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May–June 2019

CATHEDRAL OF THE NATIVITY The largest cathedral in the Middle East


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


May–June 2019

Issue 58

NEWS LIGHTING FOR BROADCAST Tabernacle of Praise updates rig


MAX SOUND, MINIMUM MICS Audix aboard the Ark of Salvation


DIGITAL TRANSITION Calvary Baptist goes dLive


AUDIO RENOVATION RCF steers sound at Cathedral of Saint Lawrence


ELATION AT BAYSIDE A look at the lighting at Florida church’s new campus


SOUND UPGRADE Nexo and Yamaha team up at Valley Life Center


SERVICES THRIVE L-Acoustics installed at South Africa’s Thrive Church


CROSBY CHURCH PROJECTION Texan church equips new Eiki models


ACOUSTICS FOR ALL Renkus-Heinz and Listen Technologies ensure all can hear 14 THOMASVILLE’S RIGHT TOUCH Avolites Sapphire takes control of the lighting


BLACKHAWK NETWORKING Attero Tech makes connections at Blackhawk Ministries 16 SOUND PERFORMANCE Harvest House updates PreSonus setup


HALO IN AALBORG City church’s new sanctuary includes EM Acoustics


MARTIN AUDIO ENROLS Silver Lake College’s chapel gets an upgrade


SPECIAL REPORT National Day of Prayer at FNB Stadium


PROJECTS COVER: CATHEDRAL OF THE NATIVITY Audio focused inside New Cairo’s cathedral


ARK OF CHRIST Controlling the deck inside AoC Bandung’s Glorious Hall


ST JAMES’ CHURCH Blending old and new in Trowbridge


TRINITY BAPTIST CHURCH Exploring the network at Oasis House


FGS HSINGMA TEMPLE Shrine amplification with d&b


LEADER One of my favourite parts of Worship AVL is The Tech View on the final page of each issue. This time around, we spoke with Al Woods from Dubai-based rental company Delta Sound about his experience in preparing for the recent and historic Papal Mass at Zayed Sports City Stadium. While Delta Sound was involved in multiple aspects of the pontiff’s visit to Abu Dhabi, Mr Woods served as the audio project manager for the Papal Mass, and has provided us with his unique insight into the event, which not only filled the stadium, but also drew a crowd of more than 100,000 people outside. However, it’s not necessary to have the Pope visit to make it onto that page. The Tech View is your space. It’s somewhere to spotlight the view of the AV manager at a mega church or mosque, the work of a volunteer at a small, local parish or temple, a house of worship specialist integrator or even those targeting the sector at a manufacturer. This is a space for anybody involved in audio, video or lighting at a house of worship. So, with that said, we’d like you to make your voices heard. If you have a story to tell, a fresh perspective to share, don’t be shy, please get in touch. You can find my contact details below.

KNOWHOW IPAD LIGHTING DESIGN John Black visits the App Store


LOCATING A SOUND BOOTH Gordon Moore answers a common question


DIRECTING LIVE VIDEO Tips for dynamic direction and a Q&A with Bill Mitchell


MAINTENANCE Frank Wells details videowall servicing


James Cooke Editor

Telephone: +44 (0)1892 676280




TUNGSTEN TO LED ETC’s Rory Fraser-Mackenzie reveals if LED can replicate tungsten 46 WIRELESS MIC SYSTEMS DPA and Samson give us the lowdown


VIDEO TERMINOLOGY A glossary of video language for beginners


BUYING GUIDE What to consider when choosing a camera lens


PRODUCTS Equipment launches and updates


THE TECH VIEW Al Woods discusses Papal Mass at Zayed Sports City Stadium



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@WorshipAVLMagazine May–June 2019 WORSHIP AVL 3


Tabernacle of Praise lights for broadcast

USA: Tabernacle of Praise Church International has upgraded its lighting rig, replacing the 24 ageing incandescent fixtures that adorned its stage with 14 Chauvet Professional Ovation E-190WW LED ellipsoidal luminaires, which were supplied by dB Integrations. The new lighting resulted in reduced shadows and more energy and vibrancy for congregants attending in person, as well as those watching the live stream from home. ‘The new lighting system was really Phase Two of a step-bystep plan,’ revealed the church’s lighting designer, Brad Lyons. ‘Like many churches, we had to do a lot of AV upgrading in recent years, first to get to LED stage lighting, and then to create a true broadcast-worthy system. This often requires churches to do a balancing act, weighing the cost of these upgrades with the other needs of their ministry. In our case, as in many other cases, the best way to achieve this balance is often with a phase-in approach.’ The implementation of Ovation fixtures had also been key to Phase One of the church’s plan. The new units, installed during Phase Two, are located on three truss structures: a 15m-long line of Trusst CT290-430S box truss located 9m from the stage and flanked on each side by a 9m section that protrudes 6m from the stage. Mr Lyons employs a combination of these new fixtures and LED units from the previous Phase One rig to

4 WORSHIP AVL May–June 2019

produce even fields of warm white and smooth coloured light, which is described as recreating the feeling of a live service environment for those watching the broadcast. ‘Back in 2015, Phase One was done to transition the stage lighting from incandescent to LED and provide a solution that would enhance the worship experience with creative, concert-style lighting,’ said Mr Lyons. ‘The focus, at that time, was to address the primary need, which meant lighting for the stage. We planned the broadcast expansion for a later date. ‘We got good looks on our live streams, but we wanted to do better. The stage was well lit; however, lighting on the floor and in the altar area had some inconsistencies. It also dropped off quickly to the sides. Around the sides of the stage the only lighting

on the floor was from the in-ceiling house lights. On camera, this lighting was virtually non-existent. As a broadcast ministry striving to re-create the experience for our online and television viewers, the inability to see what is going on due to lack of lighting was a real issue.’ To tackle this, Tabernacle of Praise installed 20 Ovation E-190WW ellipsoidal fixtures for front key lighting on Trusst CT290-430S truss. An Ovation F-165WW Fresnel was flown on each of the side truss structures to provide key lighting for the front corners of the stage, lighting them up for broadcasts. ‘The Ovation line of LED ellipsoidal and Fresnels give me amazing quality, versatility and punch,’ noted Mr Lyons. ‘Plus, they’re very efficient. Due to their low power consumption, I can daisy-chain several fixtures

over a single powerCON run for ease of installation and quality of appearance.’ The four Rogue R2 Spot fixtures and six Q-Wash 560Z movers from the Phase One installation are also flown on the centre and side truss structures and spotlight members of the band, while also creating concert looks on the walls and ceiling. The Q-Washes are also turned toward the congregation to provide additional fill lighting during broadcasts. Completing the rig are six Colorado 1-Tri Tour units, Chauvet DJ SlimPAR Quad 12 IRC and SlimPAR Tri 12 IRC fixtures for colouring the stage. Six Intimidator Spot 355Z IRC moving fixtures, divided between the two side truss structures, deliver side lighting and specials. ‘Our church is fortunate that we not only have a team of guys who are professionals in the AV world, but also that our pastor TJ McBride and First Lady Shunnae McBride have a solid appreciation of technology. Working together, we discussed our needs and the solution to them in-house. I then drew everything up in WYSIWYG and submitted that to dB Integrations,’ Mr Lyons concluded, while hinting that Phase Three will see further ellipsoidal fixtures added to create a better balance between live and broadcast lighting.

Spread the Word – ATX Wireless Systems for House of Worship Samson is a trusted partner for all of your House of Worship wireless audio needs. Equipped with the latest technologies, Samson wireless solutions rise to the unique challenges of the modern worship venue. Optimized for peak performance, stress-free setup, and long-term reliability, the Samson ATX wireless microphone series ensures every word comes through crystal clear with uncompromised audio fidelity. Available in headset (AHX) and lavalier (ALX) configurations, Samson ATX wireless systems allow you to deliver your message with total freedom, comfort and clarity. The AHX Headset system features the DE10x low-profile headset that fits securely over both ears, keeping the microphone comfortably in place. The ALX Lavalier system includes the LM8 microphone which offers discreet placement that clips on a tie, lapel, or other clothing. Both microphones have omnidirectional pick-up patterns which capture sound equally from all directions, assuring intelligible speech at all times, in any position. Samson developed the world’s smallest frequency-agile micro transmitter with the ATX Series. The ATX Micro Transmitter clips directly to a belt or clothing, replacing bulky battery packs and unsightly cables. Fitting comfortably in place, the micro transmitter moves freely with the user while remaining unnoticed by an audience. For added convenience, color-coded LEDs quickly reveal the operating status, and a handy mute button is always ready. The rechargeable lithium-ion battery provides eight hours of worry-free wireless operation. The CR99 is the flagship Samson UHF wireless receiver and is the perfect complement to the ATX transmitter. Automated features include optimal operating channel scan, sync for transmitter and receiver pairing and auto mute for when the transmitter is out of range. Mastering the system takes just minutes, and can be used by any member of the worship team. Best of all, Samson ATX wireless solutions will accommodate your growing worship needs, be they for live events, recording, live streaming, or podcasting your message to the masses.

© 2019 Samson


Maximum sound with minimum mics piano miking kit. Rather than use the DFLEX harp rail mounts provided with the kit, Mr Korchak mounted a pair of SCX25A microphones with a Mirizio piano microphone mount. ‘Everyone loves the SCX25As; they capture the full tonal range of the piano with no dropouts,’ said Mr Korchak.

Meanwhile, an Audix MicroBoom MB5050 choir miking system has also been employed to accommodate the occasional children’s choir, walk-up acoustic instrument, small orchestra, drama performance and any other special musical performance. A pair of Audix Micropod18HC gooseneck miniaturised condenser microphones, with the hypercardioid pattern for tighter pickup, have been installed on the podium, set to capture two people speaking side by side. When both mics are active, one mic can be flipped out of phase with the other,’ explained Mr Korchak. ‘Together with the hypercardioid pattern and a Rupert Neve 5045 enhancer – which allows an increase in gain before feedback – both feedback and distortions are eliminated.’ Sound capture by the church’s roster of Audix mics is delivered to the congregation via 18 Nexo speakers and back to the performers by six Nexo monitors. Mr Korchak also measured the sanctuary with an Audix TM1 test and measurement microphone, using the data to fabricate and install 180 custom acoustic panels.

The MicroBoom MB5050 choir miking system

12 Audix M1280B cardioid mics hang above the choir USA: The Ark of Salvation, a Slavic Pentecostal church in Inman, South Carolina enlisted Paul Korchak of Digital Pro Sound to update its sound system, with the project specification stating a requirement for the best sound possible with the least number of microphones. The church’s choir features between 120 and 200 singers so, to adhere to the brief while ensuring adequate coverage, Mr Korchak hung 12 Audix M1280B cardioid mics overhead, in two rows of six.

‘I used the M1280Bs for their sound quality and their ability to capture just about every detail in the choir without picking up peripheral noise,’ noted Mr Korchak. ‘The church records every service and makes them available on the internet, so audio quality is critical. They were very impressed with the M1280Bs, both the sound and the look; they thought they looked cool.’ Accompanying the choir is a baby grand piano, which Mr Korchak has captured with an Audix SCX25APS

Calvary Baptist’s digital transition USA: Calvary Baptist Church in Woodbridge, Virginia has transitioned to a digital audio setup with the installation of an Allen & Heath dLive C Class digital mixing system comprising a C2500 Surface, CDM48 MixRack and two DX168 Expanders. The system was installed by John Pierce of Audio/Video Group, who had previously mixed for the church at an event for a local Christian radio station. ‘We had an Allen & Heath GL2800 analogue mixing console,’ said Ian Trumbore, a deacon at the church and its lead audio engineer. ‘But we were maxing out the inputs and we couldn’t record things like the kids’ theatre like we wanted. I was constantly switching stuff around and physically patching things on the fly. So, we made the decision to go to a digital console that could meet our needs.’

6 WORSHIP AVL May–June 2019

Ian Trumbore at the dLive C2500 Surface Mr Pierce first completed a site survey, analysing the church’s needs. ‘I recommended the dLive because of its sound quality and workflow and I knew it would simplify the transition from their analogue console,’ he explained.

Calvary Baptist’s worship services take place in its multipurpose Family Life Center. The CDM48 MixRack and one of the DX168 Expanders are located at the stage. ‘We have 40–50 sources onstage depending on the

service, so this works out well,’ said Mr Trumbore. The other DX168 can be found at FOH. It accepts wireless mics, recorded tracks and other sources, and is connected via Cat-6 cabling using Allen & Heath gigaACE networking. A Waves card in the C2500 Sur face enables multitrack recording on a Mac. dLive layers are used to manage sources and dLive show files restore typical system configurations and mix settings after special events. ‘The dLive has surpassed my expectations,’ Mr Trumbore concluded. ‘After we installed it, the musicians asked: “Did you do something else when you changed this? Because everything is so much clearer.”’


COSMO THE INTEGRATIVE LINE ARRAY HK Audio’s new 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.

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Cathedral of Saint Lawrence’s audio renovation SWITZERLAND: The Cathedral of Saint Lawrence in the Swiss town of Lugano dates back to the 11th century. Since 2011, it has been undergoing a wide range of restoration projects, which most recently included the installation of a new sound system formed from RCF digitally steerable VSA column speakers by CEM Audio & Light. ‘We selected RCF’s VSA 2050 and VSA 1250 speakers,’ CEM owner Virgilio Kohler elaborated. ‘RCF column loudspeakers offer the ideal coverage pattern for difficult acoustic environments like the Cathedral of San Lorenzo.’ The RCF Engineering Support Group (ESG) assisted with the installation, taking the architectural conditions, building restrictions and electro-acoustic limitations of the cathedral into account. ‘We placed four VSA 2050 on the columns along the side aisles in a symmetrical pattern,’ the RCF team

confirmed. ‘These cover the main nave area (the operating range for each speaker being up to 15m), providing crystal-clear speech intelligibility and a good signal-tonoise ratio across a wide frequency range. That lets the congregation experience and participate in Mass in a very immediate way. With its 20 individually steerable speakers, the VSA 2050 allows a vertical

dispersion from 10–30° as well as vertical steering between 0° and –40°. This lets us focus the sound on the desired area and avoid unwanted reflections, guaranteeing the best possible speech intelligibility, even in environments with long natural reverb tails like this one.’ Four VSA 1250 column speakers complete the speaker system.

The VSA 1250 features many of the same characteristics of the VSA 2050, but is made up of 12 speakers instead of 20. The VSA 1250s cover the altar and visitors’ areas, which are used during larger events. In addition, TT051-A speakers were deployed for the choir. The entire system of VSA 2050, VSA 1250 and TT051-A speakers is controlled via RCF’s RDNet control and monitoring software. The VSA speakers can also be controlled remotely using the Smart RC remote control and the VSA Remote app with an iPhone or Android device. ‘RCF’s ESG team and its expert technical support were very helpful during the design and implementation stages,’ said Mr Kohler. ‘They advised us on the equipment and components that would be needed, helping to guarantee best possible speech intelligibility across the entire church while integrating the speakers into the architecture in an unobtrusive way.’

Elation at Bayside’s new campus gather to watch a live feed of the sermon from one of Bayside’s other Bradenton sites, there are still several live elements to the worship, including musical performances, which are complemented by the lighting. When the motorised screens are lowered, the lighting adjusts accordingly to direct the congregation’s attention to the sermon. Elation Fuze Wash Z350 LED wash moving heads have been used as colour wash on the main room stage, while SixPar 200 LED PAR USA: Bayside Community Church is a rapidly growing Southwest Florida church. Crown Design Group (CDG) has been involved in several AVL projects at the church’s various campuses over the years, and was called upon once again to install the house and stage lighting rigs at Bayside’s new West Bradenton campus. ‘Bayside is a very active church,’ explained CDG’s Ben Graham, who was on the production staff at Bayside Community Church prior to co-founding Crown Design Group in

8 WORSHIP AVL May–June 2019

2012. ‘They are constantly adapting, always changing and consequently are very production driven.’ A flexible lighting system was therefore required to adapt to the church’s frequent production changes. Therefore, CDG installed a rig comprising more than 100 Elation Professional Colour Pendant fixtures of both the colour and white variety for down lighting. These can be found in the main sanctuary, and the youth and kids’ rooms. Although the 1,000 or so parishioners in West Bradenton

lights facilitate a wide-ranging colour palette. Cuepix Blinder WW4s are used for low-end colour temperature effects and audience lighting, and an ACL 360 Bar is used onstage for added colour and dynamic effects when needed. The lighting system has been set up to complement the content on LED panels and other screens inside the church.

KnowHOW NEWS the first step I would recommend is that you zone your stage (see Fig. 1). What do I mean by this? Grab a copy of the floorplan for your auditorium stage (or the area that you intend to light) and subdivide the stage into overlapping circles of zones between 8–12 feet in diameter. The diameter of these zones is determined according to the diameter of the pool of light produced by a single fixture. The quantity of lighting zones that you have for your stage will be determined by the size of your stage – there is no exact number.

with a higher degree of flexibility and creativity than simply lighting the stage as a whole.

Determining fixture placement The next step is to use your stage zone drawing to determine where to optimally place your lighting fixtures (see Fig. 2). I say ‘optimally’ because it isn’t always possible to place fixtures in these positions due to various constraints or limitations that exist within the architecture of the

Sound upgrade at Valley Life Center USA: Valley Life Center in Dallas, Oregon has been equipped with a new sound system consisting of Nexo’s Geo M6 compact line array speakers and a QL5 mixing console and Tio digital I/O stagebox from parent company Yamaha. The setup, installed by Alpha Sound, comprises two arrays of six M6 speakers and a single LS18 subwoofer perlighting, side. top view Three-point lighting – front A Nexo ID24 speaker has also been space. The most basic and simplest installed on each Zoning your stageside will for helpout-fill, to lighting theory is the McCandless while NX4x1 Mk2 amplifiers power ensure that you have even lighting method, which states that each the system. coverage of your entire stage space ‘The all 400-seat, intergenerational when of the zones are illuminated. zone should be lit by two lights, each from a position 45° above and 45° congregationitsanctuary Additionally, allows youpreviously to draw to either side of the centre of that had a to mono centre cluster of horns focus specific areas as and if position. By adding a third fixture in a enclosedwithout in a fabric cloud and a needed always illuminating top or slightly back position, a basic simple analogue console with a few the entire stage area. For example, three-point lighting theory system is wedges for monitors,’ recalled if you would like to focus on theDevin achieved. Sheets,and head pastor dimengineer the areaatofAlpha the stage Why these positions? The goal of Sound.the ‘The new band system will up, serve where praise is set the McCandless method was to fully this can church community very well for you adjust the intensities of the front-light an actor (or other subject) decadeszones to come.’ various to only illuminate the but also to provide some natural ‘Theused clarity detail ofCreating this new area by and the pastor. sculpting of his or her features. system zones is absolutely lighting that areincredible,’ individually A Nexo Geo M6 compact line array clarified head controllable willpastor, enableChris you to operate When lighting only directly from up and running with satisfaction in Barker. ‘Many people can hear the under an hour,’ added Mr Sheets. instruments and voices for the first ‘For Valley Life Center, this freed up time, and the younger crowd really the personnel at FOH to concentrate loves the new depth of sound. entirely on the house mix.’ Because it all sounds so smooth, ‘The ability to digitally save Alpha we really aren’t getting complaints Sound’s settings on the mixer and about the volume, even though it start from that week to week is is actually a lot louder than ever wonderful,’ concluded the church’s before.’ tech director, Roger Shinn. ‘Also, Modern worship styles and their having everyone onstage both young sonic demands were the driving and old adjusting their own monitor factors behind the decision to mixes through their phones has purchase the new equipment, as been a major relief.’ well as a desire for consistent and ergonomic functionality. ‘The very first Sunday on the new Yamaha QL5, with no previous rehearsal, we had 32 inputs and 15 monitor channels Three-point – side (12 IEMs vialighting the Monitor Mixview App)

It’s a good day to be an artist. Relevé Spot, the new automated fixture from ETC designed for the theatre. Light that moves you.

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visual environment technologies March–April May–June2019 2019WORSHIP WORSHIPAVL AVL 41 9


Services thrive with L-Acoustics system SOUTH AFRICA: DWR Distribution has installed an L-Acoustics sound system at Thrive Church’s Boksburg campus. A new audio system was needed to ensure the growing congregation, with an extended seating capacity, could all clearly hear the services. ‘The previous audio system was about 15 years old and wasn’t adequate for the size of the venue where we had recently extended the seating capacity,’ explained Pastor Byron Chicken. ‘It wasn’t giving us a sufficiently full and clear sound and was battling to fill the venue

properly. The new L-Acoustics system has made a huge difference; it gives our venue a beautifully full and clear sound.’ The new L-Acoustics system comprises three Arcs WiFo cabinets per side (two Focus and one Wide) and two-per-side flown SB18m subwoofers. For out-fill, DWR deployed one X12 speaker on each side of the sanctuary, while six 5XT enclosures serve as front-fills. The project was managed by DWR’s Victor Vermaak. ‘Very little on the market, at this price range, can

compete with the sonic size of the Arcs WiFo system,’ he said. ‘The WiFo system matched the room perfectly and there was no need for additional delay speakers. As the L-Acoustics saying goes, the best sound comes from one source so, where possible, if you can eliminate

the need for delay, the result will be a smoother and better sounding system. This has been the case at Thrive Church.’

Mic check at Southcrest Baptist USA: Rusty Trowbridge, the technical director and lead audio technician at Southcrest Baptist Church in Lubbock, Texas, recently sought a solution to improve the audio coverage for the church’s services and internet broadcasts. After exploring various options, he equipped Southcrest Baptist with a new inventory of DPA microphones. The church conducts five services each week – three of which include a full choir and orchestra – and streams three online broadcasts. To cater for all of this, the new microphone roster that Southcrest Baptist employed consists of DPA d:vote 4099 instrument microphones that capture the majority of the orchestra, including all of the stringed instruments, from violins, violas and cellos to the double bass and harp, 12 d:sign 4098 supercardioid ceiling mics that hang from the ceiling,

covering the choir, and a d:fine 4166 Flex omnidirectional headset worn by the church’s senior pastor, Dr David Wilson. ‘I felt that the microphones we were using unpleasantly coloured the instruments,’ said Mr Trowbridge. ‘We found that with DPA’s d:vote 4099 instrument mics, not only was the sound quality of the orchestra outstanding

but the reproduction of the instrument sound was unmatched to what we had previously experienced. I also like how sensitive the microphones are. I do not have to give them a lot of gain to get them to a useable level. In addition, the instrumentalists love the way the associated clips attach the mics to each individual instrument. They do not get in the

way while they are playing or even risk damaging the instruments when attached.’ For the choir, Mr Trowbridge required a zoning ability. ‘Because our choir loft is so large, sometimes it is not completely full. In those instances, we create smaller sections where the entire choir stands instead of spreading them out, defeating the purpose of choral source. The d:sign 4098s allow me to mute certain zones we may not be using and unmute others without having an unusable amount of bleed from our orchestra.’ Meanwhile, Pastor Wilson had been searching for a comfortable headset that fit well for a while. ‘We tried a lot of options and, not surprisingly, he landed again on DPA and the d:fine 4166 headset microphone,’ Mr Trowbridge added. ‘He is responsible for miking himself up each week and has no problems getting the capsule in the perfect place. Personally, what I love about the d:fine 4166 is how clear Pastor Wilson sounds. It’s like he is right in front of you having a conversation. This also helps us regain intimacy in a large room.’ Mr Trowbridge isn’t the only person to have noticed the difference. ‘Since implementing all of the DPA mics, we have had some really nice comments from the congregation. Our church services sound better then ever before.’

