Worship AVL May-June 2022

AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST

May–June 2022

May–June 2022

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Contents

Projects

Comment

10

28

4

KnowHOW

30

Products

May–June 2022

Issue 76

Welcome Welcome to the latest issue of Worship AVL and a wealth of new content I hope you will enjoy. Joining Robert Soo in our Comment section, Azizi Ala highlights some misconceptions about mosque sound systems, while our new Tech Forum will focus on a different subject each issue with the aim of addressing some hot topics in houses of worship. We start this issue by looking at livestreaming setups.

Our cover story is Hope Church in Ipswich where an Art Deco cinema has been converted into a 700-seat sanctuary (p20). Rock-tech has installed a Hill Pro Audio speaker system to help the church increase its appeal to all demographics. Martin Luther King Church has also found a new home renting the 1,800-capacity auditorium in the new €22 million Espace Grand Paris located south-east of the French capital (p28). And in the third instalment of our acoustic shaping series, Rob Bakker from Yamaha describes how AFC can be used to create the perfect acoustic conditions in houses of worship.

Editor Email: kwallace@worshipavl.com

46

Technology

Follow us on social media @WorshipAVLMagazine

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May–June 2022 WORSHIP AVL 3

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COMMENT

Misperceptions about mosque sound systems In his first article for Worship AVL, Acousticon founder Azizi Ala looks at the myths and facts surrounding mosque sound systems AS ONE OF THE MOST IMPORTANT symbols in Islam, a mosque is usually designed with architectural grandeur.

Among its common characteristics are a spacious interior, high ceilings, decorative walls with a marble finish, thick carpeted floors and a domed structure. As a result, mosques are often associated with acoustic problems due to reverberation caused by the surface materials.

High reverberation (measured as RT60) can be mitigated through passive acoustic treatment. However, in Malaysia, consideration of the acoustics inside the mosque usually happens in the later stages of construction, after the majority of the building work has been completed. Because of this shortcoming, lots of mosques nowadays struggle from severe speech intelligibility and clarity issues as a result of a poor RT60.

In this situation, the sound system needs to be adapted to the acoustical properties of the mosque so that it can provide the best possible Speech Transmission Index (STI) value.

Theoretically, the lower the RT60, the better the speech quality or STI value.

On top of that, many features such as the “dome effect” or “column effect” can alter the sound behaviour and acoustic performance inside the mosque. These can be identified by using acoustic simulation software such as EASE 4.4 during the design process.

Worship modes In Malaysia, mosques are generally built according to the population density of the city or town where it is located. These mosques are in constant use and consist of two main modes, namely “prayer” and “preaching”.

Prayer mode refers to the five compulsory daily prayers and weekly Friday prayers. The congregation must be able to clearly hear the Imam before following certain actions

and movements. Preaching mode relates to Friday prayers where the congregation is seated on the floor in rows listening to the Imam deliver a sermon from the elevated “Mimbar” before leading the prayers and during the “Tazkirah” lecture, which usually takes place after the five compulsory daily prayers.

Speech intelligibility is vital when these modes are performed so that words being conveyed can be

Azizi Ala Founder and technical director at Acousticon Sdn Bhd Indoor areas such as the Main Prayer Room and Muslimah Prayer Area are usually used for congregational prayer during the five compulsory daily prayers as well as the “Tazkirah” and lecture activities. Outdoor areas such

High reverberation is a common problem in mosques understood. This indirectly involves a “listening level” – 1.65–1.75m for prayer and 0.8–0.9m for preaching should be considered at the design stage so that the sound can be distributed equally.

Areas involved In general, every mosque will have the capacity to accommodate the entire congregation for prayers and preaching. This main area where the congregation will sit to listen to sermons, the “Tazkirah” and perform prayers can be divided into two categories: internal and external.

as terraces, corridors, spill areas and courtyards can be used during the weekly Friday prayers.

For this reason, each of these areas needs to be equipped with loudspeakers so that the Imam’s sermon can be heard and clearly understood. The type and specifications of speakers, and the quantity and location, are among the factors that must be considered so that sufficient sound can be obtained and distributed evenly.

In addition to the areas already identified above, the “Minaret” (tower) is also very important for the purpose of “Azan” (call to prayer). Either short-

or long-throw horn speakers are usually placed on top of the minaret so that the Azan can be heard by nearby residents with a radius of 400–800m.

Acoustical requirements Sometimes due to budgetary constraints, passive acoustic treatment can be set aside and not considered important, but it is important so that mosques can achieve optimum acoustic quality, especially the RT60. The ideal acoustic environment for a mosque requires an RT60 value of less than 2s, but it really depends on the room/venue size.

Sound audibility and sound intelligibility are also important acoustic parameters for a mosque during the design process. Sound audibility means that the sound is received to all members of the congregation equally, while sound intelligibility means that the sound should be clear for various listener positions in the audience area. The ideal value recommended by the IEC 60268-16 standard for sound intelligibility or STI is 0.52 for a house of worship and this is a target that should be made for every mosque sound system design.

However, achieving the above requirements is not always easy, and often involves many other factors that will be discussed in the next article. For part two, I will touch on the design of the system concept that I often highlight to new clients and how it can be designed and facilitated by users. Till we meet again, take care.

4 WORSHIP AVL May–June 2022

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COMMENT

What’s audio got to do with church worship? Part 2 Robert Soo considers the main differences in setup and mixing requirements between streaming and live sound

A streaming mixer setup OVER THE PAST TWO YEARS OF Covid-19 restrictions, practically every church had to run virtual or hybrid worship services, such that streaming of services on the internet has become the new norm today. Many who travelled this journey have also discovered that getting the right sound for online worshippers requires more than just taking an audio feed out of the live mix, as it often sounds unbalanced and unengaging, which over time can lead to a disconnect between the members and the church.

In part 1, I touched on key items of church live sound reinforcement systems, in particular how and why they play such crucial roles in worship services. In this follow-up, I will focus on the main differences in setup and mixing requirements between streaming and live sound. As always, we should ask ourselves “what”, “why” and “how” does it really matter and how the requirements actually meet the needs and objectives of a worship service.

Tapping the FOH’s live mix is probably the simplest and most adopted approach, but it isn’t really optimised for online needs. Reasons aplenty, as live sound mixes are often influenced by the amount of stage noise or sound bleed from stage monitors and acoustic musical instruments, room reverberation, congregation (singing and clapping), to name a few. The higher the level of such influences, the greater the skew on the streaming mix’s balance and tone.

Another major contributing factor is the FOH loudspeakers as they are typically not tuned to sound like headphones or other common listening devices used

by online worshippers, so an audio mix that sounds just right onsite can actually translate or sound very different (or bad) to those listening online.

A recommended approach is to have a separate streaming or broadcast mix performed on a second sound mixer, which receives the same set of inputs

recording or feeding audio to cry rooms and overflow venues, as it will definitely sound much better than just a direct feed from the main mix.

If setting up a second mixer isn’t possible, perhaps due to space contraints, budget or manpower (yes, it’ll need an additional crew member), then the FOH mixer would have to perform both live and streaming duties. But instead of just tapping off the main mix, it would be more effective to take a separate feed from a stereo aux/mix bus.

Though there are still limitations on having independent channel signal processing such as equalisation and audio effects, at least the levels and stereo balance can be better tweaked to enhance the streaming mix. Monitoring will typically be via reference headphones that can provide some level of noise isolation.

Robert Soo Cogent Acoustics (Singapore) Principal Consultant and Trainer

Why doesn’t the stream sound anything like the FOH sound?

FOH actually hears a blend of tones and sounds from the house mix, stage monitor spills, direct sounds from acoustic instruments and relected sounds from within the room.

Instrument amps

If the stream is fed directly from the FOH mix, then you are only getting part of what is actually heard onsite – thus, the reason for the different sound mix in the stream.

Room reflections

as the FOH mixer. That’s one particular reason why a digital mixer setup is much preferred, simply because of the ease of duplicating and routing signals. For this approach to work effectively, it will also need a quiet and acoustically treated room equipped with a pair of reference studio monitors and headphones. Essentially, it is like a simple recording or broadcast studio setup. Another benefit to this is that a streaming mix can also be used for

Stage monitors Acoustic instruments Main loudspeakers

Congregation

Stream

For best results with this approach: 1) Reduce the stage noise from acoustic instruments, floor monitors and instrument amplifiers, implement shields for acoustic drums, in-ear monitoring systems and replace acoustic instruments with electronic instruments wherever possible.

2) Tune FOH loudspeakers for a response that correlates better with common listening devices.

6 WORSHIP AVL May–June 2022

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COMMENT 3) Treat the acoustics where necessary to keep reverberation levels low.

Last but not least, we must regularly monitor (in real time) and check the quality of the livestream via a laptop or other mobile devices. The common assumption is if it sounds good out of the mixer, it will sound just as good downstream; however, the reality is often quite different and may instead sound dull, soft, distorted, noisy, over compressed or a combination of these. Potential causes may be incorrect settings on post-mixer devices such as the USB audio interface, OBS or streaming encoder, the quality of devices in the signal chain as well as the streaming platform or the internet service itself.

When issues are quickly detected on the stream, the crew can immediately make the necessary corrections or compensations for the benefit of the online worshippers.

The incorporation of hybrid services has certainly stretched the requirements and complexities for the sound crew. While still grappling with challenges of live sound, they now have to manage sound for broadcast, an area that is actually quite different, contrary to the beliefs of many who think otherwise. When live mixes are applied straight to stream, it often

Stage Room monitor/ amp spills Reflections

Direct sound

FOH speakers

signal processing and effects for broadcast or recording music productions, and focus particularly on stereo imaging and sound staging for an enhanced sound experience. (That’s why it is important to work with streaming platforms that allow stereo audio.)

3) Capture the sounds of the onsite congregation (where possible) as an additional input to the worship mix to create a livelier “in-person” type of ambience.

But why the emphasis for a good online sound experience? With the pandemic raging on even after two years, many may have to continue worshipping online, which today still remains a very different experience from worshipping in-person in the sanctuary. This has led to a considerable disengagement and disconnect where regular gatherings of believers for congregational worship is becoming less common, that some may even have lost interest and stopped attending worship services altogether. Thus, it is vital for churches to engage the online worshippers as much as possible and to do so with urgency.

For the next article, I’ll be asking, “What’s video got to do with church worship?”

Till then, take care and God Bless.

“Sound mix” worshippers hear on site

Worship leader Support vocals

The mix balance people expect to hear in the stream

Keyboards Electric guitar Bass Drums Congregation This portion is not sent to stream

ends up sounding drastically different from the live experience of an inperson worship service. Let’s look into the potential reasons behind this.

While onsite, a worshipper gets a holistic, “enveloping” kind of sanctuary sound experience – the ambience and energy of the congregational singing, clapping, vocal responses, sanctuary acoustics, etc., hearing it all in a “surround” mode.

The worship music mix sounds just right, with good balance and tone.

Let’s compare this to the online experience. Typically, a remote worshipper will be listening to a mostly mono mixed “in-your-face” audio that has little to none of the

The actual mix balance that gets sent to stream

sanctuary ambience as described earlier, resulting in an experience often described as “dull”, “dry”, “unnatural” and “isolated”. The worship mix is also unbalanced, so basically the overall aural experience is lacklustre and a far cry from what you get in-person.

To improve the online worship sound: 1) Work with a dedicated mixer in an acoustically controlled room (as suggested earlier) and ensure that the choice of reference monitors or headphones translates well to common listening devices.

2) Apply all good practices and techniques of sound mixing,

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TECH FORUM

Image courtesy of Noah Oehler at Eastview Christian Church

TECH FORUM

How do you livestream?

Everybody’s turned to streaming in the last two years but not necessarily in the same way – or at all. What’s right for your church? In our new Tech Forum, we look at what church techs have to say Jon Sauer, Lincoln Berean, USA: We use Resi streaming. We use them primarily because of reliability and customer service. We can call them anytime, even on a Sunday morning and get immediate help if needed.

Also, the quality of the hardware is fantastic and so the end product is a quality streaming platform.

Johnny Prettyman, Trinity of Fairview, USA: I installed three NDI cameras a little over a year ago. They are tied into an isolated network with a joystick that controls them remotely and we use vMix software to record and stream to YouTube, Facebook and Christian World Media. The whole system was about US$10,000 and the quality is very good in my opinion, especially for the price.

Catherine Allen, All Saints Crowborough, UK: We had an old camera system for in-house use but had not attempted livestreaming before.

Initially, we used the old cameras with OBS taking the sound from our recently updated desk but the cameras were 4:3 and old, so they looked dated. So we invested in an ATEM Mini Pro controller. The ATEM is easy to use which is essential as our operators are all volunteers.

OBS is great, free and enables mixing and streaming easily but, with the ATEM, we can control the cameras and change the PTZ while mixing all in one place.

quickly go live for our third service which is online only.

Chris Lyles, Central Ministries, USA: Recently we switched our streaming provider to BoxCast. So far, everything has been pretty smooth and reliable; that wasn’t always the case before. We like the wealth of features the platform provides: analytics, embedding and the ability to create “channels”, to name a few.

We’re still new to BoxCast, but I’m hoping we’ll be using it for a long time to come.

Evan Engstrom, Family Life Church, USA: We use the Church Online Platform from Life Church. We found it was the best way to engage and interact with our online family, while meshing with our current broadcasting systems in place. Church Online also offers an intuitive interaction for our audience. It’s easy to navigate/ engage, with little to no tech skills required. This was important for

us as we are a multi-generational church family, both in person and online. Church Online is great for volunteers, as it doesn’t have a steep learning curve. The platform’s support and the consistent improvements make it a no-brainer for us and we highly recommend it.

Micah Thomas, Baptist Grove Church, USA: For livestreaming, two places are a must: YouTube and Facebook. You will have the largest reach for nonmembers and you are also using a platform that is nearly always online and accessible from almost every device. We also stream to Vimeo, which we use for our video storage and distribution, so we can send video easily to Church Online, our main place our members watch our services. We now go from Wirecast to Restream. Restream records our services so we can

Stephen Heywood, Shiloh Ministries, USA: We use three networks – YouTube, Facebook and Tata Communications (formerly BigGravity) – all run through a platform called switchboard.live.

Switchboard allows us to livestream to each network all at once, simplifying the process. YouTube and Facebook are always good (and free) choices because average users understand them. Nearly everyone has a Facebook account these days, and YouTube is known by most as a source for quality video content. We chose Tata Communications as well because this paid platform allows us to stream live content to the Roku app.

Gordon Moore, Rio Rancho United Methodist, USA: We don’t livestream because: 1) buying the needed bandwidth would stress our budget – we have poor local availability; 2) buying the required equipment would stress the budget even more; and 3) livestreaming, done right, would require more volunteers – an additional sound mixer, a camera switch operator at the minimum in a talent challenged church. Yet we have a strong online ministry – we record the service, then edit and produce a recorded service in DaVinci or Premiere, available later on a Sunday afternoon posted to our YouTube account.

8 WORSHIP AVL May–June 2022

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PROJECTS

Audio backbone

Images courtesy of Northside Baptist Church

Northside Baptist Church insists on digital audio direction ESTABLISHED IN 1983 IN A living room, Northside Baptist Church (NBC) has steadily grown to its current membership of 1,600.

With construction now complete on its new home, the church’s management decided that it would need an audio system that could match the quality of its grand surroundings.

“Since it was a new construction project, we didn’t know what the best fit for the space would be, regarding the sound system,” says Bob Slie, media director at NBC. “Our worship pastor and I attended WFX 2019 in Orlando, as they had almost a dozen audio manufacturers come in and set up in the same space, which allowed us to compare the different systems impartially. We were absolutely blown away by TW Audio’s then-new ELLA system, which was powered by Powersoft amplifier platforms. We met with Mick Whelan from TW Audio and began a relationship that would take us a year-and-a-half down the road to their first US installation in a church with ELLA and Powersoft.”

Slie contacted local company, Arrendell Media, to supply and install the system. The company’s owner, Brian Arrendell, liaised with both Whelan and Slie in order to ensure that the system was installed to the exact specifications sent from TW Audio. “We also had Rick Woida from Powersoft come

in to help complete the installation by setting everything up and tuning the system along with Mick,” adds Slie. “They spent three days with us getting everything set perfectly, including having our band come in on the final day to put the system through its paces. This final step of having someone here from each of the two companies was integral to getting the sound we required.”

Whelan and his team from TW Audio designed the ELLA6 system for the church’s sanctuary space. The PA consisted of 22 ELLA6 speakers and six VERA S32i directional subwoofers hung in the centre of the room to provide the low-end energy for the space. The design for the room was a main array of eight speakers per side, as well as two ELLA6 speakers hung below the subwoofers as a centre fill for the first couple of rows. A pair of ELLA6 speakers installed on the far left and right walls as outfills get the clarity and vocal intelligibility to those seats.

“It was Mick from TW Audio who chose Powersoft,” continues Arrendell. “This was our first experience using Powersoft and I have to say that these amplifiers are amazing. Their capabilities and the built-in monitoring features are great. Of course, I love all of the bells and whistles, but the actual sound of a system is always the determining factor in a product choice for me.” Powersoft’s

Quattrocanali 8804 Dante + DSP amplifiers have been chosen to drive the system at NBC. “The Quattrocanali 8804 Dante + DSP amplifiers were great for this application for a few reasons,” explains Arrendell. “The Dante inputs were great to interface with the Allen & Heath Avantis Dante I/O at FOH. The fact that it will easily handle different impedance loads on the same amplifier really helped, while the Rational Acoustics Smaart API was great for the system tuning process. Rick from Powersoft was there to tune the PA system and he was great to work alongside with.

He was very helpful, and he showed me around the ArmoníaPlus control platform.”

Slie continues: “The amps from Powersoft produce pristine sound and are far more controllable than any system I’ve ever worked with.

The ability to network, monitor and mute our system from one location in the sound booth gives us complete control over our output. We were coming from an old system of 3U and 4U amps that are extremely heavy, low powered and had no options for monitoring the output from the control desk. The Powersoft amps are not only smaller and lighter, but unsurpassed in the quality of their onboard technology.”

“We’ve been so excited for our church members to experience the quality of sound we have available now,” Slie says. “I have been at

this church for over 21 years, full time, and I can honestly say that I have never heard our music sound as good as it does through our new TW Audio/Powersoft system.”

Powersoft’s Quattrocanali 8804 amplifiers in the rack “We were really impressed with this project overall,” concludes Arrendell. “From the design process and throughout the installation to the end result, which was a really well-designed audio system. The TW Audio and Powersoft combination turned out greater than we could have imagined. We’ll definitely be considering them highly for any future projects.” www.powersoft.com www.twaudio.de/en

10 WORSHIP AVL May–June 2022

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PROJECTS

SAW heads up River Rivers Church has boosted its growing collection of Yamaha consoles with two PM7s

WITH CAMPUSES IN SANDTON, Kyalami, Centurion, Durban North and Ballito, Rivers Church has one of the fastest-growing congregations in South Africa. Starting with a humble attendance of only 70 people in 1992, Pastors Andre and Wilma Olivier have grown the church into a following of thousands. Dynamic services are supplemented by online streaming to widen the church’s reach, particularly during the pandemic, and the HOW has been keen to add to its cutting-edge audiovisual technology to enrich the services even further.

“We started working with Stage Audio Works [SAW] in 2011 at the most basic level, but they are now our principal supplier and integrator for audio and video,” explains Andrew Illgner, head of audio at Rivers Church. “We’ve worked with a lot of suppliers over the years but SAW goes the extra mile as they bring knowledge and expertise that we don’t have. The service is amazing – it goes much further than simply supplying the product. They have an extremely knowledgeable team; for example, it was Nathan [Ihlenfeldt, SAW technical director] who got us on the path of digital audio networking.”

