels on all FINEO subwoofers are protected against foreign objects. Cut-outs for cable routing facilitate installation close to a wall, and flyable models can also be mounted at a slight downwards angle so that any foreign objects thrown in can simply fall out.

HK Audio provides a selection of accessories from adjustable

U-brackets to 360° mounts, swivel and tilt brackets to tripod mounts and L-brackets to facilitate a range of installation requirements. Standard VESA connections on all FINEO mid/ high units mean that installation fixtures from third-party suppliers can also be used.

DSP presets for Lab Gruppen IPX and LEA Professional, as well as filter sheets for other DSP platforms, can be downloaded directly, while simulation

data in GLL format for EASE and EASE FOCUS 3 are also available.

The manufacturer has also announced that simulation files in GLL data format for the LINEAR 5 MK II series are now available for EASE and EASE FOCUS 3. The LINEAR 5 MK II GLL files are now available for download from the LINEAR 5 MK II product page. www.hkaudio.com

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Solo doubles up the range in half the space UK MANUFACTURER Allen & Heath has announced the launch of Avantis Solo, the second member of the Avantis mixer family. Condensing the full power of the Avantis mixer platform into a 12-fader, single-screen package, the Solo delivers the same 64-channel/42-bus architecture as its larger sibling. Running at 0.7ms latency, it has full onboard processing

as well as 12 RackExtra FX slots, with everything housed in its lightweight alloy shell and tubular frame.

With six layers, the 12-fader architecture provides access to 72 fader strips, while the console has a 15.6-inch HD touchscreen with dedicated rotary controls and an additional 18 assignable SoftKeys.

Combined with A&H’s Continuity UI,

the Avantis Solo provides the same connection between physical and graphical controls as the dual-screen Avantis.

The Avantis Solo is equipped with six XLR analogue inputs and outputs, plus AES (stereo in, stereo

out). An integrated SLink port enables connection to A&H’s Everything I/O ecosystem, as well as the company’s ME Personal Mixing System. In addition, two I/O ports allow the use of the full range of dLive/Avantis option cards, including Dante, Waves, gigaACE and MADI. Meanwhile, Avantis Director software enables online control and offline editing. www.allen-heath.com

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Broadcast boost with v1.5 WITH A particular focus on broadcast users, Tascam’s v1.5 upgrade to its Sonicview 16 and 24 mixing consoles adds a number of features that the company claims will improve functionality and aid creativity. The upgrade not only provides a second monitor section, but both monitor sections now offer direct output to the output router with level control. The v1.5 upgrade also adds an option to select any input source as a talkback signal. The

talkback signal can be output to mix busses 1–22, the main L-R output and the EXT 1/2 direct output.

Router enhancements include level reduction (dimmer) features for

via an output router. Other features include the ability to assign monitor and talkback functions to Sonicview’s bank of user-definable keys, the addition of a switchable oscillator and the ability to automatically mute monitor speakers when a microphone input signal is detected.

The Sonicview v1.5 firmware update can be downloaded from the Tascam Europe website. www.tascam.eu

Adamson releases ArrayIntelligence V1.1

THE LATEST version of Adamson’s ArrayIntelligence loudspeaker design and deploy software reflects the development team’s focus on encouraging user-generated feedback and quickly including it in the available software. ArrayIntelligence V1.1 revolves around an overarching goal: enhancing the user experience and optimising software performance.

The new Header Bar graphical layout is said to bring clarity to the user interface, indicating which pages are available online, simplifying navigation and enhancing

talkback, both monitor outputs and the output bus which is assigned as the talkback target. Tascam has also added a direct output for the solo signal, which can be assigned

workflow. The Global Assign feature, described as a cornerstone of system management, has undergone a comprehensive update. This redesign reportedly offers users a more robust and efficient tool for managing entire systems of networked Adamson speakers, bridges and gateways.

According to the manufacturer, ArrayIntelligence V1.1 ensures detected items are ordered accurately by switch port, streamlining system setup and minimising complexity.

Introducing the newest family members of the IS-Series to ArrayIntelligence V1.1 allows users to include and predict these in their projects. With improved accuracy and better labelling, users will benefit from an upgraded 3D dB SPL scale that displays the absolute maximum SPL value, offering critical insights for audio system optimisation.

In addition to these improvements, ArrayIntelligence V1.1 includes a comprehensive set of bug fixes aimed at enhancing software stability and reliability.

PreSonus enters the Dolby Atmos Arena PRESONUS HAS announced the most recent iteration of its music production software, Studio One 6.5, complete with Dolby Atmos immersive audio. The update brings workflow, mixing and note editing enhancements and is said to provide state-of-the-art immersive audio recording, editing and mixing capabilities through integrated Dolby Atmos tools. With this combination, users can “unlock the full potential of their mixes and transform their creations into fully fledged immersive experiences”.