10 WORSHIP AVL May–June 2019

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Crosby Church updates projection USA: Church management at Crosby Church in Texas has been magnifying its services and displaying multimedia content using two Eiki projectors since it first started conducting services in 2001. Those projectors were installed by Hardin Sound, Light & Video (SLV) and, almost two decades later, have been replaced by a pair of new EK-820U WUXGA laser projectors from the same manufacturer, also installed by Hardin SLV. ‘I originally installed the two Eiki projectors and 14-foot wide screens back in 2001 and those original projectors lasted nearly 20 years,’ said Kevin Hardin, owner and operator at Hardin SLV. ‘The church is now using HD cameras for their stream as well as live images and lots of graphics and video material as part of their Sunday morning services. This necessitated newer, more capable projectors and, with their 10,000-lumen brightness, the new Eiki EK-820U projectors,

outfitted with AH-A22020 lenses, provided the perfect solution.’ The EK-820U projectors beam content onto 24-foot wide Draper Cineperm fixed-frame screens with a matte white finish. Aluminium frames mounted directly onto the sheetrock wall provide sufficient support for the screens’ huge span. ‘With the aluminium frame being so

light, we were able to assemble and pre-drill the displays on the ground, attach them onto the wall and snap on the surface, making for a secure, streamlined setup,’ noted Mr Hardin. ‘The church does a 3–4 camera shoot for services. The projectors also output sermon text, scriptures, as well as some great videos of

various ministries or outreach projects. The live video feed comes from a [Ross Video] Carbonite camera switcher in the video suite that feeds into a custom-built PC with a Blackmagic capture card. The church tech uses [Renewed Vision] ProPresenter software to overlay text over video and handle the final output to the projectors.’ The projectors at Crosby Church have been set up with a 16:10 aspect ratio, rather than the usual 16:9. ‘We chose to stay with a 16:10 aspect ratio on the screens because the native 16:10 output of the projectors filled them so well and the extra height provided an impact that the pastor and the staff fell in love with,’ Hardin added. ‘Furthermore, the camera feed is 1080p, so they can choose to stretch it a little or not, depending on the application.’

Stellar installation in West Jacksonville USA: Community’s new IV6 modular vertical array loudspeakers have been installed at West Jacksonville Baptist Church by Stellar Audio Visual. ‘The Community loudspeakers were chosen because of their very natural warm sound and aesthetic design,’ explained Rod Thomas of Stellar Audio Visual. ‘Along with sound quality, placement of the loudspeakers and even coverage were prime concerns of the client. The way the loudspeakers are designed to blend into the room was aesthetically appealing and they are out of line of sight without compromising sound quality.’ Two IV6 vertical arrays, flown one-per-side of the church’s main stage, cover much of the 600-seat sanctuary. Each array is formed from three IV6-1122 wide-dispersion 12-inch cabinets. Stellar Audio Visual used the IV6’s physical- and acoustic-shaping tools to tailor the arrays to the space. The Passive Acoustic Optimization in each module and EASE Focus 3 software were used to calculate the ideal

12 WORSHIP AVL May–June 2019

parameters for each loudspeaker. To ensure all corners of the space were reinforced with consistent sound coverage, Stellar Audio Visual deployed Community’s IC6-2082 dual 8-inch loudspeakers to cover the seating at the rear of the stage. The sound system is controlled from an Allen & Health SQ7 console

with BSS processing and Crown amplification. Shure QLX-D wireless microphones are employed for vocal capture. ‘With both spoken word and live music, the sound quality and SPL consistency throughout the listening area is outstanding,’ confirmed Mr Thomas. ‘Community’s IV6 was the ideal solution for

this application and met the high performance and aesthetic standards set by the customer. The church is very pleased with its new system.’


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Acoustics for all to hear USA: Church of Our Saviour in Jacksonville, Florida dates back almost 200 years. Founded in 1825, its first brick-built home wouldn’t be inaugurated until 1851. Its current sanctuary was opened in 1977 and the church has constantly suffered from unintelligible speech since. The church is also located near to the Illinois School for the Deaf, so the parish is equally sensitive to the needs of members of the congregation with hearing impairments. Therefore, during a recent remodelling, Designed Acoustics was brought in by Graham & Hyde Architects to design a new sound system to ensure better speech intelligibility, leading to the installation of a Renkus-Heinz Iconyx Gen5 digitally steered array system. ‘Since the church was built, they’ve fought with intelligibility of the spoken word,’ explained Designed Acoustics president and senior engineer, Kevin Tankersley. ‘They’ve had four or five sound systems, including the traditional cluster hung up high and, most recently, a distributed system of small speakers mounted about 2.5m up, all the way around the room. Nothing worked; they still had poor speech intelligibility.’ The church is octagon-shaped with exposed brick. ‘The walls are 12m tall, the centre peak is about 15m tall and there are only a few windows on the upper edge of the walls,’ added Mr Tankersley. ‘It seats about 900 people. The choir is on the floor as there is no loft. It’s all on one level. As you can imagine, we had to keep the sound off the brick in this towering octagon. Also, they only have live music; they don’t allow taped or recorded music. They have a small choir, a piano and a pipe organ, and they occasionally have guitarists. So we didn’t want to deaden the room but we did need to condition it.’ This meant that some acoustic treatment was needed. ‘There would normally be aesthetic issues with treating the room but, after struggling with intelligibility for years, they wanted it fixed, even if it meant an unconventional look.’


Designed Acoustics produced several models of the room with various solutions requiring varied amounts of treatment. ‘The best option was the Renkus-Heinz Iconyx system,’ said Mr Tankersley. ‘It is highly steerable, so we can dictate where the sound is going to go, and we’d only need a little bit of acoustical treatment in the correct places. We showed them in a graph what the sound and reverberation time would look like, and they chose the Renkus-Heinz system.’ Two IC24-RN arrays have been mounted to the left and right behind the altar, approximately 2.5m from the ground. ‘We had to steer the beams around the altar microphone and the cantor microphone, while avoiding the brick walls,’ added Mr Tankersley, who also noted that the results have been great and are loved by the church. An Allen & Heath analogue mixer serves the choir, pianist, organist and any guest

musicians. The mixer and the altar and cantor microphones use feeds in the floor to send to a Biamp AudioFlex processor, which routes to the Renkus-Heinz main system, as well as a Listen Technologies ListenLoop system that Mr Tankersley and his team also installed. ‘I put in a Listen Technologies ListenLoop hearing loop system, which is a wireless system for the hearing impaired that goes in the floor and automatically connects to their hearing aids when they walk in,’ he revealed. ‘Hearing is very important to this parish, which is why we proposed the Renkus-Heinz Iconyx with acoustical treatment.’

Image courtesy of Graham & Hyde Architects



1/4 horizontal INFOCOMM Stand 5470

14 WORSHIP AVL May–June 2019

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Flexible sound forBaptist Sarangsaem Church Thomasville First finds the right touch

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


September–October 2018 WORSHIP WORSHIP AVL AVL 47 41 January-February 2017 29 July–August 51 January–February September–October 21 July-August March–April May–June 2019 15


Blackhawk networking

USA: Based in Fort Wayne, Indiana Blackhawk Ministries church is located less than 100m away from Blackhawk Christian School. The school provides an overflow space for the church, so to ensure the entire congregation is able to hear the service taking place in the main sanctuary, audio signals are distributed to the school over a Dante network via Attero Tech’s analogue-toDante interfaces. As audio is captured largely in analogue within the church, the drums alone requiring a multitude of

microphone inputs for amplifying and recording, an Attero Tech Synapse D16Mio Dante/AES67 interface has been installed near the sanctuary’s drum cage. The D16Mio uses mic preamp technology from That Corporation to offer 16 studio-grade channels. The D16Mio’s audio inputs and the 16 balanced, line-level outputs are sent to and from an Allen & Heath console in the worship area through a single Cat-5 cable. Audio can also travel from any Dante inputs on the network to an Avid Pro Tools system used to

record and playback at services and events. ‘We used the D16Mio to create a custom stagebox,’ explained Blackhawk’s outreach pastor, Christian Whitmer. ‘Initially we will run about 10 monitor mix outputs and eight inputs, but that will grow.’ Meanwhile, at the church’s FOH position, an Attero Tech Synapse D32i Dante/AES67 networked audio interface delivers up to 32 additional line-level inputs for the mixing console, which are used for auxiliary inputs in the control booth. A pair of Attero Tech unD4O interfaces have also been installed in amp racks above the sanctuary to supply up to eight analogue, line-level outputs from the Dante network. The main stereo mix is sent from the console to two output pairs – one is routed to a Symetrix Jupiter 8 analogue I/O processor, which drives the main speakers, and the other is sent to an amplifier that powers speakers in the foyer. Another pair of outputs carries mono monitor mixes to the monitor amps. Discussing the move to networked audio, Mr Whitmer added: ‘Part of the difference is the need to completely rethink your inputs and outputs. For example, we just purchased new Shure mics that

are on our Dante network; 20 channels of wireless mics running over five Ethernet cables that carry everything, including the control signals and the audio with no XLRs. We don’t need as many I/O channels going to and from the console, so we don’t require nearly as big a mix rack for the system as we normally would. The D16Mio saves us a ton of money because we don’t have to buy some gigantic sound console. We just need access to the channel facilities, not all of the physical inputs and outputs.’ The fibre connection between Blackhawk Ministries and Blackhawk Christian School has also opened up new possibilities, such as the ability to stream multichannel audio from an event in the main building to the chapel in the second building. ‘We really like having the campuses connected so that we can have an overflow area on major holidays,’ Mr Whitmer enthuses. ‘We have a small Behringer X32 console with a Dante card in the [school] chapel, and we can stream 32 channels of audio to that console and remix a service for that specific room.’

New system deployed for Badrinath Festival INDIA: Rental company Nav Durga Productions provided the audio setup at the inaugural Badrinath Festival, held at Badrinath Temple in Uttarakhand, deploying its new DynaTech systems, purchased from Sonotone. The DynaTech touring sound setup purchased by Nav Durga comprises eight DLA-212 line array speakers, accompanied by four DLA-218 subwoofers to deliver low-end fidelity. Also included in the setup are several V-7000 power amplifiers to drive the loudspeakers and subs. The entire system is further managed and processed using a single Marani Pro Audio LPP-260A audio management system. Yogesh Lakade from Sonotone designed and set up the system.

16 WORSHIP AVL May–June 2019

The Marani LPP-260A sits atop three DynaTech V-7000 amps Productions. ‘After a brief analysis of the various pro audio choices, we confirmed that the DynaTech touring solution fit perfectly.’

‘We were approached with the need for a touring sound system that would deliver the kind of immersive

and impactful audio quality that the festival demanded,’ explained Bhagawati Prashad of Nav Durga

d&b Soundscape – and mixing is not mixing anymore. Rethinking mixing. Object-based mixing instead of acting with channels. Positioning up to sixty-four sound objects. Automatically calculating time and level differences. A creative, artistic and authentic aural canvas. d&b Soundscape is an object positioning tool, a revolutionary audio system processor, is a reverberation system, akin to a musical instrument – a tool to acoustically depict stage scenarios – and to rethink the work on the console.


Sound performance at Harvest House USA: Harvest House Church was established in 1977. In 2008, the church’s sanctuary was transformed into a performing arts venue, complete with recording studio, dance studio and art studio, as well as the main venue. This has provided the congregation with the rather unique experience of worshipping through performance. More recently, the church has upgraded its sound system with a range of PreSonus solutions, installed by Selah Media Productions. ‘This project was an extensive AV retrofit,’ explained Buck Roberts, president at Selah Media Productions. ‘We upgraded the space from older PreSonus equipment that included WorxAudio Wave series loudspeakers and a StudioLive 32.4.2AI mixing console. This upgrade represented a substantial improvement in sound and control capability since the space will now be used as a per forming arts centre in addition to its use for worship services. The upgraded system encompasses the new PreSonus CDL12

Harvest House technical director Brett Queen and Selah Media Productions’ Buck Roberts constant directivity loudspeakers, a StudioLive 32 40-input digital console, a StudioLive 32R rack mixer, an NSB 8.8 AVB-networked stagebox and an SW5E five-port AVB switch with PoE [Power over Ethernet].’ Selah Media Productions provided acoustic treatment in the space, which accommodates up to 400 people with removable seating, several years ago. The newly installed sound system comprises six CDL12 speakers, deployed

three-per-side of the stage. For low-end reinforcement, two ULT18 subwoofers were placed in the floor on each side, for a total of four. Six PreSonus EarMix 16M

AVB-networked personal monitor mixers handle stage monitoring duties along with a pair of AIR10 active loudspeakers used as floor monitors. The StudioLive 32 console manages the FOH mix and is augmented by the StudioLive 32R rackmount mixer, configured for use in stagebox mode. A PreSonus SW5E AVB switch handles the system’s network configuration. ‘The feedback from the staff at Harvest House Church has been overwhelmingly positive,’ said Mr Roberts. ‘The pastor was amazed at what we are able to do with the system and the tech director says, “Audio is crystal clear, and every seat sounds the same”. Musicians love the monitoring system and its ability to give each person the ability for stereo in-ear mixes. Similarly, the venue manager reports this new setup gives them the ability to boost the number of events that get booked.’


Left: Mixing a live service at Willow Creek Community Church. Right: Two RedNet MP8R mic pres in a rack at Willow Creek Community Church.


Create a high-quality, flexible, digital audio signal path from mic to speaker starting with an infrastructure of Focusrite’s RedNet AoIP solutions. You’ll instantly have the ability to route high-quality audio to your front of house engineer, to the stage for monitor mixes, for a post-production mix and to save for archiving. Contact us today for a custom solution for your House of Worship.


Aalborg City Church fitted with Halo DENMARK: Aalborg City Church recently moved to a new, larger sanctuary to accommodate its congregation, which has grown from just 12 when the church opened in 1926 to around 1,000 people. The new facility can host 750 congregants at any one time and is equipped with an EM Acoustics Halo-C compact line array system supplied by Alfa Audio. The church specified the need for a compact system to cover the entire venue evenly. ‘A line array system seemed to be a no-brainer for the venue – we just needed to find the right one,’ explained Alfa Audio’s Torsten Matthiessen. ‘There are two clear priorities for any modern church system: firstly, it needs to sound great from a musical point of view, as there will be a full band on stage for a large part of the service. Secondly, it has to be able to deliver crystal-clear intelligibility, as the spoken word is also a key element of the service. My feeling was that Halo-C would fit the bill

per fectly, so I suggested that they should consider it.’ Anders Molin, who ser ves as the church’s AV consultant, was

a visit to the factor y in Cranleigh where we were able to hear the full EM Acoustics range as well as get to meet and discuss

initially looking at systems from a manufacturer that the church had previously installed systems from. ‘Torsten recommended that I look at Halo-C,’ Mr Molin recalled. ‘I wasn’t familiar with it but, after

extensively with EM’s founders and designers, Ed and Mike, I was convinced that Halo-C was the right choice for us.’ This all led to the installation of 12 Halo-C elements in left and

right hangs of six. Four EPX-8 cabinets were equipped for side-fill along with two EMS-61 speakers for front-fill and an MSE-218 subwoofer beneath the stage. An EM Acoustics DQ10 amplifier powers the Halo-C cabinets, while an AD9 drives the sub and front-fills. The EPX-8 side-fills are self-powered. ‘The EM Acoustics system sounds ever y bit as satisfying as the other systems I considered, even less cost-effective solutions, so I’m confident that we ended up with the ver y best system for our requirements,’ said Mr Molin. ‘To prove the point, we’ve had lots of comments from the congregation about how good the sound is in the new building, as well as remarks from visiting sound engineers who have come in with their bands about the quality of the Halo-C boxes.’



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May–June 2019 WORSHIP AVL 19


Martin Audio enrols at Silver Lake College chapel Trinity of Fairview finds its new sound USA: Trinity of Fairview Baptist Church in Fletcher, North Carolina recently approached Bruce Jensen of B&R Audio to design and install a new sound system. The church sanctuary is in the shape of an acoustically challenging octagon. Therefore, to keep the sound from reflecting off the many hard surfaces, Mr Jensen designed a solution based on Fulcrum Acoustic’s compact FH1596 speakers.

‘Trinity’s unconventional layout, exposed wooden roof, and glass and plaster surfaces make for a very acoustically live room,’ recalled Mr Jensen. ‘Complicating matters, the stage takes up a third of the sanctuary’s floor space, and the angled walls behind it act as a parabolic reflector due to a lack of proper acoustic treatment in the church.’ Mr Jensen made use of the church’s eight laminated wooden beams, which branch out from the sanctuary’s 12m-high apex, as fixing points for the speakers. Three FH1596 cabinets are rigged from the beams in a wide, mono L-C-R cluster

20 WORSHIP AVL May–June 2019

USA: A Martin Audio CDD system has been installed inside the chapel at Silver Lake College of the Holy Family in Manitowoc, Wisconsin. Design and installation was carried out by DP Design.

‘The CDDs were the perfect choice because of their wide coverage pattern towards the bottom, narrowing towards the top which does provide a longer throw with more consistent

to cover the room. Behind this cluster is a single CX1295 12-inch coaxial speaker that serves as a monitor for the choir. ‘Trinity’s worship band tends to play louder than one might expect from a traditional Baptist church, averaging between 96 and 100dB,’ explained Mr Jensen. ‘The FH15 horns and CX12 coax give us all the headroom we could possibly need for the full band and choir.’

The church had been looking for a sound system to overcome its sanctuary’s acoustic challenges for a number of years. In fact, it has had several new speaker designs and installations over the past decade, but the Fulcrum system seems to have done the trick. ‘Trinity of Fairview Baptist Church loves the new system’s sound quality and uniform coverage,’ concluded Mr Jensen. ‘They’ve finally found the sound they’ve been waiting to hear for years.’

‘[The college] has a beautiful old chapel and we upgraded the PA because the original system was old and very much showing its age,’ explained DP Design’s David Price. ‘They couldn’t hear anything or anyone other than the pipe organ with the original sound system. The chapel is a very reverberant space and there was no intelligibility whatsoever, not unusual for that type of venue – lots of hard surfaces with nothing to absorb the sound. They wanted it to feel like a church in terms of sound but they needed an intelligible system that provided consistent coverage evenly from front to back.’ The DP Design team hung a pair of Martin Audio CDD10 speakers, painted white to match the chapel ceiling, above the space in front of the stage. For delays, they used a further two CDD10s approximately halfway down the 30m-long chapel. All of the speakers were flown horizontally for aesthetic purposes. In addition, a BSS processor was provided, offering the priests control via an iPad. Voices are captured through a combination of DPA lapel microphones and Shure QLX-D wireless systems.

frequency response and SPL from front to back and side to side,’ added Mr Price. ‘The organ isn’t amplified, but they do plug in other instruments like an electric piano, violin or cello from time to time for special occasions in what is a formal, liturgical space.’

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National Day of Prayer at FNB Stadium All images courtesy of Richard Baker

Gearhouse South Africa collaborated with the Motsepe Foundation to deliver a mammoth National Day of Prayer at Johannesburg’s FNB Stadium, among other gigs. James Cooke reports IN NOVEMBER 2018, AND FOR the second consecutive year, the Motsepe Foundation, along with 33 religious and faith-based organisations, coordinated a huge gathering at FNB Stadium in Johannesburg, which has the capacity to accommodate up to 100,000 depending on its configuration, for the 2018 National Day of Prayer for all South Africans. Gearhouse South Africa was called in as the technical AVL supplier for the event. The Gearhouse team spent plenty of time at FNB Stadium from late November to early December, as it was also engaged to provide its services for a Guns N’ Roses concert and the 2018 Global Citizen Festival, which celebrated Nelson Mandela’s 100th birthday and was headlined by Beyoncé and Jay-Z. It was a tight schedule, as the National Day of Prayer was initially set for 2 December, while Guns N’ Roses was booked for 29 November – just three days earlier. The deployment of different AVL setups for these two very different events in such a short amount of time would be no mean feat in a stadium of this size and scale. When the Global Citizen Festival was then added to the stadium’s diary, the National Day of Prayer was brought forward to 25 November. Gearhouse was then responsible for three events at the stadium with varying AV needs, all taking place within the space of a week. ‘The Motsepe Foundation booked FNB Stadium well in advance for the annual National Day of Prayer, to be held on 2 December 2018,’ confirms Stuart Andrews, Johannesburg

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branch operations manager at Gearhouse. ‘Subsequently, the Motsepe Foundation came on board as the principal sponsor for the Global Citizen Festival, and they decided to reschedule the National Day of Prayer for 25 November – allowing the Global Citizen Festival to occupy the stadium on 2 December. This arrangement actually suited us because we were able to capitalise on the fact that we could build a large portion of the Global Citizen Festival stage, load in the generators and rig the sound system once – and use this infrastructure for all three events.’ So, while the National Day of Prayer, the Guns N’ Roses gig and the Global Citizen Festival are very different, the Gearhouse team wisely used the same system, making tweaks to suit each event. The sound rig included L-Acoustics loudspeakers, a Shure wireless microphone system with Beta 58A handhelds and a Sennheiser ew 300 in-ear monitoring setup. Several

mixing consoles were in use, such as the Avid S6L-32D control surface, Soundcraft EFX8 and Yamaha LS9-32. The L-Acoustics lineup was formed from large quantities of Kara, Kudo and K1 systems, among others, and also included LA8 amplified controllers.

Barco’s E2 presentation systems, MatrixPRO-II 3G/HD/SD-SDI routers and MatrixPRO 8x8 DVI router switches formed the basis of the LED control setup for visual reinforcement with PRG Winvision 9mm LED screens that measured 26.4m x 13.2m (WxH), supplied by OTRII. The wide variety of lighting employed included fixtures from the likes of Robe, Martin Professional, SGM

and Molefay. A pair of MA Lighting grandMA2 consoles were used to programme and manage the lighting. Other elements within the lighting setup included Avolites dimmers and DMX decoders, and MDG’s Atmosphere haze generator. Additionally, Gearhouse supplied all of the trussing, staging and power rigs for the event, as well as several Clear-Com communication systems. ‘There was no rider for the National Day of Prayer, as we simply worked backwards from what Beyoncé’s tour rider specified,’ recalls Gearhouse production manager, Jako De Wit. ‘As a result, the rig that was specified for Beyoncé’s show – which was to be the closing performance of the Global Citizen Festival – was used for the National Day of Prayer.’ Even discounting the Guns N’ Roses concert and the Global Citizen Festival, the stakes were certainly very high for the National Day of Prayer and the Gearhouse team worked extremely hard to ensure nothing went wrong. ‘The National Day of Prayer was a keystone in the entire undertaking that week,’ says Mr De Wit. ‘If that went wrong from a technical perspective, it would have derailed the entire project. There were 100,000 people inside the stadium for the National Day of Prayer, and we still had between 30,000 and 40,000 people outside the stadium. So, the National Day of Prayer was, in fact, double the size of the Global Citizen Festival in terms of attendance.’