SAW has specified and supplied two Yamaha RIVAGE PM7s as the primary mixing consoles in the Sandton campus, covering the main auditorium, which hosts a maximum capacity of 3,000. One controls FOH and the other is dedicated to the monitors. These new consoles replace the CL-series system that SAW previously supplied in 2015, consisting of a CL5 and a CL1 that handled FOH, and two further CL5s that oversaw the monitors. These were repurposed and put to good use, breathing new life into the second auditorium and youth venue, which can hold up to 1,500 attendees, as well as other campuses across South Africa, enabling upgrades in five different venues. The new PM7s join Rivers Church’s inventory of 20 Yamaha mixing consoles – a brand the church has been using since 2009.

“Due to the large scale of our operation, we often have to rely on the generosity of volunteers when it comes to operating equipment,” adds Ed Helliwell, technical manager at Rivers Church. “Thanks to Yamaha’s intuitive and standardised console design across generations, these volunteers can easily slot in and very quickly feel at home on the interface, even on a console they’ve never seen before.”

In addition, all campuses use the flexibility of a Dante ecosystem. “We have a complex environment that is always changing – church on Sundays, conferences and other activities during the week,” says Illgner. “Dante makes it very easy to change scenarios quickly.” A QSC Q-SYS solution allows wider transport between the Rivers’

campuses. “In 12 years, we’ve had almost no downtime due to technical faults,” he continues, acknowledging the importance of the specification and commissioning of professional equipment. “Stability and reliability are excellent. On top of this, the round-the-clock service SAW provides is amazing – everything needs to work on a Sunday.”

SAW has specified and supplied a vast array of audiovisual equipment for Rivers Church. All campuses are equipped with d&b loudspeaker systems, Sennheiser microphones and IEM systems. On the visual side, SAW has provided numerous Pixel Plus screens, switching gear, as well as Blackmagic Design cameras to enhance Rivers’ broadcasting capabilities.

Ihlenfeldt is heartened to oversee another successful collaboration with Rivers Church. “Our relationship is fortified by another upgrade to their Yamaha mixing consoles. Working with them over the years has been a pleasure. We’re looking forward to seeing what the next step will bring, and how we can help realise it.”

Illgner summarises the partnership nicely: “We at Rivers know what we want and SAW makes it happen.

Since SAW have been on board, things have really moved forward in the AV space – and it’s thanks to them. There is sufficient trust between us that they even use us as a testing ground sometimes – and that’s a good place to be.” www.rivers.church www.stageaudioworks.com

12 WORSHIP AVL May–June 2022

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ACT-5800 Series Digital Wireless Systems

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MIPRO ACT-5800 Series digital wireless systems operate in the ISM 5.8 GHz band that effec�vely avoids interference from UHF and 2.4 GHz products. They deliver crystal clear 24-bit/48 kHz digital audio, excep�onally low latency, excellent dynamic range and ultra-wide frequency response.

The new handheld, bodypack transmi�ers accept either two AA ba�eries or one 18500 Li-ion ba�ery, charging via USB-C.

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The latest TA-58 digital plug-on transmi�er can fit MIPRO’s new recording microphones for a wide range of professional audio applica�ons. It is powered by one 18500 Li-ion ba�ery which can be recharged via USB-C.

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ACT-580T

TA-58

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PROJECTS

Unlimited possibilities

Images courtesy of Raj Edorolu

Hope Unlimited Church has invested in three grandMA3 consoles at various sites across India THREE GRANDMA3 LIGHTING consoles – two grandMA3 compact XT, one grandMA3 onPC command wing XT and one grandMA3 onPC command wing – have been purchased by Hope Unlimited Church in Hyderabad and additional sites in Secunderabad, Hayathnagar and Kolkata, with more campuses coming soon.

Hope Unlimited Church founder and senior pastor, Reverend Scott Norling, has always been an advocate for modern equipment. “It is his vision and passion to ensure that the church is globally relevant, both now and for future generations,” explains technical and production director, Sukesh Hickson.

Hickson, who heads up all the various Hope Unlimited technical teams around the country, adds: “The grandMA3 is a perfect choice of console for all types of houses of worship, large and small, as it is so powerful and flexible and can meet all of our needs.” Hickson has been working for Hope Unlimited since 2007 and his relationship with MA started back in 2009 when he purchased the church’s first MA Lighting console, an MA Lightcommander.

This was followed by an onPC command wing, before upgrading to a grandMA2 light in Hyderabad’s Hills Campus venue. Hickson and the team of lighting volunteers in Hyderabad also think it is important to keep abreast of the fast-paced world of production technology and lighting control. “For us, using a grandMA is now the only

way to program and operate lighting.

MA Lighting products are extremely reliable, well designed and built,” he says, which in turn enables the church’s lighting designers, programmers and operators to get the most out of the lighting rigs they are working with for the different services and other activities.

Most of the 70 Hope Unlimited volunteers have been trained on the manufacturer’s consoles in person, online and via MA Lighting’s e-learning platforms and communities. “The software’s one-application-all-platforms strategy makes it very straightforward for volunteers to learn and gain experience, whatever the size of the console they are using.”

The Hyderabad campus hosts around 1,600 people for services each weekend, with events also streamed for a large online audience. The grandMA3 compact XT is running in full grandMA3 mode and currently controlling approximately 72 fixtures – a mixture of moving lights, conventional fixtures, plus LED tubes and blinders all running across eight universes using 1,100 parameters.

The lights are deployed in eight different locations – on the overstage bars, on side trusses, at FOH and on the deck. In addition to the regular services, there is a lively mix of other events – including movie audio launches, quiz shows and conferences – so it’s essential to be able to deliver a diverse range of lighting and technical solutions.

For special events, more fixtures are frequently added, another advantage of the MA system where the available parameters can be distributed over multiple universes without needing extra hardware just to expand that functionality.

Hope Unlimited’s grandMA3 onPC command wing XT and grandMA3 onPC command wing were already running in full grandMA3 mode and the switch with the grandMA3 compact XT came at the start of 2022. Volunteer Harsha Davuluri, a regular programmer and operator in Hyderabad, comments that Phasers have been the most interesting feature so far, “opening up a whole new world of possibilities for creating truly dynamic effects. While we still have the same underlying workflow for creating Phasers as we did with grandMA2 Effects, the new Phaser Editor Window together with its onedimensional steps view mode offers a far better understanding as to what is happening with the values.”

As technical director, one of the toughest questions Hickson asks himself when upgrading a system is the duration of the transition from

old to new – and it’s a question he applies rigorously to any system. He confirms that in the case of grandMA3, the duration of transition has been “virtually none. The knowledge our volunteers had about creating presets, building sequences, running songtransition macros, etc., is exactly the same, if not easier than before.”

And while it will take time for them to develop their own flavour of grandMA3 programming, “the most important things like the underlying command syntax have been pretty much the same”.

Working at any house of worship means being prepared for some spontaneous and often unrehearsed worship moments, and now that the presets allow for timing information to be stored inside them, “it is very easy for us to use individually timed presets while busking,” says Hickson.

He describes the grandMA as “a solid investment because the equipment will not become obsolete; it always maintains a good market price and the software upgrades are free for the lifetime of the console.” www.malighting.com

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PROJECTS

Audio A team

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Twenty years later, familiar faces have returned to The Woodlands Methodist Church to install a new immersive sound system WITH A CONGREGATION OF more than 14,000, The Woodlands Methodist Church is one of the largest in Texas. In 2001, when the church moved into its new 2,200-seat worship campus, the sound system was designed by consultancy Idibri, a Salas O’Brien company – then known as Acoustic Dimensions – and installed by integrator LD Systems. Twenty years later, Idibri and LD Systems have come together once again to keep the church at the forefront of audio technology with the design and installation of L-ISA immersive technology using L-Acoustics A Series loudspeakers.

“The music of The Woodlands Methodist Church ranges from contemporary to blended to traditional choir and orchestra. The original system we designed there was a hybrid mono-plus-stereo system that let the spoken word use mono while the music was

FOH engineer Roland Richard mixing the choir, orchestra and organ on the L-ISA Controller and DiGiCo SD10 performed in stereo,” explains Ryan Knox, senior consultant at Idibri, who worked on both the original project and the recent renovation.

“The bid request they had ready to go last year was for a stereo system, and we were concerned that it could de-emphasise the centre for speech. So, we recommended L-Acoustics L-ISA technology, which would take the church into an entirely new and immersive place for audio.”

Robert Rose, Idibri’s senior vice president, acoustics and technology, and project manager for the installation, adds: “We have a 20-year relationship with The Woodlands Methodist Church. So, we were in a unique position to influence their choice in a way that would keep them at the cutting edge while ensuring that the music and the message remain the centre of every service.”

Integrated by LD Systems, the new loudspeaker setup comprises a Scene system with five hangs of five A15 loudspeakers each, flanked on either side of the proscenium stage by two hangs of three A10 each, with a centre array of eight KS21 subwoofers hidden behind a colourmatched grille cloth. The system also includes 13 X4i enclosures mounted into the stage lip as front fills and 11 X8 as under-balcony fills. All are powered by 11 LA4X and

seven LA2X amplified controllers and managed by dual L-ISA Processors that interface with the church’s DiGiCo SD10 mixing console.

“It was very cool to be back in the same place we worked on 20 years earlier, where we were installing what was then a very cutting-edge sound system,” recalls LD Systems sales engineer, Kevin Broussard, referring to the line array system they fitted into the new sanctuary at the time. “Line arrays had become common as touring systems, but this was among the first to be done as an installed system.” And now as then, Broussard says, they were once again keeping the church at the leading edge of sound.

While implementing the cabling infrastructure for the L-ISA setup was the most labour-intensive part of the project, accomplished under time pressures to have the system ready for the church’s annual Christmas production, Broussard notes that the commissioning of the system, conducted with L-Acoustics’ technical assistance, went remarkably smoothly. “Soundvision is such a reliable and accurate prediction software that we were able to verify that the performance of the model matched reality almost as soon as it was installed,” he says,

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PROJECTS leaving only some fine-tuning to be finished. “That’s one of the reasons we’re so tightly linked to L-Acoustics – we can rely on the fact that whatever we design and install will meet or exceed the client’s expectations.”

Jonathan Gentry, The Woodlands Methodist Church’s technical director, says the church was understandably apprehensive about making the leap from a conventional sound system to immersive. He expected that it would be overly complex, that its components would interfere with the auditorium’s visual aesthetics and, finally, that it would be cost-prohibitive. But he was quickly reassured on all three counts.

“Initially, I thought that in no way was I to bring this before the building committee, with this many arrays across the top of the stage,” he recalls. “And I figured it would be way too expensive, so I said to Robert Rose, ‘Tell me the price – I could use a good laugh’.”

However, the system’s price was surprisingly in line with what a conventional modern line array setup would have cost. After Gentry saw architectural renderings of what the system would look like in place, he realised that L-ISA would bring not only immersive sound but also a host of other significant benefits to the church. “The way that the A Series speakers are configured up high, it allowed us to move the side video screens towards the centre, which created a more balanced look,” he explains. “It very much worked with our larger design goals

L–R: production manager Steven Rector and technical director Jonathan Gentry to keep them more focused on the stage.”

Production manager Steven Rector adds that L-ISA technology takes worship engagement to another level. “Compared to a typical L-R line array, L-ISA makes worship so much more intimate, even in a very large room. There was a concern early on that immersive sound might be a passing thing – was it going to last? We have a conventional L-Acoustics Kara rig in our Harvest worship space, so we knew the quality of the brand, but

immersive is still a very new thing.

However, once you experience it, you realise how much it enhances the worship experience.” He adds that’s especially been the case for the church’s musicians and vocalists.

“For them, the difference is night and day – the clarity and the spatial effect is remarkable.”

The Woodlands Methodist Church’s audio technology renovation brought together the original staff and crews that put the house of worship’s first sound system together.

Gentry has photos of LD Systems’ long-time project manager Nelson Wilcox hoisting the first system and the new one over 20 years apart – a reminder that, in those two decades, they’ve become like a family. L-ISA is the next step in audio technology that’s bringing the entire congregation closer together.

“This immersive experience is ultimately one that helps us all feel closer to each other and our Creator,” Gentry says. “It’s really created something intimate and special, especially for a large space like ours.” www.idibri.com www.l-acoustics.com www.ldsystems.com www.thewoodlandsumc.org

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May–June 2022 WORSHIP AVL 17

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PROJECTS

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Man on a mission PT Promedia Innovative Solutions has designed and installed a d&b V- and Y-Series setup at GMS Surabaya

L-R hangs combine d&b V8 and Y12 line arrays with J-SUBs

WHEN JUSUF SOETANTO SET OUT to create 1,000 local churches with one million disciples, he did not initially appreciate how the amplified power of the sermon and music would have in achieving his goal. Founded in 1984 in the form of a prayer fellowship, Gereja Mawar Sharon (GMS) church has evolved into becoming an Apostolic Cell throughout Indonesia, southeast Asia and Australia. Serving the Lord from the main Surabaya GMS church in Cempaka Street, d&b audiotechnik loudspeakers are relied upon for the charismatic services.

Earmarked for extensive renovations in 2017, construction of a new sanctuary was delayed owing to the ongoing pandemic. Having grown accustomed to the qualities of the Q-Series loudspeaker setup for over a decade, the adjacent Sibec Hall was upgraded with a J-Series line array. Open-minded to proposals, senior pastor Soetanto invited vendors to demonstrate their audio systems in 2019 that would ultimately be installed in a new 4,000-capacity sanctuary.

Transforming the newly built, pillarless space into a performance venue capable of transmitting the word of God was made possible by PT Promedia Innovative Solutions (PIS). Led by GM Yosua Yan Heriyanto, PIS was commissioned to design, supply and

install the entire audio system. Capable of delivering smooth, natural-sounding and intelligible spoken word in addition to adding punch and volume during musical performances, V- and Y-Series components from d&b audiotechnik continue the German brand’s legacy within GMS Surabaya.

With a goal to attain the most even coverage and SPL achievable, d&b ArrayCalc simulation software and EASE measurements were made by d&b audiotechnik’s head of global EAS, Stefan Goertz, in 2019. Acoustic works prior to the fitout were conducted by an east Java interior design company supervised by Jakarta-based consultant, Leo Tanzil. The solution comprises a main L-R system of 12 V8 line array speakers together with eight per side Y12 line array modules as out fills and a single V10p enclosure suspended between the arrays as a centre fill. The addition of six flown J-SUB and two floorstanding J-INFRA triple 21-inch subwoofers emphasises the low frequencies when required.

Offering 80° horizontal constant directivity dispersion control down to 250Hz, the V8 is a three-way design incorporating dual 10-inch LF drivers, a horn-loaded 8-inch MF driver and two 1.4-inch exit HF compression drivers with 2.5-inch voice coils mounted on

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a dedicated wave-shaping device. “For a line array of its physical size, the V8 has the power of a much larger cabinet and distinguishes itself further by its fidelity and efficiency,” comments Heriyanto. “The GMS Surabaya design is standard for multipurpose halls that require both music and speech reproduction with minimal distortion. In addition to providing intelligible spoken word delivery, the V8 can cope with the consistent high SPL requirements from the musical components. The reproduction for both vocals and instruments across an extremely wide frequency range is incredibly accurate.”

Capable of delivering 4x4,000W and 4x1,600W into 4Ω respectively, d&b D80 and 30D amplifiers provide ample headroom power for the five-way system. Containing configurations for all d&b loudspeakers and a linear mode, both amplifier models include an extensive suite of digital processing functionality. Defined signal delay settings of up to 10s can be applied independently to each channel and two 16-band equalisers include parametric, asymmetric, shelving and notch filtering. In addition to applying an equal ratio of signal input to amplifier output channels, the LoadMatch function enables the electrical compensation of speaker

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PROJECTS cable properties, without the need for a conductor.

Following a demonstration, GMS Surabaya was impressed with the extensive feature set and intuitive layout of the Avantis digital console. Launched in late 2019, Avantis is built on Allen & Heath’s 96kHz XCVI FPGA platform, with 64 input channels, onboard processing and a configurable 42-bus mix architecture, controlled via dual HD touchscreens. With the addition of a DX Link I/O card, the control surface can receive up to 48 microphone inputs from a GX4816 DigiRack expander onstage via Cat5e.

Although two d&b 12S and two M4 wedges serve as stage fill and main pulpit monitors respectively, Sennheiser EW IEM G4 in-ear monitors and Allen & Heath ME-1 personal mixers are now preferred by the keyboard players, guitarist, bassist, singer and percussionist. Daisy-chained via a PoE Ethernet ME-U hub, each ME-1 mixer is capable of handling up to 40 sources from the console. Features including the one-knob function control, 16 assignable keys, OLED screen and integrated ambient microphone have enabled the musicians to easily transition from wedges. d&b M4 wedges serve as low-profile pulpit monitors

Live music is augmented by floor-standing J-INFRA subs

In addition to configuring the audio parameters offline before a service, the Avantis MixPad control software further allows other technicians to check and edit show files. If they prefer, they can control the mix live via the app from an iOS touchscreen for which every aspect of the Avantis surface GUI is replicated for instant familiarity. A Dante card has been inserted for virtual sound-checking.

Prior to the pandemic, the church stipulated the requirement for Dante networking. “The church placed an emphasis on creating a digital ministry in 2017 as many of their satellite churches require

a livestreaming service,” explains Heriyanto. In addition to better connecting their thousands of regular worshippers with the Lord for the two Sunday services, the newly built sanctuary will extend its audience far beyond this district of central Surabaya in future. Despite the construction delays, the project has not only exceeded the demands placed by Soetanto, but the extensive price-performance benefits provided by the new audio system have delivered those on budget. www.gms.church www.promediasolution.com

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May–June 2022 WORSHIP AVL 19

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PROJECTS

Where there’s Hope, there’s an AV solution

Rock-tech has supplied Hope Church with a futureproof setup that will appeal across all demographics HAVING CLOSED ITS DOORS TO film-goers in 2005, an iconic Art Deco cinema in Ipswich has reopened as a house of worship. While the before and after entertainment technologies employed within the 2,870m2 venue are comparable on many levels, the similarities end there following a three-year period of redevelopment. The task of swapping out cinema projector systems and LCR Dolby-certified loudspeakers in the two main screen rooms for LED screens and stereo line array modules fell to York-based integrator Rock-tech. To fulfil its client’s wishes, the AV and lighting specialist quickly asserted itself into the role of general contractor.

In contrast to the declining demand for ticket sales that the cinema had experienced before its closure, Hope Church had outgrown its former industrial unit home of 21 years in nearby Fore Hamlet. With a desire to better serve the town and the general community, the former Odeon site

Once again, Rock-tech has enhanced the worshipper’s experience

Hope Church lead pastor, Tom Scrivens

located on St Margaret’s Street next to the Regent Theatre, ticked the primary “location, location, location” box. An application in 2006 for the site to be transformed for leisure use into a nightclub, bowling alley and restaurants never came to fruition.

“We wanted to relocate to a place where our family – as a church – could grow,” comments lead pastor,

With an ability to serve as a community hub and accommodate growth in its new central location, the church is seeking to increase its appeal across all demographics.

Although the committee favoured AV and lighting technology that would not exclude a senior audience by appearing too ostentatious, a high-tech system was specified

Tom Scrivens. In 2018, the planners accepted the application for a house of worship. “It’s a building that matters to a lot of people, so we wanted to make it good by helping and serving a lot more people.” In addition to the large area dedicated for worship, the former Odeon building includes multiple-use rooms, kindergartens and cafeterias.

20 WORSHIP AVL May–June 2022

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PROJECTS for events and services. A less technical approach in favour of what the technology could facilitate led to ease-of-use and futureproofing designs becoming primary considerations.