Studio One 6.5 has been designed to provide users with an integrated spatial audio production workflow, from recording with multichannel

microphones to mixing with enhanced plugins and exporting files in a variety of formats. Users can mix in Dolby Atmos or additional formats that support up to 9.1.6 channels. Support for Dolby Atmos Binaural Headphone Monitoring is also included – Studio One 6.5 features a dedicated headphone channel for simultaneous binaural monitoring, eliminating the need for switching configurations.

Studio One’s plugin set has also been upgraded to support processing of multichannel signals or of any individual channel or pair of channels per plugin. www.presonus.com

www.adamsonsystems.com

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PRODUCTS

Ready, screw down, go!

THE HICON BNC0.8/3.7-6G-SM connector from Sommer Cable can be mounted without bulky crimping tools, with its plugin system said to simplify the mounting of BNC and RG cables.

The connector can be mounted by hand or with the help of two wrenches (size 12mm and 13mm). To do this, customers need to strip the cable using a sharp knife or stripping tool, insert the cable into the connector and lock it in place by tightening the

end cap. The connector is ideally suited for safe and uncomplicated assembly or repair of cables on the road.

The HICON BNC0.8/3.7-6G-SM connector reportedly fits almost all 0.8/3.7 video cables and transmits the 3G and 6G video standard. It is also predestined for connecting S-PDIF units. The robust SC-VECTOR (600-0162) is a suitable counterpart, as it can be used for secure data

transmission over longer distances and reportedly guarantees a low return loss.

The HICON BNC connector has a discreet matt black end cap and can be coded with two stretchable

www.sommercable.com

Building bridges

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colour rings from the HI-UC series to simplify attribution. A 3μg hard, goldplated pin, as well as a robust metal enclosure, are said to ensure a high number of mating cycles. The quality and durability of the mating cycles are regularly tested in-house by means of a specially designed automatic machine.

In addition to BNC connectors, the HICON Screw & Play series also includes jack plug connectors and RCA/phono connectors.

ACTING AS a bridge between legacy digital formats and a Milan AVB network, the LC16D from L-Acoustics aims to simplify the process of interfacing legacy digital formats with the Milan AVB time-sensitive network. Designed for rental and fixed installation markets, broadcast and recording environments, the LC16D is a highcapacity AES/EBU- and MADI-to-

Milan AVB audio network converter housed in a rugged 1U chassis.

With up to 80 legacy format inputs and outputs, it can interface with up to 128 bidirectional channels and offers dynamic mapping of audio channels. Its embedded web interface enables full control and monitoring from any device with an internet connection, while user configurations make storing and

loading different channel mappings easy.

In applications that use several interfaced digital consoles, the LC16D’s integrated asynchronous sample rate converters on each AES/EBU input eliminate the need for synchronisation management, allowing digital consoles to continue using their independent clock domains. L-Acoustics claims that

its comprehensive clocking options make synchronisation effortless and distribution of clock sources across connection formats possible.

It can be used as a floating converter for fixed installations deployed wherever a legacy digital connection needs to interface with a Milan AVB network. The combination of AES/EBU and MADI inputs allows any digital console to be connected simply and efficiently, while the converter’s outputs can be utilised to generate and distribute additional feeds as required. www.l-acoustics.com

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Get in touch with the RF Explorer Pro spectrum analyser

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AS MORE devices compete for less spectrum, the ability to visualise and monitor RF signals in real time has become critical for wireless audio.

Claiming to provide all the information required to optimise wireless microphone and in-ear monitor audio systems, the RF Explorer Pro is a handheld RF analyser distributed

by RF Venue which delivers RF spectrum data via a high-resolution touchscreen.

Combining an integrated 6GHz spectrum analyser with frequency coordination analysis tools, the unit boasts an 8-inch touchscreen interface and an internal 4,500mAh lithium ion battery which provides up to five hours of operation.

The RF Explorer Pro can be fully remote controlled to monitor, manage and capture spectrum data, while its internal CPU enables fast frequency coordination calculations, real-time interference monitoring and intermodulation analysis out of the box. The unit’s built-in memory automatically records, saves and

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replays spectrum data scans and users can export data to a USB drive for use in other software applications such as RF Venue’s Wireless System Builder, Shure’s Wireless Workbench,

pro audio gear, such as digital mixing consoles and tablet-controlled PAs. RF Venue has also released the latest additions to its family of bandpass interference filters.

These filters reportedly simplify picking the right filters for a geographic area so that customers no longer have to worry about matching frequency blocks to the proper filter. The company’s band-pass filters help eliminate “out of band” signals

that can saturate the front end of wireless microphone receivers and can greatly improve dynamic range by reducing noise and third-party interference outside the range of operation. They feature industrystandard BNC connectors and a small 3-inch x 1.75-inch footprint, require no power or user configuration and can be easily connected in-line with wireless microphone antennas to reduce noise and improve wireless system performance. www.rfvenue.com

RF Explorer Pro Audio-Technica’s Wireless Manager and Sennheiser’s Wireless System Manager.