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New Cairo’s new cathedral Cathedral of the Nativity has opened its doors, becoming the largest church in the Middle East. James Cooke reports

AT THE DAWN OF 2019, EGYPTIAN president Abdel Fattah el-Sisi inaugurated the Cathedral of the Nativity in New Cairo. A brand new Coptic Orthodox cathedral dedicated to the birth of Christ, Great St Antony is thought to be the largest church in the Middle East at 135,000m2, with space for a congregation of up to 8,500 people. Audio Technology Egypt was tasked with designing and installing the systems for sound reinforcement at the new cathedral. From the initial planning stages, including software simulations of the audio setup required, it became clear that the imposing size of the building, and the sheer volume within, was going to result in a number of challenges to overcome. A daunting task lay ahead, especially given Cathedral of the Nativity’s high public profile. The cathedral may be one of the largest on the planet, but it would often find itself under a proverbial magnifying glass. ‘The brief from the beginning was clear,’ recalls Emad Adly, chairman of Audio Technology. ‘It would be the

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largest cathedral in the Middle East with an interior length of 142m, width of 90m, dome height of 45m and a high vaulted ceiling. An audio system was therefore required because of how challenging the acoustics in the sanctuary are with hard reverberation. We had to make sure the largest church in the Middle East sounded good with the latest technology in the form of digital steerable line arrays.’ The integrator has plenty of experience in projects at houses of worship throughout Egypt, including several Saint Marc Episcopate affiliated churches. ‘Through the years, Audio Technology has supplied and installed sound reinforcement systems, mixing consoles and wireless microphone systems for numerous houses of worship,’ confirms Adly. ‘Audio Technology also provided system calibration and design services for the Episcopate’s Saint Mark cathedral, which led to us being invited to bid for the new capital’s Cathedral of the Nativity tender, and we had the honour of winning this historical project.’

During the system design process, the Audio Technology team made use of AFMG’s EASE Focus acoustic simulation software to determine the best sound setup possible. ‘The biggest challenge we faced was the acoustics,’ Adly reiterates. ‘The reverberation time was challenging because of the architecture and the building’s finishing materials. A lot of

details in the design of the church had to be studied and simulated before installation. It took us two months of hard work and several EASE modelling revisions.’ Other issues to contend with included the various restrictions imposed by the cathedral, including aesthetic considerations. ‘Not all designs and primary plans for the

PROJECTS installation were approved the first time,’ adds Adly. Once the design was complete, the installation, commissioning and tuning took the Audio Technology team approximately one month. The main sound reinforcement system is formed from 14 of Fohhn Audio’s Linea Focus beam-steering speakers, to direct the audio towards the congregation and away from the cathedral’s reverberant surfaces. A pair of DLI-430 speakers have been installed, one on each side of the sanctuary, as the main PA system. Another two DLI-430 cabinets cover the choir area, while eight DLI-230 systems can be found in four pairs throughout the length of the nave as delays. A further two DLI-230s provide coverage in the side aisles. Fohhn’s Airea active loudspeaker management and intelligent audio networking system has been employed, with two AM-40 Airea Master modules installed at the cathedral. ‘The AM-40 Master unit distributes audio (AES/ EBU) and control data,’ explains Samuel Hartmann from Fohhn Audio. ‘Therefore, each speaker is connected to an AM-40 by a single Cat cable. ‘Meanwhile, the adjustment of the Linea Focus DLI speakers was done with Fohhn Audio Soft, including the real-time adjustment of all beam

parameters and EQ, and Fohhn’s Measuring Software FAMSA by Fohhn engineer Ralf Freudenberg onsite.’ ‘We also worked with other pro audio companies on the project, such as Harman Professional and Shure,’ adds Adly. In addition to the loudspeaker setup, Audio Technology was responsible for the entire sound system. This included

the deployment of a Soundcraft Vi1 48-channel mixing console, equipped with an RS2409SP Cat-5/MADI card, alongside a CSB 32/8+8 compact stagebox and a whole host of Shure microphones, including SM58SE dynamic vocal, SM86 cardioid condenser and MX418D/C gooseneck mics. The extensive microphone setup also comprises a Shure SLX24/

SM58 handheld wireless system, SLX14/85 lavalier wireless system, MX153 earset headworn mics, a UA844+SWB-E antenna distribution system, UA874WB active directional antennas and UA860SWB passive omnidirectional antennas. Additional loudspeakers complement the Fohhn systems in the form of JBL’s CBT 50LA-1-WH and CBT 100LA-1-WH column line arrays, powered by Crown CDi 4|300 amplifiers, as well as SRX812P active bass-reflex cabinets and LSR305/230 monitors. The scope of Audio Technology’s work wasn’t contained within Cathedral of the Nativity’s main sanctuary either, as the systems integrator also designed and installed sound solutions from Shure, JBL, Crown and Soundcraft inside a smaller chapel, auditorium and a multi-purpose hall. Back inside the main sanctuary, the large, reflective room has an extremely long reverberation time of 11s. With the cathedral now open, it is the Fohhn Linea Focus beam steering that facilitates direct sound coverage with precision, resulting in clear speech intelligibility with a 0.6 average STI (Speech Transmission Index) measurement, for 95% intelligibility of sentences spoken. ‘The vast flexibility of Fohhn’s Linea Focus products helped a lot in overcoming the challenges we faced at Cathedral of the Nativity,’ concludes Adly.

Fohhn DLI-230 speakers serve as delays

May–June 2019 WORSHIP AVL 25


Aboard the Ark Stagetec Asia has added new control to Ark of Christ. James Cooke explores the deck INDONESIA’S ARK OF CHRIST (AoC) Christian Fellowship was christened at the turn of the new millennium as a service for Bandung’s worshippers. In the years since, under the leadership of Pastor Daniel Krestianto, ThM, AoC has grown to welcome congregants of all ages and backgrounds, becoming an interdenominational Christian community. As a result of that growth, the organisation now operates several branches across Indonesia and into Australia and the Philippines, and is considered as one of Indonesia’s largest-reaching Christian communities. Depending on the configuration of a particular service or event, the main AoC Bandung sanctuary, Glorious Hall, seats up to 3,500 people. With the city of Bandung known as a thriving hub for art and culture, it comes as no surprise to learn that the AoC sanctuary also plays host to a variety of concerts and other performances.

26 WORSHIP AVL May–June 2019

Ark of Christ sound engineer Mr Andro, audio consultant Yohan Febrian and Stagetec Asia’s Paul Lim ‘AoC Bandung and its youth movement, the community, regularly organise events that consist of full bands with musical equipment, including concerts and other regular services,’ explains Yohan Febrian, audio consultant at AoC Bandung. ‘It also functions as a venue provider for other churches and any organisation to run events.

‘Being a popular venue in Bandung and fully equipped with lighting and multimedia systems, including a camera and LED screen system, AoC needs to own the best in-house sound system possible to accommodate and offer the best audio experience to all who attend or hold events here.’

With that in mind, AoC decided to add extra control to its sound system, turning to Stagetec Asia for assistance. While AoC Bandung’s sanctuary was built with acoustics in mind, including soundproofing for SPLs of more than 110dB and acoustic sound panelling, church officials sought better control of the audio within the room. Therefore, the Stagetec Asia team designed and installed a setup formed from Stage Tec’s Aurus large-format mixing console with a Nexus Star audio router. Aurus was chosen for its wide range of features and functions for varying applications that allow it to perform a diverse list of mixing tasks in large and changing audio networks; just what AoC Bandung needed. ‘The Stage Tec Aurus is a unique console; it is very distinct,’ says Yohan. ‘We weren’t able to find another mixing console here in Indonesia with as much functionality as this one. The console is ready

PROJECTS for use “out of the box”, despite its complicated level of functionality and perhaps intimidating look. It is actually a very user-friendly console and the settings are easy to use, even for new operators and volunteers, as well as more seasoned users.’ It was the ease-of-use and configuration, in addition to its advanced level of functionality, that added to the appeal of Aurus for AoC Bandung. The console can be calibrated for use by either new or seasoned operators. The AoC committee took the intimidation factor into account, as too many knobs and faders can put potential new operators off. However, Yohan explored the console in more depth to ensure that it was indeed user friendly. Stage Tec designed Aurus primarily for use in large performance venues, at concerts or in the theatre. This hasn’t gone unnoticed during services in the Glorious Hall, during which the audio experience has improved drastically. When large crowds fill the sanctuary, each visitor is now able to hear music and speech in fine detail with added clarity. ‘The building’s existing setup with acoustic sound panels, dual layered

walls and soundproofing already provided Glorious Hall with good sound reinforcement,’ notes Yohan. ‘However, the level of the sound would decrease along the sanctuary and casually drop. With Aurus and Nexus Star’s high dynamic range audio quality, we can hear that it gives us a solid sound and is very clear, delivering every detail throughout the hall.’ As well as being simple to use and configure, the Stage Tec solutions

Glorious Hall hosts all manner of events

were seemingly just as easy to install. ‘The console and router were installed within four hours of arriving in Bandung,’ reveals Stagetec Asia’s managing director, Advon Tan. ‘There weren’t any difficulties or any technical issues during the set up, and the machines are working very well.’ Proof that the new Stage Tec systems were indeed working well came during their first major test: AoC Bandung’s Supernatural Blessing Christmas Celebration event. And to ensure the console and router continue to do so, Stagetec Asia will provide aftersales ser vice to AoC Bandung. ‘We will focus on maintaining the console and its parts, and will assist AoC Bandung with any issues,’ confirms Tan. ‘We believe Aurus and Nexus Star are definitely bringing a better quality of sound to the venue, which ser ves as a great reference. We hope that more churches and venues in the region take note and look into the potential benefits of upgrading their sound systems for their attendants.’

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Blending old and new St James’ Church sought modern AV systems to enhance services while remaining discreet. Creative Audio-Visual Solutions was up for the challenge

ST JAMES’, THE PARISH CHURCH in Wiltshire’s county town of Trowbridge, is a Grade I listed Anglican sanctuary. As visitors enter the building, they are reminded of the church’s vast history with monuments for the poet and surgeon George Crabbe (1754–1832), who also served as a clergyman in Trowbridge from 1814 until his death, and luddite Thomas Helliker, both of whom are buried in St James’ Church. While the church is steeped in history and a shining example of traditional church architecture in England, St James’ was also keen to adapt to modern advances in technology. The church leadership decided to approach Creative AudioVisual Solutions (CAVS) to install both a new audio and video system to bring St James’ services to life and to allow the church to include multimedia elements in the other community events it hosts. However, CAVS was also tasked with ensuring that these new systems remained discreet, blending in seamlessly with the environment while adhering to the restrictions imposed by the building’s

28 WORSHIP AVL May–June 2019

Grade I listed status. Thankfully, the systems integrator was well-versed in meeting such demands. ‘The church contacted CAVS as one of the leading house of worship AVL integrators in the UK,’ explains CAVS sales director, Rob Alvis. ‘We were also involved with a similarly large project within a local church at the time and St James’ was impressed by our sympathetic approach to ensuring a high level of technical capability while respecting and working with the delicate church aesthetics and décor.’

The main sound system installed comprises 12 JBL CBT50LA column array speakers, complemented on the low end by two Electro-Voice ZX1-Sub compact subwoofers. The CBT50LA speakers have been deployed in pairs on six pillars throughout the sanctuary, painted to match the stonework. An Electro-Voice N8000 NetMax digital matrix controller handles audio processing, ensuring the sound system is tuned to the room and heavily reducing feedback and other acoustic anomalies. Power

for the audio setup is provided by Electro-Voice’s CPS 8.5 eight-channel amplifier. For controlling the sound setup, CAVS installed a Soundcraft Si Performer 1 digital mixing console, which can also be controlled from anywhere in the church wirelessly via an iPad. The iPad control has been set up for simplicity with recall settings, meaning anyone in the church can recall the presets for different types of service, regardless of their technical level of expertise. In addition, a Soundcraft Mini Stagebox 16i facilitates the addition of up to 16 instrument inputs when a large worship band performs. On the subject of inputs, music is captured during services by ElectroVoice ND66 condenser cardioid instrument microphones, while speech is handled by Sennheiser XS-2 radio mics, complete with antenna distribution system. Other sources include a Denon DN-500CB combination CD/MP3/Bluetooth player and DN-500R MP3 recorder for playback. ‘CAVS works with a core group of manufacturers that provide excellent

PROJECTS service and quality,’ says Alvis. ‘For instance – in regard to the sound system – this needs to perform at all volume levels, not just being driven at the high volumes some speakers require before they come to life. JBL’s and Electro-Voice’s speakers and processing meet this brief. On the mixing side, Soundcraft digital mixers are accessible to all users’ abilities – well laid out, with colour-coded faders and controls with less reliance on menus and computer knowledge, which can hamper less-experienced operators.’ As for the visual elements, CAVS installed a trio of Sapphire Smart Move projection screens at the front of the church. The centre screen receives content from a Christie LW751i-D 3LCD, 7,500-lumen projector, while the left and right screens are served by a pair of Christie LW502AP 5,000-lumen models. All three Sapphire screens have been winched to allow them to be hidden behind the sanctuary’s arches when not in use.

An Electro-Voice ND66 instrument mic The projector screens are used for displaying hymn lyrics and words, still images and video, as well as live footage from within the church captured by a Sony SRG300HW remote-controlled PTZ camera for image magnification purposes. The feed from the Sony camera can also be streamed by the church online via a Datavideo NVS-25 video streaming and recording server, for congregants unable to attend a service in person. Meanwhile, movies and other content can be played back from a Denon DN500BD professional Blu-ray player. Those managing the displayed video content keep track of various video feeds using a Datavideo TLM702HD TFT broadcast monitor bank. Channels are scaled for the screens and switched between using a

One of the Christie projectors above the Sony PTZ camera Kramer VP-774A HDMI and HDBaseT ProScale presentation switcher. CAVS also installed a Kramer RC-78R touchpanel, which offers overall control over the setup. To make sure that all of this technology didn’t disrupt the church’s traditional aesthetic, the CAVS team constructed a bespoke equipment cabinet to hold the Soundcraft mixer and house the amplifiers, video switchers and other equipment, such as St James’ hearing induction loop system.

‘There were some anxieties with this installation due to the strict boundaries within a Grade I listed Church of England sanctuary in regard to cable runs, colour-blended cables and fixings, among other factors,’ concludes Alvis. ‘Although accurate building acoustic mapping was done in advance, there is an element of uncertainty with audio working in a real-world, very reverberant environment. However, once finished,

the system performed beyond the expectations of the client and is providing scope for further growth and development in terms of how the system is used, and future developments such as growing the live worship band and streaming and recording services.’

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May–June 2019 WORSHIP AVL 29


Network expansion Oasis House connects the dots for an AV setup over IP TRINITY BAPTIST CHURCH HAS grown substantially throughout its 30-year history. So much so that a couple of years ago it opened a new sanctuary in Croydon, South London just five miles away from its original building in the suburb of West Norwood. The Croydon facility was christened Oasis House and provided space to ease the growing pains that Trinity Baptist was experiencing, with a membership that was outpacing its capacity. It is the third Trinity Baptist sanctuary overall – the second located in Ghana. ‘Our Sunday school programmes and classes were growing,’ recalls George Otu, media director at Trinity Baptist Church. ‘The youth service was increasing in size and, through our revival programmes, we were reaching out further into neighbouring communities.’ The church’s growth was all part of senior pastor, Rev Kingsley Appiagyei, and the leadership team’s plan at Trinity Baptist. They had found the Croydon site as part of these plans; however, the media team was limited in its ability to provide the support it wanted to deliver for

30 WORSHIP AVL May–June 2019

their congregation. Trinity Baptist’s weekly sermons were streamed live online and to the large display screens magnifying the services to the congregation in-house, so the infrastructure was already in place to handle regular productions. But anything out of the ordinary was a challenge. Therefore, when it came to setting up at Oasis House, the church’s presentation, video, audio production and IT infrastructure teams banded together to invest in new

technology to incorporate additional video into Trinity Baptist’s work to further engage with its ever-expanding community. Oasis House can be described as ultra-modern in appearance. Its auditorium, reminiscent of a theatre, has seats for up to 900 congregants. In addition to the main sanctuary, a sports hall with the capacity for 500 people, café, meeting and training rooms and children’s play areas can all be found onsite. Many of

these rooms also serve as venues for hire by the church and have been equipped with an array of professional AV equipment. To ensure future-proofing across the entire facility, a wired network has been installed throughout that could not have been achieved with the existing infrastructure in West Norwood. At the West Norwood campus, a conventional hardware switcher was used for vision mixing during live productions, alongside three

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PROJECTS PCs in the workflow – one employed for streaming and the other two for visuals that were then input into the switcher. ‘The hardware switcher worked suitably for many years, but there was no path forward to scale, to grow our community or to add new types of production within the same system,’ explains Otu. ‘So, when we moved here, we wanted to do things differently. We had daily discussions for every step we took and each technology decision that we made.’ The new infrastructure at Oasis House wanted to allow all four groups – presentation, video, audio production and IT – within the church’s media team to collaborate freely. The plans for video were to incorporate the church community, not

A look at the production workflow at Oasis House independently to any of the screens in the different parts of the building,’ notes Otu. The TriCaster system also includes NewTek’s NDI video-overIP technology, allowing video to flow through the network at Oasis House. ‘That is a technology that we are using everywhere we can think of,’ says Otu, as it has opened up the rest of the facility to receiving video-over-IP. NDI can send any of the TriCaster’s outputs from the programme or from any of the mix/

just as an audience but by working with the technology itself. It was also decided that the setup at Croydon would eventually be replicated in West Norwood and Ghana. ‘You can no longer package the gospel in the way we’ve done it for many years; you can no longer deliver an unexciting sermon,’ says Otu. ‘It has to be inspiring. So, we aimed for a system that was the best in all broadcast practices to achieve that.’ The media team had been using ProPresenter and EasyWorship software for producing visuals during services at West Norwood and wanted to retain these solutions by looking for an infrastructure that could be integrated with them. With a list of requirements compiled to form a project specification, Trinity Baptist Church approached Highway Audio Visual, an AV solutions company that specialises in several sectors, including houses of worship across the UK and Africa. As an authorised reseller of NewTek video production technology, the Highway team was able to draw upon its experience of delivering the manufacturer’s solutions to facilitate live streaming and complement weekly services and other special

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events for houses of worship, and knew it could meet Trinity Baptist’s needs. ‘Whatever we were spending, we had to make sure we were getting the very best,’ Otu says. ‘So, we decided on [NewTek’s] TriCaster.’ Oasis House would be equipped with TriCaster 8000, a turnkey live video production system capable of driving live web streaming and content cross-channel and with multi-screen delivery. It offers software-driven HD switching, streaming, recording and delivery and enables Trinity Baptist to input up to eight hardware-connected sources into it. The system’s mix/ effects are used to create preset visual compositions from internal and external sources to supplement the main programme. ‘Because it also allows us to create eight additional mix/effects, it essentially multiplies the results of our work,’ explains Otu. Image magnification for congregants attending services in the main sanctuary is provided primarily by a huge LED screen at the back of the stage. ‘We have one mix/effects bus dedicated to that LED screen and, for the rest of the displays, we can easily create and design different mix/effects and assign them

effects over the wireless network to displays installed throughout the campus. Inputs can be selected from the production room, located in the main auditorium, or the media room to go into the TriCaster, including from EasyWorship and ProPresenter, which have been integrated by NDI. The use of NDI for the two graphics systems also means they do not use up hardware inputs that can instead be used for other SDI sources not connected to the wireless network. In addition, the use of NDI to gain wireless video-over-IP functionality has allowed the media team to focus less on setting up and more on production. ‘Our people are generating compelling

media, like graphics, titles and video packages, instead of focusing on making a lot of technical components work well with each other,’ confirms Otu. As for streaming, Trinity Baptist services and other live content can be viewed on YouTube, Facebook, Twitter and Periscope, as well as the church’s own website and app. Friday evening and Sunday morning services are produced and streamed for the congregation’s regular members, while the Sunday afternoon service is dedicated to the church’s youth congregation and production is run by a younger production team. ‘The youth have a whole team of their own that are trained and can manage the TriCaster,’ explains Otu. ‘Once they’ve been trained, they just take to it so easily – and that has created excitement for their peers. They look at what their fellow youth members are doing, and they say, “Oh wow, if you’re able to do that, then I want to be a part of it too.” I have people on the waiting list to participate – I just can’t fit all of them in at once.’ Since its Croydon facility has opened, the church has been renamed Trinity Baptist Church Oasis House. As well as added production values and driving interest in youth congregants wishing to join the

media team, the adoption of NDI for IP-based video distribution has saved Trinity Baptist Church Oasis House a substantial amount of money on infrastructure costs, as the wireless solution negates the need for extensive cabling. ‘Some of the things we’ve been able to do would have cost us a fortune,’ says Otu. ‘Because it’s softwaredriven, the TriCaster solution has a lot of future-proofing built into it. Every time the software is upgraded, we benefit more from the system.’


Shrine amplification Fo Guang Shan has built a new temple in Johor Bahru, FGS HsingMa Temple, with a d&b Y-Series system reinforcing the main shrine ESTABLISHED IN 1967, FO GUANG Shan is a Chinese Buddhist monastic order headquartered in Taiwan’s Dashu District. Over the course of its first half a century, the order has spread across the world, developing hundreds of temples, worship centres, educational institutes, museums and other facilities, as well as a global following of approximately 3 million devotees. Johor Bahru in Malaysia is one of the latest cities to see a Fo Guang Shan sanctuary built. Named FGS HsingMa Temple, its main shrine hall accommodates more than 1,000 Buddhists. To ensure everybody in the room is able to hear speech and chants with clarity, Chan Lee Sound and Light proposed a potential sound solution from d&b audiotechnik. Having served as Fo Guang Shan’s rental contractor for a number of years, Chan Lee Sound had employed d&b systems on several of its past events. As the decision-makers at Fo Guang Shan had been happy with the sound quality produced during those events, they agreed that a solution from the same manufacturer would make a good choice for FGS HsingMa Temple. With this being a permanent installation at a brand-new temple, Chan Lee Sound brought Search

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Music into the project to make sure the d&b system was to the best standard possible. ‘Search Music represents and distributes d&b audiotechnik in Malaysia,’ explains Gilbert Seng from Search Music. ‘Chan Lee Sound and Light, our rental partner, played an important role in this project as they had proposed d&b to the client. It was then our responsibility to ensure a great installation at FGS HsingMa Temple, especially as Fo Guang Shan is a world-renowned Buddhist organisation.’ The sound system was designed around d&b’s Y-Series, which was developed for use in concert venues, due to the size of the main shrine hall. The setup comprises eight Y8 and four Y12 dual, 8-inch, two-way

line array cabinets. Whereas the Y8 offers a dispersion of 80°, the Y12 is capable of 120°. A pair of Y-Sub subwoofers provide added

low-end reinforcement, and a pair of Ti10L installation-specific line array speakers from the German manufacturer’s T-Series form a centre cluster above the stage. Keeping the system entirely on-brand, the passive speakers are all powered by two d&b audiotechnik 30D amplifiers and a 10D unit. ‘The Ti10L speakers and 10D amplifier were added later, after the temple had opened,’ notes Seng. While the system design is relatively simple, the installation, however, wasn’t without its challenges. ‘The first challenge we faced during this project was due to a combination of the hall’s high ceiling and the long distance between the control room and the speakers,’ Seng recalls.