“Hope contacted us initially following a recommendation by one of our main clients, Audacious,” comments Rock-tech MD, Kieran Scotchbrook. Based in Manchester, Audacious is a vibrant house of worship that is at home in a converted warehouse. “When we arrived onsite in 2019 to conduct the demo of the loudspeakers and LED displays in the old cinema, the disused screening room was completely black without electrical points.”

Having fed an electrical extension into the main level two screen room and demonstrated both an Eden LED display and Hill Pro Audio loudspeaker system, Rock-tech was commissioned to supply, design and install the AV and lighting into the main auditorium.

“Although most aspects of the old cinema had been stripped out, some old fittings together with the décor were still in place, including some popcorn in an old dispenser,” Scotchbrook recalls from his first site visit. “To enable the technologies, we knew that we would need to conduct numerous building works. First and foremost, we needed someone to remove the dividing partition between the two old screen rooms. Following additional interior works, the church then commissioned us to work on all the other rooms, including toilets and offices.”

The four-hour journey from York to Ipswich was eased following the assignment of two of Rock-tech’s

12 Hill Pro Audio M10 loudspeakers are arrayed in hangs of three experienced recruits located in nearby Norwich. Although Rowyn Rawlinson and Cuan Hope suggested the removal of steel structures close to the stage to provide a clear line of sight, the main steel partition running through the centre remains.

The raked floor of the main screen rooms was replaced with elevated flooring, inadvertently creating storage space under the stage. “We are an AV company by trade, so we recommended local specialists for some of Hope’s more constructionbased requests. However, we removed the glass balustrades, built stud walls, installed a disability ramp and installed a baptism pool at the front to the right of the stage.”

The contract coincided with the onset of the 2020 pandemic, and

To control reflections, Rock-tech installed lateral wave walls and a quattro so government restrictions and disrupted supply chains inevitably resulted in delays and unforeseen obstacles. Fortunately, they had Matt Cornish on their side. The Hope Church operations manager took on the role of project manager during the entire construction phase and served as Rock-tech’s sole point of contact from day one.

“Matt was a highly effective conduit role between the church elders and the various contractors,” explains Scotchbrook. “He really was the ‘go-to’ man for everything. Whether we needed to change plans or came across a problem, we were able to work closely with Matt throughout the process. He was highly organised with excellent communication skills.

Our life onsite was made so much easier as Matt always informed us of any updates and changes to plans.”

Measuring 28m x 17m (WxD), the landscape-orientated venue has received extensive acoustic treatment. Perforated plasterboard and rockwool were added throughout the auditorium as well as acoustic boards, diffusers and absorbers. In addition to the rockwool treatment, Rock-tech further installed lateral wave walls and a quattro acoustic band to control and manage reflections. RGB LED lighting is concealed behind the angled deflectors running along the length of the side walls.

“Following simulations and modelling using Hill Pro Audio’s ACT software, the wide nature of the auditorium dictated a bespoke loudspeaker design,” explains Scotchbrook. With its high output, intelligibility and modular design, Hill Pro Audio’s M10 loudspeaker sufficiently impressed

L–R: Hope’s Jenny Greenwood with Rock-tech MD, Kieran Scotchbrook Four MS218 subwoofers are neatly integrated into the fascia of the stage

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acoustic band the church elders during the initial demonstration. Weighing 18.2kg and measuring 160mm in height, the diminutive M10 distinguished itself with its wide dispersion characteristics.

The unique quad 5-inch design is capable of producing a maximum SPL of 136dB within an 80Hz–20kHz frequency spectrum. Suspended from overhead trussing, four hangs each comprising three M10 cabinets deliver even dispersion across the 700-capacity listening area. The controlled 140° wide-angled dispersion offered by the M10 distributes acoustic energy to the seats. By adjusting the rear “link-and-pin” hardware, precise vertical coverage ensures acoustic directivity onto the rear wall of the 4.8m-high auditorium is avoided.

Positioned on the curved lip of the stage, four free-standing M2 dual 5-inch speakers offer front fill enhancement.

Integrated neatly into the fascia of the stage, four double 18-inch MS218 subwoofers enhance the lower frequencies down to 30Hz (±4dB).

The Class-A/B self-powered sub-bass enclosures are fixed into precisely constructed 500mm x 1,200mm (HxW) apertures and connected to the racked dbx DriveRack Venu 360 processors.

Having raised the floor level, a standing-room storage area with the equipment rack has been created below the stage. Sharing the rack with the dbx processors, five Hill Pro Audio Hi-Z4000 dual-channel amplifiers provide ample headroom to the 12 M10 and four M2 speakers. Cat6 cabling connects the various inputs and outputs through a wide conduit under the suspended floor to a Behringer X32 digital mixing surface in the main FOH control area. Power distribution is

centralised at the same location with one button operation for switching on and turning off all the equipment in sequence.

To the benefit of the performers, the lateral walls enclosing the 6m x 8m (DxW) stage have been treated with acoustic absorbers. Finished in black, the walls and the ceiling above the stage discreetly conceal the overhead trusses and fixtures. A facility panel onstage provides six XLR connections for the IEMs and Radial DI boxes connecting the guitars.

The singers rely on seven Sennheiser e935 handheld transmitters paired to racked ew G4 receivers located at FOH. Wireless signal transmission is assured with the addition of two ASA 214 active splitter antennas, each connected to ADA 20 UHF boosters.

The pastor differentiates himself during sermons by using a DPA DP4266 omni flex headset transmitter. The wireless

The landscape-orientated venue has received extensive acoustic treatment The resultant images are then output to two 3.5m x 2m (WxH) Eden LED displays in the auditorium, in addition to a network of 16 Samsung HD displays throughout Hope Centre via SDI connection. Positioned on the front wall on either side of the stage, the two wall-mounted 3.9mm pixel LED displays provide a visual enhancement for the seats furthest from the stage. A Novastar

One of the three Eden PTZPRO cameras is fixed to the structural steel division IEM transmitters onstage receive their UHF signal input from four dedicated ew G4 receivers in the same FOH rack via an AC 41 active antenna combiner.

“We chose Sennheiser for their sound quality and for the fact that they offer bulletproof reliability,” explains Scotchbrook. In between services and performances, the hand-held mics are stored in a FOH drawer fitted with “baked-in chargers”.

Managed by an Eden broadcast controller, three Eden PTZPRO cameras fitted with Sony optics are fixed to the rear wall, the structural steel division and the rising edge of the right wall of the main stage. Selected for their ease-of-use functionality, the audience stage views are enhanced without large camera platforms crossing sightlines.

Together with an Apple iMac Pro, the three 1080p HD signal inputs are routed to a Blackmagic Design ATEM Television Studio Pro HD live production switcher.

MCTRL 660 LED controller and an eight-input LED 550D series Magnimage scaler provide full LED processing. Connected to the cameras and switchers, a Teradek Vidiu X hardware encoder broadcasts live video from the services and events to multiple remote streaming platforms in HD resolution.

From the surface of a compact QuickQ 20 lighting control surface, volunteers can easily dim or turn the lights on and off. Any one of 10 recall positions can be selected to best suit the ambience or event, including baptism services. Chauvet Professional overhead fixtures include a combination of Rogue R2 LED spots and washes, COREpar 80 USB and COLORband PiX USB linear LED wash lights complemented by five ADJ 150S Z8-50 Fresnels. “The power-saving LEDs are so easy to operate,” explains Scotchbrook. “The cleaner can turn the house lights on

from the wall plate and the volunteers can override this from the QuickQ 20 control desk.”

The three pre-existing smaller screen rooms on the ground level have been converted and partitioned into seven smaller breakout spaces. Enhancing their flexible, ease-of-setup credentials for various events, these rooms are largely devoid of furnishings and decoration. A larger conference facility room can accommodate up to 150 seated people for events and is also used for the Ignite-BlazeIlluminate (IBI) group for children aged 6–11 on Sundays. Glow and Shine kindergarten rooms welcome the 1–2 and 3–5 age groups, while the Youth room is used for Youth Services each Sunday in addition to other events. Served by local HDMI inputs, several 75-inch wall-mounted Samsung displays connect to stereo wall-mounted speakers.

The corridors and stairs connecting the rooms on all three levels together with the foyer, offices, toilets and cafeterias are divided into four public address zones. Powered by a single Clever SL3120 four-channel amplifier in the ground-floor control room, a distributed network of ceiling speakers operates in 100V line mode. From this location, the operations manager can also make zoned announcements from an Audac MPX48 voice controller.

At the heart of this system, an Audac MTX48 four-zone matrix enhances ease-of-use control for designated users, including full-time church administrator Jenny Greenwood.

Zoned volume control and sourcing of Spotify playlists, local inputs or the auditorium feed can be output from the interface of a mobile phone over Wi-Fi with the downloaded Audac Touch App. The ease-of-use features befitting the straightforward AV and lighting design belie the detailed works that have been undertaken by Rock-tech in its execution of the installation. “The user-friendly interfaces are simple to operate for volunteers but, as they become more creative and gain more confidence, increasingly complex features and functionality can be accessed,” confirms Greenwood.

In addition to training the volunteers and providing them with the confidence to take ownership of the technology, Rock-tech has also created learner manuals and tutorials for newcomers. Hope Centre has reciprocated by providing Rock-tech with a notable chapter in its own growing book of satisfied customers. www.hopeipswich.co.uk www.rock-tech.co.uk

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PROJECTS

Sea of change DiGiCo Quantum consoles have brought sonic clarity to Seacoast Church’s audio system

L–R: audio engineer manager JT Price and production director Mike Ward THERE’S NO DOUBT THAT Seacoast Church has been successful in its mission to help people find God, grow their faith, discover their purpose and make a difference. What began in an apartment clubhouse with 65 people in 1988 has grown to a weekly attendance of more than 10,000 at a dozen locations in South Carolina and one in North Carolina, alongside its online presence.

The HOW has been equally progressive when it comes to worship technology. A new DiGiCo Quantum338 console has taken up residence at front of house at the church’s main and broadcast location in Mount Pleasant, South Carolina, which seats 2,500

worshippers. In addition, a new DiGiCo Quantum225 console is on order for the campus’ 1,300-seat Student Center auditorium, with a third future Quantum225 planned for the church’s 800-seat Warehouse space. The new FOH Quantum338 is complemented with a pair of SD-Racks for a total of 96 inputs and 48 analogue outputs, with 32-bit Ultimate Stadius microphone preamps. All of the DiGiCo desks will be fitted with DMI-KLANG and DMIDante cards to support the church’s Shure PSM 1000 and 900 IEM monitoring systems and planned-for connectivity throughout the campus.

“The sonic experience is very important at Seacoast Church,” says Preston Russ, director of design

at WAVE, the North Carolina-based design and integration firm that installed the DiGiCo products. “The music is contemporary Christian and high energy, so the sound has to be great. DiGiCo assures that.”

Equally as important was the desire to create a futureproof workflow at the church, one that would start at the Mount Pleasant site and would be rolled out throughout the Seacoast community.

“As important as the sound quality was, they were also looking for ease of use, reliability and stability,” adds Russ. “The Quantum technology gives them all of that. These were the first DiGiCo consoles they’ve used but Mike Ward, their production director, has had a lot of experience with DiGiCo and he was already very comfortable with the idea of using them. And Brandon Lake, who is one of their worship pastors, is very forward-looking when it comes to technology, and he was impressed with the kind of ecosystem that could be built there.”

Ward was sold on DiGiCo well before he came to the church nearly three years ago. “There is literally no other console I’d rather mix on,” he explains. However, the new console acquisitions are highly strategic.

“The goal is to have unified console platforms and software in all three of the worship spaces on the campus,” he says. “That way, our musicians can be familiar and comfortable with the same monitoring in every room, our mixers can also be familiar

and comfortable using the same worksurfaces and workflow in every space, and they’ll be able to take and use show files and channel strips from room to room, which will give us workflow and sound quality consistency throughout the entire campus. The Quantum consoles and software are really the basis for an entire new audio ecosystem for Mount Pleasant and beyond.”

The decision to use DiGiCo has already produced economic benefits. Russ says that the implementation of the DMI-KLANG card and the 16 discrete stereo mixes it offers for the Shure IEM system meant that the church could do without the dedicated monitor console it had been using. But as has always been the case with Seacoast Church, futureproofing is the real goal. “The MADI capabilities of the Quantum technology will play a big part in how the DiGiCo ecosystem migrates throughout the rest of the church and the other locations,” describes Russ. “There will be splits from the Quantum338 to recording and other uses in the future, and we’ll be able to add an Orange Box, more Dante and other components as well. This will be the hub of a much larger and very efficient audio-production environment that can take the church into the future.” www.digico.biz www.seacoast.org www.wave.us

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PROJECTS

Connecting the congregation A new, in-the-round Bose audio system at Connect Church puts pastors at ease SINCE FIRST MAKING AN appearance in 1998, Connect Church in Cherry Hill, New Jersey has evolved massively. The multi-generational congregation champions high-energy contemporary worship and, as a result, is on a constant mission to adapt and refine its worship space.

This had led the management to explore a number of technological updates over its history, such as lighting and fog effects paired with multiple video screens, in order to infuse more energy into the church’s weekly services.

The onset of the pandemic forced a rethink of the way that operations were conducted. Equally, the move out of its physical premises also gave church leaders an opportunity to improve their worship space in preparation for when they gathered again at full strength. “The question became, what are the ways we can create a unified community?” shares Pastor Horner, who founded Connect Church with his wife Danielle. Part of the answer he and his team came up with was to use this time to renovate the church and gathering spaces. “We had a plan to work on the sanctuary, café, kids’ spaces and the guest lounge,” he says. “When people return, we want to give them something to be excited about, beyond just a fresh coat of paint.”

This prompted a complete reconfiguration of the space, moving the stage from a position at one end of the room, which was separate from the audience, to a central location where it is now fully part of the audience – unifying the entire congregation with the worship service. The next challenge came with reintegrating the audiovisual components into the new setup.

Thanks to its previous relationship with Connect Church, Whitaker Technologies was enlisted to aid the work and recommended an exclusive Bose package to handle the audio.

The first hurdle was addressing the size and configuration of the space, which is a long rectangle with 5m-high ceilings. Moving the stage to the middle of the room created a theatre-in-the-round layout with

The in-the-round setup seats surrounding the stage on all sides. This dynamic setup created audio challenges around the equal distribution of sound, as well as the need to address distortion and time delay.

An audio design was developed

by Whitaker using Bose AMM multipurpose loudspeakers. “We were blown away by the low profile, ease of installation and design flexibility of the new AMM product line,” Whitaker Sr recalls. “The power, strength and technology from Bose, coupled with our technology and integration team, provided a win-win situation for everyone. We couldn’t wait for the church to experience the final result.”

A total of six AMM112 and six AMM108 loudspeakers have been mounted to the ceiling rafters in a circular configuration facing outwards. Whitaker chose six ShowMatch SMS118 DeltaQ subwoofers to complement the AMM loudspeakers, which have been flown above the sanctuary stage. This pairing was credited with creating a more consistent coverage over a wide frequency range to add to vocal clarity during the services.

Three Bose PowerMatch PM8500Ns and a Powersoft X4-Dante amplifier offer customisable modes, allowing the church to allocate the available power to one or more output channels as required. A ControlSpace EX-1280 processor

completes the Bose package, providing the sound system the control necessary for such a flexible

complemented them with FreeSpace DS40SEs outside on the boardwalk.

The power for these comes from a single FreeSpace IZA2120 amplifier.

Following the sanctuary reconfiguration, the church can now seat 360 congregants, and every one of them is perfectly positioned for a sensational experience. “The previous system had been too loud because the distribution was off, so the upgrade needed to be loud enough to push audio to the back of the room, but comfortable and enjoyable to a wide variety of ages at the same time,” Pastor Horner explains. “I sat in every section to listen to the sound. It doesn’t matter where you sit – it’s the same great quality sound experience.”

It’s often the effect on the congregants’ experience that

The Allen & Heath dLive C3500 at FOH space. FOH audio control comes from an Allen & Heath dLive C3500 mixing console paired with a dLive CDM48 MixRack for I/O. The upgrade in the main auditorium left other areas of the church building wanting, and so the next challenge was upgrading the sound system in the lobby and boardwalk deck areas to ensure each member experiences consistent audio throughout. Whitaker treated the lobby and Narthex gathering spaces with FreeSpace DS16F cabinets and

gets the most credence during an audiovisual upgrade; however, in this instance it has relieved a great deal of pressure for Horner when he’s preparing to head out onstage. “I’m no longer worried about the audio and how everything will sound. It’s a huge peace of mind to be able to say this; audio and video are usually what concerns pastors the most before services.” pro.bose.com www.theconnectchurch.com

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PROJECTS

Home at last Martin Luther King Church is finally able to reach its full potential in the multipurpose Espace Grand Paris THE ESPACE MARTIN LUTHER King Grand Paris (Espace Grand Paris) in Créteil, south-east of Paris, is a €22 million, 5,600m2 building that boasts a main 1,800-capacity auditorium, meeting rooms, a sports hall, day-care facilities, a café and a rooftop restaurant with panoramic views. Owned and operated by the Martin Luther King Grand Paris (MLK GP) foundation, a cooperative (SCIC) heavily backed by a number of Protestant organisations in addition to local and regional funding, the Espace Grand Paris has been designed as a socio-cultural hub that aims to serve the entire community in both a secular as well as a spiritual capacity.

Rather than constructing a place of worship for the benefit of Christians only on Sundays, the foundation chose to build a space that would be open to everyone, seven days a week. According to Catherine Bernard, CEO of venue operator MLK GP, the multipurpose space business model enables the creation of highquality, versatile facilities that can be accessed by users who otherwise may not have the means to create these spaces for their own businesses or needs. “Martin Luther King [MLK] Church rents the entire building from us all day every Sunday and benefits

from a world-class auditorium for their services – in fact, a full campus in the style of large North American churches, which they would not be able to afford to build themselves.”

At the end of 2004, MLK Church met at the premises of the Reformed Church of Créteil-Charenton which it rented. The church grew rapidly and soon the venue was far too small.

In September 2008, the HOW was able to buy the former ANPE of Créteil which, after some adjustments, accommodated 200 people. With the congregation continuing to expand, an opportunity to acquire a building on the other side of the street presented itself in 2016. Even in this location, MLK Church’s five Sunday services were still not sufficient to accommodate its needs. Inaugurated in September 2021 and taking seven years to come to fruition, Espace Grand Paris has given MLK Church a new home for its growing family.

A key partner in bringing the foundation’s vision for the building to life was its long-term technical service provider, S2Sound, based in Villejust to the south of Paris. S2Sound is a full-service production company specialising in live events, and a long-standing d&b partner. S2Sound’s Samuel Dugard was charged with

defining the brief for the new spaces, including AV for the main auditorium.

“We’ve been involved in the project since the very beginning, and it’s fair to say that the brief has evolved considerably since then,” explains Dugard. “Originally, we were tasked with designing a traditional system with the stipulation that it should be multifunctional with high intelligibility, as we knew it would be hosting everything from church services complete with a worship band, to

corporate events, product launches, fashion shows and more. However, the more the project developed, the more we felt it would be of real benefit to make this venue truly exceptional and offer an experience that simply doesn’t exist elsewhere.”

As part of the drive to make the Espace Grand Paris a stand-out venue, the decision was made to install a 360° video screen which covers the entire perimeter of the room. Based on the concept of a

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PROJECTS

cinema, the screen measures 90m x 3.5m, with a further LED screen installed behind the stage measuring 20m x 5m. Consequently, a traditional LCR sound system was no longer suitable. Large clusters would have been needed to cover the space adequately, which would have impinged on sightlines, obscuring parts of the screen. The other catalyst for reimagining the audio brief was the fact that d&b had launched Soundscape, followed by the A-Series. As Dugard points out, now that a state-of-the-art video solution was in place, it would have been a shame not to match it with a cutting-edge audio solution.