The RF ExplorerWiFi analysis feature extends its capability to the 2.4GHz and 5GHz frequency bands for troubleshooting the growing range of Wi-Fi-controlled

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Lawo shines like a diamond with crystal LAWO HAS unveiled the crystal console for broadcast applications.

The IP-native mixing system is based on the open Ravenna/AES67 audio-over-IP networking standards and complies with SMPTE ST 211030/-31 for audio and ST 2022-7 for redundancy. Powered by the Lawo Power Core Engine, crystal supports expandable I/O, accommodating AES67, MADI, analogue and AES3 in addition to Dante audio sources and destinations.

Available with six, eight and 14 faders, together with the Power Core and Controller modes of operation, crystal has also been designed as a companion for a variety of broadcast applications.

The IP-native crystal is available in both a light and dark finish, with both versions offering varying shades and colours for customisation. Silent, motorised faders based on mc² audio production consoles and encoders promote integration with programme automation and playout systems, including multiple-layer operations with voice tracking, remote production or DAW control. Programmable,

operators produce compelling programming. The AutoMix function automatically maintains the balance of multi-mic productions, AutoMix Grouping allows intelligent automatic mixing to be applied to multiple independent source groups and the AutoGain automatic gain setting function optimises mic levels.

An unlimited number of snapshots and DSP profiles can be recalled from any networked console, and individual talent profiles or customised show

V consoles, one Power Core with the MAX licence allows four studios to share its processing power in a variety of configurations.

Controller mode caters for a small IP-native extension panel for mc² audio production consoles. A crystal Main or Fader module can be used as a control panel for an mc²/A__UHD Core-based backend. When used as a companion in an mc² system, most console strips can be mapped to the crystal surface. crystal also integrates with Lawo’s Home management platform for IPbased media infrastructures.

Six-fader crystal colour-coded LED buttons and encoder lighting highlights common control functions. The optional Virtual Extension modules feature Full HD TFT displays and touch control.

Ember+ and HTML5 integration enables control of third-party hardware and software.

Like diamond, the inclusion of the LUX provides a consistent interface across the entire Lawo product portfolio. Assistive mixing technologies are said to help

AJA adds DRM2 frame for its Mini-Converters AJA VIDEO SYSTEMS has unveiled the DRM2, a rackmount frame that can house and power up to 12 AJA Mini-Converters of any kind,

without removing the frame from the rack. Twelve carriers are integrated and replacement carriers can be purchased individually or in a 12 pack.

or up to 24 AJA FiDO Mini-Converters with a new optional DRM2 Y-Cable.

Featuring a 200W fanless power supply and 3U design, the DRM2 streamlines broadcast, production and pro AV workflows by enabling professionals to rackmount multiple Mini-Converters for signal conversion needs.

The frame includes customerrequested features such as a removable faceplate that allows quick access. Mini-Converters are mounted to small carriers, which are easily installed or taken out

The frame’s power cable harness has 13 D5/10-PC connectors and plugs into a connector on the power supply frame, enabling the creation of custom cabling to power whatever users require. A DRM2-AP model includes an optional active faceplate featuring four fans for maximum cooling in higher ambient temperature environments, facilitating highdensity installation without heat soak concerns.

Power Core setups are remotely available. The Power Core mode allows the console to be operated in combination with the high-density DSP Power Core mixing engine and modular I/O device. In this mode, crystal supports the Power Core Compact licence for single six-fader or extended 14-fader setups, and the Power Core MAX licence. Accommodating up to four

The manufacturer has also released V10.8 software for the mc²/A__UHD Core/Power Core platform. In addition, NMOS support for the mc² Gateserver bolsters device compatibility, offering seamless integration into Lawo’s ecosystem.

VC www.lawo.com

Blackmagic heads to the hub BLACKMAGIC DESIGN has released its latest Videohub model – the largest currently in the range.

The Videohub 80x80 12G is a 80x80 12G-SDI router that lets customers connect and route any combination of SD, HD and Ultra HD on the same router at the same time. It features a front panel with shortcut buttons, an LCD which can display labels or live video and a machined metal spin knob for browsing video sources, reference connections and redundant power.

The Videohub 80x80 12G reportedly eliminates cable mess because customers can plug all

their SDI equipment into the router, then do connections electronically.

Users don’t need complex system diagrams for their studio because they can connect any video input to any video output, or even a single video input to multiple video outputs. This means monitors can view any source in the studio. The Videohub 12G lets customers use multiple HyperDeck recorders for redundant mastering or route video to multiple streaming processors for all their broadcast platforms.

It can also be used to add extra inputs to an ATEM switcher. www.blackmagicdesign.com

www.aja.com

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VC-TR30 PTZ camera makes tracks THE VC-TR30 AI auto-tracking camera is a low-profile PTZ camera from Lumens Digital Optics designed to identify human faces and track an individual as they move across a stage, studio or meeting space.