‘This made the laying of cables very difficult as the team had to install them about 9m above the floor. Safety was therefore one of our main concerns and, of course, we made sure our engineers were all

well-equipped with the necessary attire. We also had to take into consideration the house lights, air conditioning system and the wood partition that formed part of the interior décor when determining a

path for the cabling to make sure it didn’t interfere with any of those elements.’ It wasn’t just the cabling that was affected by the hall’s interior design though, as the positioning of the


speakers was also dictated by the main shrine hall’s aesthetics. ‘The positions of the speakers were adjusted several times due to the constant changes made to the interior design,’ says Seng. ‘In fact, the Ti10L centre cluster was added because we no longer achieved the desired coverage following these changes.’ However, the wood partitioning that the cabling had to avoid did provide acoustic benefits. ‘The entire room was surrounded by tiles and hard surfaces initially,’ recalls Seng. ‘This resulted in strong reverberation and unintelligible sound. Then, the wood partitioning was introduced along with other materials that provided some acoustic treatment, absorbing some of the frequencies so that we could tune the system to deliver clear sound.’ With all challenges overcome, FGS HsingMa Temple is now open and the d&b system is reportedly working well. ‘The Y-Series system is mainly used for chanting and speech,’ concludes Seng. ‘And, occasionally, there will even be musical performances.’

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


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

May–June 2019 WORSHIP AVL 35


Lighting design using an iPad John Black looks at how different lighting design apps on the iPad have given him more freedom and flexibility the lighting design process virtually anywhere that I want – including in the control booth, auditorium, catwalks or lifts as I am working with the fixtures themselves. The sharing of lighting information between the designer and electricians (students in my case) has become virtually instantaneous, which has allowed my workflow to become not only more efficient, but clearer and more flexible as well. In this article, I am going to present some of the applications that I use on my iPad throughout the lighting design process and through performing maintenance and other tasks to the equipment during the implementation or maintenance

phases. I have separated the applications into three categories. While this certainly does not cover the wide spectrum of applications available, these are the tools that I have found useful in my workflow and I hope that you may find them useful as well.

Plots/paperwork applications There are actually very few lighting plot and paperwork applications available for the iPad. Typically, these applications are quite heavy and consume a lot of processing power, so it really is no surprise that they aren’t more common. For lighting paperwork such as instrument schedules, channel sheets and

An iPad channel spreadsheet in use

WHEN I WAS TAKING LIGHTING design courses during my undergraduate coursework almost 15 years ago, I was taught the process of lighting design and paperwork creation as a hybrid process. My early coursework focused predominately on drafting by hand and involved using a fixture template to draw lighting plots on tracing paper which would then be fed through a blueprint machine. During hang and focus, any changes to the plot would require that I go back to the tracing paper, erase and redraw whatever information needed to be updated, and create a new print. Being neat and tidy was important not just for clearly communicating information, but because it affected the quality of the print. In the later years, I was exposed to computer-aided design (CAD) software programs that digitised the drafting process. No longer did I need to worry about the neatness of my own writing and lighting plots could be drawn much more efficiently using libraries of symbols that could ‘snap’ to objects in the drawing. This also meant that changes could be made quickly, though it still required me to go to a design lab where the software was installed. PDF or image exports could be given to lighting electricians as well as paper printouts. I also remember the first time that I used

36 WORSHIP AVL May–June 2019

software for pre-visualisation – seeing a digital representation of my lighting rig and ‘controlling’ it with a software lighting controller to pre-program a show. This enabled me to program cues without having the console – or any of the actual lighting rig – in front of me. I was then able to load that file onto the console once in the venue, make any adjustments needed to my programmed palettes, and then I was ready for rehearsal. Today, through the use of a number of software applications on my iPad (and even on my smartphone for that matter), I am able to go through

A light plot on the LXBeams2Go app

An iPad instrument schedule report on the LXBeams2Go app colour cut lists, for example, simply sharing Google Docs or Microsoft Office files is common. However, the information that can be communicated through a graphical light plot is indispensable. Until recently, I worked with digital PDFs of plots that I would share along with separate paperwork files. This allowed me to view the plots, but it was not possible to make changes or notes on the plot very easily. Over the years, I have used a number of different CAD software programs on my computer to create lighting plots. Most recently, I have been using the LXBeams application (and teaching student designers and electricians the LXFree application) by Claude

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manuals, connector wirings, a lamp guide and dip switch calculators.

LXBeams2Go by Claude Heintz Design The LXBeams2Go application allows you to view, edit and interact with LXSeries light plot files on your iPad. If you are not familiar with LXFree or LXBeams for drafting light plots, these are great, low-cost software solutions for drawing lighting plots and creating lighting paperwork (an all-in-one solution). I use these tools regularly in my workflow, and having the iPad app allows me to continue working when I am away from my computer in the light shop or even when working at the lighting positions with the fixtures. Having my plots and paperwork with me digitally during hang and focus sessions allows me to make changes immediately so that I always have an up-to-date representation of the actual rig and associated paperwork.

Barbizon Electrician’s Handbook by Barbizon Electric Company This is another all-in-one reference application that I find myself using frequently. Not only is it a worthwhile reference for new lighting technicians and learning about the tools of the trade, but it provides cable pinouts,

Lighting Designer by Clayton Combe Though I use LXBeams2Go in my workflow, I did find another drafting application for the iPhone and iPad called Lighting Designer. This application includes a large library of fixtures and other objects so that

The iRFR ETC console control app as well as the ability to control the playback of cues for remote show control. iRFR by Electronic Theatre Controls All of my theatres are equipped with ETC control consoles and I use the iRFR application every week. There are many times when I have multiple events on the same stage throughout the day and need to make a quick focus change during the

allows me to control show files away from the host computer. This allows me to be in the house sitting next to a director or event planner and control all of the technical aspects of the show (and make changes) while being able to share a common experience (seeing and hearing) as the director.

Reference applications It’s always handy to have reference information on hand without having to navigate through a manufacturer’s website, pages of product listings and then search for the specific manual version or spec sheet you need. When needing to quickly build or repair a cable, decide on a gel colour to order or calculate a dip switch setting, I find it much faster to reference a dedicated application than to do an internet search. As a result, I have found and come to use the following apps regularly as I work with my lighting rig, whether in the early phases of a lighting design, while implementing a design or while maintaining the equipment.

in-between time. Instead of bringing in an additional volunteer or staff member for the quick change, I can go to the fixture and control it from my smartphone remotely.

Lighting Handbook by Andrew Derrington This is an application that I have both on my iPad and my phone. It has a large bank of useful information for lighting designers and technicians including fixture

QLab Remote by Figure53 Though not strictly limited to lighting, I use Figure53’s QLab show control software religiously. I use it for playback of media files, generating timecode for synchronisation, triggering lighting cues and projection mapping. It’s a great piece of software I use every single day on all of the events that I support. The QLab Remote application for iPad

The Lighting Handbook

The QLab window for Show Control software the user can draw lighting plots and floor plans within the application. Files are able to be synced across devices using iCloud sync, enabling information to be communicated easily and efficiently with crew members.

Console control applications Having the ability to control the lighting rig while working on it (such as while focusing fixtures) is also an indispensable tool. The majority of console manufacturers have companion applications for iPads and/ or smartphone devices to be able to control individual circuits or fixtures,

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The Barbizon Electrician’s Handbook dip switch calculators, power calculations and gel colour matches between manufacturers. There are dozens of brand-specific applications available as well, but these two applications are my first go-to because of the breadth of information that they provide.

Conclusion These are just a few of my most frequently used applications that I use as I work through the various stages of the lighting design process. I have found over the years that having these applications on my iPad has provided me the freedom to be more handson with the rig, be more efficient in maintaining lighting paperwork, improve communication with directors, event planners and crews, and have easily accessible references when needing to look up information or perform maintenance tasks. There are many applications available – both free and paid for – with many more coming onto the market all the time. It is important to remember that these applications are just tools. As a lighting designer or technician, your goal is for the realised design to effectively support and communicate the message being presented on the stage. Find the right combination of tools for your workflow and hopefully those tools will enable and empower you to create and achieve even greater designs.

an Allen & Heath SQ-6 digital mixer array solution. ‘The hall is 30m long, systems integrator Ecosystem, Along with the new loudspeakers, explains the decision to install a line CoreLab, as well as specialist sound needed.’ well by a point source system, Beck Sky Sound worked alongside The Alcons speakers are all that are While the room was once served three-day youth retreat it once held. and had them removed from the hall. side walls and ceiling.’ with the best possible sound.’ subwoofers, from Sky Sound for a decided they were no longer needed also minimising reflections from the their faith in the newly renovated hall VR8 monitors and BF151 compact the Alcons system before the church the control room at the back, while worship at this facility are reinforcing rented an Alcons system, comprising about two or three weeks along with characteristics from the front row to ministers and young people who Chunma Arts Center, but had also the old subwoofers were used for sound pressure and frequency very happy,’ concludes Glenn. ‘The having staged several events in the says Beck. ‘Following the installation, audio system and everybody is we could deliver the best possible that particular system firsthand, frequencies down to around 40Hz,’ ‘The Alcons solution ensured that ’The church now has an excellent Church had not only experienced work very well in reproducing explains Glenn Suh from CoreLab. the church.’ recommendation. Gyeongsan Central ‘The LR14B line array bass modules very well together to the benefit of were a very good combination,’ Yeongnam University to back up his concerns were unnecessary.’ CoreLab, so the three companies and CoreLab – were able to work Chunma Arts Center at the nearby system,’ adds Glenn. ‘However, our companies – Sky Sound, Ecosystem ultra-compact line array system in the construction installation partner for 18-inch from the the LR14, and has also worked as a How do subwoofers the transducers andprevious the church and its needs. All three an Alcons LR16 compact and LR14 ‘We therefore decided to retain the systems in other locations, including preamps alter the instrument’s had previous experience with the Park reminded the committee of worried about was low frequency.’ ‘Ecosystem has installed Alcons sound? Park Sang-hyun and Sky Sound worship.’ system would work, but what we were experience during this project, while controllers. longer suited to the changing style of ‘We knew how fantastically the LR14 they could draw upon specific past Sentinel10 amplified loudspeaker a reputable brand; it was just no the entrance. powered and controlled by a pair of churches,’ Beck notes. ‘This meant point source speaker system from allowed us to reach 100dB as far as String two LR14B line array bass modules, and pointsections source speakers in other high-energy praise. It was an old right arrays of six LR14 speakers and for the LR14 line array system as it already installed Alcons line array to keep up with the youth pastor’s not a small hall. So, we decided to go several companies. ‘Ecosystem had ultimately comprises flown left and its age, reaching its limits in trying from the stage to the entrance. It is to provide the new system, which also the result of teamwork between distributor. ‘It had started showing The HH TNi-4030 cabinet is an ultra-compact full range loudspeaker which was the desired effect. It is CoreLab, Alcons’ South Korean in the Tessen Installation Range. It is designed to provide maximum performance in its class and be visually unobtrusive It is designed The Sentinel10 amplified loudspeaker controllers appears simple the surface, explains Beck Seung Hoon of primarily for fixed installon use. new Multiplex Hall sound system system was no longer suitable,’ • 4 x 3″ Full range Passive Speaker, Bass Reflex Gyeongsan Central Church’s andamplifiers the previous audio power, flexible 4 channel 2U rack • 90°H x 30°V directivity enables precise control of sound field The their HH M twenties Series power are ultra-high amplifiers designed provide • Compatible with wide range of industry standard mounting delivered. services aimedtoat youngmaximum people inperformance. hardware, including the HH bracket • Four Channels, Bridgeable 2, 3 or (HH-BRK10 available separately) digital wireless system, were also ‘The Multiplex Hall is to used for4 Channels • Balanced XLR In and Link Out x4, • Weatherproof IP55 rated enclosure headset units and a Shure QLX-D as theuse old system’s successor. • Why Ultra-Light, Classa D mic? • Frequency response (-10) : 85 – 20kHz DPA Microphones 4088 directional Audio LR14 pro-ribbon speaker setup • Heavy Gauge 2U chassis • Max SPL (1M) (Peak) : 112dB • High Quality, over engineered 90-260V Regulated Power Supply • 400W Peak, 200W Continuous, 100W RMS A variety of microphones, including sound system, suggestingUniversal an Alcons • Anti-Tamper Panel Included • Nominal System Impedance: 8 ohm was installed to manage the system. replacing the whole front of house



How to place a microphone – part one three Gordon Moore


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March–April 2019 WORSHIP AVL 33

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Locating the sound booth Gordon Moore has been asked many times where the sound booth should go during a remodel or new construction of a church. This is his definitive answer thus colouring, in a very negative manner, the sound they are creating. Make certain the privacy screen is high enough to block the distracting visuals yet low enough so that those seated behind the booth have a clear view of the worship leaders and events. Naturally, most of us do not live in a world where we get what we need. Location of the sound booth is more often a compromise.

Sloped flooring with raised seating behind sound booth SOUND IS ONE OF THE MOST important aspects of the worship experience and, while houses of worship have become more aware of this fact, there is still some difficulty with the acceptance of the visual presence of a sound booth. Many facilities will try to locate the sound booth in a separate location from where the congregation sits. I have seen sound booths located in lofts above the congregation, in enclosed booths in the back (thus invisible) and even in another room elsewhere in the building (or campus) like a broadcast studio command centre. Let’s be perfectly clear. The best location for the sound booth is in the direct sound field of the PA system that serves the congregation. The sound techs need to hear exactly what the worshippers hear to best serve the congregation’s audible needs. In that magical world where we always get what we need, the sound booth is located in a central spot on the main floor in the midst of the congregation. If speaker modelling is available, it should be located where the full spectral response of the PA system can be heard – in short, the best listening position in the house. Many new churches have recognised this need and have actually placed the sound booth in that location. Several considerations, however, must be taken into account. Visual impact – the sound booth (regardless of location) cannot interfere with the line of sight for worshippers. Placing the sound booth dead centre in the congregation without considering this factor will result in the impairment of a clear view of the altar/stage for all those seated behind the booth. A modern sound booth will have

40 WORSHIP AVL May–June 2019

Sloped flooring with recessed sound booth computer displays, racks of gear and technicians who may be very active/mobile during the service. In our church, the FOH mixer is almost always standing during the service and, when seated, is in a high chair that allows easy access to the controls at the upper edge of the console. The activity of the sound crew will serve as a distraction to the worshippers – they may become more interested in the console activity than the message. This violates Rule #1 of technology in a service – the technology must never detract from the worship experience. The goal is to enhance the service, clarify the message and uplift the worshippers in a non-intrusive fashion. So, how can we mitigate this conflict between the perfect location audibly and the negative visual distraction? If you are designing a new facility, ask the architect to design the booth into the seating area, taking line of sight issues into account. This

generally means recessing the booth into the floor or elevating the seats behind so that the sound booth doesn’t interfere. Next, remove visual distractions. Instead of mounting the computer screens directly front and centre on the front edge of the booth, try flush-mounting them on the booth work surface under a protective glass screen. Alternately, try the multitouch monitors lying flat that allow mouse-free operations. The important factor here is to place the screens where the techs can see them and the worshippers cannot. If necessary, place a privacy screen behind the booth that will block the view. It is very important that this privacy screen is acoustically transparent fabric. If you erect a beautiful burled elm wooden screen, it will look amazing. It will also create unwanted reflections of sound that will cause your sound technicians to incorrectly skew the EQ of the system,

A popular solution is placing the sound booth in the back behind the worshippers. In this case, the most important factor is to make certain that they are still getting the direct sound from the PA system – that they hear what the worshippers hear. The biggest negative of this placement is the distance (with attendant time delay) and the effects of reflections on the perceived sound. These negatives can be offset with a pair of simple solutions. First, make sure each sound tech has good-quality headphones so that they can clearly hear – without delay – the house mix. Establish firm rules – changes to channel EQ, compression or other dynamics, or tapped effects (where the sound mixer establishes a beat for a sound effect such as reverb, echo, etc.) must be done while listening to headphones. Imagine trying to synchronise an effect when you are literally sitting 100ms away from the band. Use of

Flat flooring demands a privacy screen and low-mounted equipment to avoid distraction

KnowHOW the solo functions rises exponentially the farther from the stage you get. Second, make certain all nearby walls (especially the wall behind the booth) are acoustically treated to kill reflections so the sound booth doesn’t have to deal with reflected interference skewing the frequency response. A monitor can also be placed in the booth so the sound crew can hear the mix. The critical step here is to make certain that the frequency response of that monitor is closely matched to the frequency response as heard by an audience member in the direct sound field. This can be done by playing a broadband test signal – typically pink noise – into the system and measuring/ recording the response in a more ideal position in the seating area. Take a screen capture of that response. Then, EQ the monitor, using the same signal source, so that it matches the recorded profile as closely as possible. Do not trust your ears. Do not just use the same EQ settings as you have on the house EQ. Do not copy and paste the EQ settings in the digital mixer for the house EQ to the monitor EQ. The monitor will have different characteristics, so you must EQ using a spectrum analyser such as SMAART to ensure as exact a match as possible. After calibrating the monitor, ask yourself, ‘does the monitor sound good now?’ If the answer is no, perhaps your house speakers need to be EQ’d again. Once you have matched monitor and house, you can then use the monitor in the sound booth. Remember to apply delay to the monitor channel so you have both signals in phase with each other. One more word of caution. Keep the level as low as possible. The presence of the monitor speaker

Use of headphones at this distance for effects and EQ adjustments is critical

Fight tooth and nail against this. This is commonly found because there is a misconception that a recording studio where the sound equipment is isolated from the performers and a live sound venue are the same. It simply does not work that way. If you must mix from a remote or sealed room, follow these guidelines. 1. Use a high-quality monitor system exactly matched to the response of the house PA. 2. Make sure you have a reference microphone in the room that you can listen to for feedback, strange sounds, etc. Set it up for easy access to solo functions so you can listen to it alone – and


Every week, pray then beg your worship leaders to put the mixer in the house. Finally, take a good hard look at updating your mixer to one of the new generation of digital mixers. Nearly all of the new digital mixers appropriate to a house of worship have Wi-Fi capabilities that allow remote mixing using an iPad or other touchpad-based surface. With this capability, you can sit anywhere in the congregation and mix the house without the need to be at the booth at all. Imagine mixing and sitting with your spouse sharing worship in fellowship with your friends. If you choose this route, build a separate network with a secure router using

Use of a monitor is not the best solution and must be managed carefully. Done properly, it can work should not be heard by the people in the seating close to the booth. If they hear both, the audio from each source will be out of sync and out of phase, reducing the intelligibility and once again violating Rule #1. Be sure to place an unamplified audience microphone in the seating area so you can accurately monitor levels to avoid excessive SPL. The scenarios described above are both solid working scenarios. In some cases, however, the architect, or the worship leaders, put the sound people in the worst place possible – a ‘sound booth’ where the operators cannot directly hear the sound – or (yes, there is worse) – a separate room in another location.



quickly. This microphone is for monitoring only and must not be in the house mix. Make sure you have a reference microphone in the room tied to SMAART or other analysis software – you must keep a careful watch on the spectral content and the levels. Establish acceptable envelopes with the software to avoid exceeding spectral or level limits. Measure and know (as in understand) the time delay or latency in the system. If it is a digital system, it will have impact on some of your mixing decisions.

a managed switch. Carefully guard the password and do not make it a public network. Hide the SSID so the mobile phones and laptops cannot see it. Keep it off the internet. By keeping this network secure and secret, you can be assured no one can easily hack your mixing system or overwhelm it by streaming the big game during a service. Placing your sound booth in the right location can help you follow Rule #1, enhancing the worship experience for your congregation and also for yourself (remember, you are there to worship as well). Consider your options carefully, stay in the sound field and stay out of the visual domain. Be blessed and mix well.

1/4 horizontal ·



May–June 2019 WORSHIP AVL 41


Tips for directing dynamic live video First things first, make sure your camera operators have removed their lens caps … house of worship, only to cut to that old PTZ at the back that adds an awfully grainy filter. Its poor quality will be all the more noticeable in contrast to the other cameras. Another tip to help ensure the same level of quality is to try to stick to cameras from the same manufacturer and, where possible, try to keep to the same models for complete consistency.


Image courtesy of Action Church

WHEN CAMERAS EMPLOYED IN houses of worship were used purely for image magnification (IMAG) purposes, you could almost get away with presenting video from a static, single-camera setup. After all, a live audience has the benefit of being able to switch between the big screen and their own, live view of the service at will. However, with the dawn of online streaming allowing houses of worship of all shapes and sizes to begin broadcasting their services to the masses at home, a multicamera setup becomes pretty much essential, as a single shot will begin to bore those tuning in. When eyes start to wander, camera cuts keep attention. It’s why all live television shows employ several cameras, each offering a new angle and with various zoom distances. When moving to a multi-camera setup, a member of the AV team will need to step up to the plate as director. Here are some tips to get started.

Plan Bring your team together – camera operators, vision mixers and anyone else involved – to make sure everybody is on the same page. That includes agreeing a set of commands and what they mean, so that everyone knows exactly what to do when the director issues an instruction during the production.

42 WORSHIP AVL May–June 2019

Everyone should also be made aware of what their roles and responsibilities are – for camera operators in particular, this should include a list of shots and angles within each of their remits, to both ensure you get everything you want from the shoot and that nobody is doubling up, getting more or less the same shot.

Rehearse Once everybody has a clear idea of what they’re doing, it’s time to get some practice in. Just as those appearing in front of the lens will rehearse, whether it’s a worship leader going over a sermon or a praise band running through their set, those of you behind the camera also need to practise. Rehearsals not only provide your crew with the opportunity to get to grips with the plan laid out, but also expose any of the plan’s shortcomings. For instance, you may realise that a particular shot has been missed during the run-through. You may also discover that it is physically impossible for Camera Operator A to be able to pull off shots X and Y during the production, and that it actually makes more sense for Operator B to take shot X. If possible, try to schedule your rehearsals to coincide with runthroughs of the service or event that your subjects – the worship leaders, band, etc. – will be conducting.