“I first heard Soundscape at a tradeshow,” recalls Dugard. “d&b France arranged another demo for me so I could spend a bit more time with it. It’s a bit unsettling at first, because it’s a different way of mixing and designing a system to what we’re used to but, once you understand it, the results are amazing.”

As Dugard’s ideas started to crystallise, he realised the enormous potential offered by an A-Series/ Soundscape solution coupled with the already impressive video and recording facilities. “Once the A-Series was launched, it was obvious that this would be an ideal solution for the main auditorium, given the constraints imposed by the 360° videowall, not to mention the video recording teams who didn’t want to see arrays of loudspeakers in shot,” notes Dugard. “The A-Series arrays are much more compact than traditional line array hangs, therefore far less intrusive, yet cover the whole room with ease.”

Dugard specified 13 clusters of two or three ALi90s each which are flown from the roof and are all but invisible unless one chooses to look up at the ceiling. Low-end reinforcement is provided by a pair of J-SUBs beneath the stage in a cardioid configuration.

A row of eight Vi-SUBs flown above the stage combat any potential hot spots or comb filtering in the ultra-low frequencies to ensure smooth, even coverage throughout. Twelve E8s incorporated into the stage lip provide coverage for the first row, while 17 Yi10Ps are distributed around the room below the 360° screen for surround sound. The cherry on the cake is the DS100 Soundscape processor which enables the use of d&b’s immersive sound software modules, En-Scene and En-Space.

“The difference that Soundscape makes is remarkable,” declares Dugard. “With a standard stereo system, the sweet spot is very

clearly defined, and it’s right in the middle of the two clusters, so only a small percentage of the audience or congregation benefits. The stage in the main auditorium at the Espace Grand Paris is very wide, which makes it even harder to make an L-R system work – those at the sides of the room simply get neglected.

“By taking a different approach with a combination of Soundscape and A-Series, the sweet spot is everywhere – you can localise the source from wherever you are in the room, making what you see totally coherent with what you hear. We also have a tracking system in place so that the sound actually moves with the musicians or the speaker.

Combined with the 360° videowall, it makes for an amazing, fully immersive experience.”

Five Modulo Pi Player Pro video servers provide the signals to 22 video projectors around the auditorium,

and the 4K signal for the LED screen on the stage. The Modulo Pi servers take care of all the video distribution and the operator also has an Ableton station to distribute the audio. At the heart of the video system are an AJA KUMO 6464 3G-SDI router and a Panasonic AV-HS6000 switcher.

The video solution also includes 12 recordable channels, including an AJA Ki Pro Ultra 12G and Blackmagic Design’s HyperDeck Studio, with content broadcast live on the Resi streaming platform. For the broadcast and capture solution, a Jünger D*AP8 embeds the Midas HERITAGE-D HD96 output to the PGM video signal.

Audio from the outlying rooms is provided by an Allen & Heath DM0. The broadcast audio booth has a Midas HERITAGE-D HD96 console, Trinnov processors for 5.1 monitoring and 64 recordable audio channels. The entire audio system is based on Dante, linking the Midas PRO X, the Midas HERITAGE-D HD96 and the d&b DS100 signal engine, and all the rooms in the facility are linked via fibre.

“The possibilities for the Espace Grand Paris with a room of this quality are endless,” concludes Dugard. “The MLK church is thrilled – it elevates their worship experience beyond anything they could have possibly imagined, and the impact it has on engagement is enormous. People now feel completely connected regardless of where they are seated. I’m very proud of what we’ve achieved and I’m sure it will become a blueprint for other venues in the future.” www.dbaudio.com www.s2sound.com

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KnowHOW

Wired or wireless?

Media Mentoring founder Graeme Spencer believes that wired is the most stable option RECENTLY, I HAVE SEEN ON Facebook forums many comments from people having challenges with their wireless systems. Often, their church installed these during Covid lockdown and they are now causing them production problems. If you are looking at upgrading your equipment, you may well be considering a wireless solution. So, I thought it would be useful to take a look at the question of what is best – wired or wireless.

As usual, there isn’t a definitive answer that will fit every situation and circumstance. But, in my opinion, always go for a wired solution when it comes to production.

One way to think about it would be that when streaming, would it be better to have your computer hard wired to the internet or use Wi-Fi? The answer is of course to have it hard wired. If that’s the case there, I suggest it’s the same answer across all your production.

Over the last 25 years working with professional broadcast engineers, I can’t recall a single situation where they ever suggested a wireless solution if a wired solution was possible. Yet, I am surprised at how many churches and ministries seem to have favoured wireless over wired. Wireless can seem the more futureproof option – and yet, the challenges created by going cable-free add unnecessary headaches that can be avoided.

Before I take a look at the various challenges that going wireless introduces into any production setup, there are two valid reasons for churches to choose a wireless solution.

1.

2.

When you have no way to get the signal from your device to where it needs to go by using a cable.

The movement needed from the device means that a cable is not viable or safe.

However, my first choice is always to use a cabled solution. Here are the primary reasons:

system – that’s a lot of batteries to remember to check and have ready to replace.

Ease of use – particularly when it comes to cameras, many “rigs” are getting unwieldy and way too complex to use and set up – getting rid of wireless transmitters will help simplify the setup and make the whole camera rig lighter and easier to operate.

Human error – this would include things like poor mic techniques – a singer holding a radio mic in the wrong place for instance can cause signal dropouts that you never get with a wired solution. Or, the cameraman knocking the power button on the transmitter off as he is walking around looking for his next shot. All these things can add to your headaches.

Cost – you will always pay more for a wireless solution than a hard-wired one. You will have to buy transmitters, receivers, antennas and other components as well Interference – adding any wireless solution increases the chance of signal drops and interference which can be seen on your programme output. If you have ever watched Formula 1 on television, you will have seen signal drops from the wireless “Cockpit” cameras. The systems they are using are at the very top end of the technology and still they have issues. If that is the case, your (likely) cheaper solution will fall over from time to time, causing disruption to your output – so why take that risk? I have seen a few people talk about how they are discovering that the wireless system they introduced during Covid doesn’t work as reliably now that they have people back in their church building. Interference is the number one reason to go wired – running a cable completely eliminates this problem.

Power – remembering to make sure every device has fresh batteries can be a challenge (it should of course be part of your

pre-production routine) but if you go the cable route with most of your tech, this will cut down on your reliance on batteries. Even with cameras, the higher-end broadcast cameras get power through their triaxial or fibre cable, making life much simpler. If you

go wireless, not only do you have to make sure you have fresh batteries at the start of your production but you also have the possibility of batteries dying on you at inopportune moments. How many times have you seen someone swap out a radio mic mid-preach due to a dead battery? Also, when it comes to cameras now, you may need batteries for your camera and batteries for your transmitter and even batteries for your talk-back

as the camera or microphone, so you will be increasing your costs by going the wireless route. You also have more things that can go wrong, plus the added cost of the batteries. Overall, your production costs will be higher.

One hidden cost many churches also don’t consider is licensing frequencies. This has become more important (and is also a way to get around interference issues as you “buy” a frequency).

This can add up if you use lots of frequencies and is also a big admin headache as well.

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For many churches, cost considerations alone should be enough to rethink your technology.

If you can save money by using a wired solution, then what else can you use that money for?

One final thing when it comes to cameras. If you have roaming

cameras in the audience, then wireless is a good (and safe) option for you. For hand-held cameras onstage, while you can make an argument to go wireless, I still suggest wired for all the reasons I’ve already mentioned.

By going wired, you also create

an opportunity for people to be cable minders. These are people responsible for making sure that cables don’t get in the way and freeing the cameraman up to get the shots he wants. This position is an entry level for people who want to get involved in filming

and production but don’t have any skills. By getting them to “mind cables”, you start integrating them into your production team and they gain understanding and experience that can be valuable. www.mediamentoring.net

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KnowHOW

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

An AVL dissolve unit

Worship video trends Casey Hawkins looks back over his video and lighting career and wonders where we’ll be in 30 years from now 1990. THAT WAS THE YEAR I began my video career. I was just 10 or 11 years old back then, but I already had a fascination for video and lighting at my church. I want to take a moment to reflect on some trends and changes that I have seen in the church video world since 1990 and look to the future and wonder what we will be doing 30 years from now.

Two Panasonic video cameras, a basic video switcher and character generator, and some VHS record decks is what I started with at my church in California in 1990. I didn’t know it then but, from a church perspective, that was a very advanced setup. Most churches did not have the knowledge of video systems to have that kind of gear, nor the money to invest in it, and some might have even seen it as sinful to have all that back then. I realise now that I was placed at that church at that time for a reason. But I didn’t have much to do with video production back then. I was most interested in IMAG and lighting at first, not realising all those would merge someday. That church used slide projectors to project song lyrics onto a motorised screen, and I had no idea how “contemporary” and advanced that was, either. The lighting system was not necessarily advanced, but we did have a system of fluorescent and incandescent fixtures in the house that were all on dimmer packs as well as stage lighting – I think we had about 45 fixtures for the stage lighting system and I used two separate NSI control panels. I look back at those days with great affection because it was truly a

learning experience for me and you didn’t figure it out watching YouTube videos, you had to be trained, or spend hours or even months or years to learn it on your own.

In 1993, my family moved to Texas, where I am today. The church here has always been very advanced and, as of this year, has been televised on the local ABC affiliate KLTV for 40 years.

When I entered this church, my life changed forever. It is where my career began. We had five Hitachi broadcast studio-configured cameras, an A/B roll 1-inch videotape setup with Ampex VPR-80 and TBC-6 machines, an Ampex Vista switcher, Pinnacle Digital Video Effects, an Ampex ACE-25 edit controller and finally the Chyron ACG character generator. This was a huge “promotion” over my California experience. Working with all that gear prepared me for my first job at a television station when I was only 16 years old. Most of that same level and make of equipment was used at the local stations. Today, I work there full-time after over 20 years of broadcast engineering and operations work for various companies and stations in the country. We use today’s modern equipment with eight Sony broadcast cameras, two Ross Carbonite switchers, several ProPresenter stations for IMAG graphics and video playback needs, six AJA Ki Pro recorders for programme and ISO recordings and some new Barco laser rear projectors for IMAG in the Worship Center. It is a great setup, and we are very blessed to have it.

But as I prepared for this article, I found myself in a situation at the

An Ampex ACE-25 edit controller and an Ampex 1-inch videotape reel church where we are researching ways to renovate and modernise our Worship Center for the first time in 22 years.

It is truly a generational upgrade, and it is fascinating to see how things will look in the years to come. I can’t look forwards without looking backwards and smiling to see what has transpired in worship video in my 32-year career.

In 1990, to create the words on the IMAG screen, we used a computer with a laser printer to print the lyrics. We would then place those printouts on a platform with a camera loaded with black and white slide film. To make the words white and the background black, we would expose the film in a negative state. Then we mounted the slides

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KnowHOW into slide holders and labelled each one and then stored it in a huge binder with special slide holding pouches. For Sunday mornings, we would review the songs scheduled for that week and we would refer to our paper log of where each song was and in what binder, then we would pull all the slides needed for that week. We would then load them into our two Kodak Electrographic III slide projectors and the Clear Light Microdiamond dissolve unit, which gave us the ability to dissolve between the two projectors, providing a nice transition between slides. The screen I bought this Sony VO5600 videotape deck in 1995 came down for worship and back up for the sermon and no video was ever In Texas, where I worked with great Today, we have screens for everything shown on the screens. We did not have equipment, there was no IMAG then. and the need for it to be high quality the technology then to place words on All the video recordings were for is ever present. In a day where a top of live video. The video recordings broadcast and VHS copies only. We cell phone in someone’s pocket is were just used for archive and shut-in did not have screens in the sanctuary many times better resolution than purposes. Video camera quality was because IMAG video was not a “thing” the cameras I started with in 1990, okay at best and VHS recordings and yet. But we had studio-configured opinions of how good the video certainly the second-generation edited production and IMAG product are fall master and third-generation copies were cameras that were a lot easier to run than the “prosumer” cameras upon unprecedented scrutiny. I am not good at all. Familiarity with video I worked with in California, so the surrounded by generations today that cameras was not commonplace back only know what we have today. They then like it is today so to find volunteers quality of the camera work was much better. The image quality was also can’t appreciate how good we have it good at running cameras was better with the cameras along with and with much less cost and barrier to challenging. Therefore, camera moves the 1-inch videotape format instead entrance than just a generation ago. were jerky and painful to watch. Church We have eight broadcast-level, studiomedia was just not considered very high of VHS. But still there was not a lot of emphasis on video in the church configured cameras in high definition, in the ranks of professional video back service.

Not at 1a Baptist church in capable of upgrade to 4K, but some then, but we wereen about as1good as it Projet1_Mise page 18/03/2022 11:06 Page East Texas in 1993 anyway. don’t like them because they aren’t got, and I was proud of that.

cinema style and, therefore, don’t have the depth of field and film look. Some desire a more hand-held look and so they don’t like the tripod-mounted cameras. That removes the value they place on the studio configuration from previous generations because we were focused on smoothing out the look and moving away from hand-held and jerky camera moves of the past. Additionally, the trend today is to have a lot of LED panels, extending the IMAG product and merging graphics, words and video content together that ultimately become the main visual product.

I am thankful that the church has embraced the technology that I have based my career on. But it makes me wonder what church will look like 30 years from now. How digital will it become? I can remember wondering, can the digital chip cameras and Digital Betacam tape ever get any better, and then HD showed up. I can only imagine what will be better than 4K, 8K, LED panels, readily available and commonplace “live” broadcasting with the advance of the internet and streaming platforms. How much more technology could we have? Will we ever go virtual? Will you ever be able to “sit” in the church and interact with other members right from the comfort of your recliner at home in your pajamas? I can only imagine.

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KnowHOW

Where to place your lights John Black looks into the distribution of lighting instruments and the direction from which the light illuminates a subject IN THE LAST TWO ISSUES, we’ve taken a look at the lighting instruments and accessories that you can use to light your services.

Now we are going to look at how you can lay out those instruments to hopefully enable you to achieve your lighting goals. In the theatre world, this is referred to as the distribution of lighting instruments – choices made as to the direction from which the light illuminates a subject.

There are a number of different situations you may encounter when approaching the layout of your lighting grid. It may be that you are in a facility that already has permanently installed lighting positions distributed around the auditorium. Alternatively, you may be in a facility that is equipped with rigging attachment points and temporary lighting positions flown using chain hoists and truss, providing flexibility to redistribute your lights as needed from event to event.

Finally, you may be in a facility that utilises both permanent positions and temporarily flown positions, allowing you the benefits of both setups.

Whatever your situation, there is no single, right way to light a stage that works for every situation.

Stanley McCandless Having published A Method of Lighting the Stage and A Syllabus of Stage Lighting in the 1930s, Stanley McCandless is considered to be the father of lighting design, and his method – the McCandless Method – is still one of the most popular theories on lighting design and the process of distributing instruments.

McCandless’ theory divided the stage into smaller areas to be lit, all between 1.8–3.6m in diameter. Each lighting area is then lit by two instruments from the front, each of which are positioned 45° above and 45° to the sides of the centre of the area to be lit. This is known as front lighting. A third light is then placed behind or high overhead the subject and is known as back lighting.

Consider for a moment placing a single light directly in front of a subject. The result is that the subject will appear flat and two dimensional because all natural shadows are washed out. McCandless’ goal was

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Robb Hall Theatre – lighting areas to more closely imitate lighting as observed in the real world. Using his method of two front lights positioned at an angle, natural shadows that define features and provide modelling will still exist and help provide dimensionality to the subject. Each of these front lights should have colour applied – one warm colour and one cool colour – that would blend together to provide natural lighting.

With the addition of a backlight, the subject is given further modelling and will “pop” out of the background more.

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Three-point lighting – side view

To lay out the lighting grid using the McCandless Method, these three lighting positions will be applied to each of the lighting areas. If your stage is divided into six lighting areas for instance, you would plan on 18 lighting fixtures to light the entire stage area. Also referred to as three-point lighting, this method is lighting distribution at its most basic.

It provides good lighting coverage that appears natural and provides modelling over the entire acting area, but it does not take into consideration the lighting of backdrops, scenery or other specialised lighting needs.

McCandless applied today Before thinking to yourself that the McCandless Method doesn’t have anything to do with lighting in a house of worship setting, let’s look at how it is still applied today. Not only do worship facilities need to provide light for people in the auditorium, but the global pandemic has forced many services to be held in digital mediums.

Video recording and streaming has become commonplace in worship settings large and small, all of which benefit from lighting techniques with ties to Stanley McCandless. This can be seen through the concepts of key light, fill light and back light, all of which are commonly used and understood terms with photographers and videographers.

The key light is the main light used on a subject and is often the brightest.

As the dominant front light, it is often placed at a 45° angle to the camera, though different positions can be used to create certain effects. The fill light is the second front light and is used to fill in some of the dark shadows created by the key light. It should not be as bright as the key light and create additional shadows, but rather just soften the contrasts while allowing some shadowing for modelling. Finally, the backlight creates a glowing edge around the subject and pulls the

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KnowHOW subject out from the background, further ensuring that the subject doesn’t appear flat.

Building on the McCandless Method, many designers utilise larger lighting layouts using four- and five-point lighting methods. Of course, this means even larger quantities of instruments needed, but it is argued that the result is more realistic lighting.

Subject visibility The reason I began with the McCandless Method is that subject visibility is often one of the most important considerations in lighting design in houses of worship. Also, worship staging typically doesn’t have extreme scenic changes – backgrounds, backdrops and band setups may change but, often, the presenters and the use of the presentation space remains the same. Therefore, once a good lighting layout for primary lighting is set up, it generally can stay that way for long periods of time.

You can begin using a scale drawing of your facility or, if one doesn’t exist, you can physically tape out the stage into your lighting areas – each of which should be from 1.8–3.6m in diameter.

These will be the areas for which you will plan out the positions of your lighting fixtures. Starting with the two front lights, locate a lighting position at roughly 45° vertical angle and 45° to the left and right of the centre of your lighting area. These will be your two front lighting positions. Ellipsoidal spotlights are the most commonly used instruments for front lights, and the lens angle most suitable to your specific situation will vary depending on the throw distance between the instrument and the lighting area.

Next locate the position of your backlight. It will be centred with the middle of the lighting area and

positioned on a steep angle from behind or high above. Backlight instruments are often Fresnels, PARs, floods or LED wash instruments and are often used as a colour wash on the stage. One consideration for backlight instruments is that you may want to prevent the ability for the audience or cameras to see into the lens of the fixtures as it can be uncomfortable to the eyes or create lens flares (though this can also be an intentional, creative

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unless you have invested in or plan to purchase additional colour scrollers or colour-changer accessories. Without these accessories, if you want to colour your stage in two colours during the same service, you will need twice the number of instruments (one set for each colour). Colour is typically applied using wash instruments so that you can create an even, well-blended coverage of colour on your stage.

you may have to experiment in terms of placement to model subjects as best as you can.

Adding colour Once you’ve ensured that your entire stage can be effectively lit, you may desire to add a number of fixtures to provide colour to your stage. This can be achieved by adding colour to your backlight instruments or by setting

Adding specials

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Three-point lighting – front lighting top view effect). To avoid this, make sure that the backlight is either at a very steep angle, hung very high above the stage or use barn doors to mask off the visible part of the lens.

You will need to go through this process for each of your lighting areas to create a uniformly lit stage using the three-point lighting method. If you are working in a space that has had a lighting designer involved in the design process, chances are you will find these positions easily. If positions at these angles aren’t possible, don’t worry – find positions that are as close to them as you can and use those.