Featuring Lumens’ latestgeneration HD sensor, the camera is paired with a 12x wide angle zoom lens (72.5° horizontal frame of view). It can be either wall-mounted or suspended from a ceiling to give installers the freedom to position the unit in a range of locations to achieve the required shooting angle.

Power can be supplied via a DC adapter or over the network via PoE. The camera also outputs video through its HDMI, USB and Ethernet ports simultaneously; attached to a 1Gb switch, the VC-TR30 benefits from single cable connection, with control, video and power all transmitted over Ethernet.

Meanwhile, IP video can be sent directly to a streaming platform, ingested into a software production system or used with videoconferencing software via Lumens’ Virtual Camera 2.0 application.

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VC-TR30

The camera extends Lumens’ range of HD and 4K auto-tracking PTZ cameras which include tracking modes that allow the user to define shooting zones and exclusion areas.

VS-KB21 The company claims that combined with the camera’s self-learning AI processor, these settings ensure that the camera is not distracted by individuals passing near the frame.

With the aim of providing a more intuitive user experience, the VS-KB21 IP camera controller features a 3-inch LCD preview monitor. The unit can control up to 255 IP-connected cameras at any one time, while seven hot keys allow instant control over seven PTZ or box cameras. Dedicated buttons allow instant access to camera settings including focus, white balance, exposure, gain and speed, while the

RS-422. Power is supplied via DC or over a network (PoE) to give installers the flexibility to connect and power the unit with a single Cat5 cable. The company is hoping that the VS-KB21 transforms the camera experience by giving the user real-time monitoring for each camera and enabling the operator to position and move each head with more accuracy. Meanwhile, the VSKB21N controller can be connected to remote NDI cameras over Cat5 or Cat6 network cables. www.mylumens.com

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PRODUCTS

PTZ with NDI HX2 SUITABLE FOR use in live NDI HX2 broadcasts and professional AV applications, the CV630-NDIW 30X UHD PTZ camera from Marshall Electronics features NDI HX2 with simultaneous HDMI and 3G-SDI from an 8MP UHD sensor. Capable of capturing up to UHD 3840x2160p video at 30fps, it has support for HD resolutions, while a 30x optical

customers can easily discover, monitor and adjust remote video sources in most production workflows. With connectivity via an Ethernet port, the CV630-NDIW is also compatible with the Marshall VS-PTC-IP PTZ camera controller, providing intuitive adjustment of pan/tilt/zoom, pan/tilt speeds and white balance with one-button dials and rocker controls.

zoom provides flexibility from 4.6–135mm and a nearly 70° angle-of-view at its widest through close-ups at long distances.

NDI HX provides low-latency, high-quality, frame-accurate video and audio in real time to NDI workflows. Marshall claims that by using NDI,

www.marshall-usa.com

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Single-channel AVC and HEVC streaming and recording MATROX VIDEO is expanding its Maevex range of video products with the introduction of its lowercost Maevex 7100 Series of single-channel 4K60 AVC/HEVC encoders. For low-bandwidth applications requiring high levels of compression, Maevex 7100 Series encoders provide streaming and recording for both moving video and desktop content with a range of compression rates. Designed for low-latency, high-quality, low-bitrate encoding of single high-resolution HDMI sources for audio and video streaming, contribution and collaboration, Matrox says they provide flexibility with support for multiple streaming protocols suited to all network topologies.

Users can choose H.264 (Maevex 7112A) or H.264/H.265 (Maevex 7112H) models for streaming and

integrated enterprise-grade security means IT administrators can leverage existing security infrastructures with support for Microsoft Active Directory, and updates are authenticated

simultaneous recording with support for five streaming protocols: RTSP, MPEG2-TS, RTP, SRT and RTMP. Both are compatible with the Maevex PowerStream Plus application as well as the web-based Maevex Command Center. Meanwhile,

and validated before installation for additional protection. Users can securely manage devices with 802.1x network authentication support and execution of IP control communication over HTTPS. The Maevex 7100 Series supports the Secure Reliable Transport

(SRT) protocol with AES encryption for secure, low-latency streaming on noisy or unpredictable networks.

The Maevex 7100 Series encoders are fanless, small form-factor appliances for high-density rack mounting or throw-down installation. They offer zerolatency input pass-through for real-time video output for applications such as videowalls.

Matrox Video’s complimentary Maevex SDKs and APIs mean users can add the encoders to any missioncritical environment. Operators can also integrate the Maevex 7100 Series with third-party AV systems including Video Management Systems (VMS) and others. TAA-compliant SKUs are also available. www.matrox.com

Eliminator brings a twist of lime ELIMINATOR LIGHTING has released the Mega Hex L Par, designed for a variety of applications from uplighting walls to illuminating stages, highlighting décor elements and setting the mood on the stage.