This way, you can get an idea of what is possible and make any tweaks necessary to capture the performance onstage. Rehearsing also allows the crew to get familiar with their equipment.

Equipment Equipment of a higher standard will typically result in video of a higher standard. What’s more important is making sure that everything, particularly the cameras, are of the same level of quality. That means if you’re running an HD programme, be certain that everything is capable of handling HD. There’s nothing more painfully obvious than when one camera in the fleet is not up to the same standards as the others. Imagine switching between various crystal-clear shots from around your

Image courtesy of Action Church

Communication is key throughout the entire process, from planning to production. Adopt a good comms system so that operators and other team members will be able to receive your instructions loud and clear. But communication shouldn’t just be limited to the video crew. Establish a strong link between the worship team onstage, the lighting technicians, the audio engineers and anyone else involved in the service so that every aspect of the production runs smoothly. Incorporate this into your planning.

Final tip Always have a camera set up to provide a long shot of the entire sanctuary. Not only does this work as an establishing shot, setting the scene for those watching at home, it also serves as a fallback shot when the rest of the camera operators find themselves scrambling to frame and zoom into their next shots simultaneously. Just make sure the lens cap has been taken off.



Controlling reverb at Our Lady of Good Counsel We asked Bill Mitchell, technical director at Manchester Christian Church, how he directs live video

and ControlSpace processors, to USA: Our Lady of Good Counsel direct speech directly towards the Church in Moorestown, New Jersey congregation and away from the dates back to the 19th century; the reverberant surfaces up high. building is listed on the National Seven MSA12X loudspeakers are Register of Historic Places and mounted on the sanctuary’s columns features supported How soaring wouldceilings you describe – six facing the congregation and one byhigh-performance tall pillars. These featureslive create video? It’s about assisting the stage performance that’s happening, whether you are doing IMAG for the venue or streaming to the internet. Live video is designed to show what’s happening and transmit the energy from the stage to the screen.

What sets Manchester Christian’s video apart? We produce high-quality video with a volunteer team. Most of our camera operators are under 18 and all but me are volunteers at every position. We have created a culture of ‘no fear of failure’ so that we can experiment and try new things.


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on the front column that serves as a monitor for those on the altar. A ControlSpace ESP-1240 processor, controlled via a ControlSpace CC-64 wall-mounted control panel, manages the system. In addition, the choir loft at the rear of the church has also been equipped with a new sound system. The choir’s own PA system comprises a pair of Bose Panaray 402 Series IV Manchester Christian Church’s Bill Mitchell provides direction arrays driven by acamera PowerShare PS602 during rehearsals amplifier. A pair of Bose FreeSpace How many cameras do youDS-16 use?loudspeakers are used as monitors for the choir. We operate four Panasonic HPX floor cameras, one roving Canon ‘Speech intelligibility had XA35 been camera and one Marshall POV camera. aIt’s important to match problem for some time,forascolour had and image consistency. achieving even coverage,’ explained Kevin Whitaker Jr, operations Do cameras need to be top-of-the-range? manager at Whitaker Brothers North. ‘The existing sound system was 12 The camera can be new, old, top-of-the-line used. only matters on yearsorold, andIt there were substantial operation. There will always be new stuff. And never stay at the gaps in you’ll its coverage, front-to-back leading edge of the wave. Every cameraand hasleft-to-right. trade-offs. high reverberation, which, while ‘The Panaray MSA12X came along How to often does yourhavoc camera crew rehearse? pleasing the ear, can wreak at just the right time – we needed the for intelligibility when reinforcing kind of coverage it could provide but We rehearse weekly. And song and work on being speech. Therefore, when thewe plan everywe also had to keep the speakers intentionalpresented on many of our during shot plans. mounted higher on the columns, for opportunity itself a building renovation project, the aesthetic reasons. A typical linear Howhired do AVyou communicate with thehave crew church systems integrator array would hadduring to have been Whitaker Brothers North to design installed at a lower level, which would production? and install a new sound system. have interfered with the look they Headsets, yelling, Panaray sign language. Anything to make sure they know what’s Bose Professional wanted to achieve.’ beam-steering MSA12X loudspeakers form the core of the new sound setup, along with the manufacturer’s FreeSpace speakers

contractors and system integrators. Meeting the demands for smart audio installations that elegantly fit into any décor, we provide solutions ranging from complete pro audio systems all the way down to the mounting hardware, wires and connectors. Right from the planning stages, we support your commercial projects with individual consultation, comprehensive service and attractive pricing so you can maintain your competitive edge. Of course, our expert assistance continues long after the successful completion of your installation. Visit and discover what our full-scale offering can do for you!

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The base, mounting frame, wiring and electronics of a Chauvet F4 video module

Removing one of the four LED arrays from a Chauvet F4 video display

Video display walls

Though one of the selling features of video display walls is their minimal maintenance requirements, Frank Wells shares that there’s a key service task to undertake CLEANLINESS. THAT’S JOB ONE when maintaining modular video display walls. The biggest reason that cleanliness is important is that a buildup of dust on the face of a video display will degrade performance. It’s an obvious concept; the thousands upon thousands of LEDs that make up a common display are the light sources. Anything between the viewer and that light source will interfere with the transfer of light. As dust and grime build up on the surface over time, the light transfer from the display to the viewer’s eye will gradually be less efficient. Turn off the system before you begin cleaning. As often discussed here, an important thing to avoid when cleaning electronics is to have the cleaning process drive dust and contaminates further into a device. A dust cloth can clean, but can also push dirt into any crevices or the small gaps between panels. The same goes for cleaning with compressed air. A soft bristled brush is often recommended to dislodge dust on surfaces, though that can send dust and dirt airborne to just settle again on something else that will then need cleaning. Using a brush in combination with a vacuum is best, though that can be logistically challenging on tall displays. Once the bulk of any dust buildup is removed, the display surface can then be cleaned with a soft cloth, which can be dampened with water, or a mild soap and water mixture

44 WORSHIP AVL May–June 2019

The modular construction of a PixelFlex NXG3 video panel if necessary. Never use abrasive chemical cleaners. You may have to follow the soap mixture with water to clean off any soap residue. Never spray the display surface directly, and never soak the cleaning cloths to the point that they might drip. Always give the display sufficient time to dry completely before restoring power. Modern videowall displays are modular, with a mounting frame housing wiring, drive components and power supplies, fronted by LED panels. Service access to the inside of the displays can be from the front, the rear or both, depending on the design. Front service displays are used more commonly as they can be mounted to existing walls without the need to access the rear of the display. LED panels are commonly magnetically mounted, and a handle equipped with a suction cup can be used to remove panels. The electronics and power

supplies are often fan-cooled, and air movement can draw dust into the housing. Over time, airflow and cooling can be impeded by dust buildup, which can lead to premature component failure. As with computer maintenance, contaminants should be removed with a vacuum – loosening stubborn buildup with a soft brush while vacuuming. High-humidity climates may result in the need for more frequent maintenance, with a greater tendency for dust to become grime. When starting to develop a maintenance schedule, check the surfaces twice a month until the pattern of buildup is known. Check the interior of the panels less often, maybe every two months to start, until the pattern of need for this deeper cleaning becomes apparent. The advice of the manufacturers of display systems should be sought for additional, product-specific guidelines for maintenance.

Aside from the physical cleanliness of the system, there is not a lot of maintenance to be done on video display panels. The calibration of panels for equal display brightness is software-driven, though any deeper calibration than automatic functions will not be something an end-user should undertake. The user can monitor performance – display single colours on the array and see if individual panels stand out as brighter or dimmer than those surrounding them, or if the displayed colour seems off on individual panels. Such anomalies can hopefully be corrected with calibration. Again, consult with the manufacturer for details on what can be accomplished by the end-user. Finally, corrective maintenance can be done by capable end-users. A defective panel can be replaced by taking it out, disconnecting a cable and popping a new panel in (with a panel of a matching LED lot number – all LEDs are not equal, and displays are graded so their performance will match). Electronics modules can be similarly replaced. Replacements should be followed by calibration. Remember, safety first. The higher that display elements are mounted, the more any maintenance requires safety consciousness. Hopefully, the display installation planning considered service, including the possible need to move in a people lift or other method of getting the maintenance worker to the top reaches of the display.


From tungsten to LED With tungsten fixtures on the way out in several territories, how well can LEDs do the job? We asked ETC’s Rory Fraser-Mackenzie

The Source Four LED Series is an alternative to the tungsten ellipsoidal THE QUESTION OF HOW FAITHFULLY modern LED lighting fixtures can replicate the output of traditional tungsten bulbs is not a new one. But in light (pardon the pun) of the emergence of legislation in several territories to ban tungsten – most notably by the European Union (EU) – and the transition to more energy-efficient LED bulbs, the debate is timelier than ever. Furthermore, big advances have been made by manufacturers in recent years in regard to the quality of light from LED fixtures.Stage lighting products are not exempt from the tungsten ban in the EU, and they’re usually not upgradable with a simple bulb change. This leaves some houses of worship in a predicament. Regardless of whether your ministry wants to replace these

ETC’s Rory Fraser-Mackenzie

46 WORSHIP AVL May–June 2019

fixtures or not, or whether you’re based in a territory phasing out tungsten, if changes or replacements need to be made, it’s a sensible choice to transition (slowly) to an all-LED lighting rig. One company that’s focused its attention heavily on this topic is ETC, so we asked European market manager, Rory Fraser-Mackenzie, about ETC’s current thoughts on this topic.

Should LED fixtures replicate the output of traditional lamps? Lighting designers and end-users want lights to behave in a way that they are familiar with, particularly in

regard to fade performance, colour rendering and brightness. Not all sites switch to a full LED system at once, which means that LEDs will often be operating alongside tungsten fittings. So it’s important they work similarly and to ensure any new LED fixtures you are adding to your installation have the right features to work well with tungsten so they look similar. Adding some 5,600K daylight fittings into a room predominantly lit with tungsten might not give you the intended effect.

What tungsten attributes are ETC trying to replicate? ETC works hard on the spectral makeup of the light output so that the objects being lit look ‘right’ by paying particular attention to how skin tones are rendered and also how architectural finishes and fabrics appear. Additionally, as a tungsten lamp is dimmed to a low level, its colour temperature changes and it gives off a warmer glow. ETC includes technologies in our products that can mimic this change; we call this feature ‘Red Shift’ or ‘Fade to Warm’ and it’s particularly important in white light sources and in environments where lighting is faded out slowly, or set at low intensities.

Our work in the theatre and enter tainment markets also requires us to produce luminaires that dim beautifully without flickering, stepping or snap changes in level, and we use this experience in the development of all our luminaires. In addition, our fixtures are designed to have similar form factors to traditional tungsten luminaires; they can use the same optical systems – lenses, etc. – as our tungsten fittings, and in similarsized fixture bodies so they can be installed in the same locations as traditional luminaires to make the switch to LED easier.

Which attribute is the most difficult to replicate? The quality of the light output is still the biggest challenge. This used to be measured using CRI with tungsten bulbs, but the industr y has now shifted to using TM-30 (IES TM-30-15) to assess the LED light quality on skin tones and the objects being lit. Good dimming is also still hard for manufacturers of LED luminaires, but our work for the theatre industr y means we have lots of experience.

TECHNOLOGY Are conventional fixtures still superior to LED in any area? When very bright white light is needed, or very high rendering quality, the best option is still an incandescent fixture for the time being.

In what ways is LED superior to traditional lamps? Additive colour mixing of LEDs not only gives much higher efficacy (lumens per watt) but also finer control of the output. LED luminaires allow you to tune the output as needed, adjusting the colour temperature or quality of light without changing the source. There is a lot of research happening at the moment focused on human centric lighting that indicates that there may be medical benefits from adjusting the colour temperature of the lighting around us at different times of day. Having tunable luminaires then becomes a desirable proposition beyond just aesthetics. LED fixtures also boast a much longer life span (25,000–50,000 hours) and their

Desire series wash lights – a series of LED wash lights integrating ‘Red Shift’ technology to replicate the colour temperature change of dimming incandescent bulbs increase in efficiency means less heat is produced, which can reduce the need for HVAC, saving further energy costs.

Colour matching aside, what are the drawbacks of mixing bulb types? Some LED fixtures don’t fade well, or their fade performance is

very different to how a traditional tungsten fitting dims, either by having a different curve – i.e. the brightness falls off at a different rate, often with snap changes in levels or flickering at some intensities – or not changing colour temperature at low intensities. LED fixtures may also require different power or control infrastructure to conventional lamps, so having a mix may be more complicated than just matching the light output. ETC’s ThruPower products (which can be both traditional dimmer and switched power at the flick of a switch) were designed with this in mind, allowing installations to move to LED over a period of time.

Could LED fixtures replace tungsten lamps completely? Yes, probably. It’s almost happened already and regulatory changes like the EU’s Ecodesign regulations are only accelerating the change. There is also still room for improvement with LED fixtures. Advances in thermal management will allow for smaller, brighter fixtures, and the reduction in heat will remove the need for fans, making them

quieter. OLED technology will allow for more complicated shapes of light source, allowing for complex curves and large, diffuse, flexible panels.

Source 4WRD – an LED retrofit module to replace the tungsten lamp in a traditional Source Four ellipsoidal There has been a lot of scientific research into OLEDs over the past few decades and it’s already making its way into commercial products, particularly in situations where no other light source will fit. It’s definitely a technology to look out for.


May–June 2019 WORSHIP AVL 47


Wireless microphone systems We asked René Mørch from DPA Microphones and Sean Meagher of Samson Technologies about wireless microphone systems How do you define a wireless microphone system? René: A microphone connected to a transmitter and a receiving unit, offering one or more channels. Sean: A wireless microphone system transmits audio from a microphone transmitter to a receiver, eliminating the cable from the signal path, allowing live per formance freedom.

What do wireless mic systems consist of? Sean: There are three main components: the microphone, the transmitter and the receiver. The microphone can be integrated into the transmitter. The most common [setup] is a handheld vocal microphone and transmitter, but Samson also makes transmitters that are integrated into headset and single earset mics as well. René: Everything that isn’t a wire. Basically, it consists of a transmitter, receiver, antenna distribution units (assuming they are not integrated), antennas and a remote GUI – for example an iPad or a PC – so you can control it.

René Mørch is a product manager for DPA Microphones

Sean Meagher is the director of marketing at Samson Technologies

them. Also, if you are using a headset microphone or a lavalier, you have your hands free, so you could be doing other things such as holding a book. Another advantage, especially with headsets, is that your tone of voice doesn’t change because the microphone is always the same distance from your mouth.

system that ensures no dropouts or inter ference, you will pay more. Also, wireless spectrums can get cluttered and a frequency that might work in the morning won’t work later in the day when the nearby theatre turns on its wireless system and starts occupying the space. This can result in inter ference and you may even end up broadcasting each other’s sound. Look at a spectrum analyser to find the spot that has the most space. An inexpensive unit doesn’t have this feature but simply suggests appropriate frequencies to use, where it detects less nearby

What are the drawbacks? René: They are more expensive but you do get what you pay for. Security, for example, comes with a price tag so if you want a

What are the advantages of wireless? Sean: Wireless mics give the live per former freedom to roam without being tethered and it reduces the clutter of running cables all over the pulpit. There are also multichannel systems that can have two or four receivers in a single unit with a mixed output, reducing the number of mixer inputs needed for multiple per formers. René: The person using it can move wherever they want without being constrained by a physical wire. For preachers, this means they can easily interact with their congregation and get closer to

48 WORSHIP AVL May–June 2019

traffic. More expensive digital systems now offer a frequency hop feature that automatically shifts you to a clearer frequency. Sean: Wireless systems use batteries that need to be replaced or recharged. We recommend installing fresh batteries (or fully charging the system) before each session to ensure optimal per formance. They also have ranges from 100–300 feet depending on the type of system and RF (Radio Frequency) environment; once the per former goes out of range, the user can experience dropouts.

What is the frequency spectrum and its restrictions?

DPA’s 6066 Subminiature headset microphone

Sean: Transmitters and receivers must always operate on the same channel. Where multiple transmitter/receiver systems are used, each must operate on a different channel. However, there are limitations as to how many systems can be used at any one location and which frequencies can be used by each system. This is due to the problem of intermodulation, where one radio signal can distort another through the introduction of new, unwanted

TECHNOLOGY RF signals. When using multiple systems, follow a channel plan from the manufacturer that is designed for multiple systems or perform a wireless frequency scan to find the clearest operating channel, if the system has the feature. Understand what frequency bands are legal to operate wireless microphones. A number of previously legal bands in the US have been auctioned off or designated for other use by the Federal Communications Commission. When using multiple wireless systems, be aware of what frequencies might be problematic because of nearby TV stations. René: Seek information and/ or professional guidance to fully understand the restrictions in your area. Maximise your investment by making sure your system is upgradable and will therefore last for more than a year or two, especially as governments often introduce frequency alterations to free up space for other businesses.

and that you have invested in the best microphones you can afford, because the microphone is the start of the audio chain and, if you don’t pick up great audio to begin with, it is never going to sound good. Most modern wireless systems offer decent quality and the higher-end systems are almost on par, in terms of audio quality, with wired solutions. Your microphone should be fit for purpose, both in terms of its physical

appearance and also in terms of the electrical and acoustical inter face to the transmitter. It is important to match the sensitivity of the microphone, its self-noise and its maximum SPL handling to the capabilities of the transmitters. The dynamic range of a goodquality transmitter is typically higher than the microphone’s capabilities so, to get the best from your wireless system, you need to establish proper gain structure and set the correct

What else do HOW technicians need to know? René: Make sure your system can cope with high-quality microphones


Samson’s XPD1 lavalier

input levels between the transmitter and the mic. Sean: In large, multichannel wireless systems, technicians can greatly simplify antenna connections with the use of a passive antenna splitter or an active antenna distribution amplifier. They allow multiple receivers to share the same pair of antennas (though each receiver must still be tuned to a different channel), thus facilitating faster, more compact setups by reducing the number of antennas. Many antenna distribution amplifiers also serve to increase the active range by adding a certain amount of RF gain for a stronger, quieter signal. Another way for techs to maximise the active range of a system is through the use of remote antennas, particularly powered antennas. The purpose of a powered antenna is to improve receiving sensitivity while at the same time reducing inter ference. By using remote antennas, the receiver can be placed almost anywhere (within reasonable limits dictated by your cabling); for example, near the audio equipment so that the sound engineer can have immediate access to it if adjustments are necessary during per formance.

Digital Hybrid Wireless®

wireless microphone channels



Venue 2 Modular Receiver Three receiver modules on each side of the mainframe can be positioned as needed for frequency selection and linked for ratio diversity reception.

rack space


• The Venue 2 mainframe includes an antenna multicoupler with a loop-thru so you can add up to two more mainframes and run all three of them from a single pair of antennas. • 7 different transmitters are available in miniature, body pack, hand held and plug-on configurations. TM software is available for free download. • Wireless DesignerTM

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Video terminology 101 In this issue, we take a look at some essential video terms for beginner videographers

MASTERING VIDEO FOR RECORDING your house of worship’s activities is one of the most power ful ways to share, captivate and engage your congregation but it’s a field that demands lots of practice – not to mention its own vocabulary. For ease, the most essential video terms have been broken down here into four specific categories: video editing; angles and special effects; colour and lighting; and video formats.

STORYBOARD: a stor yboard is a term commonly used in vir tually all creative production fields, from creating adver tisements to film documentaries. It consists of drawings that illustrate all of the scenes in your production video, from star t to finish. It’s a really organised way to visualise what needs to be shot or animated, and can be a reference point so that all involved in a video production understand the order in which the stor y needs to be told and how it needs to look.

Video editing terms A SPLIT EDIT: this phrase is used to edit the video and audio portions of a clip separately so that they start or end at different times. For example, you might want to use audio cross-fading so that the audio can lead in or fade out independently from the cut in the video. ROLLING EDIT: the rolling edit is another common edit trick, where you can adjust and trim two adjacent clips. When you roll the cut point between the adjacent clips, the durations of the two clips are adjusted to keep the overall programme duration unchanged.

50 WORSHIP AVL May–June 2019

JVC’s GY-HM200HW 4KCAM live stream video cameras were used to record a live concert at Springs Community Church B-ROLL: this is probably the most commonly used of video terms and ultimately means additional footage. Having spare footage gives you more flexibility and creativity to tell a story. It should nearly always be considered as part of your HOW video footage plan as it can ensure smoother scenes, particularly if your main footage is patchy. It can also create more variety in your videos and help set the scene. Artfully mixing in B-roll with your main footage can also help you create the visual illusion that time has passed, or that a location has changed.

MARKER: this is essentially a bookmark, where you can mark a specific timecode in a video sequence. It’s a very important tool for keeping track of changes, events or synchronisation points in a longer sequence. SHOT LIST: a shot list is a checklist of all the shots that you want to include in the final production. By planning shots ahead of a shoot, you can be more efficient with your time and the video equipment you may be renting, which can save your HOW both time and money.

A/B EDITING: a popular style of video editing in which you edit clips together in pairs, typically A and B with a transition from one to the next. This style is par ticularly useful for assembling a programme with a simple dragand-drop convenience. Singletrack editing, on the other hand, is a style of editing in which the timeline is condensed to a single row per track. CROP: frequently used in editing still images, a crop means to make an image physically smaller by trimming away one or more edges. This reduces the dimensions of the

TECHNOLOGY image and reduces the size of the computer file. TRIM: unlike a crop, a trim means you are completely cutting out a segment of a clip by removing frames from the beginning and/or end or adjusting the in or out points of a clip to identify the portion to be used in the final production. POSTPRODUCTION: any video production activity performed after the main recording of a video is classed as postproduction – from editing to the addition of background music, narration, sound effects, titles and various electronic visual effects.

Angles and special effects There are several video effects and tips you can use to enhance the viewing experience of your congregation, from filters to building up moving lights and haze on a stage, depending on how sophisticated your video editing software and stage setup is. Some of the most popular effects now include split screen, fast motion and jump cuts. MOTION BLUR: the effect of tracking a speeding object and blurring the background because of the motion is a well-known effect but one that can create a really strong impact, with minimum effort. ANIMATE: used to describe movement and manipulation of an object over time, such as a title, a superimposed logo or a transition between frames. KEYFRAME: this is used to record a point along a timeline that defines where and how the settings for an effect will change. One or more settings can then be interpolated from keyframe to keyframe to create the appearance of a smooth change over a series of frames or along a motion path. SCALE: scale is something that you will need to play with in order to reduce or enlarge an image or video sequence by squeezing or stretching the entire image to a smaller or larger image resolution. FILTER: filters are a layer or several layers that are applied to a video or audio clip to enhance it or create a visual or auditory effect. GRADIENT: this is the gradual change from one colour (or intensity

An example of a HOW video control room with PTZ remote video camera control and a Blackmagic Atem 1 ME switcher level) to another. Gradient colours can also become opaque or transparent, var ying in translucency from one side to the other. WIDE ANGLE: wide-angle lenses have shor t focal lengths with respect to the body of the lens. These lenses include more of the subject than a normal lens of the same size at equal distances (away from the subject). Be aware, if you are using a wide-angle lens when filmmaking, your subject may appear distor ted. PAN AND ZOOM: this is when you slowly zoom into your subjects and pan from one subject to another, and is mostly widely used when video footage is not available. It is other wise known as the Ken Burns effect, who was a documentar y maker. A classic example of pan and zoom might be used to look back in histor y by zooming into an old static photograph and moving across the image to create movement in the video and keep the viewer engaged.