Many facilities are less than ideal when it comes to lighting positions and

up a set of stage wash instruments specifically for this purpose. Colour is perhaps the most effective method that can be used to suggest a mood, feeling or evoke a psychological response from the audience or congregation to what is being said or presented from the stage. Colour is typically applied in a top-light or backlight position and can be created from either tungsten-sourced instruments through the use of gels or through colour-mixing features present in most LED wash or automated lighting instruments.

If you have conventional instruments, you will only be able to create a single colour from each instrument at a time,

The next element that I would consider when getting started with placing your lights is the use of “specials”.

Specials are any instruments with a specific lighting purpose other than what can be achieved through the lighting zones. For example, you may want a tight spotlight to illuminate a particular religious symbol throughout your service, or you may want a smaller, more defined pool of light to illuminate the lead worship singer to draw more focus to them from the rest of the worship band. Again, a special can be any instrument used for a specific purpose.

I would recommend including a number of “special” instruments that can be re-tasked on an asneeded basis. These instruments would always exist in your setup and therefore be quick and easy to focus as needed, rather than having to hang a special every time one is needed.

I personally keep five “specials” hung, powered and patched from all of my front lighting positions all the time. Additionally, this allows me to accommodate any last-minute lighting requests within reason.

Hopefully these tips will get you started on hanging your instruments in positions that allow you to have a well-lit stage, some colour and some flexibility for special requests. And don’t be afraid to experiment.

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May–June 2022 WORSHIP AVL 35

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KnowHOW

10 reasons to use electronic drums in worship Full Compass Systems’ product experts looks into why electronic drums are becoming increasingly popular in houses of worship ELECTRONIC DRUMS OFFER A lot of advantages compared to acoustic drums, so let’s explore some of the main reasons houses of worship are switching to electronic drums.

1

Volume control This is probably the primary reason for using electronic drums – they won’t drown out everyone else in the band, and it’s much easier to achieve a pleasing balance with all the other instruments.

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Sonic variety A five-piece acoustic drum set will give you five drum sounds, and cymbals. Even a low-cost drum set can be endowed with hundreds of drum and cymbal sounds. Some electronic drum kits also feature percussion and even some pitched sounds.

3

Great for singing drummers Singing and playing drums at the same time will tax even the most experienced sound engineer – it’s almost impossible to keep leakage from the rest of the set getting into the mic. Not only does this make it hard on the singer, but the additional miking also adds to the overall level of the drums.

4

Sell that plastic shield for the acoustic drums A drum shield can be effective, but it also needs to be placed properly for maximum reflection away from the congregation. Given that shields cost from around US$350 for basic panels to a couple thousand dollars for an enclosure, you may be able to make enough from selling the shield to pay for the electronic drums, or offset some of your expenses.

5

You can set up the drummer anywhere Drummers usually have to set up well behind the band, and as far away from the audience as possible, to keep the noise under control.

Aside from relegating drummers to second-class citizen status, moving the drums that far back can increase the reflected sound compared to the direct sound, which often results in an overall muddy effect. Electronic drums sound the same no matter where you set them up.

6

They’re easy to break down and store When you need to clear the stage for some other function, electronic drums break down quickly and can fit in just about any cupboard or spare space you might have. Some electronic drums can break down in an almost modular fashion instead of individual pieces, which can speed up the process even more.

7

No miking needed – and maybe not an amp The need for an amplifier is sometimes cited as a strike against electronic drums, but you can often feed the drum’s output right into the main PA system. This also gives the sound engineer complete control over the mix.

And even if you do need an amp, a quality powered monitor can deliver plenty of clean power at a reasonable price.

8

All kinds of extra features Many electronic drum sets include a metronome, auxiliary audio input for practising along with digital music players, a USB port for updates, trainer modules, etc.

9

Far more transportable than acoustic drums A complete electronic drum set can fit in pretty much any car.

So, the set doesn’t have to be left at the house of worship when not in use, and can even go to the drummer’s home for reason 9.5 of why electric drums are so popular – it’s possible to practise without waking the kids, or getting a noise complaint from the neighbours.

10

Cost-effective The price range for electronic and acoustic drums aren’t that far off – for either genre, you can spend hundreds of dollars for a beginner’s kit, or thousands of dollars for a topof-the-line model. However, what you get for your money is quite different. Electronic drums will offer more flexibility, more sounds and be more convenient. Whether you choose an economical kit or stretch your budget, you’ll have all the sounds, convenience and portability of electronic drums – and you always get to set the volume level where you want. www.fullcompass.com/gearcast

36 WORSHIP AVL May–June 2022

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SCX25APS

COMPLETE PIANO MIKING KIT

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Learn more at audixusa.com

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TECHNOLOGY

The magic touch of AFC

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Yamaha’s Ron Bakker extols the virtues of AFC to create the perfect acoustic conditions in houses of worship AS A PRODUCER OF ACOUSTIC and electronic musical instruments, Yamaha crossed into the professional audio sector almost 50 years ago.

Knowing exactly how music should sound, Yamaha’s non-conformist Professional Audio division introduced innovations such as the “matrix” section on modular mixing consoles (PM1000, 1974), Class-D power amplifiers (PD2500, 1986), DSP-based mixing consoles (DMP7, 1987) and networked audio distribution (NHB32C, 2003). Allowing sound designers to electronically create any acoustic environment in a venue or concert hall, the introduction of the DSP-based Active Field Control (AFC) in 1985 was beyond forward-thinking.

Created to improve room acoustics, the installation of AFC modifies the environmental reverberation while leaving the voices and musical instruments unaltered. Significantly enhancing venue versatility, the touchof-a-button technology has proven to be a neat and cost-effective alternative to architectural reconstruction for nearly four decades.

Some four years following the launch of AFC, Ron Bakker was appointed

as service manager at Yamaha in 1989. Moving up through the ranks to commercial audio product manager, the industry veteran oversaw the unveiling of the DM2000 and PM1D digital mixing consoles in central Europe. The journey continued following Yamaha’s audio network components firstly with CobraNet, then Ethersound and now Dante. As European systems marketing manager, Bakker now promotes Commercial Installed Systems in Europe, including AFC. As many European houses of worship continue to remain oblivious to Yamaha’s advancements in acoustic enhancement technology, Bakker is happy to demystify it. At the heart of the system is an audio engine that works at 48/96kHz, equipped with 128 channels of audio via a Dante card. Supporting up to 32 input microphones and 96 outputs, AFC can be remotely controlled and monitored

by Windows ProVisionaire Control, iOS ProVisionaire Touch or an MCP1 wall control.

“The magic of AFC happens in the audio engine whereby powerful FIR filters create a very natural sound with highly detailed reflections, even

Kulturhuset Najaden in Halmstad, Sweden for spaces that have little natural reverb,” explains Bakker. “AFC adopts several microphone inputs to capture reflections in a church, before outputting them back into the room using multiple loudspeakers.

Depending on the size and shape of the church, between 8–16 microphone inputs in addition to 20–50 loudspeaker outputs are required.”

In essence, Yamaha’s developers have created a natural sound quality

that the listener is oblivious to. “AFC is often confused with being an effects system in which the reverb is played back by the speakers to the listeners.

Instead, AFC uses the loudspeakers to feed the existing diffuse reverberation field, which is created through millions of actual reflections when it hits walls, ceilings and objects, such as ornaments and chairs. To the listener, the actual loudspeakers are never directly heard, and the acoustic impression can be

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TECHNOLOGY further enhanced by adding column speakers to the side walls.”

Given his marketing role, Bakker is in his element when promoting the key benefits of AFC. “Fully scalable, AFC can be applied in very small and acoustically ‘dry’ spaces at one extreme to large reverberant spaces such as cathedrals at the other. Typically, AFC’s technology is used to increase the reverberation time. Dry acoustics are perfect for amplified speech and music, but not for organ and congregational singing.

By increasing the reverberation time,

can now be accurately supported by the sound system. Further enhancing the potential for live media production designs, the positioning can be expanded to surround the audience in 2D or above the audience in 3D. AFC Image can be controlled from the work surface of any Yamaha digital console and by a stage tracking system automatically placing the sound where the performer is.

As a package, additional to acoustic enhancement, AFC provides comprehensive support for immersive sound reproduction, from content

Rehearsal hall at the Stockholm Royal Opera House, Sweden

Opera na Zamku in Szczecin, Poland AFC can offer the perfect acoustic conditions by switching off the system for word of mouth and music playback, but then turning it on for organ recitals and choral singing.”

Unlike a digital console or powered speaker component, AFC is a bespoke design and tuning service provided

by Yamaha’s system engineers.

“The locations of the microphones and speakers need to be decided in advance with the architect and church officials. Once installed, the church technicians can gain access to AFC’s presets from either a wall panel or iPad touchscreen. For a house of worship, all it takes to switch from ‘dry’ to ‘congregational singing’ is the press of a button. If other activities take place in the house of worship, then settings can be provided to suit anything, including a string quartet performance or a full symphony orchestra.”

Launched in 2019, the fourthgeneration AFC system simply included an acoustic enhancement.

More recently in April 2021, however, Yamaha added AFC Image for “objectbased mixing”. Whereas conventional mixers use two stereo speakers to “place” or “pan” sound sources on a stage, an object-based system greatly improves the resolution of this panning so sound sources can be better localised on a stage. For example, a presenter walking from left to right

production to playback. Content originally created in studios can be converted to recreate playback matched to the venue and its live sound speaker layout. Working with NEXO NS-1 system configuration software and a range of outboard equipment such as consoles, stacking systems and show controllers, Yamaha’s technology can faithfully deliver content in a wide range of environments.

“Uniquely, AFC offers both acoustic enhancement and object-based mixing at the same time. The dimensional regenerative electronic reverberation control capabilities of AFC Enhance influence the actual acoustic field in a space and are used to create acoustic spaces. The acoustic images are positioned and controlled by AFC Image and applied as an effect in which the loudspeakers create virtual sound sources. Essentially, the concept is an evolution of residential surround systems or professional cinema typically using five, seven or more channels. AFC Image can emulate those environments, but with a far higher resolution, including the capability to create artificial acoustics as a theatrical effect.”

In general, AFC can be applied to any performance space. “When a concert hall’s acoustics are a little too dry, AFC provides a modest

‘touch-up’ of the existing acoustic characteristics. For opera houses hosting ballets and philharmonic orchestras, a higher enhancement scope is required. For other venues including multipurpose auditoriums hosting amplified performances, an even higher control and variability of acoustics has become a standard design consideration to maximise the commercial and functional potential of the space.”

For those houses of worship architecturally designed to be reverberant spaces, Bakker concedes that reinforcement beyond organ recitals and congregational singing is largely impossible. “Amplified music in

reverberant acoustics at the touch of a button.”

Once the acoustics have been fully assessed, anomalies such as flutter echoes or resonances are addressed by a consultant prior to system design. “The Yamaha AFC design team assists the systems integrator during the construction phase, before conducting a tuning session in which the acoustic presets are configured.

Such a session takes several days, depending on how large the system is and how many presets are required.

All our system engineers are highly skilled and experienced in the design and tuning of large-scale enhancement systems.”

Filharmonia Sudecka in Wałbrzych, Poland such venues should be discouraged as the adoption of absorption panels and curtains can be both impractical and expensive. If the reverberation time in a basilica or cathedral, for example, cannot be decreased sufficiently, Yamaha recommends the installation of compact line array columns to provide intelligible speech.

For amplified speech and music, the ideal scenario is to construct a house of worship with dry acoustics, then add an active acoustic enhancement system such as AFC to create

Unlike traditional houses of worship, a growing number of modern churches with drier acoustics are specifying AFC. “This is a trend in northern Europe, where churches are discovering that the addition of AFC improves the sound of the organ. Additionally, an increasing number of communities are deliberately choosing less reverberant venues to support amplified speech and music. As such, an acoustic enhancement system becomes a standard consideration.” www.yamaha.com/2/proaudio

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TECHNOLOGY

SPONSORED BY

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Choosing a PTZ camera that works best within your HOW Tod Musgrave, director of cameras, Marshall Electronics, looks at camera selection and positioning in houses of worship AS THE HOUSE OF WORSHIP market adapts to today’s dynamic and ever-changing landscape, the demand for reliable robotic camera solutions supporting livestreaming has grown significantly. House of worship centres come in all shapes and sizes and there are many options for cameras to capture and stream services to expand reach and deliver to wider audiences.

High-quality video, relative easy integration and remote control robotic cameras with short learning curves are some of the most common camera requests from clients. Containing such a wide variety of feature sets and endless options on the market, starting with some knowledge of PTZ camera specs is paramount before making an investment in this category.

Commonly known as “PTZ” or “robotic” cameras, pan-tilt-zoom cameras have become the mainstay of many HOW productions. PTZ cameras reduce the number of camera operators required, where multiple PTZ cameras can be set up and controlled from one or two PTZ controllers. In addition, they provide the flexibility to set up and save presets to cover each area of interest within the sanctuary, reducing time for setup and switching between cameras.

Increasing the point-of-view positions for a livestream will greatly enhance the value of the production and provide new, interesting perspectives. Mounting PTZ cameras to back walls or rear balconies will

The CV730-NDIW and CV730-NDI provide one perspective and can reach most of the areas of interest.

However, adding more positions from new angles such as embedded with the musicians or among the instruments enhances engagement.

Multiple cameras will also provide more angles to choose from in the booth, which holds the viewer’s attention, allowing the message to remain in focus with greater impact.

Newnan Presbyterian Church in Georgia has installed a Marshall CV730 camera

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Camera selection With a variety of PTZ cameras available on the market today, selecting a camera that has features best suited for your house of worship’s needs is very important. For larger venues, you should consider the camera’s zoom range and the farthest location you want to cover from the camera position.

For a wide stage capture from a closer camera position, the field-of-view (FOV) is important requiring a wider angle-ofview (AOV) to start.

Sensors come in a variety of sizes, both in pixel size and overall sensor area size, which affect FOV/ AOV, and zoom lenses are offered in different focal length ranges as well. PTZ cameras are available in 3x, 5x, 10x, 20x, 30x and more zoom ranges; however, note the zoom factor in optical zoom to maintain resolution. Optical zoom refers to the physical manipulation of the distance from the rear lens elements to the camera sensor, which manipulates FOV without losing clarity. Digital zoom refers to zoom manipulation within the sensor, which will degrade resolution the more you digitally zoom through sensor output.

There are three factors to consider when calculating AOV required for www.marshall-usa.com

24/03/2022 12:43

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TECHNOLOGY

SPONSORED BY certain shots: distance from camera position to scene (or shot), size of shot desired (usually horizontal) and focal length in mm for a specific sensor size. When you have two of the three measurements, you can get the third via formula or a FOV calculator.

expensive and good to use anywhere you need another shot in close range. Fixed POV cameras can be ultra-wide shots of the audience, closeup or overhead a drummer or other musicians, capturing the length of a piano or keyboard, capturing the feet of an organist or any unique POV that would add an interesting perspective. The relative low cost of POV cameras make them an attractive add-on to capture new perspectives, testing new angles and adding unexpected views of the performance.

Map out your camera positioning When selecting the correct camera placement to mount a camera, it is good practice to think about what can be viewed from that location.

Does it capture a good point of view (POV) of the targeted areas?

Can it capture the primary areas you want to focus on? Can it deliver interesting angles of the worship leaders? Can it be better framed at eye level or above or below, and perhaps, most importantly, will it hold the viewer’s attention?

You should also put some thought into the mounting location for your additional cameras. Always take into account the person watching and what viewpoints would be most interesting to capture to keep the viewer engaged. The message is the most important consideration, so be sure to keep it interesting long enough to reinforce the message.

Marshall’s CV506 at Hope Church in Virginia

Choosing between PTZ, zoom or fixed zoom cameras PTZ, zoom or fixed zoom cameras are all viable options for HOW applications, so it’s important to understand which choice will work best for your individual needs. PTZ cameras should be placed in areas that have the widest view with the most areas of interest within camera reach. Centre rear wall or balcony are usually the best areas to mount a PTZ camera where you can preset all areas of focus within the facility.

If you have three PTZ cameras

then centre, right and left rear wall placement is preferable, in areas that are out of sight or less obtrusive for those that are there in person.

Alternatively, if the angle will remain constant while offering the ability to zoom in on a subject or scene, a fixed zoom camera is advantageous.

A good position for a zoom camera might be centre rear wall at a lower height to zoom in on the pulpit or centre area of focus above the pulpit.

Zoom cameras are usually smaller as well so they can be hidden in smaller spaces, and out of sight.

Fixed POV cameras are usually much smaller or miniature, less

The future looks bright Up until now, cameras were brought into an SDI switcher workflow to quickly switch between cameras with the least amount of latency. Today, we’re seeing many more approaches to streaming, with NDI, IP and USB cameras. We are also seeing the development of soft codecs used for production workflows, such as vMix, OBS Studio and other cloud production tools. With so much technologically advanced equipment at cost-effective price points, it’s an exciting time to be designing house of worship production systems.

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TECHNOLOGY

Lighting by numbers

Saint John’s Cathedral in Denver uses ETC’s ColorSource PARs for whites and colour

Samil Church in Korea has switched to whitelight LED fixtures

Architectural lighting sets the mood in a house of worship

ETC’s five-point guide to HOW lighting will help you ask the right questions, find the right equipment and get the right training resources for your sanctuary Five things to look for when lighting for cameras More churches have started using YouTube and similar platforms to post recorded content to keep their at-home viewers engaged. But lighting for cameras is different than lighting for in-person viewing and unfortunately not every fixture is created equal.

But with a little bit of forethought and research, your online videos can go from good to great.

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Flicker-free – unlike traditional light sources, each LED turns on and off very quickly. Your eyes don’t see this, but many modern cameras do. To prevent flickering, choose fixtures that use LEDs with an extraordinarily high frequency, at or above 20kHz. Find the right white – cameras generally have a “white balance”, or version of white that they use as a reference point. If you have multiple light sources in your space such as video screens or windows, you’ll want to match the camera lighting to the sources you can’t change (such as natural light or fluorescent lighting). This means finding fixtures that have variable white or tunable white options.

Choose the right mix – with red, green and blue (RGB) fixtures, you are limited in your colourmixing options. Generally, fixtures with more colours create better pastels and saturated colours.

Another thing to be aware of is the heat sensitivity of LEDs within

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your fixtures. As LEDs warm up, they change colour slightly, which means the longer your fixtures are on, the more your colour changes. Make sure you invest in products that are factorycalibrated for consistency.

Light for location – for primary light sources that illuminate people on camera, opt for a higher-quality, tunable white light with more control. This will help your church leaders look more healthy and alive because of the depth of colour reflecting off their skin.

Try before you buy – make sure you understand the numbers on your fixture datasheets. Lumen output levels can be deceiving so we recommend testing your lights with your camera before you buy.

Four training resources for your volunteers The last thing you want is for your volunteers to stop volunteering because they don’t understand the technology or are confused by overly complex systems.

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Live training – nothing beats hands-on experience, plus you might consider setting up a console training session taught by a certified instructor.

Online training – virtual courses are convenient and cost-effective.

Video tutorials – sometimes a quick tutorial can help volunteers learn a new tool or effect.

Social channels/community – console users of all levels can

specification that indicates how well the fixture converts electrical power to light.

• There is no industry-standard warranty, so be sure to understand what each company offers.

• Think about the lifecycle of your fixtures – the lights will run for years, so it’s important to consider longevity.

• Choose a reputable manufacturer who answers the phone.

share experiences and help answer questions.

Three questions to ask before you buy LED We know that many churches are still using incandescent lighting. Making the investment to switch to LED is not always easy.

Why are people switching to LED technology?

• Energy efficiency – LEDs consume far less power.

• Ease of use – colour-mixing LEDs eliminate the need to change coloured gels.