With a lightweight and flexible design, it is equally suited to use by event companies and mobile setups as it is for permanent installations.

Powered by four 20W HEX (sixin-one) colour mixing LEDs and providing a concise native beam angle of 17°, the unit delivers a variety of colours, with each LED combining red, green, blue, lime, amber and UV elements and each with independent 0–100% dimming control. Inclusion of the UV element allows for the “black light” effect which causes white

and neon coloured décor and clothing to glow when used alone, and it can also be combined with other elements to create vibrant colours such as hot pink, deep purple and electric blue.

The lime element allows for vivid shades of green as well as white light with a CRI of >90. A high CRI means that colours are rendered more accurately when the fixture is used as a wash to illuminate scenery, décor or performers, which is particularly important to ensure natural skin tones and enhanced depth. The fixture also offers tunable while light output with a wide colour temperature range of 2,300K (very warm) to 9,900K (extremely cool) and is pre-programmed with 15 presets to allow easy selection of popular options.

Thanks to a patented “sit-flat” design, inherited from sister company ADJ, the Mega Hex L Par may be placed directly on the ground or inside a truss because its IEC power and DMX input and output sockets are mounted on the sides of the fixture, not on the rear. These sockets are also grouped together, with the inputs on one side and the outputs on the other, to make cabling easier and neater.

The included versatile two-part scissor yoke means that the unit can also easily hang from a truss

or stand directly on the floor, locked into place at any desired angle. www.adj.com

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PRODUCTS

MAXing out performance in Awash with the great a compact package outdoors BUILDING ON Elation’s Proteus series of luminaires, the Proteus Hybrid MAX is a hybrid fixture that Elation claims generates more powerful output in a more compact IP66 design. Able to create a range of effects from a 1.8° shaft of light to a 45° wide beam, the

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Proteus Hybrid MAX

s Proteus Hybrid MAX is a beam/spot/ wash hybrid capable of true linear zoom in any configuration, while an added frost softens light to allow the unit to be used as a precision wash unit at any angle from its extra-large 170mm front aperture lens.

Boasting 22,000 lumens and with a lamp life of up to 4,000 hours, the Proteus Hybrid MAX is powered by the Philips MSD Platinum FLEX 500 lamp. Its optical auto-focus system offers variable operation for power savings and increased efficiency, while still delivering output comparable to largeformat Xenon fixtures.

The Platinum lamp is dimmable to deliver even more savings, and a hibernation mode reduces power when the lamp is not in use. The lower internal heat produced extends the life of not only the lamp but all internal components of the fixture.

Elation’s Fast Advanced Features (FAF) enhances the speed of the luminaire, such as for pan/tilt, zoom and colour mixing, while maintaining accuracy. In addition, a revamped CMY colour mixing system with a 16-position colour wheel reportedly

offers virtually unlimited colour options and is fast enough to deliver immediate, seamless transitions and instant colour bumps.

The manufacturer has also debuted two additions to its growing catalogue. The Six+ Par is an update to the industry-standard SixPar series of Par colour changers.

The new iteration reportedly features more output, a wider colour spectrum and an overall higher quality of light.

Available with either seven or 14 20W RGBMA+UV LEDs, the IP65 Six+ Par offers a “beautifully homogenised wash of light with outstanding colour rendering capabilities”. Expanded control capabilities are said to make for a more versatile luminaire.

Second, the Limelight Par is described as a versatile, IP65-rated, full-colour mixing wash luminaire with a 40W RGBL engine and efficient zoom lens optic. It is said to offer a highly homogenised output up to 4,200 lumens and provides the wide colour spectrum and high CRI needed for the quality of light that key and fill light applications require. It provides a well-defined narrow beam for mid-air effects

Six+ Par and long throw distances, as well as a wide and even wash coverage at shorter distances. The LEDs can be controlled in two separate zones for additional eye-candy effects.

WITH THE launch of an IP65rated version, elektraLite is bringing its Paint Can spot/wash hybrid fixture to the great outdoors. Available in WW (Warm White), CW (Cool White), VW (Variable White), RGBW and RGBWA formats, the Paint Can IP65 features a marine-grade chassis equipped with covered TRUE1 TOP connectors to ensure performance in the most punishing environments.

It incorporates a zoom lens that ranges from 18–58°, and elektraLite says its electronic zoom maintains beam shape throughout the entire transition.

The company also claims no hot spots or chromatic aberrations for the RGBW and RGBWA models during transitions through the full range of zoom. With no LED pop or bump at the beginning or end of the dimmer curve, both Paint Can RGBW/A models provide a range of colours, while the white allows rendering at a balanced 3,200K colour temperature. The Paint Can has several profile choices for control, including an onboard interface for control by either DMX or console-free static operation. Operational voltage ranges from 100–240V with a variable refresh rate for pulse-width modulation.