Colour and lighting ASPECT RATIO: this is a useful term to understand how the width and height of your video relate to each other. It is the ratio of the width to the height of an image or a screen, so it makes no difference what the size of the picture is.

WHITE BALANCE: a proper white balance is characterised by the whites in an image truly being the colour white. For instance, in an improper white balance, the whites may have tints of yellow, green, red or some other colour. White balance is the process of gathering the accurate colours for the light that is available. Your camera may come with a white balance menu and an auto white balance feature. Colour temperature is measured in the unit Kelvin and the scale ranges from cool to warm. Colour temperature refers to the visible light in a shot and needs to be controlled depending on what effect you wish to create in your production. THREE-POINT LIGHTING: this is where three lights are set up in a way that eliminates the majority of shadows to balance the image and have appealing contrast. These three lights are commonly called fill, key and backlights. LUMINANCE: this refers to the black and white por tion of a video and represents picture contrast and brightness. Gamma – a display setting related to the brightness of the middle tones of an image – is another setting that can be adjusted to manipulate an image’s colour or appearance. You can adjust the gamma of an image to lighten or darken the mid-tones (the mid-grey levels) without

significantly changing the dark and light areas.

Video formats There are numerous video formats, ranging from DV – a digital video tape and compression format – to PC formats such as FireWire, and multimedia and streaming formats such as QuickTime and RealMedia. Other common video file types include Microsoft programmes such as Windows Media Video, known as WMV. Another video format you will come across, which has gone through several versions, is MPEG. Defined by the Moving Pictures Expert Group, this multimedia file format was originally designed for use on CD-ROMs and has now taken on several more advanced versions – namely MPEG-1, MPEG-2, MPEG-3 and finally MPEG-4 – and is a digital multimedia compression format that works for all video, audio and interactivity and can be used for web and wireless video streaming. Compression refers to the storage format of your media. For video, motion-JPEG is often used. Compression is likely to be referred to as ‘lossy’, which means that the original picture or data cannot be reconstructed exactly. The video format you choose will depend on the video equipment you use and how you wish to distribute your house of worship content across your platforms.

May–June 2019 WORSHIP AVL 51


Three Canon EOS C200 EF cameras and a Canon EF 70–200mm f–2.8L IS III USM cinema lens were used inside the Cathedral of the Good Shepherd Country in Singapore

Through the lens

With an abundance of camera lenses on the market, Ledetta Asfa-Wossen looks at what to consider when choosing a lens SELECTING THE RIGHT LENS FOR your video camera comes with a long list of complexities, depending on your HOW’s priorities. Add to that competing trends, from 4K to AI, and it’s hard to keep abreast of the many lens options for shooting highquality video for your audience. Here are some of the factors to consider before embarking on one of your most significant media investments.

saves them time and effort, enabling them to spend more time on the creative process,’ adds Yi Ci.

A friend in autofocus

The power of zoom Having the ability to shoot wide and close up is important for many HOWs. Scenes that depict the full capacity of the congregation, as well as close-ups of the proceedings, are crucial in communicating a message to audiences. As such, a video camera with a good zoom range and a wide angle is incredibly useful for allowing HOW teams to achieve more impactful coverage. ‘Due to the stately and often majestic sequences of religious events, a smooth servo zoom lens is a huge advantage during important moments where the media team might decide to zoom in while being

52 WORSHIP AVL May–June 2019

A Canon C300 Mark II camera with compact-servo lens was used by Eastside Baptist Church in Marietta, Georgia live in order to capture a better closeup. Not only must the servo operate smoothly, there must be enough speed, ensuring that when camera operators are reframing, they can do so quickly without losing time,’ explains Low Yi Ci, marketing and business development executive for video and cinematic camcorders at Canon Singapore.

As many HOWs employ volunteers, cameras fitted with fast, intuitive but simple ergonomics are crucial for allowing volunteers to get up to speed with a camera quickly and achieve the best footage possible. ‘Not only is this useful for volunteers, the in-house professional teams will also benefit when cameras are easier and faster to operate as it

Another factor that can pay dividends is a solid autofocus feature, says Yi Ci, particularly with lighting being an issue in many older worship buildings. ‘In low light situations, having a video camera with good autofocus performance is extremely helpful as there will be less instances of focus hunting. In certain models of video cameras, there will be manual focus guides that will assist users in achieving accurate focus. All of these tools are absolutely essential for the execution of good video coverage in a house of worship and enable greater immersion into the experience.’ While some guidance on selecting the best camera lens for shooting film can be fairly consistent, Jason Tay, assistant manager of the broadcast and cinema lens department at Canon Singapore, is keen to say that priorities vary on the type of venue. ‘For HOW venues, the

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BUYING GUIDE first question I usually ask customers is how big their venue is; where the cameras are going to be positioned; and if they have any special requirements – such as robotics or a virtual system. Once you have that information, you can do a more detailed lens calculation and recommend the type of lens based on the budget and required features for that worship space.’

THE CHECKLIST: FIVE TIPS FOR SELECTING THE RIGHT CAMERA LENS 1. What is the purpose of the electronic image? Lens use ranges from a fixed image for webcasting to image magnification and more complex uses such as live concert programming.

Price matters Bret Shisler, south central regional sales manager at Fujifilm, notes that while a sophisticated camera lens is not necessary for every house of worship, price is more often than not an indication of quality when it comes to camera lenses. Another point to consider is that lower cost cameras may or may not have a removable lens, according to Shisler, also a number of the lower cost cameras have 1⁄3-inch or 1⁄2-inch imagers. ‘Although some of these cameras make good quality pictures, the selection of lenses can be limited. The 2 ⁄3-inch imagers will offer the greatest camera/lens combinations and largest variation of choice,’ he adds. ‘If a cinematic image is more desirable, the camera will likely have a larger imager. The larger lens mounts include PL, E and EF mounts. Generally, the larger imager lenses have smaller zoom ratios, making placement of cameras a greater consideration. A simple, reasonable quality, fixed lens can be purchased for a few hundred dollars and can provide users with the most baseline image usage. On the other end of the spectrum, a 2⁄3-inch B4 mount 100+ x zoom lens has a list price north of $200,000 (US). Then you have the availability of something like the large zoom ratio PL mount lenses, which are very complex internally and can carry a price tag in the $20,000$30,000 range. The bottom line is – you get what you pay for in these cases. The simple lens may contain as few as four or five different pieces of glass. The large zoom lenses, on the other hand, may be comprised of as many as 45 different pieces of glass and are an incredibly complex design.’

An HDK-79GX camera mounted with a Canon lens HD is still the standard for many HOWs, particularly across emerging countries. Whether you opt for a 4K camera lens or not, it is worth noting some of the popular misconceptions. ‘One of the most common myths around 4K,’ notes Shisler, ‘is that if you have a 4K camera, the picture quality will automatically be 4K. The image may indeed be in 4K format, but the resolution and colour space will be less than optimal with an HD or older lens. While some of the higher-quality 2K lenses will provide 4K resolution in the centre, it is extremely unlikely that the corners of the image will experience the same resolution. Something else to keep in mind is that very large imagers provide capabilities beyond 4K. However, while the pixel count may be far beyond the standard count of 4K, if the lens does not have the capability to cover the sensor,

the unused pixels effectively go to waste. As technology allows HOW facilities to create larger and brighter images to use as backdrops, the need for, and capabilities of, 4K are expanding. By only using 4K cameras and not 4K lenses, the opportunity to achieve full 4K potential and showcase these remarkable and impactful images will be lost, as the picture quality will be diminished.’ While the trend towards 4K looks to be gaining traction, Tay suggests that the biggest advantage of 4K is ‘not about sharper pictures but the HDR and better colours that come with it. Ultimately, though, when selecting a camera lens, the user has to really evaluate the camera product as a whole – from price to quality and after-sales support.’

2. Will the lens get the desired picture size? In other words, is the size of the lens correct for the size of the desired shot? This depends on how far the camera is from the object it’s shooting, and is usually measured in millimetres, which can be determined using lens calculator software. 3. Will the lens need to zoom and stay in focus? If the lens needs to be refocused because of a zoom, will there be a way to cut away from the camera long enough to correct focus? 4. Does the lens have the ability to change aperture based on lighting? If the main lighting changes, will there be a way to correct the iris to maintain the picture quality? 5. Do you want an image that is of television broadcast quality or do you desire an image that is more cinematic, with a shorter depth of field?

Seeing is believing When it comes to camera lenses, 4K is a term that now frequently comes up for achieving optimum image quality. However, while 4K can offer a 4096x2160 resolution, some experts would argue that

54 WORSHIP AVL May–June 2019

Watermark Community Church in Dallas had production staff using the Fujinon XA55x9.5mm 2⁄3-inch box lens Image courtesy of Jack Mayo, Jack Mayo Films

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The The XS XS Wireless Wireless Digital Digital vocal vocal set set

Wireless audio made easy Vocalists Vocalists and and instrumentalists instrumentalists can can choose choose between between a a vocal set, a lavalier set and an instrument base set vocal set, a lavalier set and an instrument base set AIMED AIMED AT AT providing providing musicians musicians and and videographers with videographers with an an easy easy entry entry into into wireless wireless audio, audio, Sennheiser’s Sennheiser’s XS Wireless Digital XS Wireless Digital (XSW-D) (XSW-D) replaces replaces the cable cable with with compact compact transmitters transmitters the and and receivers receivers that that work work on on 2.4GHz 2.4GHz for worldwide, licence-free for worldwide, licence-free operation. operation. Transmitters and and receivers receivers can can be be Transmitters freely freely combined combined so so users users can can opt opt for for a a wireless wireless link link that that will will protect protect their their existing existing microphone microphone investments investments or or select select one one of of the the fully fully equipped equipped wireless wireless microphone microphone sets. sets. ‘The ‘The series series is is ideal ideal for for first-time first-time wireless wireless users,’ users,’ said said Tobias Tobias von von Allwörden, Allwörden, senior senior product product manager manager with with Sennheiser, ‘be Sennheiser, ‘be it it a a guitarist guitarist who who wants to to move move onstage onstage freely freely or or a a wants content content creator creator who who wants wants to to take take his his or or her her video video projects projects to to the the next next level with with wireless wireless audio.’ audio.’ level The The XSW-D XSW-D uses uses the the aptX aptX Live Live codec. The receivers have codec. The receivers have antenna antenna diversity; the the transmitters transmitters work work diversity; redundantly, redundantly, transmitting transmitting all all data data packages packages twice twice to to ensure ensure reliable reliable transmission. In In case case of of interference, interference, transmission. the the transmitter transmitter and and receiver receiver will will seamlessly seamlessly hop hop to to a a free free frequency. frequency. Audio latency latency remains remains below below 4ms. 4ms. Audio

56 56 WORSHIP WORSHIP AVL AVL May–June May–June 2019 2019

Adamson Adamson ADB Stagelight ADB Stagelight Amphenol Amphenol Apogee Apogee Atlona Atlona Audient Audient Audionamix Audionamix Blue Blue Bose Bose Canon Canon Chauvet Chauvet Chimera Chimera Christie Christie d&b audiotechnik d&b audiotechnik DirectOut DirectOut Dynacord Dynacord Elation Elation Electro-Voice Electro-Voice Epson Epson IK Multimedia IK Multimedia IsoAcoustics IsoAcoustics L-Acoustics L-Acoustics Lewitt Lewitt Magewell Magewell Martin Martin Neumann Neumann Nexo Nexo Panasonic Panasonic Powersoft Powersoft QSC QSC Radial Engineering Radial Engineering ROE Visual Europe ROE Visual Europe Roland Roland sE Electronics sE Electronics Sennheiser Sennheiser Shure Shure Vaddio Vaddio

IE IE 400 400 Pro Pro Up Up to to five five systems systems can can be be used used simultaneously and simultaneously and they they have have a a range range of of up up to to 75m. 75m. The The transmitter transmitter and and receiver receiver units units can can be be recharged recharged via USB USB using using the the included included charging charging via cable cable and and work work for for up up to to five five hours hours on on a single charge. a single charge. In other other news, news, Sennheiser Sennheiser has has In added added to to its its family family of of professional professional IEMs IEMs with with the the IE IE 400 400 Pro Pro and and IE IE 500 500 Pro. ‘For ‘For the the IE IE 400 400 Pro Pro and and IE IE 500 500 Pro.

Pro, Pro, we we have have reinvented reinvented the the single single dynamic driver dynamic driver principle,’ principle,’ explained explained Jannik Jannik Schentek, Schentek, product product manager manager with Sennheiser. ‘Other with Sennheiser. ‘Other in-ears in-ears in in the same same price price range range work work on on the the the balanced balanced armature armature principle, principle, which which we find to be inferior we find to be inferior to to a a wideband wideband dynamic driver. driver. Balanced Balanced armature armature dynamic earphones earphones require require multiple multiple drivers drivers to to reproduce reproduce the the frequency frequency range. range. The IE IE 400 400 Pro Pro and and the the IE IE 500 500 Pro, Pro, The

CS7p CS7p Ocean/Orkis/Oksalis Ocean/Orkis/Oksalis HPT series/Amphe-Dante 2.0 HPT series/Amphe-Dante 2.0 HypeMiC HypeMiC OmniStream update/AT-UHD-CAT-2 OmniStream update/AT-UHD-CAT-2 Sono Sono Xtrax Stems 2/IDC 1.5 Xtrax Stems 2/IDC 1.5 Ember Ember Bose Array Tool Bose Array Tool 4K5020Z/LX-MH502Z/RS-SL07RST 4K5020Z/LX-MH502Z/RS-SL07RST COLORado Panel Q40 COLORado Panel Q40 Pop Bank Small Pop Bank Small Mirage SST Mirage SST KSL System KSL System Prodigy.MP Prodigy.MP Iris-Net 4.0 Iris-Net 4.0 Protron Eclypse/NX 4 Protron Eclypse/NX 4 C4.2LP/C6.2/P6.2 C4.2LP/C6.2/P6.2 EB-L12000Q/EB-20000U EB-L12000Q/EB-20000U iKlip 3 iKlip 3 Stage 1 Isolators Stage 1 Isolators X4i X4i LCT 040 Match/LCT 140 Air LCT 040 Match/LCT 140 Air Pro Convert HDMI 4K Plus Pro Convert HDMI 4K Plus Era 300 Era 300 NDH 20/KH 750 NDH 20/KH 750 Geo M12/MSUB18 Geo M12/MSUB18 LB series/TW series LB series/TW series T Series T Series NV Series (NV-32-H) NV Series (NV-32-H) KL-8 KL-8 Vanish V8 Vanish V8 VR-1HD VR-1HD V Series V Series XSW-D/IE 400 Pro and IE 500 Pro XSW-D/IE 400 Pro and IE 500 Pro MV88+ MV88+ RoboSHOT 40 RoboSHOT 40

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on on the the other other hand, hand, use use a a single single high-performance dynamic high-performance dynamic driver driver that that covers covers the the entire entire frequency frequency range range with with ease, ease, resulting resulting in in a a distortiondistortionfree, detailed detailed and and accurate accurate sound sound free, reproduction.’ reproduction.’ This This single-driver single-driver technology, technology, termed termed TrueResponse, is is said said to to ensure ensure a a TrueResponse, natural, natural, clear clear and and spacious spacious sound sound stage stage with with a a total total harmonic harmonic distortion distortion (THD) as low as under (THD) as low as under 0.08% 0.08% at at 1kHz 1kHz and and 94dB. 94dB. When When the the sound sound is is so so precise precise and and detailed, detailed, the the acoustical acoustical stress for the wearer is stress for the wearer is reportedly reportedly reduced. reduced. With With the the driver driver measuring measuring only 7mm in diameter, only 7mm in diameter, the the IEMs IEMs feature feature a a comfortable comfortable ear ear mould, mould, which is is ergonomically ergonomically shaped, shaped, has has which a a low low profile profile and and is is lightweight. lightweight. They They come come with with silicone silicone ear ear adapters adapters in in various sizes sizes and and special special ear ear tips tips various made made from from memory memory foam, foam, which which expand to fit the ear expand to fit the ear canal. canal. Finally, Sennheiser Sennheiser has has updated updated its its Finally, Control Control Cockpit Cockpit software software to to version version 3.0.0 3.0.0 to to support support the the TeamConnect TeamConnect Ceiling 2 2 microphone microphone and and the the ew ew G3 G3 Ceiling and and G4 G4 IEM IEM transmitters. transmitters.










Axient Digital defies limitations for both RF and audio excellence. With an industry-leading 2 ms of latency*, linear transient response, and wide dynamic range, nothing gets in the way of true, pure sound. Learn more at *From transducer to analog output, in standard transmission mode. Š 2018 Shure Asia Limited



Blue launches XLR microphone DESIGNED FOR the ‘pristine’ capture of vocals and instruments, Blue has unveiled its Ember cardioid XLR condenser microphone for multitrack recording and capturing sound for YouTube video production and live streaming. The microphone features a proprietary, hand-tuned, custom condenser capsule and is said to deliver an open, clear and detailed performance for recording or streaming a wide variety of voices and instruments. A tight cardioid pickup pattern focuses on the sound source and

reportedly minimises room noise for a clean, upfront sound. The streamlined form factor and compact side-address design is ideal for placement in tight spaces. Customdesigned phantom power circuitry and the cardioid polar pattern are said to ensure a consistent frequency response with minimal noise for a ‘rich, smooth vocal sound’. Ember comes with a mount for any standard microphone stand and is also compatible with Blue’s S3 Shock suspension mount and Compass boom arm accessories.

Built-in compression HYPEMIC IS Apogee’s nextgeneration, studio-quality USB condenser microphone with a built-in analogue compressor. The compression feature reportedly makes pro recording fast and easy, reducing the need for extensive processing and mixing after recording. Similar in output to the company’s MiC+, HypeMiC users get accessory upgrades such as a premium desktop stand, custom pop filter and carrying case, as well as all the cables needed to connect HypeMiC to an iOS device, Mac or PC. The three compression settings available in HypeMiC are said to give users a ‘truly balanced and mixed’ recording, reducing the need for extensive processing and mixing. Built for high SPL levels, HypeMiC reportedly provides greater clarity and detail when recording loud acoustic instruments from drums to horns to choirs. Ideal for live

streaming, podcasts and broadcasts, HypeMiC balances audio dynamics for broadcast-ready recordings. Users can also send audio out of the HypeMiC stereo output into a mixer, audio interface or standalone recorder. The compression settings include Shape It, for shaping vocals and instruments; Squeeze It, for podcasts, interviews and streaming; and Smash It, for voice recording.

Lewitt makes a Match AUSTRIAN MANUFACTURER Lewitt has released its ‘most affordable ever’ condenser mic. The LCT 040 Match is available as a single pencil mic as well as a stereo pair package. It has a stripped-back, ergonomic design for maximum positioning flexibility, even in restricted spaces. Inside the compact metal housing, the custom-designed

capsule is optimised with instant transient response for the natural qualities of acoustic instruments. For the LCT 040 Match stereo pair, Lewitt is using a customdeveloped process that analyses the microphones and couples those showing identical behaviour. This is said to introduce new possibilities for users striving for the best stereo recordings of drum

overheads, acoustic guitars and even choirs. Similarly, the LCT 140 Air includes off-axis sound suppression, preattenuation and low-cut filter, while the Sound toggle allows users to switch between a linear response or a more nuanced, ‘airy’ mode for open, characterful recordings.

MV88+ provides a studio on the go SHURE’S MV88+ Video Kit, the latest addition to the Motiv line, features a digital stereo condenser microphone and is designed for the capture of professional recordings on the go. The kit also includes a Manfrotto PIXI tripod, phone clamp and mount, as well as iOS and USB-C cables to ensure compatibility and connectivity with a range of commonly used devices. Based on the design of the MV88 iOS digital stereo condenser microphone, the MV88+ Video Kit has been developed to transform smartphones into mobile audio and video rigs. ‘The MV88+ Video Kit provides multiple configurations straight out of the box,’ confirmed Shure’s

58 WORSHIP AVL May–June 2019

Matt Engstrom. ‘You shouldn’t have to buy half a dozen products to film a high-quality piece of video content one day, and then an audio interview or field recording the next. [The MV88+] gives you everything you’ll need to film in your studio, on-the-go, at home – or wherever.’ A headphone jack allows for audio monitoring and a phone clamp and tripod stand enables recording in a variety of applications. The MV88+ can also be used as a standalone solution for audio capture, negating the need for a separate sound recorder. ‘The included phone mount is also compatible with your

existing setup, allowing you to connect to any tripod with a ¼-inch connector,’ added Mr Engstrom. ‘You’ll also be able to tap into the capabilities of the free Shure Motiv video and audio recording applications.’ Shure has also released version 3.1 of its Designer System Configuration Software application, which supports the Microflex Advance MXA910 ceiling array and MXA310 table array microphones, the P300 IntelliMix audio conferencing processor and the ANIUSB-Matrix USB audio network inter face. MV88+


NewTek for beat 4K UHD sE hits the A VIDEO converter to acquire 4K V KICK, V Beat and V Clamp are UHD video for IP-based productions aimed at the live sound and studio has been launched by NewTek. drum marketsSpark and have been added The Connect Pro instantly to sE Electronics’ V video Seriesatofup dynamic translates 4K UHD to vocal is intended 60fpsmicrophones. directly from Va Kick source into for use with kick drums an NDI signal for(bass) use with any or other large drums low-frequency compatible devicewhere or software with energy is important. integrated near-zero latency andItsreportedly swivel allows for withoutjoint anyreportedly complex configuration any required mic placement, and its or excessive cabling required. The supercardioid capsule provides a portable and camera-mountable sound tailored specifically designcharacter has an HDMI connection for drums, which be further withkick embedded audio,can built-in tally shaped with the usefor ofPoE two to voicing lights and support neatly and high-frequency character switches integrate into any production. on‘Almost the rearevery side 4K of the microphone. device has an V Beat is an ultra-compact HDMI connector, making Connect dynamic intended Spark Promicrophone ideal for getting 4K for signals onto the network quickly.