• Maintenance and safety – you no longer need to access the rig to replace burned-out lamps.

• Dimmable – today’s fixtures have a dimming curve to rival traditional incandescent bulbs.

• Versatile – fewer fixtures are needed to achieve the same look.

2. Is now the time to buy? Yes, and here’s why: • The output from LED fixtures is as bright or brighter than an incandescent source.

• Because of green initiatives around the world, you could see savings from utility company rebates.

• LEDs have been solidly tried, tested and accepted in the market for years.

3. How do I invest properly?

• You need good quality and good performance.

• Pay attention to efficacy, a 1.

Two ways to protect what matters Emergencies happen and your lighting system should be ready to respond.

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Install a battery backup system to ensure your emergency lights come on when you need them.

Invest in a system that protects your data infrastructure. A properly set up power backbone allows for devices to be switched off when not in use, while also providing protection from electrical abnormalities such as lightning strikes.

One company to help Know where to go for help. One of the most important considerations when dealing with technical equipment is where and how to find help when you have an issue. Ensure the manufacturer you choose is on hand 24/7 if you need assistance. www.etcconnect.com

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FUZE MAX SERIES FEATURES, PERFORMANCE AND VALUE TO THE MAX!

PROFILE

www.ElationLighting.com

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PRODUCT SPOTLIGHT

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Broadcast Pix ChurchPix – the complete video streaming solution for churches ChurchPix will inspire your audience without overwhelming your volunteers BROADCAST PIX CHURCHPIX is the all-in-one video production solution that enables any church to easily stream its worship services online. Designed with volunteer operators in mind, the ChurchPix system is simple to set up and easy to use. ChurchPix provides an affordable turnkey solution for churches, including suitable royalty-free content and easy-to-use controls.

Complete video production and streaming solution The ChurchPix system comes complete with everything needed to start streaming. It includes two RoboPix PTZ IP cameras with 20x optical zoom, integrated remote control and mounting brackets; PC hardware and IP switch; a royalty-free library of clips, stills and graphic templates; instant streaming and recording; audio connectivity; audio inputs that support Windows audio devices, including NDI, Dante and external USB convertors; and a software

control interface that automates common production tasks.

full control of the RoboPix cameras including pan, tilt, zoom, focus, etc.

Easy to install and operate

PTZ robotic cameras with integrated remote control

Everything is pre-configured making the ChurchPix system easy to install. Simply connect the included server to the IP switch and then to the cameras using a single Ethernet cable. The cameras and server support NDI, which self-discovers on connection. Then, bring in the audio from the house PA, either via a digital network or through a USB interface.

The intuitive ChurchPix user interface has also been designed to make live production and streaming easy and logical for users of any experience level, from a touchscreen or web browser. It features macro buttons for moving a camera or adding a graphic, as well as other actions. Users can start creating productions using the default design and create customised buttons and macros over time as they become more familiar with the system, including

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The ChurchPix system includes two RoboPix robotic cameras that provide full functionality, superior performance and rich, high-definition results. All aspects of RoboPix, such as pan, tilt and zoom, can be remotely controlled directly from the ChurchPix user interface. Or, for fast moves, there are up to 255 presets storable in the cameras itself.

The choice of control method is dependent on the look and feel of the programme being created, so whether the motion of the camera and lens are directly controlled, or switched between presets, the operator has precise control over the images being recorded and streamed.

For example, when tapping the camera video in ChurchPix, the camera controls become visible in the image and can be easily operated to pan, tilt or zoom the

camera, whilst looking directly at the result. The combination of the motors used and the software control ensure smooth, jerk-free motion but, depending on the type of show being created, the user may choose more advanced levels of automation.

Automate production tasks with macros Like all Broadcast Pix integrated production systems, ChurchPix includes sophisticated Media Aware Macros to automate complex and repetitive tasks into the touch of a button.

Any function of the software can be recorded in a Macro, including specific video or audio clips and graphics so they can be combined with switcher effects, including the complete range of camera moves and the recalling of camera presets.

A macro can then be assigned to a single button or image in the user interface, bringing endless simplification to the production process. www.broadcastpix.com

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PRODUCT SPOTLIGHT

SPONSORED BY

Inspire your audience with builtin media content Elevate your worship coverage by using ChurchPix’s library of readyto-use content. Every ChurchPix system comes with a collection of suitable video clips, stills and graphic templates.

Upload your logos and titles to create stylish-looking, broadcast-quality graphics in minutes with little to no training.

Integrated streaming and recording With full streaming and recording capabilities and access to a secure, cloud-based media management portal, reach a wider audience with

online video. Record internally or on external USB drives and archive in the cloud. Stream with native login integration to Facebook Live, YouTube, IBM Cloud, Livestream or a manual RTMP. Or multicast your livestreams to up to five online destinations simultaneously through the Switchboard Cloud Pro Platform.

“ It really is very easy to get up and running and use.”

Create new revenue “ Between the ease-of-use and streams

Many of our ChurchPix customers are creating new sources of revenue by producing and streaming events,

The Broadcast Pix ChurchPix system includes two RoboPix PTZ IP cameras, a PC to run the software, IP switch and a royalty-free stock library

single-cable connections, ChurchPix is as plug-and-play as it gets.

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Start streaming your worship services today ChurchPix systems not only come ready to support your church in creating and streaming your worship services but are also scalable and ready to grow along with the congregation. The software and IP network infrastructure make it easy to enable more functionality by adding more cameras and hardware.

Additional dedicated user interfaces can be created as requirements grow.

Start sharing today’s services and be ready for tomorrow’s challenges with a Broadcast Pix ChurchPix system.

To learn more, or request your free online demo, visit our website.

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such as weddings, for a small fee; both livestreaming to a Facebook page or YouTube, for example, as well as delivering produced content on a USB stick or CD. What ChurchPix customers are saying:

For 70 years Made in Germany

Put your equipment on a sound footing with a König & Meyer stand. Robust and durable, it will be your companion for a long time to come. Made in Germany from finest quality materials and according to our high-quality assurance standards. Rely on innovative designs and user-friendly functionality, plus a five-year warranty. www.k-m.de

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NEWPRODUCTS

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

Panther pounces on long-throw competitors Designed to meet the evolving needs of large-scale touring and installed systems, Meyer Sound has unveiled Panther, its flagship linear line array solution PANTHER PROMISES an acoustic signature closely resembling the much bigger and heavier Leo line array, but with the compact cabinet footprint of the manufacturer’s Lyon array. The American manufacturer explains that due to both tighter safety regulations and the desire for more visually focused production scenarios, the need to squeeze more performance from a smaller cabinet is greater than ever. Panther meets this need by delivering stadium levels of performance from a box that weighs just 68kg. Substantial savings on current draw compared to the previous generation flagship line array loudspeaker can also be achieved.

The Panther family consists of three cabinets with different horizontal coverage patterns – the 95° Panther-M, 110° Panther-W and 80° Panther-L – which house a new long-throw horn.

Combined with a new LF port design, Panther has a maximum peak output of more than 150dB SPL. A dual analogue/Milan AVB network input module means that the system offers flexible signal distribution options, while each cabinet comes as standard with an IP55 weather protection rating. The integrated electronics module incorporates a four-channel Class-D amplifier coupled to a power supply boasting power factor correction and higher voltage rails. Panther also features new, longerexcursion, 12-inch low-frequency cone drivers and 3-inch compression drivers.

Each unit incorporates advanced magnet structures using newly developed materials for higher flux density, despite substantial weight reduction.

Meyer Sound has also introduced the Spacemap Go plugin for the Venue 7 software platform and the Pro Tools digital audio workstation (DAW). The AAX plugin enables Avid Venue | S6L users to directly access functions of the Spacemap Go spatial sound design and live mixing tool from the console’s built-in touchscreen and control surface.

In addition, the plugin allows integration of Spacemap Go snapshots within

the Venue master show file for creating virtual loudspeaker layouts and automate dynamic panning within the immersive sound field.

When installed in Venue, the Spacemap Go plugin functions as a client of the Spacemap server. When the console and the server in the Galaxy Network Platform are connected on the same network, setup is automatic and bypasses any IP addressing or port management requirements. Functions accessible on the S6L touchscreen and CKM module knobs include X/Y position, crossfade, spread, trajectory status (play/pause/stop) and trajectory rate for each channel. Snapshot recall at the channel, mix and system levels as well as mix level for the global system can also be accessed.

The spatial sound design and live mixing tool utilises the processing power of the Galaxy Network Platform within an iPad app. Snapshots can

A–ZCONTENTS Absen

Clear Cobalt

ADJ

D4 Branch RM

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Advatek

PixLite T8-S Mk3

57

AJA

Io X3

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Allen & Heath

AHM-16 / AHM-32

50

Analog Way

LivePremier update

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APG

iS Series

49

Audiofocus

Installation versions

47

Audix

A231

50

Blackmagic Design

URSA Broadcast G2

55

Blaze Audio

PowerZone

49 54

Broadcast Pix

MX Hybrid

Cameo

Zenit W600i

57

Claypaky

Sharpy X Frame

56

CODA Audio

LINUS12C

49

DirectOut

EXBOX.SG

49

Elation

Proteus Excalibur

56

Extron

SF 8CT SUB

48

Fulcrum Acoustic

DF4

48

JBL

EON700

48

Kling & Freitag

VIDA J-Beam update

48

Klotz AIS

M4 StarQuad

52

LG

UltraFine OLED Pro

53

Marshall Electronics CV605-U3

54

Meyer Sound

Panther

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NewTek

PTZ3

Pan Acoustics

P 04-AMT

47

Peavey Electronics

P Series

47

RCF

CMR 50T / CMR 60T

47

Røde

Lavalier II

50

Sennheiser

HD 400 PRO

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Shure

SRH440A / SRH840A

52

Sommer Cable

SC-Elephant Robust

52

Sony

Venice 2

55

Tascam

Mixcast 4

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be created in most DAWs and integrated into the S6L master show file for static placement or dynamic movement of sound. The snapshots can be fully automated or synchronised using the console control surface, one or more iPads or both simultaneously. www.meyersound.com

Avid Venue | S6L users can now access Spacemap Go from the console’s touchscreen

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Full-range audio from Pan Acoustics

Peavey puts portability first with P Series

PAN ACOUSTICS has unveiled its P 04-AMT passive full-range line source for speech and music applications. Incorporating an Air Motion Transformer (AMT), the P 04-AMT models combine minimal audio distortion with desired highfrequency reproduction. Created for low-frequency extension down to 30Hz, the Design P SW-108 RJ is a passive, direct-radiating 8-inch subwoofer for 2.1 sound systems.

Capable of producing a maximum SPL of 109dB and offering an impedance of 4Ω, the subwoofer can be powered by small PoE conferencing amplifiers.

With the development of the RJ speaker input option, the German manufacturer has designed a tool-less cabling connection by making standard Cat formats into speaker cables.

Loudspeaker models incorporating the RJ option can be directly connected via RJ45 to compatible PoE amplifiers or the available adapters of standard

BOASTING THE ability to stream music from mobile devices or computers, Peavey Electronics has debuted the P Series of all-in-one portable PA systems. The P1BT and P2BT, with 180W and 200W of power respectively, offer built-in, professionalgrade Bluetooth capability and combine either two or three 6.5-inch woofers in a column array with a 1-inch high-frequency compression driver.

Each array offers a rear-facing, threechannel mixer with dedicated two-band equaliser and volume controls.

Channels 1 and 2 offer both XLR and line-level inputs, while Channel 3 brings Bluetooth connectivity as well as RCA and 1⁄8 -inch aux inputs. Each unit also includes a master volume knob, a 1⁄4 -inch external subwoofer connection and the ability to sync to other units via XLR. Intended to be easily taken on the road and used by musicians or pastors, the P Series models have been designed with weight and

amplifiers. Promoting a structured IT cable infrastructure, the RJ feature is available for the P 02-Pi (RJ) and P 04-AMT (RJ) two-way models in addition to the P 04-Pi (RJ) line source enclosure. The P-SW 108 subwoofer comes equipped with the RJ option as standard. www.pan-acoustics.de

P1BT durability in mind. Each column array measures just over 25cm deep and 23cm wide. The larger P2 speaker measures 76cm tall and weighs in at 15kg, compared to the P1 at 58cm and 11.1kg. www.peavey.com

RCF fixes its sights on walls and ceilings COMBINING AESTHETIC discretion and audio accuracy, RCF has extended the CMR series with the 50T and 60T two-way, in-ceiling speakers. Loaded with 5- and 6.5-inch transducers in a coaxial configuration, both speakers operate within a 70/80Hz–20kHz frequency range with a maximum SPL of 110dB and 114dB respectively.

Both models exhibit a constant directivity conical coverage of 130°.

Three long travel clamps and a dedicated connection board inside the wall mount allow the installer to set the desired tilt first, then fix the speaker and finally quickly connect it without the need for any tooling.

In addition, a magnetic grille can be easily removed to provide access to the power selector on the front shell, with the line transformer providing 40W and 80W full power on a 70V and 100V constant voltage line, in addition to five different power levels. Enclosed within a self-extinguishing plastic body and metal back can, a pole Euroblock connector receives audio inputs and a parallel link output.

Similarly, two wall-mounted speakers have been added to the WMR catalogue. Incorporating a 5-inch woofer and 1-inch neodymium tweeter, the WMR 50T provides consistent music reproduction across

CMR 60T the 80Hz–20kHz frequency band.

Rated at 40W RMS power handling, the compact enclosure provides a consistent dispersion of 140° x 100°

directivity. A dedicated connection board is included inside the wall mount support, which allows the installer to set the desired tilt before fixing the speaker and connecting it without any tooling. Integrating a 6.5-inch woofer, the 80W-rated WMR 60T model operates within a 70Hz–20kHz frequency range and can produce a maximum SPL of 114dB. Like the ceiling speakers, both wallmounted speakers are housed in a self-extinguishing plastic body and metal back can and are equipped with a pole Euroblock connector. www.rcf.it

A focus on install BELGIAN LOUDSPEAKER manufacturer Audiofocus has created installation versions of its point source, constant curvature, line array, subwoofer and stage monitor speaker designs to meet customer demands.

The range includes 19 installationspecific loudspeakers, from the compact VENU 8ix point source enclosures through to the manufacturer’s most powerful S 21i subwoofers.

to make the new variants more cost-efficient without compromising on audio performance. Further aesthetic changes enable the speakers to blend discreetly into installed environments. Both passive and biamplified options are offered for the majority of the new models, resulting in a solution ready for deployment in nightclubs, theatres, stadiums and houses of worship.

As part of the development process, touring features such as

grab handles and rigging systems have been removed or simplified

www.audiofocus.eu

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PRODUCTS

Kling & Freitag shines with a brighter beam for VIDA

Fulcrum Acoustic sounds another horn DESIGNED TO supplement highfrequency coverage in areas shaded by obstructions, Fulcrum Acoustic has created a spot fill loudspeaker.

The DF4 dual high-frequency horn comprises twin 4-inch HF compression drivers that can deliver up to 140dB (continuous) maximum SPL output for long-throw applications. Providing

clarity and precise transient response at high SPLs, the US manufacturer’s proprietary TQ processing has been added. Operating within a 320Hz– 20kHz frequency range, the DF4 is available in DF443 (45° x 30°) and DF463 (60° x 30°) variations. www.fulcrum-acoustic.com

JBL shines a light on EON700 ORIGINALLY LAUNCHED in 1995, JBL Professional’s EON family of powered, portable loudspeakers continues to evolve. Consisting of four models, the EON700 Series has been designed for musicians, venues and event organisers as mains or stage monitors in portable systems or permanent installations.

Comprising the 10-inch EON710, 12-inch EON712 and 15-inch EON715 powered PA speakers together with an 18-inch EON718S subwoofer, the latest additions are powered by internal Class-D amplification.

KLING & FREITAG has augmented its VIDA beam-steering technology with a J-Beam update. In addition to the selection of the opening angle and the inclination of the beam, VIDA supplements J-Beam technology with

The DSP package provides comprehensive control over EQ, limiters, delay, a built-in threechannel mixer featuring dbx Automatic Feedback Suppression (AFS), eight-band output EQ and optimised use-case presets.

Speaker management parameters can be configured from the rear backlit colour LCD screen or via the JBL Pro Connect app. Built-in Bluetooth 5.0 audio streaming and control extend the latest protocol’s security features, low latency, broad range and audio fidelity characteristics.

The EON700 family

The latest generation waveguide and transducer technologies are included with the redesigned woofers together with a horncoupled 2414H compression driver that delivers a smooth off-axis beamwidth and balanced response.

Like their predecessors, the EON700 models are designed to be employed as main speakers or floor monitors. Full-range models feature top and rear suspension points for flown configurations and rear suspension points serve as connections for fixed installations.

Indexed feet moulded into the enclosures enable a range of acoustic configurations and secure stacking. The EON718S subwoofers incorporate a threaded pole mount for adding full-range speakers, but can also be stacked for cardioid configurations.

Integrating ergonomic handles, the full-range speakers are housed in FEA composite enclosures, while the subwoofers are manufactured in 15-ply birch cabinets.

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an additional controller for setting the energy distribution within the beam itself. As a result, the level curve can be continuously adjusted from front to back to achieve speech intelligibility and evenly dispersed audio with virtually the same level. The update can be downloaded for all existing VIDA L systems from firmware 1.5.

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Extron adds another option for in-ceiling subs EXTRON HAS released a new in-ceiling subwoofer designed to blend in with other ceiling speakers in the system. The plenum-rated SoundField SF 8CT SUB comprises an 8-inch low-frequency driver, while low- and high-impedance taps and an integrated low-pass filter provide flexibility to meet a wide variety of system requirements.

With a frequency range of 45–300Hz, the subwoofer is capable of 100W continuous pink noise output. For distributed systems, the SF 8CT SUB has an integrated 70V/100V transformer, allowing placement of multiple subwoofers within a space to provide even coverage from a single amplifier. Power taps at 64W, 32W,

SF 8CT SUB 16W and 8W enable the speaker to be placed in low-ceiling rooms without being overpowering, or in low SPL applications where low frequencies require additional reinforcement to achieve equal loudness across the spectrum.

For installations where more power is required, the SF 8CT SUB can be connected in 8Ω direct mode for up to 200W continuous programme power handling capability. A selectable 120Hz, 6dB per-octave low-pass filter is included to simplify setup without the need for additional crossovers.

The US manufacturer has also released the ISS 612, a 12-input seamless switcher for the dynamic presentation and scaling of HDMI, DisplayPort and 12G-SDI content at resolutions up to 4K/60. It supports a maximum data rate of 18Gbps and features advanced Extron Vector 4K scaling technology. Separate Preview and Programme outputs enable the operator to review sources

before switching them to the viewing audience. For streamlined integration, the switcher provides audio deembedding and multiple control options, including an intuitive front panel, RS-232 and Ethernet.

To enhance the delivery of any presentation, multiple switching and transition effects are available with the ISS 612, such as wipes with selectable direction and duration and a seamless cut that eliminates distracting jumps, glitches and delays. Picture-inpicture mode facilitates insertion of a secondary source window that can be dynamically sized and positioned anywhere within the output. www.extron.com

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APG debuts iS Series subwoofers LAUNCHED ALONGSIDE a new visual brand identity, French loudspeaker manufacturer APG has unveiled a series of three subwoofers that serves as the replacement for its existing SB series. The compact iS Series models are said to provide an even wider bandwidth better suited to the demands of modern music. They are being targeted at the rental and fixed-installation markets.

The series comprises a trio of bass-reflex models with either a 10-inch ferrite (iS110), 12-inch ferrite (iS115) or 15-inch neodymium (iS115) driver. The smallest model, the 10-inch iS110, is capable of

low-frequency extension down to 45Hz and a 135dB SPL, while the largest 15-inch iS115 boosts these to 42Hz and 138dB. From smallest to largest, continuous power ratings for the models are AES 500W, AES 800W and AES 900W respectively.