The Aero from elektraLite is a compact moving light fixture which features a 350W COB singlesource LED delivering a balanced Cool White (6,500K) colour temperature and CRI of 95. The Aero boasts not only a CMY system, but also three dichroics per wheel that offer a colour palette reportedly unobtainable by colour mixing alone, with access to deep blues, deep reds and greens, plus a CTO filter on a separate channel, for colour temperature changes.

It is equipped with nine interchangeable static gobos and seven interchangeable rotating gobos. The rotating gobos are also

Paint Can IP65 indexable on a separate channel to give maximum accuracy in positioning. The Aero includes a rotating five‐way prism, iris, frost filter and strobe. Zoom (4–35°) and focus both have normal and fine controls, while the dimmer also has a channel dedicated to different types of dimmer curves.

The fixture offers 540° of pan and 270° of tilt, with fine-tuning channels. Control is achieved via a choice of five-pin or three-pin XLRs for hardwired DMX, or

Aero built-in wireless DMX. Along with its Micro C socket for external power, the Aero’s Remote Device Management (RDM) allows users to set DMX channel assignments and set up menus without AC power. www.myelektralite.com

www.elationlighting.com

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PRODUCTS

More PATT, less flat

Jolt Bar FXIP

Shining a light on 2024 LIGHTING MANUFACTURER ADJ is shining a light on 2024 with a raft of product launches across its Jolt and Vizi ranges.

In keeping with the rest of ADJ’s Jolt Series, the Jolt Bar FXIP combines a bright white strobe/blinder LED with multi-coloured chase effects in the same unit, except the IP65-rated Jolt Bar FXIP can also be used outdoors.

It features a central strip of 112 5W cool white SMD LEDs, surrounded on both sides by 448 1.5W RGB colour mixing SMD LEDs. This allows the fixture to generate intense white strobing as well as coloured washes and strobe effects. Both types of LED are grouped into independently controllable zones to generate strobe chases, and are wireless DMX enabled. Similarly, the Jolt Panel FXIP features a more condensed panel design with 800 1.5W RGB SMD LEDs for colour strobe, wash and other effects, as well as 48 5W cool white SMD LEDs to create the traditional look of a strobe. It too offers an IP65 rating, wireless DMX, multiple DMX channel modes and internal programs.

The manufacturer has also evolved its Vizi Series of automated luminaires. The Vizi Beam CMY fixture uses a 310W Osram Sirius HRI discharge lamp to generate a

2° beam designed for aerial effects.

It features CMY colour mixing and a 14-colour dichroic wheel that includes CTO (3,200K), CTB (9,000K) and UV filters. The fixture also offers a gobo wheel loaded with 17 static patterns (including four beam reducers) and a dynamic gobo shake effect. Users can also access onboard wireless DMX, motorised focus, 16-bit fine focus and high-speed, three-phase pan and tilt motors. The fixture’s feature set includes two rotating prisms (16-facet circular and six-facet linear) which may be overlayed and a frost filter for creating wash effects. www.adj.com

Vizi Beam CMY

AIMING TO add a retro style to broadcasts, Robe’s PATT family of LED fixtures has expanded with the addition of two variants. Available in two sizes and featuring a brushed aluminium finish, the HolyPATT and the MolyPATT bring a warm tungsten glow that can add scenic elements to any

which locks the motorised zoom and focus firmly in position, even during power-cycling; and RAINS active management for humidity, temperature and pressure control.

Meanwhile, the T32 Cyc aims to address the challenges of effective cyc lighting to attain greater reach, smoother coverage and more visual

HolyPATT and MolyPATT show. Based on Robe’s PATT2013, the HolyPATT and MolyPATT feature a 4W LED vintage soft coil filament lamp with a colour temperature of 1,800K to illuminate the surrounding parabolic reflector, producing a warm, atmospheric glow. Convection cooling means the fixtures are silent in operation.

Robe has also launched two products in the iT12 Profile and the T32 Cyc. The fully weatherised iT12 Profile is IP65-rated for outdoor use and boasts a CRI of 95+ and a 13,000-lumen output. It offers the advantages of Robe’s Transferable Engine technology, as well as standard Robe T-Series colour refinement and consistent and precise replay-ability.

It features other Robe innovations like DataSwatch for quick selection of the most trusted colours and tones; low light linearity; 18-bit dimming for smooth fades to black; BARS,

impact from an LED luminaire. The low-profile, easily inter-connectable T32 Cyc contains RGBBAL multi-chip LEDs to generate high light levels and reproduce full-spectrum colours and tints. A 6:1 height-to-distance ratio asymmetrical optical system produces a uniform flat field coverage, even when in close proximity to the cyclorama, freeing up valuable stage space for performers, sets and props.