This helps with cabling, distance and cost limitations, allowing content producers, small and large, to benefit from the advantages of 4K. Even if you are producing and distributing in HD, being able to leverage 4K cameras can give you better quality and lets you do virtual PTZ pan and scan moves simply and easily,’ commented Andrew Cross, president and CTO for NewTek. Other features of the Connect Spark Pro include unicast and multicast transfer modes, web-based remote use with snare tom drums.wired The configuration andormonitoring, capsule provides a natural sound gigabit Ethernet connectivity as well character with off-axis as hardware-based FPGArejection and SoCto minimise technology.bleed from nearby drums and cymbals. The parallel XLR

To the four for L-Acoustics WITH THE launch of X4i, L-Acoustics has created its smallest loudspeaker to date. The unobtrusive, IP55-rated coaxial model weighs less than 1kg and measures only 99mm in depth, yet retains the French manufacturer’s sonic signature of the Arcs and Kiva series. Designed primarily for

fill applications in settings such as houses of worship, the X4i can be discreetly installed in walls, stair risers, stage lips, pit rails and under balconies. When combined with a Syva Sub, the X4i can be deployed for background music applications. The weather-resistant X4i boasts

the drum head to achieve whatever sound character is required. V Clamp is compatible with any snare or tom drum and was designed as a companion to V Beat for snare or tom miking. The elastic clamp reportedly allows set up and tear down within seconds, connects the Panopto serverof while the to height and rotation and registers asmicrophone a remote recorder. the connected can Maevex worksbytogether be easily6020 changed loosening with the VPanopto’s Clamp’s multichannel knob and adjusting video streaming engine allow the position of the rod,toallowing users to watch HD feedsdrum of positioning for dual any desired the and their content tonepresenter or to minimise spill from simultaneously. nearby drums. It offers five different recordings per channel, with all videos automatically published to Panopto’s video content management system, and is said to reduce latency during live broadcasts. Users can schedule arecurring watertight withevents a rear and, ordesign one-time sealing plate, allowing integration for ad hoc video capture, the in challenging environments, front paneloutdoor includes one-touch while versatile mounting pausing accessories controls for recording, and enhance stopping.the X4i’s flexibility of use in a wide range of applications.

Panopto and Matrox join forces VIDEO PLATFORM provider Panopto and appliance and software manufacturer Matrox Graphics have announced the availability of the Matrox Maevex 6020 Remote Recorder, a Panoptoconnector and stand mount are certified media capture appliance. said to give it the smallest footprint companies the inThe its two class, while itsdeveloped swivel mount integrated solution asadjusted the resultso it allows its angle to be of growing market demand can be aimed at almost anyfor part of dedicated, compact and enterprisegrade video capture that requires minimal set up and configuration. The appliance has been purposebuilt for the Panopto video platform and provides HOWs with a plug-andplay set up, multichannel HD video capture and live streaming, nearsilent operation (less than 25dB) and one-touch recording controls. Benefits include a simplified set up whereby the appliance easily

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Adamson is Milan-ready ADAMSON SYSTEMS Engineering has announced a new family of mobile loudspeakers that feature on-board Class-D amplification, DSP and Milan-ready (AVB) network endpoints. The CS-Series builds on the manufacturer’s S-Series and IS-Series. The first member of the family, the CS7p, features the ability to daisy-chain networked audio between multiple sources in addition to an analogue XLR input and output. It contains two 7-inch Kevlar neodymium transducers and a 3-inch

in the CS-Series will simplify complex system deployments by eliminating complications in network infrastructure. ‘With the CS7p and other upcoming CS-Series offerings, Adamson has taken steps to ensure compliance with Milan, but we have also included a fully redundant, daisy-chainable networking topology to ensure that the signal chain is manageable and secure.’

compression driver. The speaker can also be paired to increase horizontal coverage and overall output. ‘The CS7p gives us the luxury of streaming audio over AVB with console manufacturers that are co-authoring the Milan specification alongside their industry peers,’ explained Benoit Cabot, director of R&D at Adamson. ‘In an application such as FOH monitoring, it simplifies the deployment process by allowing users to make a single connection. In the future, the building blocks

GSL gets a sibling

The head of the family

THE KSL8 and KSL12 line array modules have been specifically designed for medium- to large-scale sound reinforcement or for smaller applications such as houses of worship. KSL and GSL modules can work independently or together; they are described as an ‘ideal match’ in terms of tonality, headroom, coverage, planning and deployment infrastructure.

NEXO HAS introduced the Geo M12 line array that will take its place at the upper end of the Geo M Series of sound reinforcement systems. Launched together with the MSUB18 companion subbass cabinet, the Geo M12 is aimed at the mid-sized rental company. Nicknamed the Big Twelve, Nexo sales director Denis Baudier explained that the module is ‘packed with design features that we premiered on the Geo M10, and also benefits from patented technological and structural innovations that derive from our flagship STM Series modular line array’. The Geo M12 contains a 12-inch neodymium LF driver paired with a 1.4-inch titanium diaphragm HF driver. It is available in two vertical dispersions: the 10° Geo M1210 and the 20° Geo M1220. Horizontal directivity is 80° by default for both modules but, by adding an optional Configurable Directivity Device (the Nexo-patented CDD), it can be

Sharing the same vertical directivity, size, footprint, weight, rigging and driver complement, up to 24 KSL loudspeakers can be flown in vertical columns. The 80° horizontal directivity pattern of the KSL8 is maintained down to the lowest frequencies the loudspeaker produces, while the high output capability can cover a distance range of over 100m, depending on conditions. The KSL12 has a wider horizontal dispersion pattern of 120°, which is also maintained over the entire operating range. The KSL8 and KSL12 house two 10-inch neodymium, forward-facing LF drivers and two side-firing, 8-inch neodymium LF drivers. A coaxial mid-high section contains an MF horn with an 8-inch driver and two 1.4-inch exit, 3-inch voice coil HF compression drivers mounted to a dedicated wave-shaping device. SL-Series flying hardware comes with a patented

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workflow with integrated tension and compression rigging modes, allowing splay angles between cabinets from 0° to 10° in 1° increments. The loudspeakers are driven actively by two channels of an appropriate d&b amplifier. One channel powers the 10-inch LF drivers, the second channel powers all other components, which are passively crossed over. This component geometry reportedly

allows for a smooth, crossover design with well-defined overlaps between adjacent bands to provide consistent, even and accurate horizontal dispersion. Due to the arrangement of the front and sidefiring LF drivers, seamless directivity control is reportedly maintained from the lowest frequencies the loudspeaker produces to above 18kHz. The cabinets are constructed from marine plywood and have an impact and weather-protected PCP (Polyurea Cabinet Protection) finish. The front and side panels incorporate rigid metal grills backed by an acoustically transparent and water-repellent fabric. Each side panel incorporates a recessed handle, with additional handles provided at the rear.

changed in seconds to 120°, using a magnetic fixing system. The module measures 370mm x 700mm x 446mm and weighs 34kg. It delivers a frequency response of 50Hz to 20kHz with a nominal peak SPL of 140dB. A protected switch on the rear of the M12 module

allows the user to change the box, on the fly, from two-way passive to two-way active mode, without having to open the box. NXAMP can also be configured on the fly to match M12 in active or passive mode. Although it is partnered by the MSUB18, it shares the same phase response as other Nexo speakers, so it can be teamed with any Nexo sub without requiring complex adjustments.


EV expands Evid family

Keyboard control

The Evid family

RADIAL ENGINEERING has developed its KL-8 keyboard mixing station with pro keyboard players in mind. Up to four keyboards can be connected in mono or stereo, each with their own level controls and LED indicators, along with the ability to bring them in and out of the signal path to keep noisy keyboards muted until they are needed. A stereo aux send/ receive channel is available to feed rackmount reverbs and delays or effects pedals. It can also be used as an additional input for a fifth keyboard or reconfigured to allow an alternative audio source such as a click track to feed the headphones and stage monitors.

Dual ¼-inch headphone outputs are also included for local monitoring and testing. A cue system allows any keyboard input to be muted from the overall mix and fed directly to the headphones to silently check patch settings without feeding signal to the audience. The KL-8 is also a digital interface, with MIDI and USB connections. Redundant USB connections mean that users can have a backup laptop plugged in and ready to go should the primary source fail; this is especially helpful for keyboard players who are also controlling playback for backing tracks during

Both the main outputs and monitor outputs are provided over transformer-isolated balanced XLRs, with ground lift switches to eliminate hum and buzz from ground loops. The main outputs are also transformer-isolated to further reduce noise. Both sets of outputs can also be summed to mono for use with systems that have limited channel availability.

the performance. An optional JR1-L remote footswitch can be employed to switch between the USB inputs. Stereo insert points allow a single volume pedal to control all keyboard outputs, and a link feature can be used to connect multiple units together and expand the KL-8 inputs.

ELECTRO-VOICE HAS introduced three new additions to its Evid family: the C4.2LP, C6.2 and P6.2. The C4.2LP is a two-way, full-range ceiling speaker with a 4-inch woofer and a ¾-inch HF driver. Manufactured for tighter spaces, the low-profile design provides a mounting depth of 3.75 inches. The C6.2 is a twoway, full-range ceiling speaker with a 6.5-inch woofer and 1-inch HF driver. Both ceiling models have the same diameter as the existing Evid 8-inch ceiling speakers. Sold in pairs and available in white, both include a 30W transformer

with an 8Ω bypass option, and are certified UL1480A and CSA 22.2 No. 205 for indoor use. The P6.2 is a two-way, full-range pendant speaker with a 6.5-inch woofer and 1-inch HF driver. Its magnetic grille is said to allow for easier servicing and installation. Sold per piece and available in black and white, the P6.2 also includes a 30W transformer with an 8Ω bypass option, and is certified UL1480A and CSA 22.2 No. 205 for indoor and outdoor use.

DirectOut expands Prodigy series

FOLLOWING THE launch of Prodigy.MC, DirectOut has released a second member of the Prodigy Series in the form of Prodigy.MP, a multifunction audio processor that shares the same 2U mainframe and modular design as Prodigy. MC but adds FPGA-based DSP for EQ, delays and summing matrices. Prodigy.MC is also described as offering greater flexibility in heterogenous systems and

independent clocking by adding SRC capabilities. The unit has four converter slots for analogue line level, microphone input and AES3 option modules, providing up to 32 local inputs and outputs. The hardware also supports two MADI and two Network Audio options. The MADI slots are available as BNC, SC optical and SFP modules, while two optional Network Audio boards can be equipped with Dante, Ravenna (AES67) or SoundGrid, increasing

maximum channel capability to 416 inputs/420 outputs. Both Prodigy.MC and Prodigy.MP can be controlled locally via a 5-inch touchscreen on the front panel or via globcon. Prodigy.MP can also be accessed via its integrated web server, with remote access via HTML and a JavaScriptbased user interface. Third-party, remote-control protocols may also be added for increased system integration and signal management capabilities.

In other news, DirectOut has implemented DO.Net daemon to its EXBOX.MD Dante/MADI interface to allow users to remotely access and control the entire Andiamo Series. DO.Net is a technology based on a multicast system that transmits the control protocol within the MADI signal going from the EXBOX.MD to the connected Andiamo devices and allows users to remotely access and control them over a local network. Once the function is activated and set, available Andiamo devices automatically appear in globcon and are fully manageable from the software along with all other devices connected to the same network. The latest globcon beta introduces source selection (auto/manual) and MIDI triggering to EARS, the automatic input switching function of the EXBOX.MD.

May–June 2019 WORSHIP AVL 61


Neumann’s first studio headphone THE NEUMANN NDH 20 is the said to ensure high German manufacturer’s first sensitivity and headphone and is a closedlow distortion, back model ideally suited so the NDH to monitoring, editing 20 would and mixing tasks, not need a even in loud and noisy dedicated environments. ‘Unlike headphone most other closedamplifier. back headphones, The the NDH 20 is also headband suited for mixing is made of purposes,’ explained flexible spring Wolfgang Fraissinet, steel, while president of Neumann. the ear cup covers Berlin. ‘An unusually are manufactured from NDH 20 flat frequency response lightweight aluminium. and natural stereo image allow Large and soft memory foam ear for mixing with confidence and pads reportedly make the NDH 20 ensure compatibility to all playback suitable to wear for long periods systems.’ The 38mm drivers with without fatigue. The microphone is high-gauss neodymium magnets are foldable for easy transportation.

In other news, the KH 750 DSP is a compact subwoofer ideally suited to smaller venues and is described by Neumann as the ‘perfect complement’ to the KH 80 DSP monitors. It has a flexible 2.0/0.1 Bass Manager to allow the subwoofer to be used in various system configurations. On the back panel, there are analogue and digital inputs and outputs, four routing modes and adaptable acoustical controls. The two analogue XLR inputs are balanced as are the two analogue XLR outputs. The 192kHz/24-bit digital input can accept AES3 and S/P-DIF signals. The Neumann.Control App for iPad gives users access to additional functions. The 10-inch, long-throw driver has a large magnet, linear motor design and a stiff pressed

KH 750 DSP steel basket, while a robust grille protects the driver from accidental damage.

Audient teams up AUDIENT HAS teamed up with CAB simulation developer Two notes to create Sono, an audio interface for guitarists that features an onboard 12AX7 analogue valve and three-band tone control alongside Two notes’ Torpedo power amp modelling and CAB simulation. Users can choose from a wide range of guitar and bass CAB models based on classics such as the Marshall 4x12, Fender 2x12 or Ampeg Fridge, with more tones downloadable from Torpedo Remote if needed. Room type, microphone model and placement can be customised, while presets can be stored in Sono

and played in standalone mode at any time. According to Audient, Sono doesn’t get in the way of creativity. Monitor mix allows blending between the guitar input signal and DAW playback, reportedly

ensuring delayfree recording, playback and monitoring, enabling the artist to stay in the creative zone with none of the latency problems when tracking with software. Sono users are also able to integrate their existing pedalboard.

‘Plug in your favourite distortion, reverb and delay pedals directly into Sono’s DI, dial up a tone and instantly start recording or jamming without the need to mic up and play through a noisy amp,’ explained Andy Allen, Audient marketing manager. ‘Sono will always record a clean DI signal, so you can capture your performance and re-amp through your favourite hardware amps later without the need to buy a dedicated re-amp box.’

Audionamix reduces interference XTRAX STEMS 2 is the latest edition of Xtrax Stems from Audionamix, including new features such as a faster, advanced algorithm, higher fidelity drum processing and fully adjustable, real-time separation balance matrix with presets. The updates are said to provide heightened separation ability for live sets, mash-ups and remixes. The advanced algorithm reportedly offers 30% faster stem isolation and is said to dramatically improve separation quality, particularly when creating backing tracks and separating lead, background and harmony vocals into a single stem. The increased separation quality

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reduces drum interference in vocal and music stems, meaning that all separated stems are much cleaner, according to the manufacturer.

Users can fine-tune and optimise the improved stems using the new, real-time separation balance feature. Presets are optimised for creating cappella, drum and backing tracks for any original piece, remix or live show element. Producers can also achieve custom balance using the fully adjustable matrix. Separations can be exported as individual WAV files or in Native Instruments’ Stems file format. The software is compatible with both Windows 7 (Service Packs 1–10) and Mac (10.12–10.14) operating systems. Meanwhile, Audionamix has released IDC 1.5, the latest version of its Instant Dialogue Cleaner plug-in. The update reportedly

offers expanded compatibility and unlimited gain reduction for unwanted background interference. At a turn of a knob, the software can remove wind, troubleshoot roomy files and control complex, varying background noise such as birds and insects, car and plane interference, and music.

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Combining power and simplicity Eliminating vibration ISOACOUSTICS HAS added to its line of isolation solutions for loudspeakers, stage monitors, subwoofers and musical instrument amplifiers with

DESIGNED WITH the rental market in mind, Powersoft’s T Series consists of two- and four-channel models available in 3,000W and 6,000W versions supporting channel powers from 750W to 3,000W in a single rack unit. All models can deliver the same high peak voltage and can drive single 8/16Ω cabinets at full SPL. The high voltage can also be used for power sharing between channels for applications such as biamped loudspeakers or subwoofers with passive tops. In addition to analogue inputs, the T Series also includes AES3 and Dante by Audinate inputs, which

are optimised for daisy-chained distribution of two-channel audio to multiple amplifiers with no need for external switches or splitters. Each model features group-controllable advanced EQ to let users equalise multiple amplifiers in a chain, as well as a robust preset library with FIR processing. The T Series offers remote control and advanced signal processing abilities via Powersoft’s ArmoníaPlus System Manager as well as on-board DSP. Each amplifier platform is operable from the front panel display.

the Stage 1 isolators, said to eliminate the vibrational variables that touring musicians experience while playing onstage. The isolators are sold as a pack of

different loudspeaker models, placements and formations quickly to design the best system layout to meet the needs of a venue. The software also includes drawing tools for manipulating room surfaces and loudspeaker placement, providing a visual representation of the speakers’ coverage effect in near real-time. Ordering lists, rigging and array information can then be exported to implement the design.

Bose Array Tool Version 1.0 supports Panaray MSA12X loudspeaker design. Support for further Bose loudspeaker models will be available in future versions. ‘It’s made to help systems designers identify optimal loudspeakers and ideal placement with less effort, in less time,’ explained Bose’s Trevor Donarski.

Amphenol adds IP65-rated connectors BUILDING ON the virtues of the HP series, Amphenol has created a new HPT family of power connectors and accessories. Designed to be fully plug compatible with existing industrystandard products, the UL-recognised range integrates a patent-pending cable clamp lock design safety feature promoting its use as a ‘dropin’ replacement for lighting fixtures, videowalls or power distribution interconnectivity requirements. Suitable for AC power supply, the HPT series is available for SAC power supply where a durable, latched, twistlocking connector is required. Rated at 16 amp at 250V AC, the IP65rated connectors come with built-in safety keying features eliminating the personnel and equipment safety risks

64 WORSHIP AVL May–June 2019

Bose launches array software BOSE HAS launched a software application for sound systems design: Bose Array Tool. Its workflow has been designed with intuition in mind, so that engineers can use the software tool with minimal training. The Bose Array Tool allows users to enter and adjust variables such as room size, budget constraints, loudspeaker model and placement. A direct-field calculation engine enables systems designers to trial

four which can either be screwed directly to the bottom of the amplifier or attached to a board to create an isolation platform for suppor ting equipment. The isolators’ rugged aluminium housing features a ver y lowprofile design, with a height of 1.5 inches, enabling the equipment to maintain a low stance, and allowing them to fit easily inside their road cases. This is said to suppor t a quicker set up and sound check time while on tour, eliminating the variables of stages in different locations. The isolators can suppor t a maximum weight of 90kg per set of four and are designed for equipment ranging from small bass combo amps to 4–12 stacked cabinets.

of mis-mating associated with worn-out master keys and can also be connected and unconnected under load. Other features of the three-pole design family include a quick-release, vibration-resistant latched twist lock, thermoplastic housing and closure cap accessory kits.

In addition, Amphenol has further developed its product line of AmpheDante digital-to-analogue adapters, which were designed to connect older legacy analogue equipment to a Dante network. With the release of Amphe-Dante 2.0, an ‘analogue on ramp’ analogue input to the Dante network has been created in both one- and two-channel versions in addition to a bidirectional AES3/ EBU compliant configuration (one-in/ one-out) and USB (two-in/two-out) versions. The four configurations are housed in tamper-proof, overmoulded designs and feature Amphenol AX series XLR and RJ45 connectors.

IPX amps offer custom GUIs DYNACORD’S IPX multichannel DSP amplifiers incorporate the 4.0 release of Iris-Net software – from sister brand Electro-Voice – for system configuration, remote control and supervision, which facilitates customisable graphical user interfaces and individual user access permissions. Four IPX amplifiers are available: the IPX 5:4 (4 x 1,250W at 4Ω); the IPX 10:4 (4 x 2,500W at 4Ω); the IPX 20:4 (4 x 5,000W at 4Ω); and the IPX 10:8 (8 x 1,250W at 4Ω). The four models offer a power density of 5kW, 10kW and 20kW with all channels driven. They each feature eight Dante audio inputs as well as analogue input options. Native network redundancy and configurable input failover and fallback functionality are also included. The Iris-Net 4.0 software supports Ethernet, CobraNet, CAN bus and USB connectivity, as well as Omneo, Dante and AES70 (OCA). It is aimed at live sound and installed applications, including houses of worship.


ADB lights the Ocean ADB STAGELIGHT’S Ocean lighting console provides operators with access to all functions and parameters through a single, 27.5-inch screen. However, the console and screen are still compact, giving users a clear view of the stage, regardless of where they are sitting. The console can be placed on small surfaces, while the shallow depth means that users can easily reach the touchscreen. The console comes with four Ethernet ports. ‘The word Ocean conjures up the idea of a horizontal landscape, which spreads out in all directions, but still allows us to see the horizon,’ explained Simone Capeleto, CEO of ADB. ‘It is a metaphorical representation of what we intend to offer operators in practice: a way to let them see as many things as possible on a single screen and, at the same time, keep what is happening on the stage under perfect control.’ Orkis is ADB’s new colour LED Fresnel luminaire. It has a CRI of at least 97 thanks to a modern

Compact frame-free lightbanks A NEW lightbank has been added to Chimera’s Pop Bank series. The Pop Bank Small requires no mounting hardware or frame, and slides over the front of the fixture for ease-of-use and portability. It uses the lighting




six-colour LED system and can reproduce the behaviour of a halogen light. With a colour temperature from 8,000–2,500K, the white light is described as extremely pure as it combines six colours, and the CRI is reportedly unaltered when the

colour temperature changes. It can be used as a flood light up to an 87° field angle or a spot light with a beam angle of 15°. The Orkis can be modified into a PC luminaire by changing the lens with the relevant accessory.

Oksalis, meanwhile, is a static LED washlight that is based on HCR (High Colour Rendering) technology. It is an LED light module consisting of six chips, each one devoted to a different colour: amber, cyan and lime have been added to the classic red, green and blue colours. Similarly, Klemantis is an asymmetric cyclight based on a six-colour LED module and also uses HCR technology. Together with Oksalis, both lights form a range that is said to provide a very wide colour range with an ‘extraordinary’ colour spectrum coverage and different shapes and light distributions. The HCR technology has been developed by ADB and Claypaky in conjunction with Osram. According to Claypaky, the technology ‘guarantees broader coverage of the colour gamut’ and gives lighting designers access to ‘every nuance and every shade of every colour’.

Chauvet casts a wide light DESIGNED FOR indoor and outdoor stage applications, Chauvet Professional has released a rectangular wash fixture with an output of up to 9,480 lux at 5m for smoother edge-to-edge colour mixing. The IP65-rated COLORado Panel Q40 features a magnetic flood filter that produces a much wider, but still even, wash. Powered by 40 15W RGBW LEDs and an adjustable beam angle of 15° to 24°, the COLORado Panel

Q40 measures 515mm x 196mm x 304mm and weighs 12.8kg, making it more convenient to set up and transport, and features

outdoor-rated power and data connectors that can connect without the need for propriety cabling. The wash fixture, which can be controlled via DMX, WDMX and RDM, also has a colour temperature range of 2,800– 10,000K and selectable pulse width modulation that avoids flickering when events are being filmed.