Connections include a pair of speakON NL4MPs. The new range also features a number of functional insert points and accessories for wall mounting (iS110), overhead mounting (iS112 and iS115) and coupling, with the iX range of loudspeakers using crossbars to create modular and easily movable sound systems.

iS Series Thanks to its optional mounting system, the iS115 subwoofer can be coupled with the iX12 loudspeaker, allowing the creation of compact clusters ideal for small- and mediumsized venues.

To complement the iS range, the French manufacturer has also launched the UC118i, a new high-powered subwoofer addition to the Uniline series. Equipped with an 18-inch bandpass-loaded

loudspeaker, this subwoofer complements the Uniline Compact range as well as the iX12 and iX15 models to provide a physiological bass effect. The UC118i also features a new APG EasyLink docking system that allows for easy clustering of up to three loudspeakers in either omnidirectional or cardioid configurations. www.apg.audio

Blaze of digitally powered glory FOUNDED AS a separate brand within Pascal A/S, Blaze Audio specialises in producing digital amplification solutions for the commercial audio market. With the creation of the first generation of PowerZone amplifiers, the Danish company has created a series of compact, configurable amplifiers for the fixed installation market.

Any output channel of the three multichannel amplifiers can be independently configured to drive both conventional low-impedance (4–16Ω) and constant-voltage (70V/100V)

loudspeaker loads. With automatic power sharing, the PowerZone models can also share the total available power across all channels.

Measuring half a rack in width, 1U in height and weighing 1.9kg, the

PowerZone 252 amplifier outputs 2x 125W. Housed in the same chassis, the PowerZone 504 and 1004 amplifiers are 4x 125W and 4x 500W amplifiers respectively. Simplified front control includes power and

channel LEDs and channel gain adjustment knobs, whereas the rear panel interfaces mains power and GPIO connections, DIP switches and channel I/Os. PowerZone Connect provides amplifier setup and configuration from a phone, tablet or laptop. By accessing the full matrix DSP suite embedded within the amplifier, the PowerZone Control software allows all input, output and multizone management to be configured from the smart web app. www.blaze-audio.com

CODA Audio lines up latest LINUS powerhouse

DESIGNED TO control and maximise the performance of all CODA Audio loudspeakers, the LINUS platform of network amplifiers provides intelligent processing and monitoring. With the availability of the

LINUS12C, CODA Audio has added a four-channel model capable of delivering four channels of 3,000W power at 4Ω. Based on Class-D-IC output stage topology, the LINUS Core SHARC floating point 96kHz

DSP includes factory presets that utilise advanced proprietary DS-FIR and IIR filtering techniques in addition to frequency-dependant limiters.

Selectable from analogue or LiNET digital audio, the four inputs can be routed and distributed to any of the four outputs via the input matrix over a shielded Cat5e cable before being buffered and transmitted to the next unit via the LiNET link output for daisy-chaining. The signal

DirectOut shows two faces for SoundGrid DIRECTOUT HAS added Waves’ SoundGrid audio networking technology to the existing Dante and Ravenna protocols supported by the EXBOX and PRODIGY Series. Housed within a third-rack width frame, the MADI and SoundGrid interface is

the latest addition to DirectOut’s EXBOX Series. Capable of routing 128 SoundGrid channels in blocks of 64 to any of the three MADI ports (coaxial BNC, optical SC and SFP), the EXBOX.SG bilaterally connects with two MADI ports being routed towards

SoundGrid for converting a further 128 channels. The EXBOX.SG can be powered by up to two external power supplies in addition to PoE. Four network ports are linked to an internal

routing inside the LINUS12C can be tuned and configured manually from the front panel push buttons.

Alternatively, macOS and Windowsbased tablets and interfaces can adopt the LINUS Control GUI for remote management over Ethernet.

Housed in a 2U chassis and weighing 14.7kg, the LINUS12C is the fifth model in the series to date. www.codaaudio.com

switch that can be directly connected to redundant recording systems and plugin servers. Promising extremely low latency, the SG.IO is a new PRODIGY module with optional HD SRC technology, promoting asynchronous operation between the module and the mainframe. www.directout.eu

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PRODUCTS

Audix adds character for vocalists

Allen & Heath expands AHM series HARNESSING THE same technology as the AHM-64, Allen & Heath has released two audio matrix processors that allow the company to cater to the full spectrum of installed audio environments. Placing an emphasis on simplistic programming and control, the AHM-16 and AHM-32 offer 16x16 and 32x32 matrix processing capabilities respectively, with 8x8 local analogue I/O on the AHM-16 and 12x12 local I/O on the AHM-32.

Both units feature an I/O port for up to 128x128 audio networking, as well as the option to integrate a 96kHz Dante option card. In addition to remote controllers, GPIO and thirdparty integration, the AHM-16 has a front panel screen with programmable SoftKeys for volume control, source select and preset recall, while the AHM-32 adds an additional four Softkeys.

All three AHM series processors deploy next-generation FPGA technology and 96kHz sample rate with sub-millisecond latency to installations. The audio engines’ processing capabilities include an eight-band PEQ, gate, compressor and delay on all input channels, and eight-band PEQ, 30-band GEQ, compressor, active noise cancellation, source selector, limiter and delay on all zone outputs.

SLink, which is natively built into the AHM-64 but appears as an additional option card for the AHM-16 and AHM-32, allows plug-and-play connection to up to eight remote expanders from the manufacturer’s Everything I/O range, which includes wall-mount, rack and portable options.

HOSTING THE same goldplated brass band as the SCX25A instrument mic, Audix has added a large diaphragm microphone to its selection of vocal condensers. The A231 features a precision-tensioned diaphragm with gold deposition all the way to its far edges to significantly enhance audio quality. An active-driven shield protects the signal path from interference or capacitive coupling and an internal shockmount virtually eliminates touch noise, promoting the A231 to be used across a wide variety of applications without the need for an external shockmount.

The A231 capsule is suspended by the bespoke internal shockmount behind a double-woven steel alloy mesh grille and seated in a precision-machined aluminium body. The compact mechanical form factor allows the A231 to be positioned in tight spaces

where larger microphones may be considered too obtrusive. When used on vocals, for voiceovers or spoken word, the US-based manufacturer claims that the A231 offers a rich tone that blends “low-end power and high-end detail with a warm but controllable proximity effect and a high end that is crystal-clear, yet free of artefacts”.

The cardioid polar pattern provides smooth off-axis response over a 128dB dynamic range, making the A231 a suitable model for capturing acoustic instruments. With a 140dB maximum SPL, the condenser can handle a kick drum, while the low 12dBA equivalent noise level permits its use on delicate sources including upright bass and strings. With no high-end harshness to mar the sound of cymbals, the A231 can be positioned on drum overheads and used for spot miking. www.audixusa.com

www.allen-heath.com

RØDE fashions compact wearable mic RØDE HAS added to its range of wearable microphones. The Lavalier II is described as a compact premium lavalier mic that boasts a low-profile design, professional sound quality and several other professional features.

It’s intended for use on everything from broadcast applications to all kinds of content creation.

The Australian manufacturer has been able to create a new low-profile design thanks to the microphone’s capsule technology, making it discreet and easier to hide on talent.

It also features an ultra-compact mounting clip and a flat cable that is unobtrusive, aiding with threading through clothing. It can be paired with a wide variety of audio devices, including the manufacturer’s Wireless GO II and newly released AI-Micro, and features a 3.5mm locking connector for use with professional wireless microphone systems.

The Lavalier II also comes with a premium accessory kit that includes

a high-quality pop filter and mini furry windshield for recording outdoors, a compact mounting clip (which includes cable management slots), a set of coloured identification rings for keeping track of microphones in multi-mic setups and a zip case for keeping the Lavalier II and accessories organised.

Lavalier II

VideoMic GO II First introduced with the VideoMic NTG and NTG5 shotgun microphones, the VideoMic GO II is a compact on-camera microphone. Designed to provide a full-bodied sound, the portable, 89g all-metal casing incorporates a 3.5mm TRS output for use with cameras and USB-C output for use with smartphones, tablets and computers. Compatible with RØDE apps – RØDE Connect, RØDE Central and RØDE Reporter – for accessing features, audio processing and for recording on any device, the VideoMic GO II has been designed to

simplify the capture of professionalquality audio.

Running on AC or USB power, the battery-less shotgun features the same acoustic design as the NTG and NTG5 models, including annular line tube technology. When used in USB mode, the 3.5mm port functions as a headphone output for zero-latency audio monitoring and playback, transforming the VideoMic GO II into a fully featured USB mic. A shockmount and windshield is included with the package. www.rode.com

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HDL 26-A SYSTEM

SOUND SOLUTIONS FOR INSTALLATION

HDL 26-A

133 dB max SPL 2000 W peak 2-way Class-D 55 ÷ 20000 Hz Frequency Range 100° x 10° coverage angle 3” Titanium Compression Driver 2 x 6” Neodymium Woofers

HDL 35-AS

Flyable complement for the HDL 26-A 134 dB max SPL 2200 W peak 2-way Class-D 40 ÷ 140 Hz Frequency Range 15” Neodymium Woofer

Networked Management FiRPHASE Technology

Lightweight and easy to deploy, HDL 26-A Array module feature RCF transducers, Class-D amplifiers, and proprietary FiRPHASE DSP processing for a natural sound at any volume. Incredibly even SPL, consistent coverage, and flexibility for an extended market of professional installations and integrations. The complete integration of all elements provides users the freedom to adapt the system to the location, with powerful software tools for system design, tuning, and management.

www.rcf.it

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PRODUCTS

M4 StarQuad cable drum looms for Klotz AIS DESIGNED FOR events and sound recordings, the M4 StarQuad microphone cable drum from Klotz AIS integrates a four-core StarQuad SQ422Y cable with a conductor crosssection of 4x0.22mm² (AWG 24).

To avoid hum and noise caused by inductive magnetic fields, the two opposite wires are connected to create a quad connection of the microphone cable with a solid conductor cross-section of 2x0.44mm² (AWG 21). The four wires are twisted symmetrically and in combination with the dense braided shield, providing shielding coverage of over 90%. Available in lengths of 50m, 75m and 100m, the cable drum is equipped with a parking brake and is terminated with black chromed XLR 3p Neutrik connectors and protective caps.

In its quest to ensure a stable signal transmission and a perfect overview, the German manufacturer has also

M4X1-50 developed four-channel and eightchannel DMX looms. The DMX looms of the SCD series utilise its flexible OmniWIRE multicore with spiral shield and PVC jacket. The

individual cables at the splice are surrounded by braided sleeves with self-extinguishing properties that can operate across a –70°C to +150°C temperature range. For a perfect overview, the individual channel lines are marked with printed shrink tubing and the DMX looms are equipped with transparent heat-shrink tubing on both sides for individual labelling.

The PowerLink Truss & Stagebox is described by the cable manufacturer as a robust, ergonomic and easy-to-use power distribution system. Designed for live events, the PowerLink Truss & Stagebox is equipped with one-in/four-out Neutrik powerCON True1 plugs and offers a power carrying capacity of up to 16A/250V. The plastic housing is designed with rounded absorber edges and a robust surface to absorb shocks. Inside the box, stiffening

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cross ribs, in conjunction with six housing screws, are said to give the PowerLink Truss & Stagebox a very high level of resistance and provide compliance with current safety standards.

The cable manufacturer has also released two DMX cable drums with fully wired XLR 5p plugs. Due to the five-pin assignment of the XLR connectors, the cable drums are 100% compatible with the DMX-512 standard. Klotz has used the triedand-tested DC422CY data cable with a conductor cross-section of 4x0.22mm2 (AWG 24) and tightly stranded wire pairs as the DMX cable.

The solid construction with a jacket made of resilient special PVC and a double shielding made of tinned copper braiding and additional AL/ PET foil reportedly ensures smooth performance and perfect EMC values.

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www.klotz-ais.com

Low end of the Sommer DEVISED SPECIFICALLY to operate with loudspeaker systems adopting Sensor Control Subwoofer technology, Sommer Cable has produced a customised cable for the rental and live events sector.

Measuring 19.5mm in diameter, the SC-Elephant Robust is a DMX

SC-Elephant Robust power and DMX combination cable. Embedded in the stranding compound of the 4x4mm² speaker

Fine-tuning sound SENNHEISER HAS launched a pair of professional headphones for mixing, editing and mastering.

The HD 400 PRO headphones have been designed as a companion for creators seeking natural and precise sound reproduction to accurately assess their audio mixes. To ease long sessions, the HD 400 PRO features a comfortable and lightweight open-back design fitted with soft velour ear pads.

The unit includes both coiled and straight detachable cables, allowing the headphones to adapt to different use preferences.

The HD 400 PRO features

cable is an insulated and shielded DMX cable, with a wire cross-section measuring 2x2x0.22mm². The

www.sommercable.com

Shure lowers distortion

a wide frequency response of 6Hz–38kHz to give content creators the full account of their mix. The Sennheiser-developed 120Ω transducers include a diaphragm made from a special polymer blend which, together with the driver magnets, is said to produce deeper, yet totally clear and well-defined bass. Distortion is below 0.05% (measured at 1kHz, 90dB SPL). www.sennheiser.com

SRH440A

HD 400 PRO

integrated 110Ω control line provides sensor-control of subwoofer systems without the requirement to connect extra cables. In addition, the control line can also be used as an ordinary microphone cable and for tie lines.

DESIGNED FOR today’s content creators, musicians and recording artists, Shure has unveiled enhancements to its portfolio of SRH headphones. The second-generation SRH440A and SRH840A headphones incorporate a series of design upgrades, including

a lightweight headband to reportedly provide superior audio, long-wearing comfort and durability.

Featuring nuanced improvements including lower harmonic distortion and more precise left-right driver matching, both headphones are optimised for critical listening and monitoring. The SRH840A offers a precisely tailored frequency response powered by 40mm neodymium dynamic drivers to deliver “a rich bass, clear midrange and extended highs”, while the wide, padded headband and collapsible design combine to create “an enhanced listening experience”. The SRH440A reportedly delivers detailed frequency response with “accurate audio” designed for podcasting and critical editing and mixing. www.shure.com

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BILLED AS a game-changer for the modern church, Tascam has released the Mixcast 4 for podcast creation, livestreaming, event production and voice-overs. It mixes and records up to four mic inputs, internal audio and music, and external audio input from a

phone or PC. The Mixcast 4 comes with an internal 14-track recorder written to an SD card and offers “a complete audio production environment, from pre-production to project completion”.

The Tascam Podcast Editor extends the

Mixcast 4’s workflow through an interface that guides users through their production. Podcast Editor offers simple and practical editing of audio content, track arming, as well as easy configuration and assignment of sound effects and background music to the sound pads. There’s no need for expert knowledge on DAW software as the Podcast Editor also offers graphics that will help users record audio easily using the Mixcast 4.

Tascam Podcast Editor is designed specifically for Mixcast 4 and is said to seamlessly integrate together for “a total production environment”.

www.tascam.com

LG sets new standard in picture quality WITH THE availability of the 2022 LG UltraFine OLED Pro monitors (models 32BP95E, 27BP95E), LG Electronics (LG) has developed 4K professionalgrade display solutions that provide accurate colour reproduction.

Incorporating OLED’s self-lit pixels to the desktop, the monitors are ideally suited to editing high-resolution images and videos.

Designed for detailed digital projects, the 32- and 27-inch OLED Pro models include 4K UHD resolution

(3840x2160) screens with a 1,000,000:1 contrast ratio and 99% coverage of the DCI-P3 colour space. Both displays offer HDR and SDR performance together with independent pixel control for enhanced colour fidelity and contrast.

The portable, lightweight OLED displays do not require backlighting and are free of the distracting halo effect common on many LCD displays.

In addition to physical faders, touchpads and knobs, the Mixcast 4 features a 5-inch colour touchscreen for easy use and access to everything a church team needs, when it’s needed. The auto-mixing function automatically adjusts optimal levels and sets mic priority without the need for configuration. The Mixcast 4 comes with fully customisable sound pads. In addition to preset sound effects, users can flexibly assign new sounds or even pre-recorded mic sounds that have been recorded on the unit. The Mixcast 4 sound pads also allow for easy and ontime voice effects, such as voice transformation and reverb.

sensors and monitor hoods. When used with the LG Calibration Studio software, the calibration sensor measures the light emitted from the display at times predetermined by the user and automatically adjusts to maintain consistent colour accuracy. The included stand attaches securely to the rear of the display with a simple one-click mechanism that can be adjusted for height, pivot and tilt.

Designed to produce vibrant colours as intended under optimal productivity conditions, both OLED Pro monitors come with detachable self-calibration

www.lg.com

MicroLED pixels help Absen see the bigger picture ABSEN HAS unveiled a series of new products as part of an online product launch. Leading the charge is the manufacturer’s eagerly awaited first MicroLED product, Clear Cobalt, which was showcased alongside a new generation HC series of professional small-pitch LED products, the AX Pro MiniLED series and the MR series of professional floor tile screens.

The Clear Cobalt MicroLED series boasts 1,200 nits of brightness and a contrast ratio of 20,000:1. The pixel pitch ranges from 0.7–1.2mm and the product uses flip chip technology to improve electrical performance and increase overall reliability. Compared to an SDR display, HDR10 capability allows for an image that is over twice as bright with a corresponding increase in contrast.

The Chinese manufacturer has been developing and perfecting MicroLED technology for the last five years.

The COB (chip-on-board) technology it utilises has a deep black, nonreflective surface which is reportedly able to produce life-like image quality without over saturation. The Clear Cobalt product boasts a wide colour gamut of 90% BT2020, reduced moiré effect and black uniformity.

Also released alongside the MicroLED products is the HC series of professional small-pitch products, the HC II and the HC II Pro. Weighing 5.2kg, the 27-inch diagonal HD display panels are light and thin, with native resolutions of 4K, 8K or above. The series has a dual receiving card option and a 16:9 standard display ratio.

Lastly, the latest series of the AX Pro MiniLED has been introduced as part of the manufacturer’s growing virtual production range, serving as a backdrop screen with 1,000 nit brightness and a high refresh rate of 7,680Hz. Meanwhile, the MR series of professional floor tile screens offers a new virtual LED solution capable of creating immersive LED walls and floors. This enables content creators to interact in real time with their surrounding

The MicroLED Crystal Clear series environment, without being limited to the confines of a green screen. www.absen.com

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PRODUCTS

AJA streamlines with Io X3 video I/O solution

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DESIGNED TO streamline HDR or SDR 2K/HD capture and output via 3G-SDI and HDMI, AJA Video Systems has released the Io X3 portable video and audio I/O device.

The compact Io X3 streamlines HDR I/O up to 2K/HD 60p on compatible Thunderbolt 3-equipped Mac or PC hosts running pro AV applications.

Designed for single-, dual- and multichannel SDI workflows, the Io X3 is a capture and output device designed for a range of production environments, including high-end colour grading, audio mixing, onset monitoring, playback, remote editorial and VFX. It incorporates four independent inputs for workflows with OBS and Wirecast and supports simultaneous MultiView monitoring of displays up to four inputs for streaming workflows on a single HDMI reference display.