The T32 Cyc features Robe’s T-Series colour consistency and integrates with other lighting thanks to a virtually controlled CCT range of 2,700– 8,000K, plus calibrated whites, the DataSwatch onboard colour library and tungsten emulation. Colours are rendered with ratings of CR:96 and TLCI:97, and RGB or CMY colour mixing control reportedly offers faster programming. www.robe.cz

Control in the palm of your hand PROVIDING INSTANT pointand-click control for full lighting ecosystems, the White Remote from Astera is a pocket-sized tool that acts as a counterpart to the company’s existing IR FX Remote.

The remotes allow a lighting engineer to execute precise lighting changes in seconds, enabling colour, strobing and effects control at the click of a button.

The White Remote can turn single or grouped sets of lights on and off and can also be used to quickly add lights to a control group to allow for changes to

be made across the full group simultaneously. Preconfigured buttons for light temperature have 12 preset values from 2,400– 10,000K which allows for instant temperature transition, while the remote also features boasts CCT ± buttons to enable more precise, incremental control. Similarly, five preset dimming parameters are available to provide quick brightness adjustments, along with ± dimming buttons for finetuning. www.astera-led.com

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Turning heads with the ERA 700 Performance IP DESIGNED FOR permanent outdoor Additionally, the Harman brand entertainment use, the Martin ERA 700 has revealed the Exterior Wash Performance IP moving head is an Pro family. Building on the features LED-based profile fixture designed of the Exterior Linear Pro family, for permanent outdoor use, and the fixtures incorporate intelligent completes Martin’s features that elevate ERA family of colour performance in fixtures. Boasting architectural lighting 26,000 lumens, environments, the unit is including longengineered for throw applications. larger installations.

Available in Quad and Compact and CTC variants, with lightweight, it four sizes in each, measures 759mm the compact fixtures high, weighs less are equipped with than 40kg and is configurable beam designed to operate control. The Quad in a wide range of variants are equipped temperatures with with a dedicated colour C5M marinetemperature control ERA 700 Performance IP grade salinity channel ranging from protection 1,000–12,500K, to which shields the fixture against precisely follow the black-body curve. the elements. Its IP65+ rating and Encompassing a smart ratio between advanced gasket design also provides LED capacity and PSU capacity, colour protection against dust and water boost technology emits saturated ingress, eliminating the need for and mixed colours up to three times protection domes commonly used brighter than previous models. The in outdoor installations. Meanwhile, CTC variants offer an extended colour its anti-tamper box not only prevents unauthorised access to power and data to make it an ideal choice for installations in public spaces, but enhances environmental protection around power/data connectors to increase the ingress protection rating to IP66.

Featuring a Fresnel lens that is said to transform any event into a visual spectacle, Martin Professional has developed the Martin MAC One beam, wash and eye-candy fixture. Delivering seamless transitions and visual effects, the Fresnel lens creates a soft MAC One wash with a wide 4–27° zoom range, and emits a narrow, high-intensity temperature range including warm beam of 300,000 cd. A backlight (2,400K), medium (4,000K) and cold system with 24 RGB effect LEDs within (6,500K) LEDs for dedicated colour the lens adds to the visual experience. temperature control with improved Capable of outputting 2,400 lumens, white light quality. the MAC One is powered by a 120W In brief, the manufacturer has also RGBL LED engine. Designed to be announced additions to its range of easy to handle and manage, the 4.4kg P3 System controllers, as well as a compact fixture can operate in tight software update. Tuned specifically spaces. Saving time when deploying for Martin fixtures, the P3-175 and more than one fixture, the optional P3-275 system controllers and four bar accessory assists in the P3 software update 6.0.0 provide transportation, rigging, unrigging and automated mapping, scaling, cabling the MAC One fixture in blocks configuring and addressing of fixtures, of four. When creating a wall of light eliminating the need to address without a custom rigging structure, an fixtures locally. optional grid mount adapter enables the fixtures to be self-supported in pro.harman.com lines and matrices.

Software upgrade gives more bite DEVELOPING THE feature set across its entire range of LightShark DMX-based hardware lighting consoles, Spanish manufacturer Equipson has released its version 1.5.25 software upgrade. The introduction of a “Record Merge” feature makes it possible for programmers to quickly include their information in the selected Cue – or in all the Cues of a playback – without having to use the “edit + update” function. Conversely, “Record Remove” allows the removal of information from a Cue or from all the Cues of a playback without having to edit them individually.

The upgrade also implements ArtNet v4 and increases the number of available ArtNet Universes from four to eight. Meanwhile, “Digital

Patch” makes it possible to assign any universe from the console to any network universe, even when they have different protocols. In addition, users can now activate or deactivate universes individually.

A Unicast feature defines the specific IP of the node or device to whichever universe information needs to be sent. Also, it is now possible to automatically detect LSW-1 remotes on the network and define which network interface the remote has been connected to. Finally, the inclusion of a web user manual within LightShark gives customers access to stepby-step video tutorials and screen recordings. www.lightshark.es

More import options with ETC upgrade LIGHTING AND rigging technology company ETC has made its Eos v3.2.4 patch available on the ETC website.