A new Era for Martin

designer’s standard small size front screens and increases the aperture of a 1x1 LED panel-style fixture to 607mm x 83mm. The lightweight and collapsible Pop Bank Small comes as a kit, with grid-less front screens in full and half, packed in a messengerstyle kit bag and can be used vertically or horizontally.

HARMAN LIGHTING brand Martin Professional has introduced the Martin Era 300, an ‘ultra-compact’ 260W profile with a white LED engine that’s designed to produce a sharp gobo projection with a flat field. The manufacturer states that the Era 300 ‘fits nearly anywhere, is easy to handle and rig’, and has been developed as a compact and affordable lighting option. The Era 300 also boasts a wealth of features not often found in fixtures of its class, such as CMY colour mixing, 1:2 zoom, 9,500 lumens of output, electronic dimming and strobe, a

colour wheel, two layers of gobos, iris, rotating prism and pan/tilt capability. The fully electronic dimming enables fast strobing, instant intensity control and a flat, consistent field that can be maintained down to zero, while the on-board CMY colour mixing covers everything from subtle pastels to bold and vibrant colours as well as fast transitions and smooth fades. With a 13–28° zoom, the Era 300 profile can be used for various trim heights and is wide enough to cover smaller stages.

May–June 2019 WORSHIP AVL 65


Hybrid high-power LEDs ELATION PROFESSIONAL has merged hybrid with high intensity in the latest addition to its Protron line of strobe lights. The high-powered and versatile LED luminaire has been designed to multifunction as a bright blinder,

mounting holes, a ¼-turn omega bracket and integrated interlocking pins for easy multiple fixture matrix designs. With an IPX4 rating for protection against water spray, the unit is also suitable for temporary or more rugged outdoor

Protron Eclypse powerful strobe, high-output wash light or special effects. The Protron Eclypse features 10W CREE RGBW four-in-one LEDs with pixel zone control, strobe intensity, duration, rate and FX control and has been created to fill multiple requirements in the rig on productions of all sizes. With 96 10W RGBW LEDs producing 37,000 lumens of power, the Protron Eclypse offers a fuller spectrum of color options, including high-impact white light, for a barrage of coloured or white light effects. The fixture projects light at a 31° beam angle, while an

applications. Barn door and gel frame holder accessories are available for added versatility, while the luminaire’s interface includes control support from DMX, Art-Net, Kling-Net and RDM protocols. In other news, Obsidian Control Systems has launched the NX 4 as part of its lighting control platform, Onyx. Designed for large shows, it features a well-arranged combination of motorised and manual faders, as well as 44 playbacks. The NX 4 also includes a 15.6-inch, full HD multitouch screen with support for two external 4K touch displays. Eight

NX 4 adjustable strobe (1–25fps) can produce rapid strobing effects with the added option to select pixel control. In addition, the luminaire can be dimmed down to 0% and a selection of variable dimming curves is provided. Fitted in a robust housing for on-the-road use, rigging options include an adjustable/removable yoke bracket with three-position

66 WORSHIP AVL May–June 2019

assignable parameter encoders, an intensity encoder, an assistive minitouch screen and a keypad and command section are included. The NX 4 also includes an Intel Hexa-Core processor, high-speed NVMe SSD drive and 16GB of DDR4 RAM.

Roland mixes content for streams ROLAND’S VR-1HD is a broadcast mixer designed for streaming video content captured using a multicamera setup. The manufacturer has developed the mixer to help users broadcast online content with a picture quality and sound that ‘outperforms videos live streamed from just a mobile phone or static webcam’. The VR-1HD enables users to connect, switch and stream cameras and presentations, as well as content from smartphones and tablets, with HDMI inputs. The mixer has three inputs that each accept HD and computer video resolutions. Embedded audio can be mixed with line inputs and a pair of XLR microphone inputs. A topmounted mic input allows the use of a gooseneck microphone for operation without the need for a headset of handheld mic while controlling the VR-1HD with its dedicated controls. Also included with the VR-1HD is video editing software that features scene switching functionality, for transitioning between scenes with a professional look. Users can set up

to five preset scenes for use during live streaming. Removing the legwork from vision mixing are three auto switching modes. The first, Video Follows Audio, switches between cameras based on who is speaking into the

microphone. If more than one participant speaks or remains silent at the same time, the VR-1HD can switch to a wide shot that captures both performers. Second, Beat Sync Switching mode listens to the tempo of a performance and automatically selects which camera inputs to switch between. Finally, Auto Scan is the mode recommended for use on extended live streams with no operators, as it allows users to preset specific times for switching between sources.

Magewell adds pro conversions THE NEWEST addition to Magewell’s Pro Convert range, the Pro Convert HDMI 4K Plus, is designed to convert sources of up to 4K UHD at full 60fps via an HDMI 2.0 input interface. Its sibling, the Pro Convert HDMI Plus, meanwhile, encodes HDMI source signals into full-bandwidth NDI streams of up to 1080p60 HD and can accept a 4Kp60 HDMI input signal for automatic down-conversion to HD for encoding. Both solutions have been created to allow traditional HDMI video signals to be brought into live, IP-based production and AV infrastructures via NewTek’s NDI technology. ‘Pro Convert devices are designed to help customers effortlessly connect their current sources into

NDI workflows,’ explained Magewell’s Nick Ma. ‘Our flagship 4K models are ideal for users who are currently producing in Ultra HD or plan to in the future, while our 1080p60 models offer a lower cost alternative.’ Both models feature extremely low latency and are designed for plug-and-play operation. Added control is available with a browser-based interface that offers status monitoring, advanced settings and FPGA-based video processing including up/down/crossconversion, de-interlacing and image adjustments. Also joining the Pro Convert family is the Pro Convert SDI 4K Plus, which converts 6G-SDI signals up to 4K at 30fps into NDI streams.


Compression-free Q-Sys reaches a performance network RDNet processing from RCF video endpoint

WITH THE aim of offering audio THE Q-SYS (NV-32-H) solutions forNV allSeries room sizes network video endpoint hashas been and applications, Genelec developed ever-growing announcedfor thethe release of two highQ-Sys Ecosystem. multi-stream, SPL SAM monitors:A the 2-way S360 software-defined HDMI encoder and the 7382 subwoofer. Suitedand decoder, it enables network-based for large control room setups, video distribution and features the speakers are housed in QSC’s new Shift video compression a compact, low-diffraction codec for low-latency video enclosure. streaming The S360with resolutions up to features a 10-inch, highefficiency THE NEW iKlip 3 series of and minimal smartphonedistortion and tablet-mounting solutions woofer (including iPhones and iPads) based from IK Multimedia has been designed on the to offer secure and flexible support when holding a device during company’s a performance, as well as for image Master and video or presentations. Series andcapture an integrated extended The range control comprises the iKlip 3, directivity waveguide iKlip Video and iKlip 3 Deluxe. DCW3supporting the 1.7-inch The iKlipdiaphragm 3 is designed for titanium compression microphone stand-mounting tweeter. It has a short-termand SPL sports a holding bracket rubber capability of 118dB and with a longpads a springthat mechanism that throwand capability can reportedly allows to rotate theiraccuracy device up provideusers reference-quality to while of remaining durable. at 360° distances over 10m. Other The

features include an uncoloured 95° (H) to 4:4:4 75° (V)over dispersion andgigabit in-wall 4K60 a standard and on-wall mounting options. network, accomplished by adjusting The 7382 is described as the network bandwidth consumption company’s mostcontent. powerful subwoofer based on video toThe date. delivers NV ItSeries canlow-frequency be softwareextension houses defined as down eitherto an15Hz HDMIand video three 15-inch, encoder or decoder, enabling several I/O configurations and long-throw a variety woofers. Each of room designs and deployment woofer is said options, including the simultaneous to benefit from the vibration-free environment of a heavily braced fibreboard enclosure, Genelec’s S360 with laminar flow bass-reflex porting extending along the rear wall for a ‘lowdistortion and compression-free performance’. The 7382 works with GLM software to control bass management or solve new design allows users to mountin issues of subwoofer placement their device on rooms. the front, side or unpredictable boom arm of any microphone stand. In addition, a smart bracket design

Third-generation iKlip

RCF HAS added three loudspeaker models together with complementary flyable subwoofers to its HDL series of composite line arrayand enclosures. the encoding decoding Sharing of a stream design footprint as other forsame multiscreen applications. HDL cabinets, thecan newalso models Networked audio be differentiate themselves the routed between NV Serieswith video incorporation RDNet endpoints and of any otherprocessing. Q-Sys Furthering on theuse development peripherals thatfrom make of Q-LAN of the HDL 6-A, the HDL network technology, while26-A other comprises dual 6-inch woofers with a 3-inch compression driver and a 1,000W RMS Class-D amplifier for use with the HDL 35-AS subwoofer. Comprising dual 8-inch woofers with 2.5-inch voice coils and a 550W RMS amplifier, the HDL 28-A has been designed to be partnered with the HDL 36-AS 15-inch subwoofer. Finally, the HDL

keeps buttons and ports free from obstruction. Meanwhile, HDL 26-A the iKlip 3 Video offers the same universal tablet support,

Q-Sys features such as softwarebased processing and drag-anddrop GUI creation and deployment can also be employed with the NV Series. HDL 38-AS

30-A can now be paired with the HDL 38-AS subwoofer. Equipped with a 1,600W RMS Class-D amplifier, the single 18-inch model viewing angle and as isflexible capable of extending thedesign LF range 3, but to camera toiKlip 30Hz and mounts integrates RDNet tripods instead of microphone stands. The loudspeaker management control. iKlipadoption 3 Video of reportedly mounts to The RDNet 3.2 recognises andUNC connects any standard ¼-inchall- 20 thread, the cabinets in a network making it compatible withupon the majority powering them on. While of camera tripods or monopods. thethe Bass Shaper function Finally, iKlip 3 Deluxe has been allows adjustments to the developed with ‘a wide range of low options frequencies, Air mounting for a the simplified set Compensation up. It includes the micfunction stand mounting system bracketcorrects and thethe tripod mount response in real-time. attachment, totalling five mounting options.


January–February May–June 2019 WORSHIP AVL 59 67


Lightweight 4K projection CANON HAS added two new models to its range of 4K projectors – the 4K5020Z and LX-MH502Z. The 4K5020Z offers a compact and lightweight chassis that incorporates a spigot fitting and delivers 5,000 lumens using a blue laser diode light source and yellow phosphor wheel. The interchangeable lens projector is fitted with a RS-SL07RST 4K lens for ‘more accurate optics’. With a 1.76x motorised zoom, the RS-SL07RST also enhances the projector range. Meanwhile, the LX-MH502Z aims to provide a more affordable DLP laser projector, using pixelshifting technology to achieve 4K UHD resolution in 3840x2160. Comparatively, the 4K5020Z produces 4096x2160 native 4K resolution. Both the 4K5020Z and the LX-MH502Z weigh 9.3kg and are ideally suited for small or awkward

4K5020Z installation environments. Boasting a 1.6x zoom and wide lens shift, the LX-MH502Z offers versatility in installation for a wide variety of applications. When projecting in a confined space onto a broad surface, the LX-MH502Z employs a one-chip DLP to achieve a projection range of up to 6.5m. The 4K5020Z is equipped with a motorised lens to simplify planning

requirements, while the laser diode and yellow phosphor light source in both projectors allow them to be used in any 360° orientation for more versatility. Additionally, portrait projection is possible to meet the needs of digital signage applications. Both the 4K5020Z and LX-MH502Z are fitted with two HDMI inputs, offering 4K/60p using a single HDMI cable, plus HDR and 4K at

both 60p and 30p, respectively. The 4K5020Z is also equipped with a 12-month scheduling function, which allows for programming and automation to the power, inputs, lens and calibration for reduced management time. Designed to help improve the cost of ownership of 4K projectors, the 4K5020Z and LX-MH502Z are equipped with a laser light source to facilitate 24/7 operation. With a filter-free composition, the LXMH502Z has a life span of 20,000 hours with nominal maintenance time, no cleaning requirements or lamps to replace. Additionally, both have a quick power on/off function for on-demand use and an eco-mode setting to ensure longer, quiet operation.

RGB laser solution AN RGB laser projection solution featuring TruLife electronics has been launched by Christie. The Mirage SST features an ultracompact, fibre-coupled projection head. Weighing 50kg, the Mirage SST projection head enables installation where there are significant space constraints. The Mirage SST delivers 4K resolution at 120fps or, with an

optional licence, 480fps at 2K resolution. High frame rates remove blurring and strobing effects in fast-moving images to create a more immersive experience for audiences, according to the manufacturer. The solution reportedly achieves greater than 90% of the Rec. 2020 colour space and 5,000:1 on/off contrast with ultra-high contrast lenses.

The Christie Mirage SST can be installed in single or multi-projector configurations and is compatible with Christie Mystique

Install, which aims to simplifiy the design, installation and maintenance of multi-projector arrays, and Christie Guardian, which offers automated, invisible, realtime blended image correction even when content is playing.

New firsts for Epson EPSON IS laying claim to a new industry first with the launch of the EB-L12000Q 12,000-lumen native 4K 3LCD laser projector. The EBL12000Q includes a native 4K panel developed by the manufacturer to offer a 4K resolution at 3840x2160 pixels for projections of a higher quality than UHD. Driven by Epson’s proprietary laser light source, the EB-L12000Q is suited for use in particularly


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demanding projection environments, such as large auditoriums and sanctuaries, as well as for digital signage applications. Also new is the EB-L20000U, Epson’s first projector aimed towards 20,000-lumen WUXGA installations. Both the EB-L12000Q and EB-L20000U are designed to be light and compact, and include an advanced electrostatic filter for delivering 20,000 hours of ‘maintenance-free’ operation, in addition to Epson’s laser light source structure. A triple layer dust-proof structure housing a sealed optical engine reporteldy ensures durability for the EB-L12000Q and EB-L20000U by reducing their airflow by 86% compared to previous models. A liquid cooling system, meanwhile,

EB-L20000U keeps the projectors’ key optical elements within the sealed optical engine running at optimal temperatures. Additionally, both projectors include a mechanical shutter to protect the lens from laser light damage. The projectors are both able to rotate 360° in all directions without losing image brightness.

A built-in camera assists with remote diagnostics and set up, and Epson’s Professional Projector Tool software facilitates the simple set up of multi-projector installations with features including geometry correction, automated edge-blending, curve correction and colour matching. Both models are also equipped with the same 4K-compatible lenses found in the Epson EBL1000 series projectors. They are also compatible with the new zero lens offset ultra-short throw lens ELPLX02, which features a wider lens shift for environments with a limited distance between the lens and the screen. The new projectors also support Hybrid Log Gamma and HDR10.


AVoIP platform supports Dolby Vision ATLONA HAS designed its OmniStream AVoIP platform to support 4K Dolby Vision HDR content at 60fps, with 4:2:2 chroma subsampling and 12-bit colour resolution, to be distributed over standard gigabit Ethernet data networks.

Commenting on the reason for the release, Atlona director of product management, David Shamir, said: ‘Dolby Vision has earned its reputation for enabling superior, life-like images, but the lack of full compatibility in AVoIP and other video distribution systems has prevented AV customers from being able to fully realise its visual benefits.’ The OmniStream AVoIP platform was initially formed to assist systems integrators and custom installers build more flexible and scalable AV distribution systems. While the OmniStream Pro line is aimed at medium-to-large commercial environments, the OmniStream R-Type Series is

more suited for light applications, including whole-house AV distribution. The new Dolby Vision capability is available for singlechannel Omni-121, dual-channel Omni-122 and Omni-521 networked AV decoders.

The AV solutions manufacturer has also launched the AT-UHDCAT-2, an HD distribution solution for smaller-scale AV applications and is the latest addition to the company’s lineup of HDMI to HDBaseT distribution amplifiers. The UHD-CAT-2 features one HDMI input, one HDMI pass-through output and two HDBaseT outputs for distributing 1080p content up to 70m or 4K/UHD material up to 40m over category cable. Each HDBaseT output delivers video, audio, remote PoE receiver power and control signals – including RS-232 and IR, plus CEC for automatic display control – over a single cable.

ROE Visual extends Vanish series THE VANISH V8 transparent LED panel is the latest member of ROE Visual’s Vanish series. With a transparency of 60%, the indoor panel offers minimal opacity and an ‘optimal’ see-through experience. The high-brightness panels are described as lightweight and slim, with each panel weighing approximately 6.5kg and measuring 35mm deep. This is said to result in lower transport costs and reduced storage volume. The panels can be installed either curved or straight and are described as simple to handle and install, with ‘clever’ repair features and easy access for maintenance. The

standard deliverable shutter plates offer dual use of the panels which can be changed from non-transparent to transparent to broaden the scope of applications.


Portable projection THE SIX members of Panasonic’s LB series of portable projectors provide brightness levels ranging from 3,000 to 4,1000 lumens and either WXGA or XGA resolutions. They offer a lamp replacement cycle of 20,000 hours (in eco mode). All models feature a high contrast ratio of 16,000:1 and a daylight view function to ensure high-quality images even in brightly lit rooms. The projectors also support auto input search and corner keystone correction. The PL-LW375 provides 3,600 lumens; the PT-LW335 3,100 lumens; the PT-LB425 4,100 lumens; the PT-LB385 3,800 lumens; the PT-LB355 3,500 lumens; and the PT-LB305 3,100 lumens. The PL-LW375 and PT-LW335 have a WXGA resolution; the other four models an XGA resolution. Inserting the optional ET-WML100 wireless module into the USB port on the projector allows users to

wirelessly project from Windows PCs, iOS or Android devices with the correct freeware installed. Images from up to four devices can be projected simultaneously. Similarly, the four TW series short-throw projectors also offer a lamp replacement cycle of 20,000 hours, range in brightness from 3,200 to 3,800 lumens and feature a contrast ratio of 16,000:1. The PT-TW371R and PT-TW370 models have a WXGA resolution and both provide 3,300 lumens of brightness. The PT-TX430 and PT-TX340 are XGA versions and provide 3,800 and 3,200 lumens of brightness, respectively. The PT-TW371R is also equipped with interactive functionality, allowing up to two presenters to write simultaneously on the projected image with a pen or pointer.

Broadcast-quality image capture VADDIO HAS released a PTZ camera with 40x zoom, genlock capabilities and smoother motor movement. The ‘broadcast-quality’ RoboSHOT 40 UHD has been designed with a genlock external sync port to provide accurate synchronisation in multicamera broadcast environments and is built with phase compensation to fine tune and adjust the genlock signal. The camera provides 4K resolution at 30fps through 30x zoom, according to Rob Viren, product manager at Vaddio. Used in HD mode, the camera can also achieve a 40x zoom in 1080p60, producing extreme close-up shots. The 1/2.5 Type Exmor R CMOS sensor aims to offer more powerful image signal processing for better light gathering capability,

contrast and sharper 4K video to tackle more complex lighting locations. Other features include 70.2° horizontal field of view (wide) to 4.1° (tele), simultaneous IP streaming (RTSP/RTMP format with H.264 compression) up to 1080p30, remote management and further flexible mounting options.

May–June 2019 WORSHIP AVL 69


Preparing for the Papal Mass at Zayed Sports City Stadium Pope Francis recently visited the UAE, culminating in a public Papal Mass in Abu Dhabi. We spoke with Delta Sound’s Al Woods about the event Al Woods was the audio project manager for the Papal Mass in Abu Dhabi

Images courtesy of Khaleej Times

RESPONDING TO AN INVITATION from His Highness Sheikh Mohammed bin Zayed Al Nahyan, Crown Prince of Abu Dhabi, Pope Francis visited the UAE for three days in early February as part of the country’s Year of Tolerance and to spread the message of interfaith relations. This marked the first ever visit to the Arabian Peninsula by a pontiff. The Pope’s tour included official visits to the Presidential Palace and The Founder’s Memorial, and concluded on 5 February with a public Papal Mass at the Zayed Sports City Stadium in Abu Dhabi. Dubai-based audio and event communications rental company Delta Sound was enlisted to provide the sound solutions for the events at the Presidential Palace and The Founder’s Memorial, as well as the Papal Mass. Al Woods, director and head of engineering at Delta Sound, served as audio project manager at the Zayed Sports City Stadium event. ‘Our client was HQ Worldwide Shows (HQWS), which planned the event,’ explains Woods. ‘We are one of the leading audio suppliers in the Middle East and HQWS knows us well.’

70 WORSHIP AVL May–June 2019

The Pope’s visit was announced with less than two months’ notice. This meant that there were extreme time constraints in place for all involved to ensure the Papal Mass ran smoothly. ‘Delta was an obvious choice to deliver the audio and communications in such a short time,’ Woods continues. ‘I, personally, was only involved in the Papal Mass, and Delta was confirmed for this a week or so before the load-in, not giving us much time to plan our strategy.’ Zayed Sports City Stadium had also been selected to host eight games in

the 2019 AFC Asian Cup, including the final between Japan and Qatar on 1 February. ‘We started preparing and planning for the Papal Mass in-between the final AFC matches at the stadium,’ says Woods. ‘The last match finished at 10:30pm on the first of February; the Mass walk-in started at 2am on the fifth.’ The stadium, which has the capacity to accommodate approximately 40,000 people, was filled to the rafters with a large contingent from the region’s Roman Catholic community, while over 100,000 more surrounded the venue to catch a

glimpse of the supreme pontiff. ‘We had a stadium to cover in its entirety so our large-format L-Acoustics K1 and K2 system was the obvious choice,’ Woods adds. When it came to forming a plan for the sound setup at the stadium, Woods worked closely with his colleague, Delta Sound managing director Andy Jackson, to design a system that met the client’s brief while also putting their prior knowledge of the venue, having been involved with several previous events there including the AFC Asian Cup, to use. Sightlines dictated the PA positions. Four arrays comprising K1 cabinets above K2 enclosures were flown from masts to cover the pitch and lower seating areas, while Arcs II covered the mid and upper bowls. ‘The PA positions were difficult to time align and the roof-flown PA also added additional issues as the azimuth of these hangs again did not always triangulate correctly with the PA on the field,’ reveals Woods. ‘We ran K1 over K2 as main and out hangs, SB28 subs and groundstacked rear Kara fills. Kiva front-fills were set into the stage and 20 hangs of four Arcs were flown from the roof of the stadium. It worked really well.’ Woods notes that security measures in place were no more than normal. ‘We do a lot of highprofile events here and they all have endless accreditation,’ he continues, adding that ‘the time constraints, very wide PA positions, rain and bad weather conditions’ also provided challenges during this project. With that said, ‘both HQWS and the end client, Flash, were extremely happy with the results,’ Woods confirms.

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Worship AVL May-June 2019  

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