The 1U rack-mountable device features eight switchable analogue audio ports in addition to a 3.5mm audio input for headphone monitoring. Analogue audio ports are switchable between input and

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Io X3 output for flexibly swapping between eight input or output channels or split connectivity between four inputs and four outputs. Up to 16 channels of embedded audio are included on each SDI port and eight channels on HDMI. Coinciding with the launch of the Io X3, AJA has made desktop software v16.2 for all KONA, Io and T-TAP Pro products available. The update includes the latest macOS support, OBS Studio compatibility, enhanced LUT functionality, a newly

developed codec and expanded multichannel audio. Available for multi- or single-channel capture and switching up to 4K/UltraHD 30p and 2K/HD 60p, the v16.2 software enhances 4K/UHD colour workflows courtesy of the 12-bit, 4:4:4 RGB firmware for KONA 5 and Corvid 44 12G. With the included AJA Control Room software, workflow options are expanded through added H.264 and H.265 capture and playback up to 2K/HD 60p. Deep memory buffer capabilities for Control Room

maintain steady playback should storage or network bottlenecks interrupt the flow of data from storage to the video output host.

Developers of 8K workflows requiring 22.2 audio mastering can incorporate AJA technologies into product design and development courtesy of AJA’s SDK v16.2.

Available via Open Source, SDK v16.2 introduces 64/32 audio channel support with KONA 5, Corvid 44 12G, Corvid 88 and Corvid 44 for input and output of up to 64 audio channels across multiple SDI links.

The manufacturer has also released a free Mini-Config v2.26.3 software update, enhancing its Mini-Converter line with new functionality for select models. The release boasts basic HDR metadata pass-through for the Hi5-12G, Hi5-4K-Plus, HA5-12G, HA5-4K, 4K2HD and 12GM; dual-link capabilities for the 12GM; and Dolby audio support for the Hi5-12G and Hi5-4K-Plus. www.aja.com

MX evolves for the hybrid world WITH THE infrastructure supporting live events gradually shifting from SDI video to IP networks, Broadcast Pix’s MX Hybrid production solution allows users to integrate a blend of SDI, HDMI and IP video sources to serve an increasingly hybrid world.

The MX Hybrid provides eight network/IP inputs alongside three SDI (HD and 4K) and one HDMI/SDI/analogue input. Four programme (two SDI and two NDI) and aux assignable outputs are also on board, while six keyers are

available for DVEs and chromakey.

The device is capable of built-in streaming, recording and audio mixing with hardware that fully supports 1080p/60 and 4K video resolution.

Marshall reveals latest USB-C PTZ camera DESIGNED FOR collaboration, streaming and video conference, Marshall has introduced the Zoom-certified CV605-U3 PTZ camera. Flexible output options including USB-C and IP HDMI for HDMI monitoring or switching workflows and IP (H.265/H.264) provide one-cable camera setup and operation.

The CV605-U3 is suitable for use in USB-C and IP networked HD workflows where image quality is not a primary consideration.

The 5x optical zoom USB-C, HDMI and IP camera utilises a 2 Megapixel sensor to capture HD video capable of delivering up to 1920x1080p resolution at 60fps.

Price performance features include

The device also supports remote “browser-based” operation with GuestPix remote guest integration as well as chat and intercom functionality, and provides what is described as an easy-to-use

interface. Enhanced macros automate repetitive tasks to ensure consistency of production.

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a wide-angle 85° angle of view with ultra-low distortion and can reach out to 15mm with additional 12x digital zoom. In addition, the US brand testifies that the CV605-U3 operates with low-light sensitivity to ensure a clear picture in variable and challenging lighting conditions. A privacy mode is included where the camera faces straight down when not in use.

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NewTek unveils first NDI|HX 3 integrated PTZ NEWTEK HAS unveiled the first PTZ IP-based camera with integrated support for NDI|HX 3, which offers users improved latency and low bandwidth transmission over a single cable.

The manufacturer states that it has worked closely with NDI to build the PTZ3 camera “from the ground up”.

Enhanced audio connectivity includes the addition of a professional miniXLR mic input connection together with a line level mini-jack. Once on the NDI network, the PTZ3 audio can be routed, mixed, enhanced and distributed to a range of other NDIcompatible devices and software.

The camera can be added into any workflow with a single Ethernet cable for HD video transfer to 1080/60p, audio, PTZ presets and control, tally and PoE. Users can remotely control the camera from any device via NDI. When combined with the NDI Studio Monitor, users can operate the camera through commonly available control devices, reducing the cost of entry into camera control systems. The unit ships with ceiling and wall mounts and is available in black or white. www.newtek.com

Blackmagic perfects three-in-one camera trick DESIGNED AS a 4K production, 4K studio and 6K digital film camera, Blackmagic is shipping the URSA Broadcast G2 three-inone camera for both traditional and online broadcasters. Using existing lenses and batteries, the three-in-one design can record to external USB disks and SD, UHS-II and CFast 2.0 cards, in addition to file formats such as H.265, Apple ProRes and Blackmagic RAW. A USB-C expansion port on the rear is included for external disk recording or connecting to a range of accessories.

The G2 model integrates a 6144x3456 resolution digital film sensor for low light performance, together with dual gain ISO from –12dB (100 ISO) up to +36dB (25,600 ISO). The gain can be set

via a camera switch, the LCD menu or remotely using the SDI remote camera control protocol.

When adopting the B4 broadcast lens mount, a 4K window of the sensor can be utilised for Ultra HD broadcast use, which can be switched to full 6K resolution when the PL or EF lens mount is preferred. The parfocal B4 lenses ensure that the image remains in focus during zoom operation.

With 13 stops of dynamic range, colour correction is enhanced with darker blacks and brighter whites.

Neutral density (ND) filters have been included to reduce the amount of light entering the camera, while IR filters evenly filter both optical and IR wavelengths to eliminate IR contamination. The high-resolution

sensor and generation 5 colour science create images with high dynamic range and wide colour fidelity, but the scale of the image

sensor can be lowered to the 1080HD standard.

Accessories include a shoulder mount kit, V-Lock battery plate and top handle together with full DaVinci Resolve Studio for postproduction.

Amongst the notable optional additions, a Blackmagic URSA

Viewfinder can be purchased separately for live productions or a fibre converter can be ordered for powering the camera from a 2km distance via the single SMPTE fibre. www.blackmagicdesign.com

Sony launches Venice 2 flagship

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Venice 2 with 8.6K sensor AS THE new flagship model in Sony’s digital cinema camera series, Venice 2 can adopt either the newly developed full-frame 8.6K or the original 6K sensor within its compact

design. In addition to internal recording, Venice 2 also inherits colour science, Dual Base ISO and eight stops of built-in ND filters. Paired with the 8.6K (8640x5760) full-frame

CMOS image sensor, the camera comes with 16 stops of total latitude.

The 8K CineAlta camera has a unique dual base ISO of 800/3200 and supports everything from full-frame, full-frame anamorphic to Super35 at a minimum of 4K resolution. With the 8.6K sensor providing sufficient oversampling, images shot on Venice 2 reportedly benefit from less noise and enriched information in a 2K or 4K production. Suited for VR, in-camera VFX and Virtual Production setups, the camera delivers an immersive experience in combination with Sony’s high-contrast and largescale Crystal LED displays.

The camera is compatible with a wide range of lenses, including all PL mount and Sony’s native E-mount which enables adapters for

a multitude of lenses. Despite being 44mm smaller and approximately 10% lighter, the chassis of Venice 2 allows X-OCN and Apple 4K ProRes 4444 and 422 HQ internal recording without the AXS-R7 recorder. The camera can be used with the 8.6K sensor as well as the original 6K sensor block as the camera body automatically recognises the change and will start up without any firmware exchanges or re-installs. In addition, the original 6K sensor will allow higher frame rates. Outfitted with an internal microphone, Venice 2 accepts the high-speed AXS-A1TS66 6.6Gbps card for 8K60p recording, although existing AXS memory card readers are compatible. www.pro.sony

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LivePremier now supported by SDVoE

Elation searches for E

FOLLOWING THE ISE 2020 launch of the LivePremier scalable 4K/8K multiscreen presentation systems and videowall processors, Analog Way has enhanced presentation experiences for high-end staging and premium system integration.

The current range includes five high-performance, pre-configured products (Aquilon RS alpha, RS1, RS2, RS3 and RS4) and two fully customisable models (Aquilon C and C+).

With the introduction of fieldswappable input and output boards, the French manufacturer has expanded the LivePremier ecosystem with SDVoE technology.

Equipped with four 10GbE RJ45 copper connectors, each card can transmit or receive four independent video streams over IP with formats up to 4K60. The cards support up to eight embedded audio channels per input and output and feature an advanced HDCP 1.4 and 2.2 handshake. Interoperable with any SDVoE extender and control system,

THE NEWEST member of Elation’s Proteus range of IP65 automated fixtures has been designed to create aerial light columns, sweeping beams, throws of CMY colour and prismatic/air FX which reportedly rival existing Xenon searchlights. The Excalibur is a beam moving head fixture suitable for outdoor special events, largescale shows or any situation where a massive beam or very powerful prism and flower effects are required.

The fixture produces up to 200,000 lux at 20m (7,500 lux at 100m), while the extremely narrow 0.8° beam reportedly ensures the fixture is visible at great distances.

The intense beam projects from an ultra-wide 260mm front lens as a massive column of solid light.

A wide array of gobos (eight interchangeable plus a 17-position static wheel) and prism overlays (four- and eight-facet) allow for a large variety of dynamic

Aquilon LivePremier video processors can integrate into an SDVoE environment and workflow. The v2.3 software release supports high frame rates (HFR), allowing full video processing workflows up to 144fps. In addition, the HTTPS protocol in the Web RCS user interface provides secured connections to the LivePremier

systems allowing SSL/TLS certificates and keys to be uploaded and applied to the system. Lastly, the LivePremier systems can now be operated by the RC400T three-axis joystick for layer positioning, sizing and cropping. www.analogway.com

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Claypaky adds to Sharpy range TAKING THE best attributes of its siblings, the Sharpy X Frame integrates a four-focal plane shutter system in a lightweight, compact fixture. The unit’s source is a 550W arc lamp that makes the fixture extremely bright and produces deep and vivid uniform colours (including an unmatched deep red). Not limited to beam effects, the Sharpy X Frame can also be used as a spot, profile or wash.

Smaller in size to other units that use a 550W arc lamp, the Sharpy X Frame comes with a rotating gobo wheel with eight rotating gobos, a static gobo wheel, four- and eightfacet rotating prisms, linear frost, a colour system featuring CMY, CTO and a separated colour wheel, and six beam reducers starting at 0.5°. It also features a zoom range from 2–52° and is fitted with a 160mm front lens and Claypaky optics for producing sharp images and collimated beams.

The Italian manufacturer has also unveiled a series of LED fixtures which it proclaims drastically increases the performance levels over previous models. The series kicks off with the launch of the

just two focal planes as opposed to the traditional four, reportedly saving time in programming and when refocusing. It’s said to be “40 times more precise” than traditional framing systems.

The enhanced performance of a new proprietary Optical system has enabled the manufacturer to increase the aspect ratio to 1:12, resulting in a true 5–60° beam angle onstage. New firmware governing the multicolour engine also enables more precise colour control.

Using the Calibration feature in conjunction with the Claypaky CloudIO software lets users align any fixtures onstage for a performance to the same light output and colour temperature levels. Older fixtures can have their colour sampled and measured before being imported using the “digital filter option” and replicated in Sinfonya for better consistency onstage. www.claypaky.it

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Sinfonya Profile 600, a low-noise moving head lighting fixture that can be used both on lighting rigs but also sits equally well in the small niches around the stage frame.

The fixture boasts several standout features. Achieved by redesigning the cooling system alongside the removal of the base fan, Tonedown ensures that even at full output, the unit noise is just 27dB. Accuframe is a new framing system using

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ches for Excalibur

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sky animations that are said to draw attention to any event. The upcoming integrated sky animation system allows the Excalibur to

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operate aerial shows without needing an external DMX controller.

The Excalibur offers full CMY colourmixing plus 14 dichroic colours, including CTO and UV. Beam control through a precise internal focus lens is said to provide crisp projection without optical errors. Dual variable frosts allow for softening of the beam when required and a remotecontrolled Expander lens widens the beam to approximately 3.5°.

The Philips Platinum 500 FLEX (550W) lamp is dimmable via the internal ballast, which not only dims the lamp electronically but offers a Hibernation Mode that reduces power to the lamp when not in use, resulting in lower power consumption. The lower internal heat produced extends the life of not only the lamp but all internal components of the fixture. The Excalibur supports DMX, RDM, Art-NET and sACN protocols. www.elationlighting.com

Advatek adds more power to PixLite T8-S THE THIRD generation of Advatek Lighting’s long-range lighting controller, the PixLite T8-S Mk3, has gained a power boost following customer requests. Manufactured in Australia, at the heart of the Mk3 controller is a new state-ofthe-art processor which runs on all-new firmware. This has enabled several standout new features: gamma correction for pixels at all resolutions, much improved refresh rates, the ability for low-resolution pixels to appear higher in resolution through dithering and the addition of record, playback, triggering and live device control.

Each individual receiver unit can service up to 12 universes, allowing for the address of up to 16,320 individual RGB pixels from each controller.

The PixLite T8-S Mk3 can send data up to 300m to receivers and supports over 50 pixel protocols, transmitting up to 96 universes of data in total. The third-generation controller also features a microSD card slot for recording and can be configured using any web browser or the Advatek Assistant 3 software. www.advateklights.com

Cameo’s IP67-rated wash light heads outdoors THE ZENIT W600i is the latest addition to the Adam Hall Group’s portfolio of Cameo lighting solutions.

Intended for use in architectural lighting scenarios, the Zenit W600i wash light is an IP67-certified version of the original Zenit W600 model and boasts a “generous” lighting output at up to 21,000 lumens from a total of 40 15W RGBW LEDs. To accompany the fixture’s release, Cameo has introduced an extended five-year warranty on all of its installation products.

The Zenit W600i’s IP67 rating ensures protection against

temporary immersion, making the fixture suitable for marine applications with its C5-M certification.

DMX and RDM control are managed over a network, as the unit dispenses with plugin DMX sockets in favour of waterproof PG cable glands. The

Zenit display remote control can be connected using the supplied cable to enable full onsite control when configuring Zenit installation devices.

The fixture can be combined with a variety of specially developed accessories that further protect it against external influences and increase installation flexibility, including symmetrical and asymmetrical diffusion filters (25°, 45°, 100°, 60° x 10°) and full and half anti-glare shields.

Terminate button and signal LEDs for each of the four outputs have been included to aid with trouble shooting.

The 19-inch rack-mount design requires only 1U of space. It measures 482mm x 139.8mm x

44mm and weighs 2.4kg. Power is supplied by a trailing cable on the rear of the unit, while a convenient on/off switch is located on the front panel.

www.cameolight.com

ADJ branches out PACKED WITH all the features needed to distribute a DMX signal, ADJ Lighting’s D4 Branch RM is a four-way DMX splitter and booster suitable for both touring and permanent installations. It features DMX input and thru connections in addition to four independent DMX outputs that are electronically isolated from each other to ensure uninterrupted data. Both three-pin and five-pin sockets are included, allowing integration into any

DMX-512 system and flexibility for rental applications. Signal amplifiers inside the unit boost each of the four outputs, making the solution suitable for large projects where long data runs are required. In addition, a Link Out/

www.adj.com

May–June 2022 WORSHIP AVL 57

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THE TECH VIEW

Balancing sound Ecclesia Sound works with churches of all sizes, denominations and musical styles in the south-east of France Joachim Fritsch, acoustic engineer

A recent installation at Notre-Dame du Port in Nice

original intention. “At first, I wanted to create a general audio business that could work with churches on the side because I’m a Christian,” he explains. “But when I did a market study, I realised that there was a big opportunity in the south-east of France as there had only been one local competitor who had recently retired. After some time, I decided to specialise in houses of worship as my main business and handle other work on the side.” Fritsch has completed projects in Lyon and Paris but, with increased competition from other integrators in these key market areas, he’s chosen to stay closer

FOUNDED IN 2019 BY ACOUSTIC engineer and musician Joachim Fritsch and specialising in houses of worship, Ecclesia Sound works closely with churches to provide optimum speech intelligibility and correct audio balancing for each installation. Taking the different requirements of each client into consideration, the company studies the acoustics of the building and designs and installs tailor-made solutions with a focus on ease of use.

“Our mission is to support churches in the modernisation of their sound systems,” explains Fritsch. A typical project consists of a complete system refurbishment, with an initial site visit allowing him to assess any issues with the existing equipment and to measure the RT60 (Reverberation Time 60dB) and STI (Speech Transmission Index). Next, a simple acoustic modelling of the church using AFMG’s EASE software gives Fritsch the information needed to design a PA system according to acoustics and budget, taking into consideration factors such as range and power required, quantities of units, and the placement and angle of speakers.

“According to the requirements of the church, we select the ideal mixing system and a set of wired and wireless microphones,”

to home. In addition, he has also noticed that since the pandemic, churches are gravitating towards local companies to work with rather than an integrator from further afield or even abroad.

When buildings had to close to the public in March 2020, Ecclesia Sound branched out into providing broadcast systems that would allow clients to reach their congregations through livestreaming. Fritsch also launched a blog with tips and advice on how to use digital tools, which increased the company’s presence online. A major boost was when the blog was shared by the Conférence des Evêques de France – a group of around 120 cardinals

The Jesuit Chapel in Marseille says Fritsch. “Sometimes, it is possible to reuse part of the existing cabling, especially for the speakers, or keep the existing mixing desk or amplifiers.” Once the design is completed, Fritsch sends the proposal and quotation to the client. After the equipment is commissioned and installed, training is provided, along with full documentation, including system diagrams and simplified user instructions.

Based in Marseille, Fritsch covers a radius of around 200km, stretching from Marseille to Montpellier, Montélimar and Nice. Although the HOW market is the company’s main focus, this wasn’t Fritsch’s

and bishops – with its dioceses, resulting in Ecclesia Sound gaining more visibility during the two years of the pandemic than in 20 years of “normal times”.

In addition to refurbishing existing audio systems, Ecclesia Sound also handles new projects from the ground up. The Jesuit community of Marseille recently built a new five-storey building and appointed the company to equip the chapel, conference room and library room with complete AV systems. “This has been the most important project for us so far,” enthuses Fritsch, “and it was very interesting to work on installing a brand-new system, rather that refurbishing an existing one.”

However, with churches in France now able to reopen, refurbishment projects have picked up again, and the company has also started to install video projectors and motorised screens in addition to audio equipment.

Fritsch is extremely proud of his customer satisfaction rate, with nearly 90% of the company’s business coming from word of mouth. “This is our best publicity,” he affirms. “Our clients become our ambassadors.”

Fritsch is currently working on strengthening relationships with Catholic dioceses and Protestant church unions, as well as with local architects and other companies who specialise in HOW construction, hoping to increase his visibility in the region and automatically become involved in new tenders. A move to new collaborative facilities is underway, and it’s hoped this will advance Ecclesia Sound’s aim of growing the business by 20% in 2022. Given Fritsch’s experience and tenacity, as well as the glowing recommendations the company receives, this target seems realistic as churches in France reopen their doors and welcome congregations back. www.ecclesia-sound.com

58 WORSHIP AVL May–June 2022

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Re-defining durability in professional audio products, the IS-Series Weatherized delivers pristine audio in every extreme environmental condition. With full corrosion resistance and an IP55 rating, a long lifespan is ensured.

Visit: ADAMSONSYSTEMS.COM

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LICENSE II SCALE L-ISA PROCESSOR II Utilizing state-of-the-art object-based mixing technology, L-ISA Processor II provides sound creatives the ability to scale to their project by choosing the license that fits best. Upgrade from the standard 16 outputs license to either 32 for bigger events, 64 for large-scale installations and musicals, or hit the most significant projects at 128 outputs - all at 96 kHz for premium quality sound. As a Milan-certified device, L-ISA Processor II streamlines and secures audio distribution with a redundant AVB and elevates its reliability with a ruggedized 3U chassis and redundant PSU. Unlock the sound possibilities. l-acoustics.com

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