The patch includes support for General Device Type Format (GDTF) profile import, as well as nearly 100 improvements and bug fixes related to Magic Sheets, the Show Control List, the Fixture Editor, Shell popup dialogues, Partitions, Pixel Maps, Apex display reliability and launch issues on Mac devices.

The update has also allowed ETC to make changes to how fixture profiles are submitted and added legacy library support, while the ability to import GDTF fixture definitions provides another option to loading fixture profiles into Eos. www.etcconnect.com

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THE TECH VIEW

Passion for AV Jarred Venter, director at GearWorx Technical Solutions, discusses the company’s commitment to providing customer satisfaction and an enhanced worship experience Jarred Venter

Whether pitching production ideas to small churches or larger sanctuaries, the company’s approach remains the same, with each client’s needs tailored accordingly. “Small churches often appreciate cost-effective solutions, emphasising community engagement, while larger churches might prioritise scalability and advanced production capabilities,” says Venter. “Understanding the

Shaun Brown carrying out a training session at Friend of God Church Goodwood, Cape Town AFTER WORKING AS AN AVL integrator and a volunteer sound engineer at Hillsong Church in South Africa, followed by the opportunity to work in the US alongside Christian worship singer Kari Jobe and other artists, Jarred Venter established Cape Town-based GearWorx Technical Solutions in 2019 with a vision of providing unparalleled audiovisual experiences to houses of worship in the southern hemisphere.

It wasn’t long before Venter’s passion for the HOW AV industry attracted other like-minded individuals, and he was soon joined by long-time friend Shaun Brown a few months later. “Shaun had worked with me in the production department of Hillsong Church South Africa and naturally brought a wealth of experience to the company,” explains Venter. “Our collective skills and understanding of the technology and the unique needs of houses of worship have really helped us carve out a niche in the market.”

While GearWorx calls Cape Town home, its reach extends beyond the city, with the company actively engaging in projects

throughout South Africa, such as Johannesburg, Port Elizabeth, Durban, Mossel Bay, Bloemfontein and Kimberley.

“A client’s journey with us begins with a meeting to understand their unique needs,” continues Venter.

“Through detailed assessments, we delve into the specific requirements, paving the way for a strategic plan and design of an AV solution that leaves no room for compromise.

This intricate process involves multiple meetings, thorough site visits and hands-on demonstrations and testing of equipment or venue capabilities. But our commitment to client satisfaction doesn’t just stay in the present – it extends into the future. While we’re looking at our clients’ current needs, we’re also proactively assessing and accommodating their future requirements as well. The majority of our business originates from word of mouth. We prioritise building meaningful relationships in the various channels we engage with. We firmly believe that our team’s work speaks for itself, creating ongoing referrals and trust in our services.”

Testing equipment at Linkway Church in Edgemead, Cape Town unique needs and resources of each size allows us to present ideas that align with their specific context, goals and needs.”

While the company’s primary emphasis as an AVL integrator lies in serving the house of worship market, it also extends its expertise into other sectors, including retail spaces, hospitality and residential.

“The pandemic has underscored the critical role of technology in our daily lives,” adds Venter, “and the demand for our services has become greater than ever. The pandemic encouraged us to not only maintain but significantly enhance our offerings. One key takeaway was the importance of remote assistance. We evolved our approach to better support clients

remotely, making certain that every solution we provide has built-in capabilities for remote access and management.”

Today’s ever-changing landscape of audiovisual solutions in houses of worship calls for a harmonious blend of IT and AI and the importance of immersive experiences, says Venter.

“Our focus transcends the stage and we aim to envelop every individual within the physical space or virtually online. Superior audio coverage blankets every seat, guaranteeing a harmonious and inclusive auditory experience. But, crucially, our aim is not to overshadow but to amplify the preacher’s words. The seamless integration of today’s technology needs to complement the worship experience, ensuring that congregants remain focused on the message while feeling an integral part of the broader worship environment.”

However, it’s not all about the equipment and the technology.

At the forefront of the company’s mind is training volunteers using the equipment, particularly in the audio department. “We focus on conducting efficient sound checks, optimising equipment usage and fostering effective communication with musicians and vocalists. Our approach involves onsite training using the church’s equipment, coupled with hands-on participation during weekly services. This not only proves highly effective but helps inspire and equip the volunteers with everything that they need.”

Looking ahead, the company plans to continue doing what it does best: collaborating with existing and new clients and fulfilling their visions, providing support and training for church organisations, forging long-term relationships and collaboratively designing optimal solutions tailored to individual needs and budgets. www.gearworx.co.za

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The FletcherMachine Remote software offers an easy-to-use yet complete set of mixing functionalities, including EQ, compression, auxiliary sends, and much more.

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